GRADE 6 CREATIVE ARTS LESSON NOTES

TERM 1

Creating and Execution

KENYAN INDIGENOUS MUSICAL INSTRUMENTS
String instruments
 Are musical instruments that have strings.
 Produce sound by
i. Plucking
ii. Strumming
iii. Rubbing the strings
 String instruments can have one , two or more number of strings.
 A string instrument with one or two strings is called fiddle.
 There different types of string instruments found among the Kenya communities.
 Each instrument has specific community of origin.

STRING INSTRUMENT COMMUNITY OF ORIGIN

1 Shiriri or ishiriri or silili Abaluhya
2 Litungu Abaluhya
3 Limoyi Abaluhya
4 Ongengo Abagusii
5 Obokano Abagusii
6 Nderemo Agikuyu
7 Wandindi Agikuyu
8 Entono Abakuria
9 Ekegogo Abakuria
10 Iritungu Abakuria
11 Orutu Luo
12 Uta Mijikenda
13 Uta wa wathi Akamba
14 Mbeve Akamba
15 Adeudeu Iteso
16 Mwazigizi or zeze Taita
17 Kimengeng Kalegin
18 Pukan Pokot
19 Chepkongo/chemonge Kipsigis
20 Nyatiti Luo

FIDDLE
 Fiddles are string instruments that have one or two strings

FIDDLE COMMUNITY
1 Orutu Luo
2 Mbeve Akamba
3 Ekegogo Abakuria
4 Mwazigizi or zeze Taita
5 Ageregeret Iteso
6 Ishiriri Abaluhya
7 Wandindi Kikuyu
8 Kimeng’eng’ Kalenjin
9 Ong’eng,o or Otete Abagusii

PARTS OF A FIDDLE AND THEIR FUNCTIONS

1. Arm/neck - for holding and supporting the instrument when playing it.
2. String -it is plucked or strummed to produce sound.
3. Resonator - makes the sound louder.
4. Membrane/skin - used to cover the resonator.
5. Bridge - used to make the sound clearer by separating the string from the skin or
membrane.
6. Tuning peg - used to loosen or tightening the strings to produce the desired sound.
7. Bow - used to play the instrument.

TUNING A FIDDLE
 Tuning is the process of adjusting the pitch of one or many tones of a musical
instrument or getting it ready so that it is played it will sound at the correct pitch.
 String instruments are tuned to produce the desired sound.
 To tune a fiddle Identify the string and also identify the sound that you desire to
produce.
 A fiddle can be tuned by
i. Loosening the tuning peg
ii. Tightening the tuning peg
iii.

CARE AND MAINTENANCE OF STRING INSTRUMENT

1. Dust the parts of the instruments using a piece of cloth. Handle the string with care
2. Always use the arm of the instrument when carrying it.
3. Always check your string instrument before playing it
4. Replace word out or damaged parts of a string instrument
5. Store it in a dry place free from dust and moisture
6. Keep your instrument away from dust by putting it in a protective bag
7. String instrument can be stored by hanging them on a wall or placing them in a cool
and dry place where people cannot step on them.
8. Avoid storing your instrument near walking paths because people passing by may
knock them.
NB: when string instrument are cared for and maintained well, they last longer and produce
good sound.

TECHNIQUES OF PLAYING STRING INSTRUMENTS

1. Bowing
Rubbing the instrument using a bow.
Bow: is made using a sisal thread tied on both ends of curved stick.
Types of musical bow
 Groud bow- eg. Nderemo by kikuyu
 Mouth bow- eg obokano by kuria
 Hunters bow- eg entono by kuria
2. Plucking
Involves pulling and releasing the string using the fingers.
3. Holding
Every string instrument has a specific way in which it is held when playing.
When a string instrument is not properly held when playing, it may not produce the
desired sound.

MAKING OF A FIDDLE(PROJECT)
1. Collect tools and materials
2. Making the arm or neck
3. Fixing the tuning peg
4. Preparing the resonator
5. Fixing the arm or neck to the resonator
6. Fixing the string
7. Preparing the bridge
8. Preparing the bow
9. Tuning and play to test

APPRECIATING THE ROLE OF A STRING INSTRUMENTS

PLAYING IN AN INSTRUMENTAL ENSEMBLE

 An ensemble is a group of people who performs instrumental or vocal music together
instruments being played together
 An instrumental ensemble consists of a group of instruments being played together
 An instrument can be percussion instruments, winds instruments or string instruments

Stippling technique
  Involves using dots to create value and make an object look like solid while on a
drawing surface.

Creating light and dark effect using the stippling techniques

 Stripping technique uses dots to create value and make an object look solid while on
drawing surface.
 In stippling, areas that are light have a small number of dots and areas that are dark
have many dots.
 Tonal value is the darkness and lightness of the colour of an object.
 When stippling the number of dots should gradually change from one area to
another.
 Gradually means that the dots should not change suddenly but slowly from one step
to the next.

PUPILS ACTIVITY
PAGE 1-3

Factors to consider when drawing forms

1. Proportion
2. Balance
3. Space

PUPILS ACTIVITY
PAGE3-4

Creating a dark effect on two overlapped forms by stippling

 When two or more objects are placed or drawn in a way that they appear to be
covering or blocking each other’s parts, the objects are said to be overlapping.
 When overlapping objects
1. The large objects should be placed at the back –background, while the small
objects in front- foreground
2. The objects in front should be drawn at a lower position than the ones at the
back.
3. Objects closer to you are the ones in front and those far from you are the ones at
the back.
 Objects in the middle are said to be at the middle ground.
 The objects that overlap are always separated by light and dark effect.

PUPILS ACTIVITY
PAGE 6-7
Drawing three overlapped forms using the stippling technique
Pot/gourd/calabash
1. Collect the suggested tools and materials
2. Follow the suggested steps and draw three overlapped forms using the stippling
techniques
2.1 Arrange the pot, gourd and calabash on a flat surface. The pot should be
behind, the gourd in the middle and the calabash in front.
2.2 Draw an outline of the three objects. Use dotted lines to show the objects
are overlapping.
2.3 Use rubber to erase parts or lines which have overlapped.
2.4 Chose the direction you want to have and the direction you want less light.
2.5 Use many dots to shade area and gradually reduce the dots as you move
towards the light area.

Drawing
Imaginative composition
 Imaginative drawing is a drawing made from an idea that is in your mind not what
you see.
Creation of textural effect by stippling technique
 In stippling technique, dots can be used to show the surface quality of an object.
 Texture is the quality of a surface. Texture is used to show how an object would feel
when touched.
 The surface with any dots is considered to be rough while the surface with few dots
is considered to be smooth.

PUPILS ACTIVITY
PAGE 9-11
Creating visual balance when drawing several forms
 Balance is the arrangement of objects in a space within a picture composition.
 Balance makes an art more attractive. It makes the artwork more stable and more
comfortable to look at.
 When balancing objects, we should place them at the centre of our space and make
them large enough to occupy at least more than half of our space.
 We can balance objects or forms using
1. Colours
2. Lines
3. Shape
4. Texture
5. Tonal value
 There are 3 ways of creating balance
a. Placing objects at the centre of the drawing space, so that the left part and
the right part of the composition look equal.
b. Arranging forms in away that the left and the right side of your composition
are not equal.
c. Arranging forms in a imaginative manner.
PUPILS ACTIVITY
PAGE 12-13
Drawing an imaginative composition of a twig with two leaves and a fruit
1. Collected the suggested tools and materials.
Pencil/pen/rubber/picture of real twig with two leaves and fruit.
2. Place a picture of a real twig with two leaves and a fruit on a flat surface.
3. Use a ruler to draw the drawing space you will use in your drawing book. Draw an
outline shape of the objects. Use dotted line to show where the objects are
overlapping.
4. Use a rubber to erase parts or lines which have been overlapped. Reduce the
darkness of your outline using a rubber.
5. Chose the direction you want to have more light and the direction you want less
light.
6. Apply more dots on the dark areas and fewer dots on the light areas. Let the dots
fade gradually.
7. Identify the sharp edges, corners and holes on the twig and fill them with more dots
to create texture.
Appreciating each others work.

PUPILS ACTIVITY
Page 15- 16

VOLLEYBALL
Skill in volleyball
1. Dig pass
a. Single hand dig pass
b. Two handed dig pass
Purpose of dig pass
i. Receive a serve ball or spike ball
ii. Set the ball for spiking/boasting
iii. Pass the ball to opponents
iv. covering
2. Service – it is an art of putting the ball into play
a. Over arm service
b. Underarm service
c. Jump service

Single hand dig pass

 Is where a player uses one hand to receive or pas the ball.
 It is used when the ball cannot be reached with both hands

Safety instructions
 Ensure you warm up before any exercise
 Ensure the space is cleared of any hazards and risks such as rocks, sticks and items
that can hurt you when playing

Warm up activities
1. High knee
 Hug lift your right knee to the chest and hug it tight as you take a step switch
to the left knee.
 Players shuffle from the left to the right and back.

2. Knee raisers
From a standing position raise your right and left knees in turns.
3. Half squats
From a standing position, hands raised upwards, make a half squat maintaining upright
posture
Cool down activity
 Walk at a moderate speed swinging hands round
 From a standing position, hands raised up, stretch the body upwards breathing deeply.

Learning points when performing single hand dig in volleyball

 Position yourself facing the direction of the oncoming ball
 Reach out to the ball and make contact with the forearm
 Follow through by ensuring the ball is directed to the intended receiver.

Over arm serve

 This is where the player tosses the ball with one hand and strikes it in the air above
their head with the other hand so that it crosses the net and lands into the opponents
side.

Safety instructions
 Perform thorough warm up before the activities
 Avoid congestion by maintain a safe distance from your peers.
 Follow instruction from your teacher and your peers.

Warm up activity
1. Arm swings
 Swing arms clockwise for 30 seconds start slowly as you increase pace
 Arm swing anticlockwise fo 30 seconds. Start slowly as you increase pace
 Imaginary over arm serve. Pretend you are holding act tossing it up and down
and hitting it with open arm

Cool down activity

 Walk at a moderate speed swinging hands round
 From a standing position, hands raised up, stretch the body upwards breathing deeply.

Minor games and basic rules

Minor games are small side games that help you practise skills learnt in volleyball while
applying the rules of the game.
Safety instructions
 never fist hit the ball. You could hit someone in the face and cause injury.
 Do not throw the ball over the net, roll it under the net
 Do not swing on the post
 Do not go under the nets, always walk around the net.

Types of volleyball
1. Beach volleyball
2. Sitting volleyball
3. Field volleyball

Equipments
Ball, net, posts 2.5m, antennae, and player’s jersey

CREATING AND COMPOSING MUSIC

RHYTHM
French rhythm and dotted minim

Pupils activity
Page 63-65

NOTE NAME FRENCH RHYTHM NUMBER OFCOUNTS

Semibreve Taa –aa-aa-aa 4 counts
Minim Taa - aa 2 counts
Crochet Taa 1 count
Quaver Ta-Te Half count

1. Semibreve
 The semibreve has the longest duration compared to the minim, crochet and quaver
 It has 4 counts or beats
 Its French rhythm name is Taa-aa-aa-aa
 When drawing a semibreve, draw a small round circle, the small round circle is called
a note head

2. Minim
 It is half the duration of the semibreve and has two counts or beats
 This means that the minim is half the value of the semibreve
 Its French rhythm name is Taa-aa
 When drawing a minim, Draw the note head, add a stem coming out on the right side
of the note head.
 The stem is the straight line coming out of the note
 3. Crotchet
 The crochet has one count or beat.
 Four crochets are equal to one semibreve
 Its French name is Taa
 When drawing a crotchet, draw a note head, but this time, fill the note head by
shading it and then add a stem just the same way you did when drawing the minim

4. Quaver
 The quaver has a half count
 The French rhythm name for two quaver is Ta-Te
 When drawing a quaver, draw the note head, fill the note head by shading, add a stem
to the right side of the note head and finally add a tail or flag.
 Tails or flags are always on the right side of the stem and points to the right

NB
 The symbol of a dotted minim is
 The dot added after the minim increase the duration of the minim by one count
 The dot added after the minim is equivalent to one crochet which is worth one count
 The value of the dot placed after the minim is therefore a crochet
 A dotted minim contains three crochets
 Therefore a dotted minim has three counts
  Music symbols should be written correctly so that they are not confused with other
symbols

French rhythm name of the dotted minim

 The dotted written after the minim is half the value of the minim
 Half of the minim is a crochet
 The dot written after the minim is equal to the crochet
 A dotted minim is equal to three crochets
 A crochet has one count
 The minim has two counts. The dotted minim has three counts
 The French rhythm name for the crochet is Taa
 The French rhythm name for the minim is Taa-aa
 The French rhythm name for the dotted minim is Taa-aa-aa

Rhythms involving the dotted minim

Pupil’s activity
Page 66-67

Songs with dotted minims

Pupil’s activity
Page 67-68

We are climbing Jacob's ladder,

We are climbing Jacob's ladder,
We are climbing Jacob's ladder,
Soldiers of the cross.
Every round goes higher, higher,
Every round goes higher, higher,
Every round goes higher, higher,
Soldiers of the cross.
Sinner, do you love my Jesus?
Sinner, do you love my Jesus?
Sinner, do you love my Jesus?
Soldiers of the cross.
If you love Him, why not serve Him?
If you love Him, why not serve Him?
If you love Him, why not serve Him?
Soldiers of the cross

Music notes and their rests

Pupil’s activity
Page 68-71

My grandfather's clock was too large for the shelf

So it stood ninety years on the floor
It was taller by half than the old man himself
Though it weighed not a pennyweight more
It was bought on the morn of the day that he was born
And was always his treasure and pride
But it stopped, short never to go again
When the old man died
Ninety years without slumbering
His life seconds numbering
It stopped, short never to go again
When the old man died
My grandfather said that of those he could hire
Not a servant so faithful he found
For it wasted no time and had but one desire
At the close of each week to be wound
And it kept in its place, not a frown upon its face
And its hands never hung by its side
But it stopped short, never to go again
When the old man died
It rang and alarmed in the dead of the night
An alarm that for years had been dumb
And we knew that his spirit was pluming for flight
That his hour for departure had come
Still the clock kept the time with a soft and muffled chime
As we silently stood by his side
But it stopped short, never to go again
When the old man died
Ninety years without slumbering
His life seconds numbering
It stopped short, never to go again
When the old man died

Note name Music note Rest Duration of silence

  Periods of silence in music are called rests
 Every music note has its corresponding rest
 Each rest has the same duration of silence as the corresponding music note
 Notes tell us to make a sound while a rest tells us to be silent for a given duration of
time
1. A semibreve tells us to make a sound for 4 counts
2. A semibreve rest makes us to be silent for 4 counts
3. A minim note tells us to make a sound for 2 counts
4. A minim rest tells us to be silent for 2 counts
5. A crochet note tells us to make a sound for 1 count.
6. A crochet rest tells us be silent for 1 count
7. A quaver note tells us to make a sound for half a count
8. A quaver rest tells us to be silent for half a count

Clapping rhythm involving rest

Pupil’s activity
Page 72

Aural interpretation of musical notes and their rests

Pupil’s activity
Page 72-73

Creating and performing simple rhythms

Pupil’s activity
Page 73-74
Creating rhythms using music rests

Pupil’s activity
Page 74

Performing own and others created rhythms

Pupil’s activity
Page 75-76

 Rhythms are created using music notes symbols

 There are many techniques of creating rhythms
1. We can create rhythms using repetition and variation techniques
2. We can also create rhythms using music notes and rests
Beat pattern

Pupil’s activity
Page 76-77

 Beats can be grouped into twos, threes and fours

 In a rhythm, you can identify the beat pattern by listening to the occurrence of the
strong beat.
 If the occurrence occurs after every two counts or beats in a given rhythm, then the
rhythm is said to be in a two beat pattern
 If the strong beat occurs after every three counts or beats in a given rhythm, then the
rhythm is said to be in a three beat pattern
 If the strong beat occurs after every four counts or beats in a given rhythm, then the
rhythm is said to be in a four beat pattern

Identifying beat in songs by listening

Pupil’s activity
Page 77-79

1. Songs in two beat patterns

Clap, clap, clap your hands
Clap your hands together
Clap, clap, clap your hands
Clap your hands together
Stamp, stamp stamp your feet
Stamp your feet together
Stamp, stamp stamp your feet
Stamp your feet together
Tap, tap tap your toes
Tap your toes together
Tap, tap tap your toes
Tap your toes together
Blink, blink, blink your eyes
Blink your eyes together
Blink, blink, blink your eyes
Blink your eyes together

Beep, beep, beep your nose

Beep your nose together
Beep, beep, beep your nose
Beep your nose together
Now pull, pull, pull your ears
Pull your ears together
Pull, pull, pull your ears
Pull your ears together
Reach, reach, reach the sky
Reach the sky together
Reach, reach, reach the sky
Reach the sky together
Now dig, dig, dig the ground
Dig the ground together
Dig, dig, dig the ground
Dig the ground together
Now see, see, see the moon
See the moon together
See, see, see the moon
See the moon together
Wheels, wheels, wheels
Now sing sing, sing this song
Sing this song together
Sing sing, sing this song
Sing this song together
Clap, clap, clap your hands
Clap your hands together
Clap, clap, clap your hands
Clap your hands together

2. Songs in three beat pattern

Rock a bye baby, on the tree top,

When the wind blows the cradle will rock.
When the bough breaks the cradle will fall,
And down will come baby, cradle and all.

Rock a bye baby, gently you swing,

Over the cradle, Mother will sing,
Sweet is the lullaby over your nest
That tenderly sings my baby to rest.

From the high rooftops, down to the sea

No one's as dear as baby to me
Wee little hands, eyes shiny and bright
Now sound asleep until morning light

Rock a bye baby, on the tree top,

When the wind blows the cradle will rock.
When the bough breaks the cradle will fall,
And down will come baby, cradle and all.

3. Songs in four beat pattern

This old man, he plays one

He plays one on his old drum, oh yes, yes-yes, uh-huh
Well, he plays one on his old drum, uh-huh
This old man, he plays two
He plays two on his kazoo, oh yes, yes-yes, uh-huh
He plays two on his kazoo, uh-huh
This old man, he plays three
He plays three on his ukulele, uh-huh, yes, yes, uh-huh
He plays three on his ukulele, uh huh
Hear him play!
This old man, he plays four
He play four on his guitar, oh yes (knick knack pattywack)
Yes-yes, uh-huh (give a dog a bone, knick knack pattywack, give a dog a bone)
He plays four on his guitar, uh-huh
This old man, he plays five
He plays five with his friend Clive, oh yes
Yes, yes, uh-huh
He plays five with his friend Clive, uh-huh
Take it, Clive!
Knick knack! Paddywack!
Knick knack! Paddywack!
This old man, he plays one
This old man, he plays two
This old man, he plays three
This old man, he plays four
This old man, he plays five
Knick knack! Paddywack!

Improvising short rhythms on a percussion instrument

How to improvise rhythms
1. Listen to a rhythm played by a friend or in a song. Consider this rhythm as your call
rhythm
2. Create your own response to the rhythm you have heard
3. Always maintain a steady beat when improvising rhythms
4. You can improvise rhythms on a percussion instrument such as drum

Improvising rhythms in two beat patterns

Pupil’s activity
Page 80-81

Improvising rhythms in three beat patterns

Pupil’s activity
Page 82-83

Improvising rhythms in four beat patterns

Pupil’s activity
Page 83-85
GYMNASTICS
WEAVING ON A FRAME LOOM
 Weaving technique can be used to make many functional and decorative items such as
clothes, mats and wall hangings
 Weaving is the process by which fabric is made
 Weaving is also the process of interlacing two sets of threads known as warps and
weft
 The warps are the threads that are stretched or fixed on a loom during the weaving
process
 These threads for the framework of the woven item
 The wefts are the threads interlaced over and under the wrap
 When weaving the weft can be interlaced over the wrap in various ways to form
different weave structures
 A loom is a device used in weaving

Weave structure
 a weave structure is described by how the wrap and weft threads interlace
 there are many possibilities of interlacing the weft over warp thread
 the weft may interlace over one and under one warp when weaving
 this type of weave structure is known as plain weave, simple weave or 1/1 weave
 the weft can also interlace over two and under two warp (2/2), over one and under
three (½) and many other ways

Twill weave (2/2)

 A twill weave is a weave structure where diagonal lines are created on the woven item
 In a 2/2 twill weave the weft interlace over two then under two wraps and also creates
diagonal lines on the weave item.
 A weave structure can be represented in a diagram format showing the weft and wrap
interlace
 When representing a weave structure in a diagram, the shade areas represent the areas
where the weft interlaced over the warp
 The unshaded areas represented where the weft goes under the warp


The diagram above show 2/2 twill weave, the row 1 shows that the weft interlaces over 2 then
under 2 over 2, under 2 and over 2

LOOM
 A loom is a device used for weaving
 It is spread and hold the warp threads firmly in place making it easier to interlace the
weft over the warp
  This helps spread up the weaving process
 There are many types of looms
1. Dowel looms
2. Frame loom
 Functions of a loom are
1. Stretching and holding the warp firmly during weaving
2. Making it easier for interlacing the weft over the warp
3. Enabling the weaver in detecting and avoiding creating defects when weaving

Making a frame loom using mitre joint

A frame loom is made from four pieces of timber nailed into two opposite sides of the frame
Rows of nails are then fixed at the opposite sides of the frame
The nails are placed in such a way that at least ½cm is left sticking out

Materials and tools need to make a frame loom

1. Nails
2. Four pieces of timber
3. Saw
4. Sandpaper
5. Wood glue
6. Ruler or meter rule
7. Pencil
8. Tri square or protractor

Pupil’s activity
Page118-119

Procedure of making a frame loom

1. Measure and cut two set of timber of the same thickness. Two can be 90cm long and
the other two 30 cm long
2. Measure and mark each of the ends of the pieces of wood at an angle of 45º
3. Using a saw, cut along the lines drawn at angle of 45º
4. Check that the joints are aligned properly and frame has 90º angles by trying to
assemble the pieces of timber
5. Apply wood glue on the joints and join the pieces of wood
6. Use a hammer to fix small nails on the corners to make a mitre joint frame
7. Using a ruler and a pencil, measure and make marks ½cm apart on two opposite sides
of the frame loom. Ensure that the markings on the two sides are aligned
8. Use a hammer to fix small nails on markings made. Make sure that the nails are fixed
in such a way that about ½cm is sticking out from the wood. The row of nails should
be fixed on two opposite sides of the frame loom

Weaving materials
The materials for weaving a scarf using 2/2 twill should be flexible
These materials can be bought or made by recycling old clothes and sweaters
Examples of weaving materials
1. Woolen, cotton or acrylic threads
2. Cut out strips of old clothes
 3. Recycled threads from old sweaters

Pupil’s activity
Page 121
Procedure of making weaving materials from old clothes and sweater
1. Identify old plain clothes
2. Cut the clothes into thin strips
3. Cut out strips
4. Knot the cut out pieces to form one long strip

Tools needed for weaving

1. Shuttle
A shuttle is a tool used in interlacing the weft over and under the warp
The weft thread is wound on the shuttle and then interlaced over under the warp.
A shuttle can be made from a wood, stiff paper or plastics.
A stick can also be used as a shuttle
2. Beater
Beater is a tool used for compacting weft threads when weaving
For this activity you may use a comb or an improvised cut out as a beater

Warping a frame loom

The process of fixing warp on a loom is known as warping
When warping it is important to make sure that the warp threads are fairly tight and of
uniform tension
You can test the tension of the warp using the palm of your hands to feel for uniformity

Pupil’s activity
Page 123
1. Tie the thread tightly on the first nail on i=one side of the loom
2. Pull the thread to the first nail on the opposite side of the loom, wind it around the
second nail at the bottom. Continue until the warp covers the loom
3. Tie the thread on the last nail on the loom

Weaving using a frame loom

 When weaving, it is important to maintain consistency of the wefts for your work to
be neat
 More than one colour of the weft can be used to make the woven item attractive
 There are 4 basic steps in weaving using a frame loom. These are
1. Fixing warp threads on a loom. This process is know as warping the loom
It is important to ensure even tension of the threads during warping.
The tension and tightness of warp threads can be tested by feeling them with
the palm of your hands during the warping process
If any warp thread feels loose then it should be undone and pulled tightly to be
of the same tension as the rest
2. Interlace the weft threads over and under the warp according to the weave
structure
3. Press the weft threads close together to compact them.
 The process of compacting weft thread is known as beating. For this type of
loom, the beating can be done using fingers or a comb.
4. Finishing

Pupil’s activity
Page 124

Weaving defects
1. Waisting
Waisting is a defect created when the weft is pulled too tightly during the weaving process
To prevent waisting, leave an allowance on the weft then interlacing the threads before
beating each line
2. Sagging
Is a defect formed when the warps are loose with uneven tension
To prevent this defect, ensure that the wafts are tight and have uniform tension
The tension and tightness of warp threads can be tested by feeling them with the palm of your
hands during the warping process

Finishing techniques
After removing the scarf from the loom, employ finishing techniques to make it more
appealing and functional
a. Knotting
b. Tasseling
Finishing a woven is essential for the following reasons
1. To prevent the treads from unraveling when removed from the loom
2. To make the woven article appealing and presentable
3. To make the woven work functional

KNOTTING
 Start cutting the wraps yarn two loops at a time from the bottom of the frame giving
you four threads
 Tie these in a knot and leave a bit of loosely hanging threads known as a fridge,
continue cutting and knotting two loops at a time until the whole edge is complete
 Then repeat the same process for the upper side

TASSELING
A tassel is a hanging decoration used on a weave that is made up of a group of hanging
threads held together at one end
1. Remove the weave from the loom. Cut the warps and tie them into loops and tie them
into loops
2. Cut several threads of the same size
3. Put them together to create a loop
4. Put this loop through the loops in the scarf
5. Secure the loop by pulling
6. Insert the tassels. you can use different colours to make it more appealing

Elbow stand
This is an inverted balance which uses the forearms as the base for the balance
Safety instructions
1. Warm up before performing any gymnastics activity
2. Perform the activities in an open flat and safe place
3. Have proper sports attire, loose fitting and comfortable clothing
4. You can participate with a partner for support
5. If you lose balance while in the inverted position, quickly bring one or both feet to the
ground underneath you, if you are falling backwards.
6. Do not hold the elbow stand balance for more than 30 seconds.

Warm up activities
Jog and jump
Jog on the spot for 30 seconds. Then jump on the stop for 30 seconds.

Bear crawl
1. Bend all four limbs
2. Move forward by moving the right hand and the left leg at the same time in a crawling
motion. The knees should not touch the ground.
3. Alternate side immediately after weight on the right hand and left leg, moving the left
hand and right leg forward.
4. Continue in a crawling motion, moving forward 10 steps.

Side stretch
1. In a standing position, clasp your hands above your head.
2. Gently lean your body to one side
3. Hold 10 seconds
4. Switch sides
Cool down activity
Cross body shoulder stretch
1. Stand with your feet shoulder-width apart
2. Grab one arm above your elbow with your opposite hand. Pull it across your body
towards your chest until you feel a stretch in your shoulder.
3. Keep your elbow below shoulder height
4. Hold for at least 30 seconds and then repeat on the other side

Learning points for the elbow stand

a. Place your forearms on the floor with elbows shoulder width apart
b. Your forearms should be parallel to each other.
c. The forearms should be 25 centimetres apart. This will provide good stability.
d. Bring your shoulders forward so that they are directly above the elbows
e. Move the feet up as close to the elbows as possible and get on the balls of your feet to
prepare to push off the floor
f. To push of the floor, swing one leg up behind lifting your body into a vertical position
g. Allow your leg to come behind the first one
h. Once inverted, your head should be aligned with the rest of the body, positioned
between the forearms with your eyes looking slightly beyond the fingers.
i. Extend both of your legs up so that your body is completely upright, not leaning back
or forward
j. Straighten the knees and point the toes for proper alignment.
k. Hold the pose for 30 seconds
l. The more straight your body is, the easier it is to balance.

Dive forward roll into squat stand

Dive forward roll into squat stand is a gymnastics action that begins with a horizontal
forward diving action.
The dive action results in a forward roll which finishes with a squat stand.
The roll can be used to recover from a fall safely.

Safety instructions
1. Perform the activities in an open flat and safe place
2. Have proper attire, loose fitting and comfortable clothing
3. Observe safety precautions when practising the dive forward roll into squat stand.

Warm up activities
Flying like an aeroplane within a marked area. Run with arms at the side. Moving like an
aeroplane.

Arm circles
Move your arms in big forward circles for 30 seconds. Then backwards for 30 seconds.
Walking toe touch
1. Start from a standing position
2. Kick your right leg straight out in front of you and touch the toes with the left hand.
Do not lean forward but keep the back straight.
3. Alternate the legs as you walk forward for about 10 metres
4. Cool down activity.
Seated twist
1. Start from a sitting position with legs stretched out in front of you.
2. Bend right leg and cross it over the left leg, placing right foot on the floor near the
knee of the left leg.
3. Twist from the hips and place left elbow on the outside of the right knee.
4. Repeat on the other side.

Learning points for dive forward roll into squat stand

a. Take a run and gradually increasing speed.
b. Hit off the floor with legs tight and feet together. Jump into the air with a straight
body.
c. At the moment of hitting the floor, the arms do a back circle and swing upwards. This
arm motion will help you to increase vertical height.
d. Arch your body slightly while kicking the legs backwards.
e. Keep the chin up with the arms slightly bent out to the side.
f. Reach the floor in a nearly vertical position.
g. Bent your arms slightly, roll forward and get into a tuck position.
h. Stretch the hands out straight from the body and bend the legs to place the feet on the
ground.
i. Roll to the feet into a squat position. From the squat position stand up with the arms
outstretched above the head.

Fence vault
A fence vault is a gymnastic that allows a gymnast to jump over an object.
The skill can be used to jump over an obstacle such as a fence, gate or wall.

Safety precautions
1. Do some warm up before performing any gymnastics activity.
2. Use appropriate vaulting equipment and observe safety.
3. Always perform a vaulting activity under supervision of an adult.

Warm up activities
Jump rope
Skip an imaginary rope for 30 seconds. Rest and then repeat.
Frog jumps
Jump like a frog. Touch the ground and reach for the sky during each jump.
Knees to chest stretch
1. Lie on your back
2. Bring one knee to your chest
3. Hold it in position with your hands for 20 seconds.
4. Switch the knees
Cool down activity
Wide toe touch
1. Stand with your feet wider than shoulder width apart and arms held out to your sides
2. Swing right arm and tap left toes
3. Return to starting position and repeat on the other side.
4. Continue to alternate and count up to 10 times
Learning points for the fence vault
1. Approach the vaulting box with a short run
2. Jump and place the nearest hand on top of the vault box
3. Swing your leg which is nearer the box over the box. Bring the other leg to join the
first leg.
4. As your legs go sideways over the box, transfer your weight from one hand to the
other.
5. Keep your legs straight and together as they pass over the box.
6. Keep your legs straight and together as they pass over the box.
7. Land softly with knees slightly bent or in a standing position.

Partner balance
Partner balances are gymnastics moves that require the participants to work in pairs or in
threes

Safety instructions
1. Have proper attire. Tightly fitting and comfortable clothing.
2. Wear gymnastics shoes or be barefooted.
3. Mount very carefully and slowly without hurting the base partner
4. Practise using mats or padded areas.
5. Partners should be similar size and weight. If a situation arises where the learners are
unevenly sized, the smaller learner should always be the top.
6. Partners should warm up before engaging in any physical activity.
7. Partners should follow the teacher’s instructions or signals.
8. Partners performing the pyramids should know their roles. They should use verbal
communication to share information.
9. Partners should perform as a team and trust each other as they are responsible for each
other.
10. When standing on a partner during the partner, step on the shoulders, knees or the
bottoms. Do not step on the backbone to avoid injuring the partner.

Warm up activities
Butt kicks
1. Stand with your feet shoulder width apart, with your arms at your side.
2. Slowly bring your right heel to your bottom and then bring the foot down
3. Slowly bring your left heel to your bottom
4. Perform this motion a few more times. Alternating the heels. Gradually increase
speed.

Side reach
1. Stand with your feet wider than shoulder feet apart
2. Learn your body to the right side, bending your right knee slightly. At the same time,
stretch your left arm to the sky in a diagonal manner, in line with the rest of the body.
3. Stretch your left leg long
4. Repeat on the opposite side. Alternate and 5 repetitions.

Torso twists
 1. Stand tall with shoulder width apart and hands resting on your waist
- Twist from side to side about 90 degrees
- Move with the shoulder and hold the position for a few seconds at each
side

Cool down activities

Arm stretch: breathe in slowly while stretching the arms out and up and breathe out slowly as
the arms are lowered

Learning points for partner balances

Partner balance can be performed either in a inverted or upright position.
Partners must use counter balance through pushing or leaning or counter tension pulling to
maintain position

Counter balance
A counter balance is a balance where both you and your partner are doing an equal amount of
work to hold each other up.
If either of you let go, then you both fall down.
In counter balance the body weight and force are applied by each partner equally towards
each other using a variety of body parts as points of contact.
The balances enable you to perform friendships and do develop both partner and team work
skills

Counter tension
In counter tension, you and your partner support each other’s weght by pulling against each
other.

Six action sequence

1. Dive roll
2. Forward roll
3. Elbow stand
4. Backward roll
5. Hand balance/hand walk
6. Hand balance

Safety instructions
1. Warm up before performing any gymnastics activity
2. Have proper attire, loose fitting and comfortable clothing
3. Observe safety

Warm up activities
Lateral shuttle steps
1. Stand with feet shoulder width apart
2. Make a lateral step to the right with your right foot. Carry your left foot to where your
right foot was.
3. Then quickly step your left foot to the left and carry your right foot over to where
your left foot was
4. Repeat this exercise for the desired number of repetitions
Arm rotation
1. Extend your arms out to the side and keep your palms facing down.
2. Keep your arms straight and rotate them in backward circles
3. After twenty seconds, rotate your arms in forward circles

Knee bends
1. Stand your feet shoulder width apart and your hands stretched out
2. Lowe yourself by bending your knees
3. Come up and repeat five times

Cool down activities

Body stretch
1. Sit with legs out in front
2. Gently stretch to the right and then back, forward and then back, to the left and then
back.

Learning points for six action sequence

1. A six action sequence involves six gymnastics skills.
2. The six skills are performed one after another in a smooth and coordinated flow.
For example – swan balance, astride vault- forward roll round off-hand balance

MELODY
Major scale in sol-fa syllables
Major scale is formed by the sol-fa syllables d, r, m, f, s, l, t, d1
A major scale consists of 8 sol-fa syllables

 Solfa syllables are used to name different pitches.

 The names of the first 8 syllabes are d, r, m, f, s, l, t, d
 We singing the pitches d, r, m, s, l, t, d going up and d, t, l ,s, m, r, d going down, the
sounds gives us a ladder called sol-fa ladder
 A solfa ladder is made up of sounds of different pitches moving up and down
 Singing from the lowest to the highest note is called ascending order(upwards)
 Singing the solfa from the highest note to the lowest is called descending order
( downwards)
 Sol-fa pitches l, t, d1 are higher in pitch than d, r, m, f and s
 The apostrophe placed after the note shows that it is higher in pitch
 The first and the eight sol-fa syllables are repeated. The eighth sol-fa syllables is
higher in pitch than the first sol-fa syllable, that is why it has an apostrophe after it.
 The major scale can be sang or played ascending and descending
 Different sol-fa syllables are combined to form tunes or melodies

Sol-fa hand signs

Pupil’s activity
Page 87-90
  We can also recognise syllables by using hand signs

Aural recognition of sol-fa sounds

Pupil’s activity
Page 89-91

 Sol-fa pitches in songs can be recognised by the ear

 In order to recognise sol-fa syllables accurately you need to train your ear
 Listen to songs repeatedly so that you become familiar with it
 As you hum the tune of the song relate the sounds to those of the major scale
 The skill of recognising sol-fa syllables in songs is learnt through constant practise

Joy to the world, the Lord is come

Let earth receive her King
Let every heart prepare Him room
And heaven and nature sing
And heaven and nature sing
And heaven, and heaven and nature sing
Joy to the world, the Savior reigns
Let all their songs employ
While fields and floods
Rocks, hills and plains
Repeat the sounding joy
Repeat the sounding joy
Repeat, repeat the sounding joy
Here we go
Joy, unspeakable joy
An overflowing well
No tongue can tell
Joy, unspeakable joy
It rises in my soul
Never lets me go
He rules the world, with truth and grace
And makes the nations prove
The glories of His righteousness
And wonders of His love
And wonders of His love
And wonders, wonders of His love
Joy!
Joy, unspeakable joy
An overflowing well
No tongue can tell
Joy, unspeakable joy
It rises in my soul
Never lets me go

Creating short melodies

Creating by exact repetition

Pupil’s activity
Page 91-92

 Melodies can be created by repeating sol-fa syllables and rhythms without changing
anything. This method is called exact repetition
 The first part of the melody is called an idea. The second part, which is repeat of the
first is called the answer
 In this method, there exist exact similarity between the answer and the idea

Creating by changing the sol-fa syllables

Pupil’s activity
Page 93-94

 Melodies can be created by using the same rhythm but changing the sol-fa syllables
 Melodies can also be created by keeping the sol-fa syllables but changing the rhythm
 This method is called varied repetition
 The answer is similar to the idea but with a slight variations
Performing created melodies
By singing

Pupil’s activities
Page 94-95

 Melodies can be created and performed through singing

 When singing melodies, ensure that you
1. Perform the rhythms accurately
2. Maintain a steady beat
3. Sing each of the pitches correctly
4. Maintain steady flow
5. Take a deep breath before starting and sing to the end
6. Have an appropriate and comfortable posture

Performing created melodies using a descant recorder

Pupil’s activity
Page 95-96

 Melodies can be created and performed on a descant recorder

 When performing melodies on the descant recorder, ensure that
1. You use the correct finger positions for each of the notes
2. The tone produced on the descant recorder is good
3. You exercise good breath control to enable you to play through to the end without
stopping
4. You observe hygiene to prevent infections
5. The posture used is the correct one

Appreciation of melodies
Create simple melodies and perform them for entertainment
Guide one another to play the melodies on a descant recorder
Play the melodies during school functions and national days