Caywoodelementaryunit

Call and Response
Elementary Unit Plan

Second Grade
Logan Caywood
Spring 2017
1
Table of Contents
Introduction to the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Unit Assessments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Pre-Assessment
Post-Assessment
Unit Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Prepare
Present
Practice
Lesson Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Prepare Lesson 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Prepare Lesson 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Prepare Lesson 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Present Lesson 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Practice Lesson 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Practice Lesson 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Practice Lesson 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Practice Lesson 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Practice Lesson 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Practice Lesson 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
2
Introduction to the Unit

The focus of this elementary unit is concept of call and response form. This musical concept
will be learned by second grade students. According to the Manhattan-Ogden USD 383 Scope
and Sequence, second grade students will have previously have learned simple forms such as
AB, ABA, and have been introduced to the concept of phrases, introduction, and
same/different in songs. Students have also explored with harmony and accompaniment, such
as unpitched percussion, bordun and pedal accompaniment on repetitive rhythms, and speech
accompaniment. Students have developed skills in using a major scale, reading simple eighth
note rhythms (4 eighth notes, or 2 eighth notes and 1 quarter note), identifying the steady beat,
and have begun to explore dance steps. The main goal of the unit is to continue to develop
students musical knowledge, using prior knowledge to aid in their growth and understanding
of a new musical concept in call and response.
Call and response is a musical form concept that contains two sections or phrases within the
music. In many cases, the first musical idea will be identified as the call and the reply or
answer to that first idea will be identified as the response. Call and response is sometimes
referred to as question and answer, containing a similar basis, but question and answer can
lead one to believe that the music is only using this form if the lyrics are only asking a
question. Using questions and answers are a great way to lead in to the concept of call and
response.
In this unit plan, second grade students will be introduced to the concept through a variety of
musical experiences. The concept will be presented to students in three sets of lessons. First,
students will experience the Prepare stage, followed by the Present stage, and the Practice
stage. In the Unit Outline, I will further discuss the strategies and focus of each of these three
stages. Students will learn and perform music from a number of cultures and genres, including
music from the Ewe people of Ghana, the Georgia Sea Island Singers, and rock music from
James Brown. In these songs, students will work with both pitched and unpitched percussion
instruments, like egg shakers, tambourines, xylophones, and body percussion. Within the
variety of lessons, there are many opportunities for cross-curricular connections to be made.
These connections will take place from aiding in the development of students reading and
writing skills, visual art, history and social studies, and allowing students to work in
cooperative environments and groups. Allowing students to explore and experience musical
from different cultures and time periods can allow students to better communicate music of
their own cultures.
3
Unit Assessments
Pre-Assessment
In this unit, the purpose of the pre-assessment is to ensure that students are proficient in
their understanding and use of prior concepts, allowing them to move on to the new concept of
call and response. For pre-assessment, the teacher will test the students ability to move, by
incorporating a simple folk dance (that uses a call and response form), including simple forward
and backward movement, as well as providing students with rhythm sheets to play on unpitched
percussion, and to chant as a class. These rhythm sheets will include eighth note and quarter note
combinations, as well as quarter rests, half notes and half rests. In these activities, the teacher
will observe and listen for at least 85% accuracy the students ability to accurately perform
movements, read and play rhythms, maintain a consistent and accurate tempo. If students are
proficient in these concepts, the teacher will move on to new ideas in call and response, but can
revisit concepts before introducing new rhythms and movements in the call and response
lessons.
Post-Assessment
In this first post-assessment, the teacher will provide students with opportunities to
compose their own call and response. The teacher will provide a rhythmic outline for students,
which can consist of a specific number of measures, and note values that students are able to
use. The composition will be a chant, not a song, focusing on students ability to compose
rhythms that will work together with call and response phrases that they have created. This
experience will allow the teacher to observe and assess each students individual understanding
of the rhythms and note values, as well as to observe their ability to create call and response text
and phrases.
The second assessment will focus on melodic improvisation. The melodic improvisation
will ask for students to create a call melody that can be repeated, as well as to create a response
melody that is contrasting from the call that was created, and can be repeated as well. This
activity will be guided, and parameters for notes and length will be provided to students (ex. 4
calls of one measure in 4/4, and four responses of two measures in 4/4). This post-assessment
activity allows the teacher to view and listen to each individuals ability to create an
improvisatory line, to play their own melody, and to repeat the line several times. The students
will also be asked to indicate their call and response sections within their piece.
4
Unit Outline
Prepare
The Prepare lessons will serve as the first introduction to the new concept of call and
response. In these three lessons, students will be experiencing the concept without knowing the
name of the concept, or seeing notation of what they are doing. This allows the students to be
immersed in the music, creating a more exploratory experience in the beginning stage. The
teacher will still focus on the new concept, and students understanding of the concept, without
labelling the concept for students.
Selections
1. Nana, Thread Needle
Source: Step It Down by Bessie Jones & Bess Hawes
2. Brown Bear, Brown Bear, What Do You See?"
Source: Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr.
3. I Got You (I Feel Good)
Source: James Brown, 1964
Present
The Present lesson will serve as the single lesson where the teacher will address the new
concept. The teacher will name and define the concept of call and response for students.
Standard notation is not mandatory during the lesson, but the teacher may address the name of
the form and example using non-standard notation, or no notation whatsoever. The teacher will
use the one lesson, after introducing the concept, to allow students to absorb and implement the
new idea.
Selections
Practice
In the final Practice stage, students will take the newly identified concept of call and
response, and build upon their understanding and implementation of the concept. In these
lessons, standard and non-standard notation, as well as a variety of musics will be used to
provide students with assorted musical experiences. The six lessons will allow students to
continue the development of their knowledge and skills, and will provide repetition of similar
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lessons and activities. These activities include composition, improvisation, movement, and
co-working, all working towards further implementation of call and response.
Selections
1. I Got You (I Feel Good)
Source: James Brown, 1964
2. Nana, Thread Needle
3. John the Rabbit
Source: Lullabies to Circle Games by Jo Kirk
4. Steal Up, Young Lady
6. Inspiration drawn from Ewe Drumming
Source: https://youtu.be/KTc9AsU98uI?t=25
6
Lesson Plans
Prepare Lesson 1
Nana, Thread Needle
Call and Response
2nd Grade
Standard Addressed:
MU:Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality
(such as major or minor) and meter (such as duple or triple)
MU:Cr3.1.2a Interpret & apply personal, peer, and teacher feedback to revise personal
music.
MU: Pr5.1.2a Apply established criteria to judge the accuracy, expressiveness, and
effectiveness of performances.
MU:Pr6.1.2a Perform music for a specific purpose with expression and technical
accuracy.
MU:Re8.1.2a Demonstrate knowledge of music concepts and how they support
creators/performers expressive intent.
Activity Objectives:
Students will respond to the call with accurate text, rhythms, and pitches.
Students will recognize the difference in the parts of the teachers call, and their response.
Materials:
Bessie Joness Nana, Thread Needle
Song
Accompanying Instrument
https://sonichits.com/video/Bessie_Jones/Nana_Thread_Needle
https://www.youtube.com/watch?v=3_TD10AfExg
Lesson Sequence:
Warm Up:
7
Entry: T will begin by singing through Nana, Thread Needle once, accompanying on either
guitar, ukulele, or piano.
Process:
T will ask Ss if any of them had heard that piece before, as well as what it was about, and
where they think it may be from.
T will provide Ss with some background to the song, and the author.
T can provide pictures of the author, a map, and other videos from the Sea Island
Singers.
Bessie Jones was born in the town of Dawson in Southern, Georgia, a
small, black farming community. Jones was the last active member of the
original Georgia Sea Island Singers, and one of the foremost folk artists in
the United States. Jones folk tunes are drawn from childrens games and
activities collected with origins in Africa and the slavery-era American
south. The Georgia Sea Island Singers draw influence from the Gullah
culture of Georgia and South Carolina. The Gullah people sung with an
English-based Sea Island creole.
T should play a video recording of the original author singing the piece
T should ask Ss to listen for what instruments are in the recording, and
what differences they can hear from the T version ATTENTIVE
LISTENING
T can play a video of another Sea Island Singers song, and compare and
ask questions once again.
T will sing through the song one more time, inviting Ss to pat along to the beat on their
laps while listening. ENGAGED LISTENING
T will then discuss with Ss some of the words in the song that repeated multiple times
(Thread needle) ENACTIVE LISTENING
T will then continue the discussion, beginning to recognize the different sections
with Ss
The first section (that the text changes over time)
The second section (Thread Needle)
T will teach the response section to Ss of the song, then incorporating the T call sections.
This may take several repetitions of the sections. CREATING
T will then assign groups of 4 Ss, and have them spread out in the room
T will then begin to teach the groups a dance to accompany the song that they
learned
Groups of 4 will hold hands, moving in a circling during the call. During
the response line Thread needle, two Ss from opposite sides of their
group will switch sides, and the process will continue. During the next
response, the other two Ss will switch sides of the circle.
This activity will need to take place at a bit of a slower tempo, with
T singing both parts. After several repetitions, Ss should become
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more comfortable with the movements and will join in singing the
response.
T should then discuss how Ss just danced a dance that
would be similar to a play party song, or other childrens
games. INTEGRATING
The lesson will conclude with the whole class participating in the dance and song once
more, with Ss singing, and T playing the accompaniment
Assessment:
1. Observe students ability to recognize the different sections of the music (the call
and the response)
2. Listen for students ability to accurately perform the melody and rhythm of the
response.
3. Observe students ability to move and dance while singing the piece.
4. Note struggles that students may have faced with identifying individual notes, and
rhythms.
Materials Continued:
Song Analysis Table:

Tone Set D,M, Low T, Low L, Low S
Range M6th
Rhythm Set Half Note, Quarter Note, Two Eighth Notes
Form C1, R1, C1, R1, C2, R1, C3, R1, C4, R1
A Songs Pedagogical Use Table:

Melody Introduction of Ti
Rhythm Pickup quarter note
Other Differences in responses of thread needle
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Prepare Lesson 2
Brown Bear, Brown Bear, What Do You See?
Call and Response
2nd Grade
Standard Addressed:
music.
accuracy.
Students will create an animal, real or imaginary that will be used in responses during the
song.
Students will improvise their responses of their animals, using the notes previously sung.
Students will recognize the difference in the parts of the teachers question, and their
response.
Melodically and in the text
Materials:
Bill Martin Jr. and Eric Carles Brown Bear, Brown Bear, What Do You See?
Book
Song
Markers, Colored Pencils, Crayons
Paper
Lesson Sequence:
Warm Up:
10
Entry: T will begin by telling students that were going to start today with a story that he/she
really enjoys reading. T will ask Ss to consider several things in the story:
1. What are some of the animals in the story?
2. Who is asking the animals what they see?
3. Are there any other animals we could see in this book?
Process:
T will ask Ss if any of them have read this book (or had it read to them) before, then read
the book once through to the Ss.
T will then ask the Ss the guiding questions again, getting a few of the responses.
T will provide Ss with some background to the song, and the author.
T can provide pictures of the author, a Kansas map, and other books hes written.
This book is Brown Bear, Brown Bear, What Do You See and was
written by a man named Bill Martin. Can anyone guess where Bill is
from? Bill is actually from Kansas! T should then show a map of our
current location, and where Hiawatha is in relation.
Bill was born in 1916 and didnt learn to read until college. How lucky are
we that we have classes that we all get to read everyday, even in music?
Bill wrote this book in 30 minutes!
T can read through part of the book again, if Ss had missed any animals, or needed
another repetition of the text.
T will then sing through the song as a model
Ss should be invited to tap along during the model.
This can be repeated
T can invite Ss if theyd like to learn the part to join in on
T will then teach Ss the response lines
T sings Children, Children, what do you see? and Ss will respond with the
animal on the page
This step can be repeated with Ss audiating, and then singing again multiple times
T will then divide Ss into small groups of 3 or in pairs and direct them to create or draw
an animal.
T should provide a model of their own animal (ex. Green Mouse) for Ss to view.
This may help Ss brainstorm.
T will provide groups with paper and writing utensils to create their animal.
Allow 3-6 minutes for groups to create and draw their animal.
T will then have each group share with their peers what their animal is.
Ss will gain an introduction to what their friends have made, which may be
similar or completely different from their own animal.
T will then review the song response with Ss, with an animal from the book.
Next, the T can pick a group to start with, and let the class sing the song with that animal
now serving as the animal in the response.
(ex. Children, children, what do you see? I see a pink bird looking at me.)
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THIS MAY TAKE SEVERAL REPETITIONS OF EACH ANIMAL, TO

BECOME COMFORTABLE WITH THE DIFFERENCES IN EACH
PHRASE.
T should move to the next groups animal when they feel that Ss are comfortable
with the previous response.
The lesson will conclude with each group sharing their animal, serving as the model
animal in the response. T should collect the animals back, and inform Ss that their animal
creations will return in the next lesson.
Assessment:
and the response)
2. Observe students creative process in developing a new animal, and if they have
considerations on how it would work in the music.
response.
a. Listen for consistent melody even when the new animals are implemented.
changing of the text.

Tone Set S, M, L, D
Range 6th
Rhythm Set Quarter note, two eighth notes, quarter rests
Form C1, R1
Melody Prepare low Do
Rhythm Duple meter, eighth/quarter patterns
Other Language arts connections, art connections, partner with LA
teachers to do class book, reading activities, songwriting
12
Prepare Lesson 3
I Got You (I Feel Good)
Call and Response
2nd Grade
Standard Addressed:
MU:Cr1.1.2a Improvise rhythmic & melodic patterns and musical ideas for a specific
purpose
music.
MU:Pr4.3.2a Demonstrate an understanding of expressive qualities (such as dynamics
and tempo_ and how creators use them to convey expressive intent.
accuracy.
Students will improvise during the song, in a response to the text that was just spoken,
using a variety of instruments.
Students will improvise rhythmic and melodic responses to phrases.
Students will recognize the differences of just the voice, and just the instruments, playing
and moving during those select times
Materials:
James Browns I Got You (I Feel Good)
Variety of percussion instruments
Xylophone
Drums
Shakers
Tambourines
Etc.
Lesson Sequence:
Warm Up:
Entry: T will begin by telling students that were going to start by listening to a song, and will
provide several guiding questions.
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1. What is the mood of this song?

2. What are some of the words that are being said?
3. Are the words being said at the same time as the instruments are being played?
Process:
T will play a portion of the song, with Ss having the guiding questions in mind.
T will ask Ss if any of them have heard that song before.
T will provide Ss with some background to the song, and the performer.
T can provide pictures of James Brown, a map, and the album cover
This song is called I Got You (I Feel Good) by James Brown. He was
born in the 1930s in Georgia.
T should discuss what the environment would have been like for an
African American in Georgia in the 1930s with segregation and the Great
Depression.
James Brown was known as the Hardest Working Man in Show
Business, (T can then ask Ss what they think that name means, and why
they think he might have received that nickname) In 15 years, he had 17 #1
songs. (Ss may need a bit of explanation there) and toured for concerts 335
nights a year. (connects with hardest working man, T can ask Ss how many
days are in a year)
T will discuss that the lyrics were I feel good. I knew that I would. and will discuss the
mood that accompanied the song.
T will lead Ss in listening to the piece again, but this time raising their hand when the
words are said, and lowering them when just the instruments are played. (Question 3)
This can be done several times
T will then have Ss spread out about the room, with enough space around them not to
bump into anyone or anything.
T will instruct Ss to dance in a way that they might if they are feeling good like
the song says.
T will play a portion of the recording.
Next, T will instruct Ss to do their dance again, but only when the instruments are played,
and to freeze when the words are said.
(This allows students to further recognize and respond to the response)
T will then have Ss listen to the small instrumental break, and instruct them to just dance
freely again during that point.
Ss will then be instructed to return to their places and be seated.
T will then ask Ss what else they could do instead of dancing during the instrumental
portion of the piece. (ex. What are other happy things we could do in this room, besides
the dancing we just did?)
(T may have to lead Ss to the answer of adding instruments.)
Next, T will move into Ss beginning to play the response during the instrumental part.
(This is an introduction to the instruments that can be used later in the lesson).
14
T will have Ss use their drumsticks (arms and hands) to play on the ground in front of
them or on their laps. This playing will take place during the portion of the song that the
students just danced and moved to.
(This continues to drive in the two differences of the portions of the selection)
The song can be played through multiple times if necessary with Ss drumming in
front of them.
T can model on a drum or tambourine in front of the class, while they play on the
floor.
T can ask what types of instruments Ss may use that match the mood.
Students may name a variety, but T can guide it towards shakers, bells, and
drums.
Ss will then be given instruments to play
T will instruct Ss to keep the instruments sitting in front of them, but silent
T will ask Ss when they danced during the song, and remind them to play during those
times, including the instrumental break.2
Ss will then be instructed to grab a hold of their instruments, and perform their fills
during (the response) of the song, all together.
The full group will perform several times, repeating for comfortability
Next, T can divide Ss into small groups (of like instruments) and have Ss play through in
smaller groups
This will take several repetitions to get through the whole class
The lesson can conclude with one more large group performance of the piece, without T.
Assessment:
and the response)
2. Observe students movement and actions that take place in the beginning
exercises.
3. Assess students ability to create and improvisatory sections in the music.
4. Note struggles that students may have faced with identifying when or how long to
play.
15
Materials continued:

Tone Set L, D, Me, Mi, F, S
Range 7th
Rhythm Set Eigth note, Quarter note, two eighth notes, tied eighth note to
quarter, tied eighth note to eighth note, eighth rest, quarter rest
Form C1, R1, C1, R1, C1, R2, C1, R1, C3, R3, C3, R3 (repeat)
Melody Preparing Do, Ti, Do relationship.
Rhythm Duple meter, eighth/quarter patterns, ties
Other History connection,, art connections, improvisation, dance and
movement
16
Present Lesson 1
Call and Response
2nd Grade
Standard Addressed:
music.
accuracy.
Students will create an animal, real or imaginary that will be used in responses during the
song.
Students will recognize the difference in the parts of the teachers question, and their
response.
Melodically and in the text
Materials:
Book
Song
Paper
Colored, taped cards
Lesson Sequence:
Warm Up:
17
Entry:
T will begin by saying the warm up once or twice through with Ss.
Process:
T will begin by using the second verse of the warm up, to lead into the call and
response introduction. T will begin by speaking through the second verse once more,
and asking Ss what the teacher said. (T may have to lead them to the word
question/call) T will ask what they said, and then what followed it (S answer/response)
T may have to speak it through again with Ss, but this is a fairly clear example as
the T actually asks a question to the Ss.
T will ask Ss if they remember what was sung last class period.
T will review the piece with Ss, singing through the song using the Ss created animals
for responses
The Ss illustrated papers can serve in place of the book here.
T can flip through different animal cards to use as visuals
T will then ask Ss if there are any similarities between the Warm Up, and the song they
had just sung.
Ss may mention the instruments, but should be led towards addressing the call
and response portions
T should point out these two sections by posting the words on the board, as well
as singing through the pieces one more time.
T should write the two songs separately, and leave space between the call
and response portions, to clarify.
T will then begin to describe to Ss the use of C&R in these two songs.
Both of these songs help us out because in the first lines, they actually both ask a
question (How are you today, and brown bear, what do you see?) This part will actually
be called the question. When someone asks us a question, what do we usually do next?
(answer) The polite thing to do is answer the question. So in these two songs, what would
our answer be? (were doing great, and I see a ____). These two songs do a great job
of providing us with a question, followed right after by an answer.
T can then ask Ss to place a green taped card where they think the question/call is in
Brown Bear and have other Ss to place a red taped card where they believe the
answer/response is in the piece.
T can ask those who did not place cards to raise their hands if they agree, and ask
why they agree. T should also ask if Ss disagree, and why they disagree.
Can we sing through Brown Bear again, and can I have you raise 1 hand during the
question (green card), and both hands during the answer (red card) when you sing it?
T should sing through the song doing the activity with Ss.
Songs like this, with a question and answer are called call and response songs. So in the
same way when someone asks us a question we answer, when someone calls (literally or
getting our attention) what could we call what we should do next? (response).
The lesson will conclude by splitting the class in two, singing Brown Bear T should
have one group sing the call, and the other half sing the response, while the teacher
provides the images.
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Assessment:
and the response)
response.
a. Listen for consistent melody even when the new animals are implemented.
changing of the text.

Tone Set S, M, L, D
Range 6th
Form C1, R1
teachers to do class book, reading activities, songwriting
19
Practice Lesson 1
I Feel Good
Call and Response
2nd Grade
Standard Addressed:
music.
MU:Pr4.3.2a Demonstrate an understanding of expressive qualities (such as dynamics
and tempo and how creators use them to convey expressive intent.
accuracy.
Students will play several different response lines on percussion, with 90% accuracy of
notes and rhythms.
Students will recognize the differences of just the voice, and just the instruments, playing
and moving during those select times.
Students will recognize and reflect on the different responses within the selection.
Materials:
James Browns I Got You (I Feel Good)
Variety of percussion instruments
Marimba
Drums
Glockenspiel
Bell Kit
Shakers
Tambourines
Etc.
Whiteboard
Markers
Lesson Sequence:
Warm Up:
20
Entry: T will have a recording of I Got You (I Feel Good) playing as Ss enter the class, as a
reminder of what they heard last time.
Process:
T will begin by asking Ss if they remember what the name of that song is, and if they
remember anything about the artist that made it.
T may need to review and lead discussion
T should then ask Ss what they did last time, and review the activity.
T will lead Ss in listening to the piece again, but this time raising their hand when
the words are said, and lowering them when just the instruments are played.
(From Prepare Lesson)
If Ss complete the task with 90%+ accuracy, T can move on to the next
activity
T will then have Ss move to instruments (bells, shakers, drums) and repeat the
activity done in the other class period once through
(This gives Ss a reminder of the feel for what they did previously)
If Ss complete the task with 90%+ accuracy, T can move on to the next
activity
T will then project the music (pg. 1 shown below) on the screen for Ss to see.
T will ask several Ss to come to the board and mark where the call and response portions
of the piece are, with different colored markers
If Ss correctly notate the areas, T will continue on.
If Ss do not correctly notate, T will ask the class what is incorrect and why, then
fix with Ss.
T will point out the different notes being played in the different responses (B-A#, F#-E,
G-F# and Bb-A, E-D#, C-B), and which notes Ss have on their bells.
T will write these notes on the whiteboard
T will have preset the bells, to contain the notes C, D, D# E, F, F#, G, A, Bb, B
(all of the notes students will use)
T will model for Ss the rhythm to play as the response, first on a single note (C)
T will model alone, having Ss count how many notes are played (7)
T will have Ss join in, observing consistent tempo and sounds produced.
T will then model again, adding in a second note (B), having Ss listen when and
how the notes were played (alternating eighth notes)
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T will have Ss join in, asking what note is first, and second, and what it ends on
(C-B, and C)
This may take several repetitions to play
T will divide Ss into 3 parts (as the piano score shows 3 parts playing the response). T
will invite Ss to learn all 3 parts to begin, and once they learn their line, will keep it as
others are added on top.
T will begin with the middle line (F#-E), pointing out the notes on the board, and
on the instrument
T will teach the F# to E line first, before moving on to the next voice
All Ss will play, using the rhythm played (7 notes, alternating)
Next, the top line (B-Bb), pointing out the notes on the board, and on the
instrument
All Ss who had learned the middle line will continue on their line, with the
second and third group learning this top line.
The first time through, only groups 2 and 3 will play (no middle
line)
The other voices will join in when repeated
The line will be played using the 7 note, alternating rhythm
Lastly, the bottom line (G-F#), pointing out the notes on the board, and on the
instrument
All Ss who had learned the top and middle line will continue on their line,
with the third group learning this bottom line.
The first time through, only group 3 will play (no top or middle
line)
The other voices will join in when repeated
The line will be played using the 7 note, alternating rhythm
T will play through the line with Ss several times, until Ss have 90% accuracy on
notes and rhythms.
T will repeat this process, teaching the next section in the same fashion (Bb-A,
E-Eb,C-B)
T will then discuss with Ss that these two parts are different, but still are both responses
to the call.
T will ask a S to come and write the order of their Calls and Responses on the
board, and how they would mark the responses differently (ex. R1, or using
different colors)
T will ask Ss if they agree or disagree with the order, and why.
T will then add in an accompaniment part (either piano, track, or ukulele) to run through
the piece.
After repetitions and accuracy with the different responses, T can have Ss switch parts
(maintaining balance) or moving to other percussion parts.
T can ask Ss how they would play a similar line on a single pitched percussion
instrument
Same rhythm
Playing every other note
Keeping a steady beat only
22
The lesson can conclude with large group performances of the piece, with Ss playing the
3 response lines, percussion parts, and joined by accompanying track or instrument and
vocal line.
Assessment:
and the response)
a. Observe students ability to recognize the different responses
2. Observe students ability to accurately play the rhythms and notes of the
responses.
3. Note struggles that students may have faced with identifying when, what notes, or
how long to play.
Materials continued:
23

Tone Set L, D, Me, Mi, F, S
Range 7th
Rhythm Set Eighth note, Quarter note, two eighth notes, tied eighth note to
quarter, tied eighth note to eighth note, eighth rest, quarter rest
Form C1, R1, C1, R1, C1, R2, C1, R1, C3, R3, C3, R3 (repeat)
Melody Preparing Do, Ti, Do relationship.
Rhythm Duple meter, eighth/quarter patterns, ties
Other History connection,, art connections, improvisation, dance and
movement
24
Practice Lesson 2
Nana, Thread Needle
Call and Response
2nd Grade
Standard Addressed:
MU:Cr2.1.2b Use iconic or standard notation and/or recording technology to combine,
sequence, and document personal musical ideas.
music.
MU:Pr4.2.1b When analyzing selected music, read and perform rhythmic and melodic
patterns using iconic or standard notation.
accuracy.
Students will actively discuss and reflect on the use and validity of the call and response
in the song.
Students will alter and modify responses in the song, adding to the variety of responses,
within the melodic and rhythmic context of the song.
Students will perform the song with the new, altered responses with 80% accuracy of
pitch and rhythm.
Materials:
Bessie Joness Nana, Thread Needle
Song
Accompanying Instrument
Sheet music
Xylophones, bells, glockenspiels
https://sonichits.com/video/Bessie_Jones/Nana_Thread_Needle
https://www.youtube.com/watch?v=3_TD10AfExg
Lesson Sequence:
Warm Up:
25
Entry: T will project the lyrics of Nana, Thread Needle on the board, and ask Ss if they
remember this from the last period, and if they remember what they did last time.
Who wrote the piece?
What is her background?
What actions did we do?
What instruments accompanied the song, if any?
Process:
T will then play the song with Ss singing the responses, and performing the dance that
they did last class period.
T may review the dance movements that Ss performed last time, with the
responses.
After reviewing the song, T will have Ss return to their seats.
T will then lead a discussion with Ss and have Ss identify the call and response portions
of the song on the lyrics on the board.
This discussion will focus on what makes this song a call and response song.
How do we know that?
How does it relate to other songs weve learned?
T will have the rhythms and notes of the responses written on the board.
T will have Ss sing through the responses as written.
T will then ask Ss how we could change these responses
Ss may respond with instruments, words, notes, or rhythms. For this lesson, the
focuses will be on changing the melody. Later lessons could include manipulating
the rhythm and words.
For the first focus of rhythm, T will ask Ss how we could change the rhythm of the
response (half note, two eighth notes)
Taking S suggestions (ex. Raising the second eighth note one whole step), T will
write the changes on the board and have the class sing through the response(s).
T will then have Ss move to xylophones, bells, and glockenspiels to try out the original
response, and their altered response.
T can have Ss alter each response in a different way if they would like.
Ss could decide to leave one response as it is, as an option
T will then sing through phrases with Ss, accompanying with an instrument, and having
Ss play on bells.
26
T will start by only singing and playing through the first call and the first
response.
Next, T will add in the second call and response, and so on until the whole song
has been played through.
The class will conclude with the whole class playing through the whole song, with their
altered responses added to the maintained, original calls.
Assessment:
1. Observe students ability to recognize the different sections of the music, and
their reasoning as to why they recognize them as such. (the call and the response)
2. Observe students ability to alter responses within the given melodic and rhythmic
context.
rhythms.
responses.

Tone Set D,M, Low T, Low L, Low S
Range M6th
Rhythm Set Half Note, Quarter Note, Two Eighth Notes
Form C1, R1, C1, R1, C2, R1, C3, R1, C4, A1

Melody Introduction of Ti
Rhythm Pickup quarter note
Other Differences in responses of thread needle
27
Practice Lesson 3
John The Rabbit
Call and Response
2nd Grade
Standard Addressed:
music.
accuracy.
MU:Pr6.1.2b Perform appropriately for the audience and purpose.
MU:Re7.2.2a Describe how specific music concepts are used to support a specific
purpose in music.
MU:Cn10.0.2a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.
Students will recognize and notate the different sections of the piece, differentiating
between the call and response sections of the song.
Students will create movements for the song, reflecting the text of each line.
Students will perform the responses to the song, accompanied with actions, with accurate
rhythms, tempos, and pitches.
Materials:
John the Rabbit
Speakers
iPad
Lesson Sequence:
Warm Up:
28
Entry: T will begin by singing the song once for Ss, either a cappella, or on an accompanying
instrument (guitar, uke, or piano)
Process:
What were some of the words you heard in this?
What were some of the words you heard repeated a lot in the song?
Who was I singing about? (John the Rabbit)
What was he doing?
Where might this song have taken place?
T will then project the lyrics or write the lyrics on the whiteboard for Ss to see.
T will have several Ss go line by line, marking the call and response portions of the song
As there are many lines in the song, several Ss could notate the different portions
of the songs.
T will then teach Ss the response portion of the song (oh yes)
Before singing through the piece again, T ask Ss for some ideas as to what they could do
during the call portion of the song.
T will lead Ss towards the idea of creating movements
Then, T and Ss can break the song down line by line, creating a movement for each of the
call lines.
The class can write in non-standard notation (symbols, shapes, pictures) on the
board to represent their movement(s) for each of the call lines.
Ss will also create one motion that will serve as a repeated motion for each of the
responses.
The class will also create a separate movement for the last line (Oh no! Oh
yes!)
T will then have Ss form a circle around the classroom, with appropriate space between
each of them.
T will invite Ss to sing the response portion with their action, as well as perform their
actions for the call, but T will sing the call the first time through.
If time allows, T can return and teach Ss the call portion, which could lead to
opportunities for half of the class to sing the call and half to sing the response, or
similar activities.
The activity will conclude with T leading Ss in the singing of the song, and performing
their actions throughout.
29
Ss should be encouraged to both sing and perform the actions if they are able, but
may focus on either just the singing, or just the actions.
Ss will still hear the song, and perform it in the sections, even if they are
only singing or only performing actions.
Assessment:
and the response)
2. Observe students creative process in developing creative actions, reflecting the
text of the call and response.
response.
a. Listen for consistent rhythm and note accuracy when actions are included.
4. Observe students ability to accurately perform actions for the call and response
sections.
5. Note struggles that students may have faced with identifying individual notes,
rhythms, beat, and changing of words.
30

Tone Set F, L, T, D, Ri, M
Range 7th
Rhythm Set Eighth note, Dotted eighth and sixteenth, Two eighth, quarter,
Four sixteenths, eighth rest
Form C1, R1, C2, R1, C2, R1, C2, R1, C2, R1, C1, R1, C1, R1, C3,
R1, C3, R1, C3, R1, C2, R1, C2, R1, R2, R1
Melody Leaps, Prepare Ti, Ri
Rhythm Dotted rhythm, Syncopation, 16th note patterns
Other Story telling, actions, changing responses, final line responses.
31
Practice Lesson 4
Steal Up, Young Lady
Call and Response
2nd Grade
Standard Addressed:
MU:Cr2.1.2a Demonstrate and explain personal reasons for selecting patterns and ideas
for music that represent expressive intent.
music.
MU:Cr3.2.2a Convey expressive intent for a specific purpose by presenting a final
version of personal musical ideas to peers or informal audience.
accuracy.
Students will accurately order the phrases, notating which sections are calls and which
are responses.
Students will describe differences between the responses.
Students will create a way in which to notate the different response sections.
Materials:
Steal Up, Young Lady
Projector
Whiteboard
Markers
Laminated Lyric Papers
Cut up into lines
http://research.culturalequity.org/get-audio-detailed-recording.do?recordingId=23485
Lesson Sequence:
Warm Up:
32
Entry: T will begin by either playing a recording of Steal Up, Young Lady by Bessie Jones
when Ss enter the class, or will play through the piece themselves.
Process:
T will ask Ss if any of them have heard this song before.
T can provide pictures of the author, a map, and other videos from the Sea Island
Singers.
33
Bessie Jones was born in the town of Dawson in Southern, Georgia, a small, black
farming community. Jones was the last active member of the original Georgia Sea
Island Singers, and one of the foremost folk artists in the United States. Jones
folk tunes are drawn from childrens games and activities collected with origins in
Africa and the slavery-era American south. The Georgia Sea Island Singers draw
influence from the Gullah culture of Georgia and South Carolina. The Gullah
people sung with an English-based Sea Island creole.
(Students have been introduced to Bessie Jones and the Georgia Sea Island
Singers during Nana, Thread Needle in the prepare lessons, so the teacher can
make connects between the two lessons, asking students if there are any
similarities and differences.)
T will play the video again for Ss, instructing them to listen for the words that they can
pick out.
T will have Ss spread out into several small groups of 3 about the room.
T will provide Ss with a group of laminated sheets, containing all of the phrases (divided
into calls and responses).
T should have each group spread their sheets out where they are able to see all of
the sheets individually.
T will instruct Ss to listen to the recording that will be played, and either write down an
order, or start to place their sheets where they believe they may lie.
T will then play the recording once more for Ss.
T will instruct Ss to label, with the marker, the C and R where they believe it is in each
phrase.
There will only be one C or R for each laminated card
Once Ss have completed their ordering, T will have the groups compare with neighboring
groups.
Ss should not change their answers, just compare to see contrasts and
similarities.
T will then instruct Ss to listen to specifically the response portion when the song is
played again.
After the recording is played, T will ask Ss if those were the exact same or different.
Ss may have difficulty finding the differences, as they are the same rhythmically,
but vary in the end of the phrase.
If Ss do not recognize the differences, T may play them again
T can ask Ss what are different and similar about the endings, and how they may notate
the differences.
There is no one right way to label these in the lesson, so Ss could use R1 & R2, R
& r, R! & R?, etc.
T will play through the recording once more, and have Ss label the differences.
To conclude the lesson, Ss will be given a few exit ticket questions:

How accurate do you feel that your group was in finding the correct order?
What was the easiest part about this activity?
Do you think you have the skills to do a similar activity with a different song now?
How well do you think your group work together to find the correct order?
34
Assessment:
and the response)
2. Observe students collaborative process in working together to determine the
order of phrases.
3. Note struggles that students may have faced in recognizing the differences
between the different response sections.

Tone Set D, R, M, S, Low L, Low S
Range 8th
Rhythm Set Quarter Note, Dotted Quarter Note, Eighth Note, Half Note, Two
Eighth Notes with Tied Quarter, Two Eighth Notes
Form C1, R1, C1, R1, C2, R1, C3, R1

Melody High and Low Sol
Rhythm 2 Eighth Notes tied to Quarter Note, Dotted Quarter and Eighth
Note
Other Pickups into phrases (line 2 and 4)
35
Practice Lesson 5
Call and Response
2nd Grade
Standard Addressed:
MU:Cr2.1.2b Use iconic or standard notation and/or recording technology to combine,
sequence, and document personal musical ideas.
music.
accuracy.
MU:Re9.1.2a Apply personal and expressive preferences in the evaluation of music for
specific purposes.
Students will create individual call and response phrases that fit with the tune of Brown
Bear.
With 90% accuracy, students will respond to the call melodically and rhythmically using
a variety of textual responses.
Materials:
Song
Book
Paper
Pencils
Document Camera
Lesson Sequence:
Warm Up:
36
Entry: T will begin by reviewing the song with Ss once. T will open the book, and sing through
a portion of the book.
Process:
T will review with Ss what was covered last time (creating their own animal in a group)
T will then present the new lesson to Ss:
Ss will write their own individual calls and responses to the tune.
This should contain at least 5 calls and at least 5 responses(the same number)
T will then ask Ss to brainstorm as a group some ideas of who they could be talking to in
their own phrases.
Secondly, T will have them brainstorm some animals that they may see that are not in the
book.
T can provide Ss with ideas on themes:
Sea Life
Jungle Animals
Zoo Animals
Birds
Etc.
After Ss have brainstormed a few ideas, that they may use or not, T will instruct Ss to
spread about the room where they have room to write (and draw) their new lines.
Ss will be instructed also to write the letter C beside or above their call phrases, and
R beside or above their response phrases.
As Ss spread about, receiving their papers, pencils, and colored pencils, T will play a
recording of the song once more, so that Ss have the tune in their head when going to
write.
At this point, Ss will be constructing their new lines while the T is moving about the
room aiding and facilitating the activity.
After 6-10 minutes of writing and coloring, T will have Ss return to their places with their
papers.
T will ask for volunteers that would like to have their new lines shared with the class.
T will then place the paper under the document camera to show the class. (If the writing
is illegible, T may have to tell Ss what the lines of text say).
T will divide the Ss in half, having one half sing the C line and one half singing the R line
through the piece.
The class (with T included) will sing through the piece.
37
If time allows, this may continue with several other Ss creations. Voice parts should
switch when a new Ss song is used.
To conclude, T will provide Ss with another slip of paper, that will serve as an exit ticket.
This exit ticket will contain several questions:
Did you include a theme in your song when choosing animal groups? (ex. Fish,
arctic animals) Why did you choose this theme?
What was your favorite animal that you included, and why?
What was the most challenging part in writing this new version of the song?
What was your favorite part about this activity?
When Ss finish their exit ticket questions, T will collect them, along with their pieces of
paper containing their new song.
Assessment:
and the response) in their newly created version.
2. Observe students creative process in developing a new version of the song, and if
they have considerations on how it would work in the music.
new calls and responses.
a. 90% accuracy should be achieved, even with new words
4. Note struggles that students may have faced with identifying individual notes or
rhythms, and changing of the text.
38

Tone Set S, M, L, D
Range 6th
Form C1, R1
teachers to do class book, reading activities, song writing
39
Practice Lesson 6
Ewe Drumming
Call and Response
2nd Grade
Standard Addressed:
music.
accuracy.
MU:Re7.2.2a Describe how specific music concepts are used to support a specific
purpose in music.
MU:Re9.1.2a Apply personal and expressive preferences in the evaluation of music for
specific purposes.
Students will address and discuss the calls and responses within the listening examples.
Students will create individual call and response phrases on drums, in a conversation with
their peers.
With 90% accuracy, students will play their calls and response with a consistent and
accurate beat and tempo.
Materials:
https://youtu.be/KTc9AsU98uI?t=25
iPad
Various drums
Lesson Sequence:
Warm Up:
40
Entry: T will begin the lesson by playing an excerpt of the drumming video of the Ewe
drumming of Godwin Abeli.
Process:
T will then ask Ss several questions about the song:
What do you think this song could be used for?
Is it happy or sad?
Does it make you want to dance?
What parts or instruments stuck out to you?
What culture do you think that music could have come from?
Did you hear different parts playing?
Ss may need some guidance, or for the song to be played again.
T will provide background information on Ewe drumming using the prezi:
https://prezi.com/2vbwvjqyoh3o/copy-of-ewe-drumming/
T will then play the video for Ss once more, instructing them to listen for the two
different drum parts.
After the video, T will ask Ss if they could recognize the different drum parts.
What were the differences between the drums?
Were they playing the exact same thing or different things?
Was one leading the other?
T will lead the discussion to pointing out the call and response sections within the
drumming. Although they are not the exact same rhythms, the two drums are playing
rhythms in a way that have a call and response conversation. T will have Ss discuss and
point out the call and response sections.
T will ask Ss how they could have a conversation without actually saying or
singing words?
T will provide a drum for each individual S, and equip himself with one.
T will discuss with Ss that they will have a conversation with their drums, drumming for
four beats for the call and four beats for the response.
T will call to Ss, starting with simple calls, allowing Ss to freely respond.
After several repetitions of the call and response conversation, T will have Ss move into
pairs about the room.
T will instruct Ss that they will be having conversations using their drums.
For this exercise T will serve as the master drummer, maintaining a steady beat
41
and leading the conversation transitions.

Ss will take turns in the conversation, each playing for 8 beats at a time. The S not
playing will observe their partners playing, and may use similar rhythms as their
partner, if they would like to, but do not have to.
After several repetitions of Ss having their drum conversations, T will have Ss move into
one large circle.
To conclude the class, T will have each S play their call and have the rest of their
classmates respond. As before, T will serve as a master drummer, and Ss will each play 8
beats for their call and 8 beats for their responses.
Assessment:
and the response) from the recordings.
2. Observe students creative process in developing a conversation between
instruments, with their peers.
3. Listen for students ability to play their phrases with an accurate and constant beat
and tempo.
a. 90% accuracy should be achieved, in staying with the beat.
4. Note struggles that students may have faced with identifying when to play the call
and response in their pairings.
5. Observe students ability to create a call phrase in front of the entire class, using
original material.

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Call and Response

Elementary Unit Plan

Introduction to the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Introduction to the Unit

Song Analysis Table:

A Songs Pedagogical Use Table:

THIS MAY TAKE SEVERAL REPETITIONS OF EACH ANIMAL, TO

Song Analysis Table:

1. What is the mood of this song?

Song Analysis Table:

Song Analysis Table:

Song Analysis Table:

Song Analysis Table:

A Songs Pedagogical Use Table:

Song Analysis Table:

To conclude the lesson, Ss will be given a few exit ticket questions:

Song Analysis Table:

A Songs Pedagogical Use Table:

Song Analysis Table:

and leading the conversation transitions.

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