ELEMENTARY UNIT PLAN

INTRODUCTION OF RE
2nd GRADE

Meredith Casey
MUSIC 670
Fall 2020

1
 TABLE OF CONTENTS
Unit introduction........................................................................................................................... 3
Identification of the concept......................................................................................................3
Pre-assessment....................................................................................................................... 4
Post-assessment (Summative)................................................................................................5
Unit Outline.................................................................................................................................. 6
Prepare.................................................................................................................................... 6
Present..................................................................................................................................... 6
Practice.................................................................................................................................... 7
Lesson Plans............................................................................................................................... 8
Prepare Lesson Plan #1........................................................................................................... 9
Prepare Lesson Plan #2.........................................................................................................14
Prepare Lesson Plan #3.........................................................................................................19
Present Lesson Plan.............................................................................................................. 25
Practice Lesson Plan #1.........................................................................................................31
Practice Lesson Plan #2.........................................................................................................35
Practice Lesson Plan #3.........................................................................................................38
Practice Lesson Plan #4.........................................................................................................42
Practice Lesson Plan #5.........................................................................................................45
Practice Lesson Plan #6.........................................................................................................49

2
 UNIT INTRODUCTION

IDENTIFICATION OF THE CONCEPT

This unit will explore further into melodic concepts of solfege with introduction of the note Re.
With the addition of Re, students will begin to learn pentatonic melodies and improvisations.
Prior to second grade, students will have learned melodic relationships of high and low sounds,
pitch matching, same and different, Do, Sol, Mi, and La. These skills will be strengthened by
more practice opportunities in lessons and activities. Throughout their second-grade year,
students will learn to improvise, compose, notate, read, and hear pentatonic melodies, especially
with F and G pentatonic. Additionally, students will be introduced to the standard notation of the
staff with lines and spaces.

There are many opportunities in this unit for cross-curricular connections. In almost every
lesson, there are historical backgrounds included in PowerPoints or discussions as warm up
activities. This helps students connect the folk songs to practical usage and origin in history.
Additionally, many lessons incorporate dance and art with party games, body percussion, and
other body movements. In other lessons, students connect to their science classes through natural
concepts such as farm animals and a country’s climate. Students are also introduced to non-
western languages of Native American and Hawaiian cultures in world music pedagogy lessons.

3
 PRE-ASSESSMENT
Before I introduce the solfege Re to my class, I must first check for their knowledge of high and
low sounds, Do, Mi, Sol, and La. I have designed an activity that pre-assesses my students on
these concepts through a combination of singing and eurhythmics. The following is a list of
materials I will use for this activity:

 Ukulele for tempo and harmonic context (C major)

 5 floor tape lines (different colors for Do, Mi, Sol, and La)
o Space used depends on the number of students/size of classroom

First, students will identify high and low sounds aurally. I will have them tiptoe around the
classroom while I sing the syllable “loo” on solfege Sol. When I change to Mi, the students will
freeze and squeeze in a ball on the ground. Once all students are consistently identifying the high
and low sounds correctly, we will move on to call and response intervals. If students are not
distinguishing between high and low sounds consistently, I will design an activity involving
listening, singing, and eurythmics to teach this concept. To start call and response, I will
continue to strum C major on my ukulele and sing the syllable “loo” on intervals such as Sol to
Mi, Sol to La, Mi to Do, and a combination of those. If students are unable to repeat these
consistently, we will sustain specific pitches and slides our voices up and down until all are
matching pitch. I will additionally design an activity to review this. Once they are successful
with “loo,” we will change to the correct solfege syllables Do, Mi, Sol, and La. During this
portion, the students will stand on the floor tape that coordinates with each pitch. I will model
this first with call and response on small intervals, then scaffold to more complicated patterns.
To track each student’s knowledge, I have created an excel sheet.

Sample Checklist:
Name High Low Do Mi Sol La Key:
Sounds Sounds Y=consistent understanding
Last, First Y Y Y Y Y Y N=does not understand
Last, First Y O O Y Y Y O=somewhat understands

Last, First N Y Y O N N
Last, First N O N N Y N

4
 POST-ASSESSMENT (SUMMATIVE)

At the end of this unit on Re, I plan on assessing my students in multiple ways. Similarly to my
pre-assessment, I will have an Excel sheet with all students and skills listed. Here, I will make
marks where students understand or do not understand specific skills. In addition, I will observe
the students’ participation in class, their accuracy and consistency with understanding, and their
responses to challenging questions. In my final practice lesson, I have students working in
groups to arrange new notes into “Great Big House in New Orleans” with one requirement being
to include Re at least twice. This will test all of their skills and knowledge acquired in previous
lessons such as reading and writing Re, playing Re on instruments, and figuring out solfege
based on a given pitch. Lastly, I feel that self-reflection is an important tool in the learning
process. I will have students fill out an “exit ticket” at the end of the final lesson to see their
perspective on their learning. If I find students have not grasped the concept, I will go back to
certain lessons and add activities to review key elements of Re. Many of my lessons in this unit
are cross-curricular with science, history, dance, and art. This will help them make connections
with other classes. Multiple word music pedagogy songs are included to broaden my students’
range on musical genres and other cultures.

Sample Assessment Checklist:

Name: Hearing Singing Re Playing Re Writing Re Reading Improvising

Re Re with Re
Last, First Y Y Y Y Y Y
Last, First Y Y Y Y O O
Last, First Y Y Y Y Y O
Last, First Y Y Y O O O

Key:
Y=consistent understanding
N=does not understand
O=somewhat understands

Sample Exit Ticket:

Circle how you feel about each of these topics (1 being not feeling good, and 5 feeling great!)
Hearing Re 1 2 3 4 5
Singing Re 1 2 3 4 5
Playing Re 1 2 3 4 5
Writing Re 1 2 3 4 5
Reading Re 1 2 3 4 5

5
Improvising with Re 1 2 3 4 5

6
 UNIT OUTLINE

PREPARE

The prepare stage of this unit will tune the students’ ears into hearing the new pitch Re. Students
will aurally hear this new pitch but will not be shown notation or given an explanation until the
present stage. The present stages are the first three lessons students experience. In these lessons,
students will be learning by rote to sing three folk songs—Great Big House in New Orleans, Star
Light Star Bright, and Bought Me a Cat. All three of these songs contain the pitch Re, but
students will not be shown this until the present lesson. This allows students to become aurally
familiar with the new concept before it is discovered. In the first lesson, students will perform
“Great Big House in New Orleans” with accurate pitch and rhythm. They will also be learning to
play the harmonic accompaniment on Orff mallet instruments while they improvise on the
syllable “loo.” In the second lesson, students will perform “Star Light, Star Bright” with accurate
pitch and rhythm. After warming up solfege syllable singing with a flashlight game, they will
also learn harmonic accompaniment on Orff mallet instruments. Similar to lesson one, they will
improvise on the syllable “loo” over the harmonic accompaniment. In the third lesson, students
will perform “Bought Me a Cat” with accurate pitch and rhythm. Additionally, they will perform
body percussion along with singing the melody. The last activity involves brainstorming and
improvising different animal names to use as alternate lyrics to the melody.

PRESENT

The fourth lesson will be the present stage, where students will aurally and visually label the
pitch Re. The class will revisit the previously learned song, “Star Light, Star Bright,” which has
the simplest melodic rhythm and contains Re three times. Given sung “Star Light, Star Bright,”
students will aurally discover a note that is not Do, Mi, Sol, or La. They will also discover the
new note is between Mi and Do. Students will reach this realization through aurally labeling the
solfege of “Star Light, Star Bright,” given the starting pitch solfege. After a warm up activity
involving Dalcroze body movements with solfege paper stars, the students will label the pitches
Do, Mi, Sol, and La of the song before they reach Re. Once the class has reached the phrase
involving Re, the teacher will wait for students to discover there is a new note not learned before.
After this discover, the teacher will briefly explain the new note is Re, and that it is a step
between Mi and Do. Students will then be shown a solfege staircase with blank labels for Do,
Re, Mi, Sol, and La. Given Sol, the students will collaborate and place the other solfege in
stickers on their appropriate staircase step. They will then be shown the notation for “Star Light,
Star Bright,” where they will label the solfege under each note, paying close attention to where
Re is in relationship to the other notes. To reinforce the knowledge of aurally and visually
recognizing Re as a step between Mi and Do, the students will end the class by arranging and
singing four solfege flash cards. Each grouping of four cards will contain at least one Re. Using
Re for compositions and improvisation will be used in the following practice lessons and post-

7
assessment. The teacher will assess the students on their ability to sing Re in a visually given
sequence.

PRACTICE

In the following six practice lessons, students will be reinforcing their understanding of the note
Re. In the first three practice lessons, students will revisit previous songs in this unit and discover
the use of Re in each. Many of these lessons include labeling the solfege of the song,
improvising with Re, composing with Re, and playing Re on instruments. Lesson five revisits
“Great Big House in New Orleans,” where students aurally identify the melody on solfege. After
singing through the entire melody on solfege only, the teacher provides extensions to add
instrumental accompaniment on Orff mallets as before in present lessons. Lesson six focuses on
visually identifying Re in notation with “Bought Me a Cat.” Students will be given the standard
notation of the song and the first solfege pitch of the melody. From there, students will discover
and document the notational relationships between solfege pitches with a focus on Re and end
the lesson singing the whole song on solfege from notation. Lesson seven introduces a new song,
“Chippewa Lullaby,” which originates from the Native American people of the Anishinaabe.
This world music pedagogy lesson gives students not only a non-western musical perspective,
but also enforces their knowledge of Re through playing of recorders. The students will first
explore the contour and intervals with Dalcroze scarf movements. Then, they will sing the
traditional lullaby on both words and solfege. They will then be shown the notation and given
recorders and hand drums to play the melody. With a focus on the steps to finding Re, students
will connect their aural discovery of Re to playing notes on their recorders. In lesson eight,
students explore another world music pedagogy song, “Biddy Biddy,” from Jamaican origin.
They will first learn the lyrics and perform the song. They will then play the harmonic
accompaniment to the song on Orff mallet instruments. Once they are comfortable, the teacher
will model improvisation on the mallets including Do, Re, Mi, Sol, and La. Students will
improvise and use Re at least once on the mallets through the whole song. The ninth lesson
presents a Hawaiian nature song, “Kona Kai Opua.” While listening to a reference recording,
students will experience the Hawaiian cultural importance of improvisation and jazz influence.
After learning about the culture of Kona, students will then strum along with the recording on
ukuleles and improvise on solfege with emphasis on using Re. In the final lesson, students will
revisit “Great Big House in New Orleans.” This time, students will compose alternate solfege to
use in the melodic line with inclusion of Re at least twice. They will collaborate in groups of four
or more, write their ideas down on a blank staff with the song’s rhythm notation, and perform
their compositions for the class. The teacher will record their performance for documentation and
parents to view.

8
LESSON PLANS

9
 PREPARE LESSON PLAN #1

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re

Standards Being Addressed:

MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.

Materials of Instruction: “Great Big House in New Orleans” from the Sail Away book by
Eleanor G. Locke
Link to video: https://youtu.be/OFUDqaar-xY

 Other materials: ukulele (for the Teacher) and an instrument the student has access to at
home (bells, piano, ukulele, etc.)

10
  PowerPoint with New Orleans info

Song Analysis Table:

Tone Set D major pentatonic, Do, Re, Mi, Sol, high La
Range D4-B4
Rhythm Set

Form AA’ (music, one verse), ABC (text, three verses)

A Song’s Pedagogical Use Table:

Melody To teach Re (pentatonic melodies)
Rhythm Combinations of eighth notes
Other Great Big House in New Orleans was released in 1959 as part
of American Play Parties. To evade the religious prohibition
against dancing in certain American communities, young people
in the 19th century devised an ingenious solution—they adapted
children’s games, which were permitted. The result was so-
called “play parties.” Participants sang creative songs to cue
movements, and the events were great “mixers.” The only
element lacking was instrumental music.

 Other info:
 Historical info- https://folkways.si.edu/pete-seeger-mika-seeger-and-rev-larry-
eisenberg/great-big-house-in-new-orleans/childrens/music/track/smithsonian
 New Orleans History- https://www.history.com/topics/us-states/new-
orleans#:~:text=Founded%20by%20the%20French%2C%20ruled,were%20fought
%20over%20the%20city.
 Party Game Recording- https://youtu.be/zt3mxHZJtdM

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T: “Welcome to our classroom, 2nd graders! Today, we’re

going to sing a song about a place far from where we live.”

1. T: “Could you pat a beat with me? Listen to this song while you pat.”
a. T recites the song while strumming ¼ notes on a C Major chord
b. T: “Great big house in New Orleans, forty-stories high, every room that I been in,
filled with pumpkin pie.”
2. T: “What city does our song take place in?” Ss: New Orleans!
11
 3. T: “Great! New Orleans is a city in Louisiana. Has anyone been there before?” Ss
answer.
a. Show New Orleans on a map/globe, use pictures on a PowerPoint
4. T: “Listen again for what big object we are singing about.”
a. T recites the song again, then asks “What big object did I sing about?” Ss: Great
Big House!
b. T: “Excellent! Can somebody tell me how tall the great big house is?” Ss: 40
stories high!
5. T: “Listen closely again, what thing fills up every room in the house?”
a. T recites the song again, then asks “What thing filled up every room?” Ss:
pumpkin pie!
6. T: “I love pumpkin pie! Do you have another favorite type of pie?”
a. Allow 5 seconds for thinking time, and then call out a few types of pies

Activity #1 Objective: Students will sing “Great Big House in New Orleans with accurate
rhythm (2/4 meter with duple rhythms) and pitch (C pentatonic) with a focus on Re.

1. T recites the one last time while Ss continue to pat the beat.
2. T: “Can you sing what I sing?” T points to self and then Ss.
a. Call and response with each phrase (4 groups)
b. “Great big house in New Orleans”
c. “40 stories high”
d. “Every room that I been in”
e. “Filled with pumpkin pie”
f. Repeat phrases as needed.
g. T should mouth the words with the students
3. T: “Can you fill in the blank?”
a. T recites phrases again, but students sing back the last word of each phrase
b. Orleans, high, in, pie
c. T should mouth the words with the students
4. T: “Now, I’m going to sing the first line, and you sing the next line. We’ll switch
back and forth!”
a. T: Great Big House in New Orleans, Ss: 40 stories high
b. T: Every room that I been in, Ss: filled with pumpkin pie
c. T should mouth the words with the students
5. T: “Let’s switch parts now, you sing first this time. (Sing starting pitch: One, two,
ready, go)”
a. Ss: Great Big House in New Orleans, T: 40 stories high
b. Ss: Every room that I been in, T: filled with pumpkin pie
6. T: “Were there any words you forgot? Take a few seconds to think through the song.”
T waits about 10 seconds, sings the words softly while waiting.
7. T: “Did you remember some words you might have forgotten? Now, we’re going to
sing the song in our heads (audiate). (Sing starting pitch instructions, one, two, ready,
think)
a. T and Ss audiate/mouth the song, T continues to strum and Ss continue to pat
8. T: “Let’s sing it all together. (Sing starting pitch instructions, one, two, ready, go)

12
 a. Everyone sings the whole song. T: “If there were any parts you forgot, take a
minute to think and remind yourself on those.”

Assessment: Can all the students sing the whole song with accurate pitch and rhythm? If
not, review those parts or tell the students to review the video again.

Transition: “I have an idea! Let’s add instruments. We are going to add some accompaniment.”

Activity #2 Objective: Students will perform melodic accompaniment to “Great Big House
in New Orleans” with steady beat and accurate rhythm (2/4 with duple rhythms in C
pentatonic) using instruments with a focus on Re.

1. T: “Does everyone have an instrument? For now, set it down so your hands are free.
Can you pat the beat like we did at the beginning?”
a. Ss pat the beat again while T recites the song once more.
2. T: “Pick up your instrument. On your instruments, we are going to be playing a C
major chord.”
a. All instruments play ¼ notes on either C, E, and/or G
b. Demonstrate C Major fingering for ukulele
c. Demonstrate playing the notes C (left hand) and E (right hand) on bells/piano
d. Demonstrate singing C on syllable “loo”
3. T: “Let’s all play the accompaniment together. I will sing. (Sing starting pitch
instructions, one, two, ready, go)”
a. T sings and plays while Ss play accompaniment on instruments
4. T: “Do you remember how you sung the melody? Let’s all sing and play our
instruments together. (Sing starting pitch instructions, one, two, ready, go)”
a. Repeat 2X’s, more as necessary
5. T: “Great job on your instruments! If there is a part you are still unsure about, pause
the video and review.”
Assessment:  Can all students play the accompaniment with steady beat in 2/4 time? 

Transition: “Excellent music, everyone! This time, just play the accompaniment and listen to
what I do differently.”

Activity #3 Objective: Students will improvise in C pentatonic pitch set in 2/4 time in the
phrase length of “Great Big House in New Orleans” with a focus on Re.

1. T sings the melody on the syllable “loo” while Ss play the accompaniment.
2. T: “What did I do differently?” Ss: You sang the song on loo
3. T: “If you said I sang it on loo, you are correct! Can we all play the harmony and sing
the melody on loo?”
a. Everyone recites the song on “loo”
4. T: “Listen closely, I’m going to do something different again.”
a. T improvises on “loo” in the same phrase length as the song
5. T: “What did I do?” Ss: You made something up
6. T: “If you said I made something up or something new, you are correct! Would you

13
 like to try to make something up? I have a game we can play.”
a. T: “I’m going to ask you a ‘question,’ and you are going to respond with
something you make up. Let’s try this all together.”
b. T improvises for 8 beats, then Ss for 8 beats (phrase length of song)
7. T: “Let’s try asking and answering questions one more time, but this time it will be
longer.”
a. T improvises for 16 beats, Ss answer for 16 beats (2X through the song)
6. T: “Your own songs are beautiful! We are going to put the whole song together now.
We’ll sing the melody once, then everyone will make something up once through,
and then we’ll sing the melody one more time. (Sing starting pitch instructions, one,
two, ready, go)”
a. Everyone sings through the form of the song (ABA) once, repeat as necessary

Assessment: Are all students able to maintain the pitch set while improvising in 2/4 meter and
playing the accompaniment on instruments?

Transition: “We just learned the whole song! I hope you had fun making things up!”

Closure: “When we made something up, that is called ‘improvisation.’ We will be doing lots of
this over more videos/class times. Until next time, you can make more stuff up with your family
at home and try out different instruments.”

14
 PREPARE LESSON PLAN #2

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re

Standards Being Addressed:

MU:Cr1.1.2a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.

Materials of Instruction: “Star Light, Star Bright” from Teaching Music at Beginning
Levels Through the Kodaly Concept, Vol. II

 Flashlights for all Ss and T (multiple colors if possible)

 Space to shine lights on part of the ceiling, wall, and floor
 Accompaniment track: https://youtu.be/fS3PRZVU9Kw
 Orff instruments (mallets, hand drums, finger cymbals)

Song Analysis Table:

Tone Set Do, Re, Mi, Sol, high La

Range D4-B4
Rhythm Set

15
 Form AB

A Song’s Pedagogical Use Table:

Melody To teach Re (pentatonic melodies)

Rhythm Combinations of eighth notes
Other “Star Light, Star Bright” is a traditional nursery rhyme dating
back to the late nineteenth century America. It is one of the
most beloved nursery rhymes, having its origins in the very
popular superstition that when you see a falling star you can
make a wish that will be accomplished.

Other info:
History: https://allnurseryrhymes.com/star-light-star-bright/#:~:text=%E2%80%9CStar%20Light
%2C%20Star%20Bright%E2%80%9D,wish%20that%20will%20be%20accomplished.
Analysis: http://kodaly.hnu.edu/song.cfm?id=832
Recording: https://youtu.be/OWip7yvXukI

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T turns off lights and has one flashlight wand to shine,
other lights for students are in a box by T.
1. T: “Hello class, today we’re going to play pretend. Imagine this—you’re looking up at a
dark night sky, what do you see?”
a. T asks students what they might see in the sky at night, has Ss answer until
somebody says stars.
2. T: “You can see lots of twinkling stars at night! Now I’m going to play pretend, watch
me become a star.”
a. T shines flashlight on the floor, wall, and ceiling of one side of the classroom.
3. T: “Can you pat this beat with me?”
a. T and Ss pat legs on a steady slow beat
4. T: “Now, watch my star and repeat after me.”
a. Sol Mi Sol Mi (T shines light on the upper half of the wall for Sol, lower half of
the wall for Mi), Ss repeat (2X, repeat as necessary)
b. Sol La Sol Mi (Light on the ceiling for La), Ss repeat (2X, repeat as necessary)
c. Sol Mi Do Mi (Light on the floor for Do), Ss repeat (2X, repeat as necessary)
d. Mi Do Mi Do, Ss repeat (2X, repeat as necessary)
5. T: “Great job at following the star! Can one person help me fill our sky with another
star?”
a. T selects one volunteer to get the next flashlight, repeat some solfege patterns as
before.
6. T: “Do you think you all can be quiet, gentle stars like (student) did?”

16
 a. T allows all Ss to get flashlights.
7. T: “Tap this beat with me with your feet. Can we all pretend to be stars together? Sing
after me.”
a. Repeat the same solfege and light shines as before, but with this accompaniment
track in the background https://youtu.be/fS3PRZVU9Kw
b. Repeat solfege as necessary until all Ss are singing the correct pitches and
syllables. If needed, stop and review specific intervals/syllables.

Activity #1 Objective: Students will sing “Star Light, Star Bright” with accurate rhythm
(2/4 duple meter) and pitch (D major pentatonic)
1. T: “I’ve got a song to share with all our stars. Can you pat this beat with me? Listen to
this while our stars shine on the ceiling.”
a. T recites Star Light, Star Bright while playing F# and A on a metallophone, Ss
continue to pat the beat.
2. T: “What kind of words are describing our stars?”
a. Ss: light and bright
3. T: “The stars are light and bright! Listen again for when I saw the star.”
a. Ss: first, tonight
4. T: “Yes it was the first star I saw tonight! Listen one last time for what I am doing with
the star.”
a. Ss: Wishing on it!
5. T: “Can you sing what I sing? I’ll point to you when it’s your turn.” T points to self and
then Ss, mouths the words with students.
a. Call and response with each phrase (4 groups)
b. “Star light, star bright”
c. “First star I see tonight”
d. “Wish I may, wish I might”
e. “Have the wish I wish tonight”
f. Repeat phrases as needed.
6. T: “Can you fill in the blank?”
a. T recites phrases again, but students sing back the last word of each phrase
b. Bright, tonight, might, tonight
7. T: “Now, I’m going to sing the first line, and you sing the next line. We’ll switch back
and forth!”
a. T: Star light, star bright, Ss: first star I see tonight
b. T: Wish I may, wish I might, Ss: have the wish I wish tonight
8. T: “Let’s switch parts now, you sing first this time. (Sing starting pitch: One, two, ready,
go)”
a. Ss: Star light, star bright, T: first star I see tonight
b. Ss: Wish I may, wish I might, T: have the wish I wish tonight
9. T: “Were there any words you forgot? Take a few seconds to think through the song.” T
waits about 10 seconds, sings the words softly while waiting.
10. T: “Did you remember some words you might have forgotten? Now, we’re going to sing
the song in our heads (audiate). (Sing starting pitch instructions, one, two, ready, think)
a. T and Ss audiate/mouth the song, T continues to strum and Ss continue to pat
11. T: “Let’s sing it all together. (Sing starting pitch instructions, one, two, ready, go)

17
 a. Everyone sings the whole song. T: “If there were any parts you forgot, take a
minute to audiate those in your head.” T waits about 10 seconds.
b. Everyone sing the whole song one more time (repeat as necessary).
c. T: “Shine your stars while we sing!”

Assessment: Can all the students sing the whole song with accurate pitch and rhythm? If not,
review those parts phrase by phrase again.

Transition: “We just learned the whole song! Great singing. Next, we are going to add
instruments.”

Activity #2 Objective: Students will perform melodic accompaniment to “Star Light, Star
Bright” with steady beat and accurate rhythm (2/4 with duple rhythms in D pentatonic)
using Orff instruments (mallets, hand drums, finger cymbals).

1. T: “What should you do when you pick an instrument and come sit back down? Can
somebody show us what to do?”
a. T selects one volunteer to grab an Orff instrument (mallets, hand drums,
finger cymbals). Praise them for sitting down quietly and not playing their
instrument yet!
2. T: “Exactly! Can two more people grab their instrument?”
a. Repeat step one.
b. T: “Can the rest of you grab an instrument?”
3. T: “Very nice following directions! For now, set it your instrument down so your
hands are free. Can you pat the beat like we did at the earlier?”
a. Ss pat the beat again while T recites the song once more and plays F# and A
on a metallophone.
4. T: “Pick up your instrument. Mallets, choose either A or F#. Can I hear those notes?”
a. Make sure all mallet players are playing the correct notes.
5. T: “Drums, can you tap that beat with me?”
a. Play the same steady quarter note beat on the hand drums.
6. T: “Cymbals, can you play this?”
a. Play one crash on beat one of every measure (2/4)
7. T: “Let’s all play the accompaniment together. I will sing. (Sing starting pitch
instructions, one, two, ready, go)”
a. T sings and plays while Ss play accompaniment on instruments
8. T: “Do you remember how you sung the melody? Let’s all sing and play our
instruments together. (Sing starting pitch instructions, one, two, ready, go)”
a. Repeat 2X’s, more as necessary

Assessment:  Can all students play the accompaniment with correct notes and a

steady beat in 2/4 time?

Transition: “Excellent accompaniment, everyone! This time, just play the accompaniment and
listen to what I do differently.”

Activity #3 Objective: Students will improvise in D pentatonic pitch set in 2/4 time in the
18
phrase length of “Star Light, Star Bright.”

8. T sings the melody on the syllable “loo” while Ss play the accompaniment.
9. T: “What did I do differently?” Ss: You sang the song on loo
10. T: “If you said I sang it on loo, you are correct! Can we all play the harmony and sing
the melody on loo?”
a. Everyone recites the song on “loo”
11. T: “Listen closely, I’m going to do something different again.”
a. T improvises on “loo” in the same phrase length as the song
12. T: “What did I do?” Ss: You made something up
13. T: “If you said I made something up or something new, you are correct! Would you
like to try to make something up? I have a game we can play.”
a. T: “I’m going to ask you a ‘question,’ and you are going to respond with
something you make up. Let’s try this all together.”
b. T improvises for 8 beats, then Ss for 8 beats (phrase length of song)
14. T: “Let’s try asking and answering questions one more time, but this time it will be
longer.”
a. T improvises for 16 beats, Ss answer for 16 beats (2X through the song)
7. T: “Your own songs are beautiful! We are going to put the whole song together now.
We’ll sing the melody once, then everyone will make something up once through,
and then we’ll sing the melody one more time. (Sing starting pitch instructions, one,
two, ready, go)”
a. Everyone sings through melody, improv, and melody again, repeat as
necessary

Assessment: Are all students able to maintain the pitch set while improvising in 2/4 meter and
playing the accompaniment on instruments?

Transition: T: “We just learned the whole song! I hope you had fun pretending to be twinkling
stars making up songs to sing! You can try this at home with your family and friends.”

Closure: T: “Remember when we improved with ‘Great Big House in New Orleans’? We just
did the same thing, but with a different song. We’ll get to improvise with more songs this year.
These first songs also have something new in them, but we will talk more about that soon.”

19
 PREPARE LESSON PLAN #3

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re

Standards Being Addressed:

MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas for
music that represent expressive intent.

Materials of Instruction: “Bought Me a Cat #1” from the Library of Congress (Kodaly
website), transpose to F pentatonic

20
Body Percussion:

 PowerPoint of Aaron Copland information

 Piano for F major harmonic context

Song Analysis Table:

Tone Set Do, Re, Mi, Sol

Range D4-A4 (note: transpose to F pentatonic)
Rhythm Set

Form ABC

A Song’s Pedagogical Use Table:

Melody To teach Re
Rhythm Sixteenth notes, dotted notes, eighth notes
Other “I Bought Me a Cat” is a whimsical children’s song in the style
of “old MacDonald,” with a verse repeating and adding a new
animal with each iteration (the last “animal” being a wife!). The
song affords the soloist the opportunity to impersonate the
various animals and the accompaniment simulates barnyard
sounds of the cat, duck, goose, hen, pig, horse and cow.

Other info:
Analysis: http://kodaly.hnu.edu/song.cfm?id=595
History: https://nmphil.org/concerts/repertoire/copland-old-american-songs/
Recording: https://youtu.be/BbTfXTgRRAQ

Lesson Sequence (lessons may have more or less activities as appropriate):

21
Entry Activity/Transition/Warmup: T: “Welcome everyone! We’re going to learn a song
about animals today. Raise your hand if this sounds familiar…(sing Old McDonald Had a
Farm)”
1. T: “You’ve heard that song, right? Somebody else heard that song and wrote a classic
American folk song from it. His name was Aaron Copland.”
a. Show slides of Aaron Copland and 1950s America
2. T: “We’re going to learn Copland’s song called Bought Me a Cat.”
3. T: “We’re going to need strong animal voices for this song. Can you repeat after me?”
a. Sing Sol to Mi, Sol to La, Mi to Do, Re to Do on animal sounds.
i. Meow, Woof, Cheep, Oink
b. Repeat intervals as needed.

Activity #1 Objective: Students will sing “Bought Me a Cat” with accurate rhythm (2/4
duple meter) and pitch (F major pentatonic)
1. T: “Can you pat this beat with me?”
a. T recites Bought Me a Cat (verse 1 only) Ss continue to pat the beat.
2. T: “What animal did I buy?”
a. Ss: Cat
3. T: “A cat! We will buy more animals later. Listen again for where I fed my new cat.”
a. Ss: Under yonder tree
4. T: “Right! Yonder means ‘over there.’ Listen one last time for what noise the cat made.”
a. Ss: Fiddle-i-fee
5. T: “That’s a weird sound for a cat to make! Fiddle like a violin (act out violin playing),
‘i’ like the letter or your eye, and fee like money. It’s just a silly way that a fancy cat
would meow. Can you pretend to be a fancy cat meowing ‘fiddle-i-fee’?”
a. T and Ss pretend for 5 seconds
6. T: “Can you sing what I sing? I’ll point to you when it’s your turn.” T points to self and
then Ss, mouths the words with students.
a. Call and response with each phrase (3 groups)
b. “Bought me a cat, the cat pleased me”
c. “Fed my cat under yonder tree”
d. “Cat went fiddle-i-fee, fiddle-i-fee”
e. Repeat phrases as needed.
7. T: “Can you fill in the blank?”
a. T recites phrases again, but students sing back the last word of each phrase
b. Me, tree, fiddle-i-fee
8. T: “Now, I’m going to sing the first line, and you sing the next line. We’ll switch back
and forth!”
a. T: Bought me a cat, Ss: the cat pleased me
b. T: Fed my cat, Ss: under yonder tree
c. T: The cat went, Ss: fiddle-i-fee, fiddle-i-fee
9. T: “Let’s switch parts now, you sing first this time. (Sing starting pitch: One, two, ready,
go)”
a. Ss: Bought me a cat, T: the cat pleased me
b. Ss: Fed my cat, T: under yonder tree
c. Ss: The cat went, T: fiddle-i-fee, fiddle-i-fee

22
 10. T: “Were there any words you forgot? Take a few seconds to think through the song.” T
waits about 10 seconds, sings the words softly while waiting.
11. T: “Did you remember some words you might have forgotten? Now, we’re going to sing
the song in our heads (audiate). (Sing starting pitch instructions, one, two, ready, think)
a. T and Ss audiate/mouth the song, all continue to pat
12. T: “Let’s sing it all together. (Sing starting pitch instructions, one, two, ready, go)
a. Everyone sings the whole song. T: “If there were any parts you forgot, take a
minute to audiate those in your head.” T waits about 10 seconds.
b. Everyone sing the whole song one more time (repeat as necessary).

Assessment: Can all the students sing the whole song with accurate pitch and rhythm? If not,
review those parts phrase by phrase again.

Transition: “We just learned the whole song! Watch me, I’m going to add something new.”

Activity #2 Objective: Students will perform body percussion to accompany "Bought Me a

Cat" with steady beat and accurate rhythm in 2/4 meter.

1. Review Activity 1 if needed.

2. T: “Watch me, join when you’re ready.”
a. T demonstrate Phrase 1 with BP

3. T: demonstrate Phrase 1 with BP and lyrics (Bought me a cat, the cat pleased me)
a. Call and Response
4. T: “New part, watch and join when you’re ready.”
a. T demonstrates Phrase 2 with BP

23
 5. T: demonstrate Phrase 2 with BP and lyrics (Fed my cat under yonder tree)
a. Call and Response
6. T: “Can we put those together?”
a. T and Ss perform Phrase 1 and 2 with BP and lyrics
7. T: “Last part, watch and join when you’re ready.”
a. T demonstrates Phrase 3 with BP

8. T: demonstrate Phrase 3 with BP and lyrics (Cat went fiddle-i-fee, fiddle-i-fee)

a. Call and Response
9. T: “I’m going to sing from the beginning while you play the percussion.”
a. T sings while Ss perform BP
10. T: “Can we think the song and the movements in our head once?” (audiate)
a. T and Ss audiate once
11. T: “Did you forget any of the movements or words? Take a few seconds to review.”
a. T waits 10 seconds
12. T and Ss perform the song with BP completely
a. Review as needed

Assessment: Did all the students perform the correct body percussion with the lyrics
consistently? If not, review the BP or lyrics as needed.

Transition: Great rhythms with body percussion, students! Now, we can sing about more
animals.”

Activity #3 Objective: Students will improvise animals/noises lyrics in place of ‘cat’ in

“Bought Me a Cat.”

15. T sings melody with the animal pig/oink while Ss play the BP.
16. T: “What did I do differently?” Ss: You changed the words
17. T: “Yes I changed the words and made something new! Can we all sing about pigs
this time?
a. T and Ss perform pig with BP.
18. T: “Can you think of another farm animal?”
a. Ss give some answers
19. T: “Great choices, can you all choose an animal to sing about this time?”
a. T and Ss perform selected animal with BP.
24
 20. T: “Turn to the person next to you. Partner 1 will sing about their animal first, then
the second time is Partner 2’s turn.”
21. T: “We’ve created a whole farm here in our classroom! Let’s sing through the melody
with cats first, then you choose an animal you want, then will sing about cats again.
(Sing starting pitch instructions, one, two, ready, go)”
b. Everyone sings through the form of the song (ABA) once, repeat at least 2Xs
so students can pick different animals.
c. T should play a LH accompaniment in F major on the piano for harmonic
context.

Assessment: Are all students able to maintain the melodic line’s pitch while improvising new
lyrics in 2/4 meter? If not, take time to practice making things up with multiple repetitions of the
song.

Transition: “That’s the whole song! Next time, we will add more verses with animals in
between our cat verse.”

Closure: “We’ve been reviewing solfege, rhythm, and improvising so far. Next time, we’ll go
more in detail on these!”

25
 PRESENT LESSON PLAN

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (present)

Standards Being Addressed:

MU:Cr1.1.2a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Pr4.2.2b When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.

Materials of Instruction: “Star Light, Star Bright” from Teaching Music at Beginning
Levels Through the Kodaly Concept, Vol. II

 Paper stars (one for each student)

 Accompaniment track: https://youtu.be/fS3PRZVU9Kw
 Board to write notation, place stars for solfege, write solfege staircase
Song Analysis Table:

Tone Set Do, Re, Mi, Sol, high La

Range D4-B4
Rhythm Set

26
 Form AB

A Song’s Pedagogical Use Table:

Melody To teach Re (pentatonic melodies)

Rhythm Combinations of eighth notes
Other “Star Light, Star Bright” is a traditional nursery rhyme dating
back to the late nineteenth century America. It is one of the
most beloved nursery rhymes, having its origins in the very
popular superstition that when you see a falling star you can
make a wish that will be accomplished.

Other info:
History: https://allnurseryrhymes.com/star-light-star-bright/#:~:text=%E2%80%9CStar%20Light
%2C%20Star%20Bright%E2%80%9D,wish%20that%20will%20be%20accomplished.
Analysis: http://kodaly.hnu.edu/song.cfm?id=832
Recording: https://youtu.be/OWip7yvXukI

Lesson Sequence (lessons may have more or less activities as appropriate):

Activity #1/Warmup/Review:
1. T: “Hello again, class! Do you remember when we learned ‘Star Light, Star Bright?’ We
are going to do something new with that song today.”
2. T: “We will warm up for the day first. Can you all take a star from this box first?”
a. T has Ss each take one paper star
3. T: “Is everyone ready with their stars? We are going to play sirens.”
a. T is at the piano to play pitches, holds a paper star to show high/low sounds
4. T plays an A on the piano and sirens up to the pitch (on loo) and moves the paper star up
to their shoulders (star placement will coordinate with solfege)
a. Ss siren up to A and mimic movement to belly button
b. Repeat as necessary, then switch to starting right on the pitch A.
c. Repeat A as necessary.
5. T plays B on the piano and sirens up to the pitch (on loo) and moves the paper star up to
the top of their head.
a. Ss siren up to B and mimic movement to the tops of their heads.
b. Repeat as necessary, then switch to starting right on the pitch B.
c. Repeat B as necessary.
6. T and Ss perform call and response between A and B on “loo” with star movements
a. Repeat as necessary
7. T plays an F# on the piano and sirens up to the pitch (on loo) and moves the paper star up
to their belly button.
a. Ss siren up to F# and mimic movement to their belly buttons.

27
 b. Repeat as necessary, then switch to starting right on the pitch F#.
c. Repeat F# as necessary.
8. T and Ss perform call and response between A, B, and F# on “loo” with star movements
a. Repeat as necessary
9. T plays D on the piano and sirens up to the pitch (on loo) and moves the paper star down
to their toes.
a. Ss siren down to D and mimic movement to their toes.
b. Repeat as necessary, then switch to starting right on the pitch D.
c. Repeat D as necessary.
10. T and Ss perform call and response between A, B, F#, and D on “loo” with star
movements
a. Repeat as necessary
11. T and Ss perform call and response on the same pitches, but now on the appropriate
solfege with star movements.
a. Sol, La, Mi, Do

Assessment: Are all students singing the correct pitches and solfege along with the star
movements? If not, identify which pitches are not accurate and repeat those as necessary.

Transition: T: “Look at our shooting stars getting warmed up for the day! Let’s move onto
singing ‘Star Light, Star Bright.’”

Activity #2 Objective: Given sung “Star Light, Star Bright,” students will aurally
distinguish a note that is not Do, Mi, Sol, or La, discovering that the new note (Re) is in
between Mi and Do.
1. T turns on the accompaniment track to “Star Light, Star Bright”
https://youtu.be/fS3PRZVU9Kw
2. T: “Can you pat this beat with me with your stars?”
a. T recites the song to review.
3. T: “Do you think you can sing along with me?”
a. T and Ss recite the whole song. If necessary, review the song by fill in the blank,
call and response, and audiation.
4. T: “Remember our solfege we warmed up on? ‘Star Light, Star Bright also has Do, Mi,
Sol, and La in it. Can we figure out the song on solfege?”
5. T: “The first note is Sol. Is the next note higher or lower?”
a. T sings “star light”
b. Ss: higher
6. T: “It’s higher, so what solfege is above Sol?”
a. Ss: La
7. T: “Right, it’s La. What about this?”
a. T sings “star light, star bright”
8. T: “Is bright higher or lower than star?”
a. Ss: lower
9. T: “Which solfege is lower than Sol?”
a. Ss: Mi
10. T: “Right! Can we sing the beginning phrase on solfege?”

28
 a. T and Ss sing “star bright, star light” (Sol, La, Sol, Mi)
b. T and Ss can use star body movements as well
11. T: “What do you notice about this phrase?”
a. T sings ‘first star I see tonight’
b. Ss: they have the same notes
12. T: “They use the same solfege! Just a few are repeated. Can we sing all that on solfege?”
a. T and Ss sing phrase 1 and 2 on solfege
13. T: “Listen to the next phrase.”
a. T sings ‘wish I may’ (Mi, Re, Mi)
14. T: “What was THAT? Was that Mi and…(La, Sol, Do)” (may need to compare intervals
for Do)
a. Ss: something new/new note
15. T: “It was a new note! What two notes was it in between?”
a. Ss: Mi and Do
16. T: “What do you think it is?”
a. Let some Ss guess (use a resource in the room?)
17. T: “Our stars didn’t do that movement at the beginning. Can we do that together?”
a. T and Ss perform the last 2 phrases with star movements (Re is at knees)
18. T: “Can we sing the whole song on solfege? Let’s keep that new note on ‘loo.’”
a. T and Ss perform the whole song on solfege (Re on loo)
b. Repeat as necessary.

Assessment:  Could all students perform “Star Light, Star Bright” on solfege with appropriate
star movements? Could they distinguish the new note (Re) from notes they already know (Do,
Mi, Sol, La)? If not, review the song on solfege through call and response, audiation, and fill in
the blank and note the differences in between Re and the other pitches.

Transition: T: “We need something new for that note. Let’s learn what that new thing is.”

Activity #3 Objective: Given a blank staircase and “Star Light, Star Bright,” students will
visually label the solfege steps of Do, Mi, Sol, and La with a focus on placing the note Re.
1. T draws a staircase on the board with 8 steps (Re, Fa, Ti, and high Do are X’d out)
2. T: “I’ve got a few special stars here that have solfege names on them. I’ll put one where
it belongs on our staircase.”
a. T has 5 stars (all different colors) labeled Do, Re, Mi, Sol, and La
b. T sticks the star Sol on the 5th step
3. T: “Remember our solfege game with the stars?”
a. T and Ss call and response a few intervals between Do, Mi, Sol, and La
4. T: “Does somebody know where one of these stars should go on the staircase?” T hold up
stars Do, Mi, and La
a. T takes 3 volunteers one by one to label the solfege staircase.
b. If necessary, review which notes sound higher/lower.
5. T takes the X’s off the stairs. T: “I’ve got one more star, our new note. Can somebody
help this star find its place?”
a. T takes one volunteer to label Re on the staircase.
6. T: “What is that new note, everyone?”

29
 a. Ss: something new/Re/different.
7. T: “Correct! Can everyone repeat after me?”
a. T and Ss perform call and response with intervals including Re, T points to
solfege symbols on staircase with each repetition.
b. Repeat as necessary.

Assessment: Can students label and identify Re visually and by singing? If not, perform call and
response with solfege including Re.

Transition: We just learned about our new note, Re. Let’s see what Re looks like in music!

Activity #4 Objective: Given the notation for “Star Light, Star Bright,” students will
visually identify Re as a “step” below Mi and “step” above Do and read the song from
notation.
1. T has the notation for “Star Light, Star Bright” on the board with notes labeled with the
same colors as the stars on the stairs were.
2. T: “Can you watch these colors as we sing the song once?”
a. T and Ss recite song.
3. T: “Can somebody come circle all of the Re’s?”
a. Have one or more students circle the 3 Re notes.
4. T: “Great job! All those notes are Re. Can we label the rest of the notes on solfege?”
a. Have students volunteers label the other solfege notes.
5. T: “Great work, everyone! Look at the notes Mi, Sol, and Do. Do you see how those are
all on a space of the staff? But look at Re and La. Those are sitting on lines, right? The
spaces and lines are right next to each other. That means that we have a ‘skip’ note in
between, Mi, Sol, and Do, but a ‘step’ note in between La/Sol, and Mi/Re/Do. Can we
sing the melody but say ‘step’ or ‘skip’ instead of words?”
a. T and Ss sing the song on appropriate step or skip words.
6. T: “Wonderful! If we step in between notes, that means those two notes are only one note
apart, like Mi and Re or Re and Do.”

Assessment: Can all students identify from notation which notes are Re and understand that Re
is a step between Mi and Do? If not, explain aurally what a step/skip sounds like.

Transition: T: “We know what Re looks like now. Let’s practice more music with Re.”

Activity #5/Reinforcement/Closure:
1. T: “Remember our movements we did with our paper stars at the beginning? Let’s add
Re to that.”
a. T and Ss perform call and response intervals of Do (toes), Re (knees), Mi (belly
button), Sol (shoulders), and La (top of head).
b. Repeat as necessary.
2. T: “I’ve got some cards with solfege names. Can we make up a short song with these?”
a. T picks 4 cards at a time and puts them on the board. T gives the starting pitch,
then Ss recite the 4 solfege pitches.
b. Repeat until all solfege syllables have been used at least 3X, Re should be used in

30
 each one.
3. T: “Does somebody want to pick cards for us to read? Try to use Re at least once.”
a. Have a few volunteers make up songs (at least 4 solfege pitches, but can be more)
b. Make sure student uses Re at least once every improvisation.
c. Repeat 3X
4. T: “We played this song on instruments the other day. Can we do that again but learn
how to play Re this time?”
a. Allow Ss to pick out Orff mallet instruments
5. T: “Watch where my mallet goes.” (T plays 4 A’s)
a. Repeat for B, F#, E, and D
6. T: “Repeat after me.” T plays the song phrase by phrase on mallets.
a. Star light, star bright
b. First star I see tonight
c. Wish I may, wish I might
d. Have the wish I wish tonight
e. Repeat phrases as necessary
7. T: “Can we put it all together?”
a. T and Ss recite whole melody on mallets
8. T: “Do you remember which one of those notes was Re?”
a. Ss: E/they play it
9. T: “Right! Can we sing our song and play it too?”
a. T and Ss sing and play the melody of the song.
10. T: “Let’s play a game. We’re going to play the melody once, then watch what I do.”
a. T and Ss sing and play the melody on mallets, then the 2nd time plays 8 quarter
notes on “A” and makes a wish (“I wish I could…”)
11. T: “What did I do?”
a. Ss: you made a wish!
12. T: “I did make a wish! Turn to your neighbor. We’ll play the melody once more, and then
partner 1 tell a wish to partner 2. Then we’ll repeat the melody, then it’s partner 2’s turn!
You’ll have a limited time to make your wish!”
a. T and Ss sing and play the melody, partner 1 tells a wish, then melody, then
partner 2 tells a wish
13. T: “Great wishing everyone! Would anyone like to share their wish with the class?”
a. T takes volunteers. If there are none, play the melody and the teacher makes a
wish in between.
b. Repeat as necessary.

Assessment: Can all students sing and play Re with accurate pitch/placement in notation? If not,
take time for call and response review.

Closure: T: “We just added Re to our list of solfege! We’ll continue to discover more about Re
in our next classes.”

31
 PRACTICE LESSON PLAN #1

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (practice)

Standards Being Addressed:

MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music
from a variety of cultures selected for performance.

Materials of Instruction: “Great Big House in New Orleans” from the Sail Away book by
Eleanor G. Locke
Link to video: https://youtu.be/OFUDqaar-xY

 Other materials: ukulele/mallet for T

 PowerPoint with New Orleans info

32
Song Analysis Table:
Tone Set D major pentatonic, Do, Re, Mi, Sol, high La
Range D4-B4
Rhythm Set

Form AA’ (music, one verse), ABC (text, three verses)

A Song’s Pedagogical Use Table:

Melody To teach Re (pentatonic melodies)
Rhythm Combinations of eighth notes
Other Great Big House in New Orleans was released in 1959 as part
of American Play Parties. To evade the religious prohibition
against dancing in certain American communities, young people
in the 19th century devised an ingenious solution—they adapted
children’s games, which were permitted. The result was so-
called “play parties.” Participants sang creative songs to cue
movements, and the events were great “mixers.” The only
element lacking was instrumental music.

 Other info:
 Historical info- https://folkways.si.edu/pete-seeger-mika-seeger-and-rev-larry-
eisenberg/great-big-house-in-new-orleans/childrens/music/track/smithsonian
 New Orleans History- https://www.history.com/topics/us-states/new-
orleans#:~:text=Founded%20by%20the%20French%2C%20ruled,were%20fought
%20over%20the%20city.
 Party Game Recording- https://youtu.be/zt3mxHZJtdM

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T: “How are you all today, 2nd grade? Remember
discovering Re yesterday? It’s hiding in a few songs we already know.”
1. T begins to strum quarter notes of a C major chord on their ukulele.
2. T: “Can you pat a beat and repeat after me?”
a. T and Ss perform call and response on Do, Re, Mi, Sol, La while patting.
3. T: “Does anyone remember which two solfege Re is in between?”
a. Ss: Do and Mi
4. T: “Correct! I have some detective work for you today with Re.”

Activity #1 Objective: Students will identify Re in the song “Great Big House in New

33
Orleans.”
1. T strums and recites the song.
2. T: “Can we all pat and sing together?”
a. T and Ss recite the whole song. If necessary, review the song by call and
response, fill in the blank, and audiation.
3. T: “Put on your imaginary detective hat. If the first note (Great) is Mi, then what is Big
and House?”
a. T: “Is it higher or lower?” Ss: higher
b. T: “Which solfege is higher than Mi?” T sings on loo between Mi and Sol as well
as Mi and La to test the students.
c. Ss: Sol
4. T: “Right! Can we sing Great Big House on solfege?”
a. T and Ss sing Great Big House on solfege
5. T (sings): “Great Big House in. What is that?”
a. T: “Higher or lower than Sol?” Ss: higher
b. Ss: La
6. T: “Can we sing Great Big House In on solfege?”
a. T and Ss sing Great Big House In on solfege
b. Repeat the same process for “Forty Stories”
7. T: “Can we sing the first phrase (Great Big House in New Orleans, Forty Stories) on
solfege?”
a. T and Ss recite the first phrase on solfege
8. T: “What about the next words (High)?”
a. T sings through “Forty Stories High”, but only the first note of High (Mi)
b. Ss: Mi
9. T (sings): “Forty Stories Hi-gh” on words.
a. T: “What is that next note? Is it higher or lower than Mi?”
b. Ss: Re!
10. T: “That’s Re! Can we sing the whole first line on solfege?”
a. T and Ss recite first line.
11. T (sings): “Every room that I been in.” “What sounds the same about those words?”
a. Ss: same solfege/notes
12. T: “It’s the SAME! Can we sing from the beginning to that part on solfege?”
a. T and Ss recite the first line and up to “every room that I been in” on solfege.
13. T (sings): “Filled with,” “What does that sound like?”
a. Ss: Mi and Sol
14. T: “Right!” (sings) “Pumpkin pie.” T: “How do those last notes move?”
a. Ss: Down
15. T: “Does it sound like a leap like Mi and Sol have?” (T demonstrate if necessary)
a. Ss: No
16. T: “What is it then?”
a. Ss: Mi Re Do
17. T: “Let’s sing the whole song on solfege.”
a. T and Ss recite the whole song on solfege.
b. Repeat as necessary.
18. If there is time, Ss can play the accompaniment on instruments like they did before and

34
 sing the solfege while playing the accompaniment.

Assessment: Can all the students sing the whole song with accurate solfege? If not, review
specific solfege parts.

Closure: “We just found Re in a song we already knew! It might be in other songs we already
know. We’ll practice more with hearing and reading Re next time.”

35
 PRACTICE LESSON PLAN #2

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re

Standards Being Addressed:

MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Pr4.2.2b When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.

Materials of Instruction: “Bought Me a Cat #1” from the Library of Congress (Kodaly
website), transpose to F pentatonic

36
  PowerPoint of Aaron Copland information
 Whiteboard with song notation written on it
 Piano for F major harmonic context
 Drum track https://youtu.be/zZbM9n9j3_g

Song Analysis Table:

Tone Set Do, Re, Mi, Sol

Range D4-A4 (note: transpose to F pentatonic)
Rhythm Set

Form ABC

A Song’s Pedagogical Use Table:

Melody To teach Re
Rhythm Sixteenth notes, dotted notes, eighth notes
Other “I Bought Me a Cat” is a whimsical children’s song in the style
of “old MacDonald,” with a verse repeating and adding a new
animal with each iteration (the last “animal” being a wife!). The
song affords the soloist the opportunity to impersonate the
various animals and the accompaniment simulates barnyard
sounds of the cat, duck, goose, hen, pig, horse and cow.

Other info:
Analysis: http://kodaly.hnu.edu/song.cfm?id=595
History: https://nmphil.org/concerts/repertoire/copland-old-american-songs/
Recording: https://youtu.be/BbTfXTgRRAQ

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T: “Welcome back, 2nd graders! Stand up, we’re singing
and moving today.”
1. T and Ss perform call and response solfege warmups (Do, Re, Mi, Sol, La) in F major
with drum track in the background.
a. https://youtu.be/zZbM9n9j3_g
b. T and Ss also use body movement symbols as used in prepare lessons
i. Do- toes
ii. Re- knees
iii. Mi- belly button

37
 iv. Sol- shoulders
v. La- top of the head
Activity #1 Objective: Students will label the solfege of “Bought Me a Cat” in standard
notation.
1. T: “Remember our ‘Bought Me a Cat’ song?”
a. T recites the song while playing an F major chord on the piano for harmonic
context.
2. T: “Can we sing it together?”
a. T and Ss recite the song, review as necessary through call and response, fill in the
blank, and audiation.
3. T: “Look up here, this is what ‘Bought Me a Cat’ looks like written down. If the first note
is Do, does the next note skip or step up?”
a. Ss: Skip
4. T: “Correct, so which solfege skips up from Do?” (T sings interval on loo if needed)
a. Ss: Mi
5. T: “Yes! Do we have anything other than Do or Mi in the first line?”
a. Ss: No
6. T: “Can we sing the phrase ‘bought me a cat, the cat please me’ on solfege?”
a. T and Ss recite first line on solfege
7. T: “Can I have a volunteer write that solfege under the notes?”
a. T takes one volunteer
8. T: “What about this?” T sings ‘fed my cat under’ both on words and loo.
a. Ss: Do Do Mi Sol Sol (break down if necessary)
9. T (sings): “Yonder tree. Were those skips or steps?”
a. Ss: Steps
10. T: “Right! You can see and hear the steps. What does that mean for the solfege?”
a. Ss: Mi Re Do
11. T: “Can we sing from the beginning to ‘yonder tree’ on solfege?”
a. T and Ss recite the first two lines on solfege.
12. T: “Can I have a volunteer write that solfege down?”
a. T takes one volunteer.
13. T (sings): “Cat went fiddle-i-fee, fiddle-i-fee. Talk to your neighbor and brainstorm what
solfege you think those notes are based on what we know.”
a. T waits about 1 minute, then asks for volunteers to share ideas.
b. Guide discovery of solfege if necessary.
c. Have a volunteer write the solfege down on the board.
14. T: “Let’s sing the whole song on solfege!”
a. T and Ss recite the whole song on solfege.

Assessment: Can all the students sing the whole song on solfege with standard notation? Could
they easily identify skips/steps from the notation to determine the solfege? If not, review skips
and leaps aurally and then show them the notation.

Closure: T: “We just found out what Re looks like in music! Next time, we’ll learn a new song
with Re.”

38
 PRACTICE LESSON PLAN #3

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (practice)

Standards Being Addressed:

MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas for
music that represent expressive intent.

Materials of Instruction: “Chippewa Lullaby” from Songs of the Chippewa by John

Bierhorst.

 PowerPoint with historical background and maps

 Song recording from Smithsonian Folkways
 Recorders
 Orff drums
 Colorful scarves for each student
Song Analysis Table:

39
 Tone Set Do, Re, Mi, low Sol, low La
Range C4-A4
Rhythm Set

Form ABC

A Song’s Pedagogical Use Table:

Melody To teach Re
Rhythm Eighth notes, anacrusis, ties
Other This lullaby was collected by Frances Densmore for the U.S.
Bureau of Ethnology on the western shores of the Great Lakes
in 1913. It originated from the indigenous peoples, the
Anishinaabe. Anishinaabe is the autonym for a group of
culturally related indigenous peoples who are resident in what
are now Canada and the United States. They also include the
Odawa, Saulteaux, Ojibwe (including Mississaugas),
Potawatomi, Oji-Cree, and Algonquin peoples.

Other info:
Recording and history: https://folkways.si.edu/gene-bluestein/chippewa-lullaby/american-
folk/music/track/smithsonian
Anishinaabe: https://www.mnchippewatribe.org/pdf/Chapter%201_Anishinaabe
%20Akiing_DRAFT.pdf

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: “I’ve got a special lullaby from a group of Native

Americans today. Can you all take one scarf from this box?”
1. T and Ss perform call and response with Do, Re, Mi, Sol, and La while mimicking the
lowness/highness of each pitch with the scarf.
a. T model scarf movement.

Activity #1 Objective: Students will brainstorm scarf movements to a recording of

“Chippewa Lullaby” through guided listening.
1. T: “Listen to this song. What instrument do you think is playing?”
a. https://folkways.si.edu/gene-bluestein/chippewa-lullaby/american-
folk/music/track/smithsonian (30 seconds)

40
 b. Ss: flute/wind?
2. T: “Flute is right! It’s a wooden flute. Listen again, can you tap your foot to it at all?”
a. Ss: not really
3. T: “It’s more free, right? Listen one last time and tell me why do you think this song is a
lullaby.”
a. Ss: it’s slow/quiet/sweet
4. T: “It’s very slow and simple and has a gentle feel to it. This time, can you move your
scarf in some way to the music?”
a. T and Ss move their scarves to the music.
5. T: “Great ideas, everyone!” T shows PowerPoint on Chippewa Lullaby history.
a. This lullaby was collected by Frances Densmore for the U.S. Bureau of Ethnology
on the western shores of the Great Lakes in 1913. It originated from the
indigenous peoples, the Anishinaabe. Anishinaabe are culturally related
indigenous peoples who are resident in what are now Canada and the United
States. They also include the Odawa, Saulteaux, Ojibwe (including Mississaugas),
Potawatomi, Oji-Cree, and Algonquin peoples.

Assessment: Are all Ss showing some type of movement to the song with their scarves? If
they are confused, model examples.

Transition: “Let’s learn our own version of this song.”

Activity #2 Objective: Students will sing “Chippewa Lullaby” in F pentatonic with

emphasis on the note Re.
1. T: “Pat this soft beat (T pats on drum). Repeat after me.”
a. T and Ss perform call and response on the first line
b. T and Ss perform call and response on the second line
c. T and Ss perform call and response on the third line
2. T: “Fill in the blank.”
a. Ss fill in the blank on the last “way” of each line
3. T: “I’ll sing the first line, you’re second, then I’ll sing the last line.”
a. T and Ss alternate singing lines, then switch parts.
4. T: “Can you use your magic lips to sing it in your head?”
a. T and Ss audiate.
5. T: “Were there any parts you forgot? Let’s sing it together.”
a. T and Ss recite the whole song. Repeat as necessary.
6. T: “Did you hear any Re’s in there? We’ll talk about those soon.”

Assessment: Can all students sing the song with accurate pitch and rhythm? If not, go back to
review certain lines.

Transition: “Let’s add instruments.”

Activity #3 Objective: Students will play on recorders and hand drums “Chippewa
Lullaby” in F pentatonic with emphasis on the note Re.

41
 1. T has all Ss get their recorders and sit in a circle.
2. T models playing each phrase of the song with fingerings and call and response.
a. First line
b. Second line
c. Third line
d. Repeat as necessary.
3. T: “Excellent playing everyone! Can we play the whole song once?”
a. T and Ss play the song once on recorders only.
4. T: “I’m going to add something. Play along with me.”
a. T pats steady beat of the song on a hand drum and sings the melody.
5. T: “Would anyone like to keep the heartbeat of the song and sing with me?”
a. T selects 8 volunteers to play hand drums and sing (number is half the class size)
6. T: “Let’s play the whole song together. Listen for Re if you can find it!”
a. T and Ss recite the song on hand drums, recorders, and vocals.

Assessment: Can all students play or sing and play the melody and accompaniment to the song?
If not, take time to review instrument parts and pitches.

Transition: T: “Did you hear Re?”

Activity #4: Students will identify Re aurally while singing and playing the melody of
Chippewa Lullaby.
1. T: “How would you find Re?”
a. Ss: Listen for step motion/between Do and Mi
2. T: “Re is between Do and Mi, remember? If our first note is Do, see if you can find Re.
Let’s play together.”
a. T and Ss recite the song again on recorders, hand drums, and vocals.
3. T: “Can anyone tell me where they heard Re?”
a. T takes volunteers, Ss: after Do/above Do/F to G on recorders
4. T: “Re was the second note we sang after Do! You found it on the recorder too, it was
G.”

Assessment: Could all students identify Re aurally by either singing or playing through the
melody of Chippewa Lullaby? If not, guide students through identifying the solfege by asking
questions of low/high relationships, step/skip relationships.

Closure: T: “Lovely playing, everyone! Maybe you heard a few steps in the melody that
sounded like Re! We will learn a new song with Re next time.”

42
 PRACTICE LESSON PLAN #4

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (practice)

Standards Being Addressed:

MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas for
music that represent expressive intent.

Materials of Instruction: “Biddy, Biddy” from Folk Games of Jamaica by Martha W.

Beckwith transposed to C major.

 PowerPoint for historical background

43
  Solfege flashcards for warmup
 Board/whiteboard with music (don’t show at beginning)
 Orff mallet instruments
Song Analysis Table:

Tone Set Do, Re, Mi, Fa, Sol

Range D4-A4
Rhythm Set

Form A(ab)A’(ab’)

A Song’s Pedagogical Use Table:

Melody To teach Re
Rhythm Sixteenth notes, dotted notes, eighth notes
Other “Biddy, Biddy” originates from the African American culture in
the Caribbean in Jamaica. This song comes with a “lost golden
ring” game for children to play.

Other info:
Analysis and History: http://kodaly.hnu.edu/song.cfm?id=458
Recording: https://youtu.be/OXLyh0IvwEc

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: “Welcome, everyone! Today, we have a game song with

Re in it.”
1. T has flashcards of Do, Re, Mi, Sol, and La. T sets harmonic context (C major) with a
metallophone.
a. T performs call and response with different cards.
b. T asks for student volunteers to mix up the cards and show them to the class.
2. T: “The song we are learning today comes from Jamaica, has anyone ever been there or
to a tropical place like Jamaica?”
a. Show pictures of Jamaica on PowerPoint

Activity #1 Objective: Students will sing “Biddy Biddy” with accurate pitch and rhythm in
C pentatonic and duple meter.
1. T recites the song while playing a drone beat between C and B.
2. T: “What gold object is in our song?”
a. Ss: gold ring
3. T: “Listen again for what silly word we keep repeating.”
a. Ss: “biddy biddy”
44
 4. T: “One last time, what city is in our song?”
a. Ss: London
5. T: “Pat this beat with me (T plays between C and B on metallophone where necessary).”
a. T and Ss perform call and response on the first line
b. T and Ss perform call and response on the second line
c. T and Ss perform call and response on the third line
d. T and Ss perform call and response on the fourth line
6. T: “Fill in the blank.”
a. Ss fill in the blank on the last word of each line
7. T: “I’ll sing the first phrase (Biddy Biddy hold fast), you’re second (lost my gold ring)”
a. T and Ss alternate singing phrases, then switch parts.
8. T: “Can you use your magic lips to sing it in your head?”
a. T and Ss audiate.
9. T: “Were there any parts you forgot? Let’s sing it together.”
a. T and Ss recite the whole song. Repeat as necessary.

Assessment: Can all students sing the song with accurate pitch and rhythm? If not, review parts.

Transition: “Let’s add instruments and do something different.”

Activity #2 Objective: Students will improvise over “Biddy Biddy” in C pentatonic with
emphasis on Re.

1. T helps Ss get out Orff mallet instruments.

2. T models playing a pulse switching between C and B in the song.
a. C for 2 measures, B for 1 measure, C for 2 measures, B for 1 measure, C for 1
measure
3. T: “Can you play the accompaniment while I sing the melody?”
4. T: “Can you play and sing together?”
a. Repeat as necessary.
5. T: “You keep playing the accompaniment. I’m going to do something different.”
a. T improvises for the length of the song on pitches CDEGA.
6. T: “What did I do?”
a. Ss: Made something up
7. T: “Do you want to try making something up?”
a. Show Ss what notes to use (start with only 2, expand by one note each repetition)
8. T: “Which one of those notes sounds like Re if this is Do (T plays C).”
a. Ss: D, the next one up
9. T: “Can you all improvise but make sure to use Re at least once?”
a. T plays accompaniment and sings while Ss improvise.
b. Repeat as necessary.
10. If there is time, play the gold ring game associated with Biddy Biddy.

Assessment: Did students use Re at least once in their improvisations? Did they understand
45
which note was Re? If not, take time to solfege notes on the mallets.

Closure: “Great job making stuff up with Re! Next time, we’ll start to write more with Re.”
PRACTICE LESSON PLAN #5

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (practice)

Standards Being Addressed:

MU: Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas for
music that represent expressive intent.

Materials of Instruction: “The Clouds at Kona (Kona Kai Opua)” from Hawaii: Music in Its
History by Ruth L. Hausman (transpose to A major)

46
  PowerPoint for historical background
 Ukuleles, shakers, wooden sticks/drums/percussion

Song Analysis Table:

Tone Set Low La, Do, Re

Range D4-G4 (transpose to A major)
Rhythm Set

Form AA’

A Song’s Pedagogical Use Table:

47
 Melody To teach Re
Rhythm Eighth notes, ties (swing eighths)
Other This song is about the beautiful weather and seas on the Pacific
island of Hawaii, specifically of the big island. It has Polynesian
origins.

Other info:
History: http://kodaly.hnu.edu/song.cfm?id=1092
Similar Recording: https://youtu.be/MEEp2RPuKvU

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T: “Hello again, students! Today we’re going to listen and
play along with some music that is from 3,000 miles away from us.”
1. T: “Let’s take a listen to this recording. Can you move your body in some way that makes
sense?”
a. T plays recording from 0:32-0:58 (audio only)
b. T and Ss make body movements (swaying, stepping, dancing)
2. T: “What instruments do you hear?”
a. Ss: Guitar, ukulele, strings
3. T: “There’s acoustic guitars and also a ukulele! Listen again, what do you notice about
the words?”
a. Ss: not English, don’t know the words
4. T: “The words are in another language! Listen one last time, how does this music make
you feel?”
a. Ss: Happy, relaxed, fun
5. T: “This song makes me feel happy and relaxed, almost like I was at a beach. Listen one
final time, where do you think this music comes from?”
a. Ss: Beaches, Hawaii, islands
6. T: “This music is a song from Hawaii! It comes from the Big Island of Hawaii in Kona.”
a. T shows PowerPoint with background info.

Activity #1 Objective: Students will play harmonic accompaniment in A major on ukuleles

along with the recording of “Kona Kai Opua.”
1. T: “Let’s all grab our ukuleles, but we’ll need silent strings until I start playing.”
a. T and Ss grab ukuleles and sit in a circle.
2. T: “Our song is called Kona Kai Opua. Can we say that together?”
a. T and Ss echo pronunciations back and forth.
3. T: “It means the clouds at Kona. Let me read you some of the other lyrics.”
a. T begins to strum A major chord pattern (quarter, quarter, eighth eighth, quarter)
while reciting the lyrics in English for context
4. T: “This culture values the beauty of nature. Can you join strumming with me and tell
your neighbor your favorite place outdoors?”
a. T shows fingering for A major (1st building, 3rd floor, 2nd building, 4th floor) and
allows 20 seconds for partner sharing.

48
 5. T: “Lovely thoughts from everyone! Can you play this pattern with me?”
a. T makes sure Ss are playing the correct strumming rhythm (quarter, quarter,
eighth eighth, quarter)
6. T: “Let’s play along with our professional musicians.”
a. T and Ss strum along with the recording for 1 minute, T makes sure Ss are
swinging the eighth notes. If not, T should play the difference between straight
and swung eighths and ask Ss which one sounds like the recording.

Assessment: Can all students strum the A major chord on ukuleles with correct pitch and rhythm
during the recording? If not, scaffold the strumming from quarter notes to eighth notes.

Transition: “Listen carefully to this part of the song.”

Activity #2 Objective: Students will improvise solfege singing over the recording of “Kona
Kai Opua” while strumming the harmonic accompaniment on ukuleles.
1. T plays the recording from 3:28-4:00 (can show video now)
2. T: “Did you hear any singing?”
a. Ss: No
3. T: “What did you hear?”
a. Ss: Guitar only
4. T: “What was the guitar playing?”
a. Ss: something new, made up
5. T: “Something made up from the rest of the song. What do we call that?”
a. Ss: Improvisation
6. T: “He was improvising! Can we all strum the harmony together?”
7. T: “Can you repeat after me?”
a. T and Ss perform call and response on 4 beats of solfege patterns using Do, Re,
Mi, Sol, and La
8. T: “Listen to what I do next.”
a. T improvises sung solfege for 4 measures of the recording.
9. T: “What did I do?”
a. Ss: made something up
10. T: “Do you want to try?”
a. T and Ss vocally improvise on solfege for 4 measures
b. Repeat as necessary (making sure Ss are singing the right pitches with the solfege
syllables)
c. After one repetition, T: “Can you use Re at least once this time?”
11. T turns on recording again and then continues to strum with Ss. T: “Watch what else I
can do during the recording.”
a. T improvises solfege for 4 measures, then improvises dancing for 4 measures,
then returns to solfege.
12. T: “What did you notice?”
a. Ss: improvise solfege, danced, repeated
13. T: “I made up my own little song with dancing in between. Dancing with music, or hula,
in Hawaiian culture is very sacred and important. Lots of their music is made to go along
with traditional dances. Would you like to try making up solfege first?”

49
 a. T and Ss improvise for 4 measures.
14. T: “Remember how you moved to the music at the beginning? Can you do that again?”
a. T and Ss dance for 4 measures.
15. T: “Let’s improvise singing, then dance, then sing again. Try using Re at least three
times.”
a. T and Ss sing improv for 4, dance for 4, then sing improv for 4 with a focus on
Re.
16. T: “I have a game to play. Let’s get into two lines. The first line will sing improv while
the other dances, then we will switch back and forth. It’s almost like our own hula!”
a. T and Ss improvise dancing and singing for 2-3 minutes of the recording.
17. If there is time, wooden percussion instruments can be added for more rhythmic
percussion and improvisation.

Assessment: Can all students vocally improvise solfege with accurate pitch and sense in the
context of the recording? If not, model improvisation examples of what makes sense and what
does not (ex. Singing the wrong pitch with a solfege syllable, singing out of time). T takes note
of Ss progress on the post-assessment chart.

Closure: “Lots of very creative singing and dancing today! We’re getting more comfortable with
singing and improvising Re. Next time, we’ll make stuff up as a group with Re.”

50
 PRACTICE LESSON PLAN #6

Teacher Name___Meredith Casey__________Target Grade Level___2nd grade______

Musical Concept of Focus: Re (practice)

Standards Being Addressed:

MU:Cr1.1.2a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
MU:Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
MU:Cr2.1.2b Use iconic or standard notation and/or recording technology to combine, sequence,
and document personal musical ideas
MU:Cr3.1.2a Interpret and apply personal, peer, and teacher feedback to revise personal music
MU: Pr4.1.2a Demonstrate and explain personal interest in, knowledge about, and purpose of
varied musical selections.
MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music
from a variety of cultures selected for performance.

Materials of Instruction: “Great Big House in New Orleans” from the Sail Away book by
Eleanor G. Locke
Link to video: https://youtu.be/OFUDqaar-xY

 Other materials: ukulele/mallet for T

51
  PowerPoint with New Orleans info
 Composition Worksheet

Song Analysis Table:

Tone Set D major pentatonic, Do, Re, Mi, Sol, high La
Range D4-B4
Rhythm Set

Form AA’ (music, one verse), ABC (text, three verses)

A Song’s Pedagogical Use Table:

Melody To teach Re (pentatonic melodies)
Rhythm Combinations of eighth notes
Other Great Big House in New Orleans was released in 1959 as part
of American Play Parties. To evade the religious prohibition
against dancing in certain American communities, young people
in the 19th century devised an ingenious solution—they adapted
children’s games, which were permitted. The result was so-
called “play parties.” Participants sang creative songs to cue
movements, and the events were great “mixers.” The only
element lacking was instrumental music.

 Other info:
 Historical info- https://folkways.si.edu/pete-seeger-mika-seeger-and-rev-larry-
eisenberg/great-big-house-in-new-orleans/childrens/music/track/smithsonian
52
  New Orleans History- https://www.history.com/topics/us-states/new-
orleans#:~:text=Founded%20by%20the%20French%2C%20ruled,were%20fought
%20over%20the%20city.
 Party Game Recording- https://youtu.be/zt3mxHZJtdM

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup: T: “We’re back again for one more lesson on Re! We’re
going to use everything we’ve learned so far to make our own versions of ‘Great Big House in
New Orleans.’”
1. T and Ss sing through and review “Great Big House in New Orleans” singing the words
first while T plays ukulele in the background.
2. T and Ss solfege the whole song.
3. T and Ss play the accompaniment on mallets and sing the melody.

Activity #1 Objective: Students will compose new notes with on standard notation
worksheet for “Great Big House in New Orleans” in groups of 4 or more with a focus on
using Re at least twice.
1. T has music for the song pulled up on the board/PowerPoint.
2. T: “What if we made something up, but this time its during the melody?”
a. T erases the second note of every measure and replaces it with a different pitch,
then plays and sings it.
3. T: “How did the song change now?”
a. T takes a few Ss responses to how the song feels different.
4. T: “Let’s erase different notes. Can I have 4 volunteers to choose 4 notes to change?”
a. T takes 4 volunteers to change 4 of the notes.
5. T: “What solfege did those notes change to? Can we sing them?”
6. T and Ss repeat changing notes around as necessary.
7. T: “These are all great ideas! What if we all broke up into groups and made our own
versions of this song? You may use different instruments and pitches, but you use Re at
least 2 times in your new version. We will share at the end.”
a. T has students break into groups of 4 or more and gives them 10 minutes to
change notes and practice their new song (T walks around to observe). T will give
Ss a blank staff with the rhythms of the song included for students to write down
their solfege ideas.
8. T: “Would any groups like to share their song first?”
a. T has groups share their song version one by one, giving feedback in between.
b. T will video record each performance to share with Ss and their parents.

Assessment: Did all groups arrange the song to include Re in two new places? If not, make sure
each group understands what solfege they used and make suggestions on how to add Re. T will
additionally take note individual Ss progress in the post-assessment chart.

Closure: “We’ve improvised, composed, sung, moved to, written, and read Re in all these
different songs! We’re ready to learn more notes and songs next time. As you leave, take an exit
ticket to check how you’re feeling with Re!”

53