literacy cards
TRANSCRIPT
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Writing-in Solfege
When filling in solfege syllables on a piece
students are working on, have the students
write Do and So at the beginning of each line ofthe staff to use as reference points.
1. Eye
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1. Eye
Appropriate for Upper-Middle or High School
students. This idea came from an ear-training
tutorial designed for music students at the
Western Michigan University to prepare
outside of class.
This idea would be very useful in a choral
classroom setting when the teacher might ask
the students to write in the solfege for their
parts in their music, both as a pitch
recognition exercise and as a tool to help
them learn their melodies.
This is a great exercise because it gives
students visual reference points, and helpsthem build an understanding of pitch
relationships. c
Code, David Loberg. Solfege Syllables. Aural Comprehension Guide. 2007.
Western Michigan University. 23 Apr. 2009
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When sharps you see,
The last is ti!
2. Eye
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2. Eye
Appropriate for Upper-Middle or early High
School students. This idea came from a
website which markets do-it-yourself eartraining and music reading software, books,
aural tutorials, and other resources.
Although it is a little bit corny, I thought this
would be a great visual to hang in the
classroom, so that that students have aconstant reminder of how to find do in any
given time signature. If students know the
relationship between ti and do, they can
always locate the tonic note.
Particularly as a pair of posters with the card
which follows this, I thought this was a really
cute and clever way to teach students to find
the tonic note, or do, in an unfamiliar piece
of music.
Ewer, Gary. Key Signatures." Gary Ewers Easy Music Theory. 1999-2005. 23 Apr. 2009
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When flats there are,
The last is fa!
3. Eye
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3. Eye
Appropriate for Upper-Middle or early High
School students. This idea came from a
website which markets do-it-yourself eartraining and music reading software, books,
aural tutorials, and other resources.
Although it is a little bit corny, I thought this
would be a great visual to hang in the
classroom, so that that students have aconstant reminder of how to find do in any
given time signature. If students know the
relationship between fa and do, they can
always locate the tonic note.
Particularly as a pair of posters with the card
before this, I thought this was a really cute
and clever way to teach students to find the
tonic note, or do, in an unfamiliar piece of
music.
Ewer, Gary. Key Signatures." Gary Ewers Easy Music Theory. 1999-2005. 23 Apr. 2009
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FatherCharles Goes Down And Ends
Battle
Order of the Sharps:
4. Eye
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Ewer, Gary. Key Signatures." Gary Ewers Easy Music Theory. 1999-2005. 23 Apr. 2009
Appropriate for Upper-Middle or early High
School students. This idea came from a
website which markets do-it-yourself ear
training and music reading software, books,aural tutorials, and other resources.
Also a bit corny, this is another great visual to
hang in the classroom. I thought the saying
was very clever, especially when put together
with its partner, which follows. It is the kindof tool which can be explained at the
beginning of the year, and memorized by
students for the rest of the year and for years
to come.
Having this posted in a classroom andfrequently asking students to identify key
signatures or sharp signs in unfamiliar music
is a great way to build literacy.
4. Eye
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http://www.musictheory.halifax.ns.ca/9key_sig
natures.html
Order of the Flats:
Battle Ends, And Down Goes Charles
Father!
5. Eye
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Ewer, Gary. Key Signatures." Gary Ewers Easy Music Theory. 1999-2005. 23 Apr. 2009
5. Eye
Appropriate for Upper-Middle or early High
School students. This idea came from a
website which markets do-it-yourself ear
training and music reading software, books,
aural tutorials, and other resources.
Also a bit corny, this is another great visual to
hang in the classroom. I thought the saying
was very clever, especially when put together
with its partner, which precedes it. It is thekind of tool which can be explained at the
beginning of the year, and memorized by
students for the rest of the year and for years
to come.
Having this posted in a classroom andfrequently asking students to identify key
signatures or flat signs in unfamiliar music is a
great way to build literacy.
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A = 440 Hz
= 60'
1. Ear
Finding References
At the very beginning of each class, have the students
sing an A= 440, while clapping quarter note rhythms at
metronome marking = 60. Over the weeks, the
students will gradually memorize the pitch and thetempo, and no longer need any kind of external
reference in order to find them. The students will then
have their own internal reference from which to find
all other pitches and tempos they may need.
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1. EarAppropriate for High School Students. This idea came
from an ear-training tutorial designed for music students
at the Western Michigan University to prepare outside of
class.
This exercises creates both a pitch memory and a pulse
memory for your students. Once students have
memorized A=440, they will be much more able to find a
close approximation of their starting pitch for any song
they choose to sing in your classroom or on their own.
Further, you could continue to add to these pitch
memories by memorizes a few other notes as well. Once
the students can find a quarter note at 60, they will also
be able to find a good approximation of any tempo
markings they encounter.
I like this activity because I think it encourages a sense of
unity and achievement within the choir as they improve
their pitch and pulse memories. It is also a good way to
focus the class each day.
Code, David Loberg. Warm-Up Exercises. Aural Comprehension Guide.
2007. Western Michigan University. 23 Apr. 2009
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2. Ear
Error Detection
As an ear-training and critical listening activity,
test students on a familiar passage of music.
First, play the passage correctly, then play the
passage with deliberate errors (designate ahead
of time if they will be melodic, rhythmic, or both,
and start with only one or two errors for
inexperienced students.) Hopefully, students will
know their music well enough to catch the errors!
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2. Ear
Code, David Loberg. Error Detection. Aural Comprehension Guide. 2007.
Western Michigan University. 23 Apr. 2009
Appropriate for High School Students. This idea came
from an ear-training tutorial designed for music students
at the Western Michigan University to prepare outside ofclass.
This would be a good exercise to use after students have
learned an entire piece and are very comfortale with their
parts. It is an activity I might do as preparation for part-
testing, as part of a music-reading lesson, or even for funand critical listening as a way to change the way students
listen to the song.
I like this activity because it really empowers the student
to catch the tricky moves of the teacher, to know their
own parts, and to take on the role that the teacher usuallyplays catching mistakes!
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3. Ear
Establishing a Key
do re mi do re ti do
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3. Ear
Appropriate for High School or Middle School students.
This idea came from the ChoralNet Website, in theResources section under Sight-singing.
The teacher who volunteered this exercise has his
students sing the exercise in the key of any piece they
work on in class. The exercise establishes the key of the
piece in the students ears, and it is especially helpful forsight-singing and a capella work.
Although the author of this exercise does not specify it, I
think it would be very beneficial to play chords under the
exercise so that the students get a wider range of pitches
and a more solidified sense of tonality in their ears.
Sherwood, Tom. Favorite Sight Reading Tips." Choral Net. 2009.
24 April 2009
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4. Ear
The Perfect Fourth
Here comes the bride
So do do do
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4. Ear
Appropriate for High School or Middle School students. This idea
came from the ChoralNet Website, in the Resources section
under Sight-reading and Sight-singing.
This is a trick the author of the article uses to help her students
remember the perfect fourth. Using a song her students have had
in their ears since childhood gives them an easy reference point
to use when sight-reading or practicing material or intervals.
I think this is a great visual to have posted around the classroom,
so that students have an easy way to remember what a perfect
fourth sounds like at any time during their choral work and music
reading. If a student is having trouble singing do to sol, all he
or she has to do is look up on the wall and remember an interval
thats been imprinted on his or her tonal memory for years. There
may still be physical issues involved if the student is not able to
match the pitches, but understanding how the interval sounds is
a very important part of the process.
Wilber, Brenda. More Interval Songs (Beyond My Bonnie)." Choral Net.
2009. 24 April 2009
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5. Ear
Perfect Octave
Some - where ov - er the rain - bow
Do do ti sol la ti do
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5. Ear
Wilber, Brenda. More Interval Songs (Beyond My Bonnie)." Choral Net.
2009. 24 April 2009
Appropriate for High School or Middle School students. This idea
came from the ChoralNet Website, in the Resources section
under Sight-reading and Sight-singing.
This is a trick the author of the article uses to help her students
remember the perfect octave. Using a song her students have
had in their ears since childhood gives them an easy reference
point to use when sight-reading or practicing material or
intervals.
I think this is a great visual to have posted around the classroom,
so that students have an easy way to remember what a perfect
fourth sounds like at any time during their choral work and music
reading. If a student is having trouble singing do to do, all he
or she has to do is look up on the wall and remember an interval
thats been imprinted on his or her tonal memory for years. There
may still be physical issues involved if the student is not able to
match the pitches, but understanding how the interval sounds is
a very important part of the process.