Elementary Unit

Elementary Teaching Unit
6/8 Time- 5th Grade General Music

Sarah Wolfe
Kansas State University

Spring 2021
1
Table of Contents
Introduction………………………………………………………………………………………..2
Unit Outline……………………………………………………………………………………….4
Pre-Assessment…………………………………………………………………………………....7
Prepare:
Lesson 1- “One, Two, Three O’Leary”…………………………………………………....9
Lesson 2- “Skin and Bones”…………………………………………………..................18
Lesson 3- “Sleep, Little One”…………………………………………………................23
Present:
Lesson 4- “One, Two, Three O’Leary”…………………………………………………..30
Practice:
Lesson 5- “Skin and Bones”…………………………………………………..................38
Lesson 6- “Sleep, Little One”…………………………………………………................43
Lesson 7- “Skating Away”………………………………………………….....................49
Lesson 8- “Stewball”………………………………………………….............................55
Lesson 9- “De Colores”- WMP………………………………………………….............63
Lesson 10- “De Colores”………………………………………………….......................69
Post-Assessment…………………………………………………................................................75
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Introduction
Unit Focus: 6/8 meter
Grade Level: 5th grade
Scope and Sequence: Manhattan-Ogden K-6 Scope and Sequence
Prior Knowledge (Regarding Rhythm):
● Steady beat ● Slur
● Word rhythms ● Triple meter building blocks
● Duple rhythmic building blocks in 4/4
● Changing meter
● Notation ● Function of meter in 2/4, 3/4, 4/4
● Exposure to bass clef
● 16th note rhythms/syncopation
● Triple meter
● Conducting 2/4, 3/4, 4/4
Pre-Assessment Preview:
The purpose of the pre-assessment is to determine if students have retained and mastered
the information that immediately precedes the new concept, and determines their readiness to
learn a new concept. In this case, the information that immediately precedes the new concept are
16th note rhythms in duple meter, and the new concept is 6/8 meter. Students will review a song
previously learned in class (“Old Mother Hippletoe”), work together to write out the rhythm
syllables of the song, and then perform the rhythms in small groups. Students will be assessed
with the rubric below. If it is discovered that students need strengthening of the skill before
moving on to a new concept, the 16th note patterns will be reviewed using songs previously
learned, such as “Old Mother Hippletoe”, “The Darby Ram”, and “Chicka-hanka”.
3- All rhythms 2- Most/some 1- Few/no Additional comments

correct rhythms correct rhythms correct
Student 1 ✓ No issues clapping and counting

rhythms
Student 2 ✓ Some issues clapping, but was

able to continue counting
Student 3 ✓ One mess up of the counting

syllables, otherwise no issues
Student 4 ✓ Significant issues coordinating

syllables and clapping
Student 5 ✓ A few instances of missing the

clapping or syllables, but was able
to recover
3
Post-Assessment Preview:
Upon finishing the unit, students will be summatively assessed. Students will show their
knowledge of appropriate rhythms in 6/8 time by improvising over the harmonic accompaniment
of “De Colores”. Students will be assessed on using correct pitches as well, but the focus will be
put on if they are able to use appropriate rhythms for 6/8 meter. Students will be assessed using
the rubric below. If students need extra skill strengthening in 6/8 before moving on to a new
concept, the songs from the unit will be reviewed, with an extra emphasis on the rhythms used
within those songs.
3- All 2- Most/some 1- Few/no Additional comments

appropriate appropriate appropriate
rhythms rhythms rhythms
Student 1
Student 2
Student 3
Student 4
Student 5
Cross-Curricular Connections and Other Music Experiences:

Students will have many cross-curricular experiences throughout this unit. Students will
experience connections to physical movement (body percussion, dance, quick reaction
exercises), language arts (compositions of new verses), and social studies (experiences with new
cultures, World Music Pedagogy, context of songs). Students will also have several musical
experiences that go beyond the realm of learning 6/8 meter. Students will have several
experiences with learning how to accompany themselves and others while singing. Students will
also learn to improvise within 6/8 meter, vocally and using instruments. Students’ aural skills
will also be developed through critical listening exercises and “same or different” exercises.
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Unit Outline
Prepare:
Students will be preparing for reading 6/8 meter in the first three lessons. Students will sing,
improvise, and compose using all songs in 6/8 meter, but will not read from standard notation
until the “Present” lesson. Students will have time to explore the new concept without the added
element of also learning to read a new set of rhythms.
Lesson 1: “One, Two, Three O’Leary”

Students will warm-up by exploring 6/8 meter through moving their bodies and scarves. Students
will then learn the song “One, Two, Three O’Leary” and then learn accompanying body
percussion.
Lesson 2: “Skin and Bones”

Students will warm-up by echoing clapped rhythms in 6/8 meter. Students will then learn the
song “Skin and Bones” with the use of movements/actions to help them remember the words.
Students will then create an improvised instrumental accompaniment that matches the mood and
lyrics of “Skin and Bones”.
Lesson 3: “Sleep, Little One”

Students will warm up by singing patterns in 6/8 time on a “loo” syllable. Students will then
learn the song “Sleep, Little One”, and then learn the accompaniment part on ukulele. The lesson
closes with students improvising over the melody of “Sleep, Little One”.
Present:
In the Present lesson, students will be made aware of the new concept, 6/8 time. Students will
aurally recognize the difference between songs in simple meter and compound meter, and then
learn to read iconic and standard notation.
Lesson 4: “Old Mother Hippletoe” and “One, Two, Three O’Leary”

As a warm-up, students will engage in a quick reaction activity in which the teacher improvises
on piano, and the students must decide if they should march (simple meter) or skip (compound
meter) to the music. Then, “Old Mother Hippletoe” will be reviewed with notation. Students will
sing the song using rhythm syllables while patting the beat, and then again while clapping the 8th
notes. Students will then be asked to try to clap the 8th notes in “One, Two, Three O’Leary”,
which should lead them to realize that the two 8th note subdivision does not work for that song.
Students will then see 6/8 time through symbolic notation (using butterfly notation), which will
then be transferred to standard 6/8 notation.
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Practice:
Students will practice their new knowledge of 6/8 meter through reading notation, singing,
playing, composing, movement, and arranging.
Lesson 5: “Skin and Bones”

Students will warm up by clapping 6/8 rhythms from standard notation. We will then transition
to “Skin and Bones”, which students have already learned. Students will aurally identify the
groups of three 8th notes, and then visually identify them with notation. During the final singing
of “Skin and Bones”, students will raise their hand whenever the three 8th notes pattern occurs.
Lesson 6: “Sleep, Little One”

As a warm-up, the students will engage in a 6/8 time question and answer activity using rhythm
sticks. Following the warm-up, students will work together and with the teacher in order to write
new verses for “Sleep, Little One”. This lesson has strong cross-curricular connections to
language arts.
Lesson 7: “Skating Away”

In Lesson 7, students will warm up by sight reading rhythms with body percussion using the
“Super Mario Bros. - Underwater Theme - Rhythm Play Along” video. Students will then learn
“Skating Away”, and then learn the dance that accompanies the song.
Lesson 8: “Stewball”
To warm up, students will review how to count 16th notes and the 6/8 three 8th note pattern
using rhythm syllables. Students will then learn the rhythm to “Stewball” by counting and
clapping, and writing in the rhythm syllables. Students will then learn the lyrics to the song,
followed by learning the harmonic accompaniment or Orff xylophones. The lesson concludes
with students improvising over the melody of “Stewball”.
Lesson 9: “De Colores”

In Lesson 9, students will warm up with a “same or different” activity. Students will use their
bodies and scarves to move in a way that reflects the mood and tempo of two contrasting songs.
The first song is in 6/8 time with all six 8th notes even, and the second is in 6/8 with waltz style
8th notes. The lesson then transitions to a World Music Pedagogy approach. Students will first
listen to an authentic recording of “De Colores”, and then learn the context/history of the song.
Students will then engage with the song by learning about the waltz style 8th notes that
accompany the melody. In order to enact their learning, students will learn a waltz style
accompaniment on ukuleles.
Lesson 10: “De Colores”

In the final lesson, students will warm up by aurally discerning whether several songs use a two
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8th notes subdivision (simple meter) or a three 8th notes subdivision (compound meter). Students
will then learn the lyrics to “De Colores”. Students will then add the previously learned ukulele
accompaniment to their singing. The lesson closes with students vocally improvising over the
melody of “De Colores”.
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Pre-Assessment
The purpose of this pre-assessment is to ask the follow questions:
● Have the students retained the information that immediately precedes the new concept?
● Are students ready to learn the new concept?
The following pre-assessment will allow the teacher to evaluate students retention of prior
knowledge, determine their readiness for a new concept, and discover where review is needed
before moving on.
Before moving onto 6/8 meter, students must show retention and competency in the reading and
performance of 16th note patterns, as shown in “Old Mother Hippletoe”.
1. Begin by having students sing “Old Mother Hippletoe” as a class.
2. Then, work together as a class to write out the rhythm of the song. (Teacher may use their
preferred rhythm syllables.)
3. Once the rhythm syllables have been written in, count and clap this rhythm as a class.
4. Divide the class into groups (four-five students). Have students count and clap this
rhythm in these groups. Use the following checklist to assess each student.
5. If I discover that students are struggling, we will review previous songs that use 16th note
patterns, such as “Old Mother Hippletoe”, “The Darby Ram”, and “Chicka-hanka”.
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3- All rhythms 2- Most/some 1- Few/no Additional comments

correct rhythms correct rhythms correct
Student 1 ✓ No issues clapping and counting

rhythms
Student 2 ✓ Some issues clapping, but was

able to continue counting
Student 3 ✓ One mess up of the counting

syllables, otherwise no issues
Student 4 ✓ Significant issues coordinating

syllables and clapping
Student 5 ✓ A few instances of missing the

clapping or syllables, but was able
to recover
9
Prepare: Lesson 1- One, Two, Three O’Leary

Standards Being Addressed:
● MU:Pr4.2.5a- Demonstrate understanding of the structure and the elements of music
(such as rhythm, pitch, form, and harmony) in music selected for performance.
● MU:Pr5.1.5a- Apply teacher-provided and established criteria and feedback to evaluate
the accuracy and expressiveness of ensemble and personal performances.
● MU:Pr5.1.5b- Rehearse to refine technical accuracy and expressive qualities to address
challenges, and show improvement over time.
● MU:Pr6.1.5a- Perform music, alone or with others, with expression, technical accuracy,
and appropriate interpretation.
● MU:Re8.1.5a- Demonstrate and explain how the expressive qualities (such as dynamics,
tempo, timbre and articulation) are used in performers, and personal interpretations to
reflect expressive intent.
● MU:Cn10.0.5a- Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.
Materials of Instruction:
● Scarves
● 6/8 instrument track
○ https://www.youtube.com/watch?v=pfb9NPBsALM
● 6/8 drum track
○ https://www.youtube.com/watch?v=TUtKymqzwUU
● “One, Two, Three O’Leary” notation (for teach use only)
● “One, Two, Three O’Leary” body percussion pattern (for teacher use only)
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Lesson Sequence:
Entry Activity/Transition: Hello 5th graders! As you come into the room, please grab a scarf
and find a place where you will have enough space to move around.
Activity #1 Objective (Warm-up): Students will explore 6/8 meter by moving (bodies and
scarves) to the instrumental track in a way that reflects the time, tempo, and mood of the music.
1. Start the instrumental backing track.
2. T: Listen to the music and walk to the beat.
a. Allow enough time for all students to identify and sync up to the beat of the track.
3. T: (Do not stop the music) Start moving your scarves in a way that reflects the music.
a. Move along with students, acting as a model. Praise students using creative
movements.
b. If students are struggling with walking while moving the scarves, guide them to
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just step in place.

4. Stop instrumental track.
5. T: What were some of the ways you moved your bodies or your scarves to the music?
a. Flowing movements, relaxed, etc.
6. Was the music fast or slow?
a. Slow
7. T: How did that music make you feel? Why?
a. Relaxed, etc.
Assessment: Students are able to move their bodies and scarves in a way that reflects the tempo,
meter, and mood of the music. Continue moving and modeling until students are able to
complete this task.
Transition: Excellent! Now we’re going to learn a new song.
Activity #2 Objective: Students will perform “One, Two, Three O’Leary” with accurate pitch,
time, and rhythm in 6/8 meter.
1. T: I’m going to sing our new song. While I sing, listen for two things: What is Mary
sitting on, and what is she eating?
2. Start the drum track.
3. T: While I sing, pat the beat on your legs.
4. T: Sing “One, Two, Three O’Leary” for students while patting the beat on your legs.
5. Stop drum track.
6. T: What was Mary sitting on?
a. A dromedary
b. T: Can someone tell me what a dromedary is? Does anyone know?
c. T: A dromedary is a type of camel with one hump.
7. T: What was she eating?
a. Chocolate fishes
8. T: So Mary is sitting on a camel eating chocolate?
a. Context: This is just a silly song about someone who is supposed to be doing
work, but is instead being lazy and doing something else instead. When someone
is being an “O’Leary” they are pretending that they can’t do their work, when
they are really just being lazy. (You may need to encourage students to not go
around calling each other this). That word actually originates from 1370!
Eventually, the song “One, Two, Three O’Leary” was written and passed down,
and eventually a ball game was added too.
9. Echo:
a. T: Repeat after me (use hand gestures to indicate “my turn, your turn”)
i. Restart drum track.
b. T: One, two, three O’Leary
i. S: One, two, three O’Leary
c. T: I saw little Mary
i. S: I saw little Mary
d. T: Sitting on a dromedary
i. S: Sitting on a dromedary
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e. T: Eating chocolate fishes

i. S: Eating chocolate fishes
10. Extended echo (do not pause after echo):
a. T: One, two, three O’Leary, I saw little Mary
i. S: One, two, three O’Leary, I saw little Mary
b. T: Sitting on a dromedary, eating chocolate fishes
i. S: Sitting on a dromedary, eating chocolate fishes
11. T: Now in the blanks.
a. T: One, two, three ______, I saw little _______
i. S: O’Leary, Mary
b. T: Sitting on a ______, eating chocolate ______
i. S: Dromedary, fishes
12. Extended fill in the blank (do not pause after fill in the blank)
a. T: One, two, three O’Leary, ________
i. S: I saw little Mary
b. T: Sitting on a dromedary, _______
i. S: Eating chocolate fishes
13. Complete audiation
a. Drum track is still playing
b. T: Now sing the song in your head while I mouth the words.
i. S: Think the words in their head.
14. T: Now sing the song out loud while I mouth the words.
Assessment: Can all students sing “One, Two, Three O’Leary” with accurate pitch, time, and
rhythm? Observe and assess. Repeat steps as necessary.
Transition: Excellent! Now watch me.
Activity #3 Objective: Students will perform the body percussion to accompany “One, Two,
Three O’Leary” with steady beat and accurate rhythm in 6/8 meter, while singing the song with
accurate pitch, time, and rhythm.
1. T: Perform “One, Two, Three O’Leary” with the accompanying body percussion. Keep
drum track playing.
2. T: Watch me and join me when you’re ready. Pay attention to which hand I’m patting
with first. (Repeat a few times until everyone joins in)
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3. Add in the words.

4. T: Repeat after me.
5. T: Body percussion and words, phrase 1
a. S: Repeat body percussion and words, phrase 1


14

9. T: Watch for what I do differently this time. Join in when you’re ready.
15
10. T: Body percussion and words, line 1

a. S: Repeat body percussion and words, line 1


16

14. Extended echo, continuing the body percussion above.

15. T: BP, lines 1 and 2
a. S: BP, lines 1 and 2
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16. T: BP, lines 3 and 4

a. S: BP, lines 3 and 4
17. T: Great! Now let’s do the whole thing together!

a. S: Sing the whole song while doing complete body percussion.
Assessment: Can students perform the body percussion with accurate time and rhythm, while
singing “One, Two, Three O’Leary” with accurate pitch, time, and rhythm? Assess and repeat as
necessary.
Closure: Excellent job everyone! We will continue to explore body percussion with songs that
have a similar feel to this later.
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Prepare: Lesson 2- Skin and Bones

● 6/8 drum track- https://www.youtube.com/watch?v=TUtKymqzwUU
● Warm-up rhythms (in lesson plan)
● “Skin and Bones” notation (for teacher use only)
● “Skin and Bones” text (display for students)

● Rhythm sticks
● Hand drums
● Egg shakers
● Any other unpitched percussion instruments that you may have available
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Lesson Sequence:
Entry Activity/Transition: Hello students! To start off class today, we are going to clap some
rhythms. Watch and repeat after me.
Activity #1 Objective (Warm-up): Students will echo clapping patterns in 6/8 meter with
accurate time and rhythm.
1. Start drum track
2. Clap the following rhythms for students.
a. Variations: Add pick up notes, any combination of the following rhythms:
Assessment: Students will echo clapping patterns in 6/8 meter with accurate time and rhythm.
Observe and repeat as necessary.
Transition: Now, I’m going to sing you a song about an old woman. She does some things, and
she sees some things. Listen for what she does and sees and we’ll talk about that after.
Activity #2 Objective: Students will sing “Skin and Bones” using accurate pitch, time, and
rhythm in 6/8 meter with the use of movement ques.
1. T: Sing all of “Skin and Bones”. Guide students to pat the beat on their legs.
a. The “boo” may startle the students (it’s meant to). Wait for excitement to calm
down and redirect.
2. T: What did you hear that the woman was doing in this song? She did a few different
things.
a. S: She took a walk, she opened the closet
3. T: And what did she see while she was on her walk?
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a. S: She was the bones in the graveyard

b. Repeat the song as necessary until students can answer these questions.
4. Give students history/context of the song
a. Anglo-American
b. Appalachian region
c. Holiday song, often sung around Halloween
d. Alternate title: There Was and Old Woman
e. Around Halloween, children are often introduced to the startling folk song “Skin
and Bones.” Music teachers especially appreciate how the song’s
call-and-response form and minor pentatonic tonality invite participation. The
response’s pure vowel and descending melodic line encourage healthy vocal
production. It’s a pedagogically sound, seasonal choice, and a closer look through
Library of Congress primary sources can captivate revelers of all ages this
Halloween.
5. T: Let’s use this knowledge to make some actions to help us remember the words to this
song.
6. Display words for students.
7. T: Our first line is “There was an old woman all skin and bones.” What could we do to
help us remember that part of the song?
a. Repeat this step for the remaining lines. Encourage students to use movements
that match the mood of the song. Students may also want to make a movement for
the repeating “Oo-oo-oo-ooo” and the “Boo!”.
8. T: After all of the movements have been determined- “What did we do for ‘There was an
old woman…”
a. Review for all lines before moving onto singing
9. Echo
a. T: Repeat after me and do the actions for each line.
b. T: There was an old woman all skin and bones, oo-oo-oo-oooo. (With action)
i. S: There was an old woman all skin and bones, oo-oo-oo-oooo. (With
action)
c. T: One night she thought she’d take a walk, oo-oo-oo-oooo. (With action)
i. S: One night she thought she’d take a walk, oo-oo-oo-oooo. (With action)
d. T: She walked down by the old graveyard, oo-oo-oo-oooo. (With action)
i. S: She walked down by the old graveyard, oo-oo-oo-oooo. (With action)
e. T: She saw the bones a-lyin’ around, oo-oo-oo-oooo. (With action)
i. S: She saw the bones a-lyin’ around, oo-oo-oo-oooo. (With action)
f. T: She went to the closet to get a broom, oo-oo-oo-oooo. (With action)
i. S: She went to the closet to get a broom, oo-oo-oo-oooo. (With action)
g. She opened the door and BOO! (With action)
i. S: She opened the door and BOO! (With action)
10. Fill in the blank
a. T: Now fill in the blank when I stop, and keep doing the actions.
b. T: There was an old woman all _______ (With action)
i. S: skin and bones, oo-oo-oo-oooo
c. T: One night she thought she’d _______, (With action)
i. S: take a walk, oo-oo-oo-oooo. (With action)
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d. T: She walked down by the ________, (With action)

i. S: old graveyard, oo-oo-oo-oooo. (With action)
e. T: She saw the bones ________, (With action)
i. S: a-lyin’ around, oo-oo-oo-oooo. (With action)
f. T: She went to the closet to ________, (With action)
i. S: get a broom, oo-oo-oo-oooo. (With action)
g. She opened the door and ________, (With action)
i. S: BOO! (With action)
11. Audiation
a. T: Now, I am going to sing the melody on “loo” and you are going to sing the
words in your head! You can still do the actions to help you remember. If you
forget anything, we will go over those spots after.
b. T: Sing the melody of “Skin and Bones” on “loo” for students
c. S: Audiate “Skin and Bones”
12. T: Did you miss any parts of the song?
a. Wait for student responses. Assess and review as necessary.
13. T: Now let’s sing the whole song with our actions!
Assessment: Are students able to sing “Skin and Bones” with accurate pitch, time, and rhythm
in 6/8 meter with the use of the actions? Review as necessary before moving onto activity 2.
Transition: Now we are going to add some instruments to our song!
Activity #3 Objective: Students will use improvisation in order to create instrumental

accompaniment that matches the mood and lyrics of “Skin and Bones”.
1. T: Just like we make up movements for each line of the song, now we are going to
accompany our singing to match the story.
2. T: Everyone number off 1, 2, 3 (continue if you have more types of instruments that you
would like to use).
3. T: 1s, please get a pair of rhythm sticks. 2s, please get a hand drum, and 3s, please get an
egg shaker.
4. T: I’m going to sing the song to you. While I sing, I would like you all to improvise using
your instruments to accompany the mood and words of the song.
5. T: Excellent! What were some of the ideas that you had?
a. S: Students will share their improvisation ideas that matched with the mood and
words of the song.
6. T: I love all of your ideas. Now that we’ve had some time to experiment with the
accompaniment parts, let’s make some decisions on what instruments should accompany
each line of the song.
7. T: For “There was an old woman all skin and bones”, which instrument or instruments
should play for that line? What kind of rhythm or sounds can we make with that
instrument that fits that line?
a. Repeat for all lines.
8. T: Let’s review our accompaniment parts. For “There was an old woman all skin and
bones”, the ______ will play. For “One night she thought she’d take a walk”, the ______
will play… etc.
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9. T: Great! Now let’s play the whole thing while I sing the song.
Assessment: Students will perform their prepared instrumental accompaniment that matches the
mood and lyrics of “Skin and Bones”.
Closure: Excellent! I love how you used the instruments to help tell the story. We will do this
more as we learn more songs that tell stories.
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Prepare: Lesson 3- Sleep, Little One

● MU:Cr2.1.5b- Use standard and/or iconic notation and/or recording technology to
document personal rhythmic, melodic, and two-chord harmonic musical ideas.
● MU: Cr3.2.5a- Present the final version of personal created music to others that
demonstrates craftsmanship, and explain connection to expressive intent.
● 6/8 melodic echo rhythms (within lesson plan)
● Notation for “Sleep, Little One” (for teacher use only)
● Ukulele
● Ukulele fingering charts for D major and A major
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● “Sleep, Little One” lyrics and chord accompaniment (displayed for students)
Lesson Sequence:
Entry Activity/Transition:
1. Good morning everyone! As you come in, make your way to the front of the room for our
warm-up. Stay standing when you get there!
Activity #1 Objective (Warm-up): Students will sing the 6/8 rhythms with accurate pitch, time,
and rhythm.
1. T: Repeat after me. I sing, you sing.
2. Sing the following patterns in 6/8 time on “loo”. Students will echo. Do not show the
students the notation.
a. Melody is in D major to reflect the key of “Sleep, Little One”
b. All melodies are written in treble clef
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Assessment: Students will echo the 6/8 melodies with accurate pitch, time, and rhythm. Assess
and repeat as necessary before moving onto the next activity.
Transition: Great job! Now we’re going to learn a new song. Does anyone know what a lullaby
is?
Activity #2 Objective: Students will sing “Sleep, Little One” with accurate pitch, time, and
rhythm in 6/8 meter.
1. Hear what students already know about lullabies.
a. Sing them before you go to sleep, slow, mom/dad sings them, etc.
2. Context of “Sleep, Little One”
a. Lullaby definition: A lullaby (/ˈlʌləbaɪ/), or cradle song, is a soothing song or
piece of music that is usually played for (or sung to) children (for adults see music
and sleep). The purposes of lullabies vary. In some societies they are used to pass
down cultural knowledge or tradition. In addition, lullabies are often used for the
developing of communication skills, indication of emotional intent, maintenance
of infants' undivided attention, modulation of infants' arousal, and regulation of
behavior.[1] Perhaps one of the most important uses of lullabies is as a sleep aid for
infants.[2] As a result, the music is often simple and repetitive. Lullabies can be
found in many countries, and have existed since ancient times.[3]
b. A “Dutch” lullaby from the Scholarie Hills, N.Y.:collected from the singing of
Mrs. Orin Huse in the 1930s by Emelyn E. Gardner
3. T: We’re going to learn a lullaby today that can be sung in English or in Dutch. There are
a lot of different translations of this song, and we are going to learn it in English.
4. T: Let’s pat the beat on our legs while I sing. While I sing, listen for what happens in this
song.
a. Sing “Sleep, Little One” with ukulele accompaniment while students pat the beat.
5. T: What did you hear that happened in this song?
a. It talked about a sheep, the sheep drinks milk, singing someone to sleep
6. T: Great! Now let’s learn the words to this song.
7. Echo (Continue ukulele accompaniment throughout the echo process)
a. Repeat after me.
b. T: Sleep little one sleep
i. S: Sleep little one sleep
c. T: Out of doors there runs a sheep
i. S: Out of doors there runs a sheep
d. T: A sheep with four white feet
i. S: A sheep with four white feet
e. T: That drinks its milk so sweet
i. S: That drinks its milk so sweet
f. T: Sleep little one sleep
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i. S: Sleep little one sleep

8. Extended echo (continue ukulele accompaniment)
a. T: Sleep little one sleep, out of doors there runs a sheep
i. S: Sleep little one sleep, out of doors there runs a sheep
b. T: A sheep with four white feet, that drinks its milk so sweet
i. A sheep with four white feet, that drinks its milk so sweet
c. T: Sleep little one sleep
i. Sleep little one sleep
9. Fill in the blank (continue ukulele accompaniment)
a. T: Now fill in the blank when I stop singing.
b. T: Sleep little one _______
i. S: Sleep
c. T: Out of doors there runs a _______
i. S: Sheep
d. T: A sheep with four white _______
i. S: Feet
e. T: That drinks its milk so _______
i. S: Sweet
f. T: Sleep little one _______
i. S: Sleep
10. Extended fill in the blank
a. T: Sleep little one sleep, _______
i. S: Out of doors there runs a sheep
b. T: A sheep with four white feet, _______
i. S: That drinks its milk so sweet
c. T: Sleep little one sleep
11. Audiation (with ukulele)
a. T: Now, I’ll sing the melody on a “loo” and you will sing the song in your head. If
you forget any parts, we will review those after.
b. T: Did you forget any parts?
i. Review forgotten parts as needed
12. T: Now I want to hear you all sing it together, without me! (continue ukulele)
Assessment: Can students sing “Sleep, Little One” with accurate pitch, time, and rhythm in 6/8
meter? Assess and review as necessary before moving onto the next step.
Transition: Now we’re going to learn how to play the ukulele part that I’ve been playing!
Everyone grab a ukulele.
Activity #3 Objective: Students will perform “Sleep, Little One” with accurate pitch, time, and
rhythm while playing the ukulele accompaniment.
1. T: First, let’s review our fingering for D major. (display fingering, review verbally as
needed) Let’s all play D major together.
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2. T: Now, let’s sing “Sleep, Little One” with a D chord on each beat. (Display words for
students)
3.
4. T: Are there any spots that don’t sound quite right?
a. Students will hear that the D major chord doesn’t fit on the lines “little one” and
“doors there runs a”
5. T: I’m going to play just the first line. Listen for what I do differently.
a. Sing through “doors there runs a sheep” and play the A major chord where
appropriate.
6. T: What did I do differently?
a. Students will hear that you changed to the A chord on those two lines.
7. T: When I sang “little one” and “doors there runs a sheep” I switched to an A major
chord. Let’s learn that chord.
a. Display A major fingering for students. (first finger, first fret, second string +
second finger, second fret, first string)
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8. (Once all students are using the correct fingering) T: Let’s all play our A major chord
together. Then, practice switching between D major and A major on your own.
9. T: Let’s play just the first line together. When we sing “little one” and “doors there runs a
sheep”, switch two your A major chord.
10. T: Now let’s listen to the next part and decide if we should use any A majors there.
a. Students may think that there should be an A major chord in the next line. This is
a bit of a trick, there will be no A major chords in the next line. If a student
suggests a spot to use A major, sing and play it twice using the D major and the A
major chord to hear it both ways.
11. T: Did you hear any places that we should change to A major? … There will be no A
major chords in this second line.
12. T: Now, what do you notice about the last line? Do we sing that line anywhere else in the
music?... That’s right! It’s the same as the beginning of the song. So, when we sing
“Sleep, little one, sleep” again, we will change to an A like we did at the beginning. Let’s
do just that last line together.
13. T: Great! Now, let’s sing and play that all together.
14. T: Now, I want to hear you all sing and play it on your own!
Assessment: Can students play the ukulele accompaniment while singing “Sleep, Little One”
with accurate pitch, time, and rhythm? Assess and review as needed before moving on.
Transition: Now, I’m going to sing and play the song again. Listen for what I do differently.
Activity #4 Objective: Students will vocally improvise in D major in 6/8 time.

1. T: Sing the melody to “Sleep, Little One” on “loo”.
a. S: Sang the song on “loo”
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3. T: Let’s do that together. If you feel comfortable playing ukulele while singing, you may
also play the accompaniment too.
4. T: Now, listen for what I do differently again.
5. T: Sing the words “Sleep, little one, sleep” at the beginning and end, and improvise on
“loo” in between.
6. T: What did I do differently this time?
a. S: You sang the beginning and the end the same, but made the middle part up.
7. T: Right! When you make up the music as you go, that’s called improvising. Let’s take
turns improvising, playing the accompaniment if you feel comfortable. I will point to you
when it’s your turn.
a. Improvise over the middle section of the song one time, then have the students
improvise over the middle section one time. End with “sleep, little one, sleep”.
8. T: Is there anyone who would like to try improvising on their own?
a. Allow for any student who would like to try improvising to take a turn. All will
sing the “Sleep, little one, sleep” lines together. Invite students to continue to play
the accompaniment while others are improvising. Groups may also improvise
together, trade fours, any variation.
9. T: Great! Now let’s split into groups of four. We will all take turns improvising in our
groups. In between each group, we will sing “sleep, little one, sleep”. I will play the
ukulele part the whole time, and you may play along as well.
Assessment: Can students successfully improvise within the key of D major in 6/8 time?
Closure: Great job everyone! Wasn’t that fun? You guys are all naturals at this.
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Present: Lesson 4- One, Two, Three O’Leary

● MU:Pr4.2.5b- When analyzing selected music, read and perform using standard
notation.
● MU:Pr6.1.5a- Perform music alone or with others, with expression, technical accuracy,
● Notation for “Old Mother Hippletoe” (to be displayed for students)
● Rhythm syllable notation for “Old Mother Hippletoe” (to be displayed for students)
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● “One, Two, Three O’Leary” notation
● Butterfly rhythm charts (expanded upon within the lesson)

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● Butterfly rhythm manipulatives
Lesson Sequence:
Entry Activity/Transition: Good morning everyone! Today is going to be a really fun class
period. We are going to make some discoveries about the music we have been learning. As you
walk in, gather in a circle.
Warm-up Activity:
1. Teacher will improvise melodies on the piano, switching between simple and compound
meters.
2. T: I’m going to play some music on the piano. Listen, and decide whether you should
SKIP or MARCH to the music I play. Be ready, because I might switch partway through!
3. Switch between simple and compound several times. Watch students and react to their
movements.
Transition: Great job everyone! Let’s revisit another song that we’ve already learned before.
Let’s sing “Old Mother Hippletoe”.
Activity #1: Reviewing known concepts- 16th note patterns

1. T: Let’s pat/step the beat while we sing.
a. Display notation for students
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2. T: Now, let’s sing “Old Mother Hippletoe” with rhythm syllables. Continue
patting/stepping the beat while we sing.
a. Display notation for students
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Transition: Great! Now I’m going to sing “Old Mother Hippletoe” again, and I want you to clap
the 8th note beat.
Activity #2 Objective: Given the sung “One, Two, Three O’Leary” song, 5th grade students will
aurally distinguish that the meter is different from 2/4, 3/4, or 4/4, discovering that the new meter
is divided into three notes per beat instead of two.
1. S: Clap the 8th note pulse to “Old Mother Hippletoe”
2. T: Great! Now, I’m going to sing “One, Two, Three O’Leary”. Clap on the beats while I
sing.
3. T: Now, do what we did before and clap the 8th notes while I sing it again.
a. Students should notice that the two 8th notes don’t fit in the beats.
4. T: The two 8th notes don’t work very well when we sing “One, Two, Three O’Leary” do
they? Try clapping three 8th notes per beat while I sing this time.
a. Model how to clap three 8th notes per beat before inviting the class to do it. Sing
slowly enough that students can easily clap while you sing.
b. Students will hear that something is new. It is fine and expected that they will not
be able to identify exactly what is different. The purpose of this step is to open
students’ ears up to the new concept.
Assessment: Can students identify that a new rhythm/meter system is being used in “One, Two,
Three O’Leary” vs. “Old Mother Hippletoe”? Guide students until they hear the difference.
Transition: In songs like “Old Mother Hippletoe”, there are two or four small beats within the
big beat. In songs like “One, Two, Three O’Leary”, there are THREE small beats within the big
beat.
Activity #3 Objective: Given the staff, their new discovery of the three vs. two feel, and “One,
Two, Three O’Leary” students will place the pieces of the butterfly to represent the rhythms of
“One, Two, Three O’Leary”.
T: For our two or four small beat songs, we use the heart symbol. What symbol can we
use to show three parts of the beat?
a. Hear student answers.
T: We’re going to use a butterfly as our symbol. There are three parts of the butterfly: the
left wing, the body, and the right wing.
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T: We could also have combinations of those parts of the butterfly: we could have the left
wing plus the body, or the body plus the right wing.
T: Let’s think back to “One, Two, Three O’Leary”. When we say “One, two” how many
notes come between each of those steps?
b. One note per step
T: When we say “One, two” that will look like this with our butterflies.
c. Show to students
T: Now onto the next part. When we say “Three O’Leary”, how many notes are in
between each step. Step and sing it out if you need to.
T: That’s right! There are two notes between each step. Is the first note longer, or is the
second note longer?
T: The second note is longer. It goes “Long short long short”. So when we say “Three
O’Leary” it will look like this with our butterflies.
d. Display to students.
T: When we put the two together and sing the whole line “One, two, three O’Leary”, it
will look like this. Let’s sing this rhythm on a “loo” while we step to the beat.
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T: Excellent! This same rhythm repeats when we say the rest of the lines. With
butterflies, the whole song will look like this. Let’s sing the whole song on a “loo”. Pay
attention to where the butterflies are long, short, or whole.
T: Great job! Now I’m going to pass out some butterflies to you. With a partner, you will
work together to put together the rhythm for “One, Two, Three O’Leary”.
Assessment: Are students able to assemble the butterflies/butterfly pieces in the correct order?
Guide students through the process of identifying the long vs. short. vs. the whole butterflies.
Transition: I’m going to show you another way to look at this song. It’s going to sound
EXACTLY the same, but it’s going to look a little bit different.
Activity #4 Objective: Given “One, Two, Three O’Leary” students can identify that this song is
in 6/8 time with notation.
1. Display “One, Two, Three O’Leary” for students with standard rhythmic notation.
2. T: When we have notes that are in groups of three, that is called 6/8 meter. Within each
beat, there are three 8th notes. We can have three 8th notes together, or a quarter note and
an 8th note, or even a dotted quarter note. Notice how this type of notation is similar to
what we just did with the butterflies.
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a. Answer any other questions that students may have about 6/8 meter.
Assessment: Are students able to identify that “One, Two, Three O’Leary” is in 6/8? Answer
any questions about this new system before moving onto the next step.
Transition: We’re going to learn how to count these rhythms next. Look up to the board, and
we’re going to work together to write in all of the 8th notes within each beat.
Activity #5: Reinforcement of the three 8th notes within each beat of 6/8 meter.
1. Display notation for “One, Two, Three O’Leary” on the board.
2. T: When we have a dotted quarter note on each beat in 6/8, we will count it “one, two”.
So, underneath each of these dotted quarter notes, I am going to write the counts 1, 2.
3. T: Now, where are our 8th notes in the next bar? How many 8th notes are in a quarter
note? How many 8th notes are in an 8th note?
a. Continue this process with similar guiding questions until all of the counts for
“One, Two, Three O’Leary” have been written on the board. Have students take
turns writing the counts on the board.
Closure: Excellent job everyone! We’re going to keep learning a lot of new songs that are in 6/8!
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Practice: Lesson 5- Skin and Bones

notation.
● 6/8 warm-up rhythms- show to students (in lesson plan)
● Notation for “Skin and Bones”
39
● Notation for “Skin and Bones” by verse

Verse 1
Verse 2
Verse 3
Verse 4
Verse 5
Verse 6
Lesson Sequence:
Entry Activity/Transition: Good morning students! Let’s start off by reading and clapping
some rhythms. Echo me.
Activity #1 Objective (Warm-up): Using standard notation, students will clap the 6/8 patterns
with accurate time and rhythm.
1. Show notation of the following rhythms to students. Clap the rhythms, and students will
echo.
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2. Repeat rhythms as necessary.
Assessment: Students are able to clap the 6/8 rhythms with accurate time and rhythm. All
students should have success with this before moving onto the next activity.
Transition: Great job! Now let’s revisit our song “Skin and Bones”.
Activity #2 Objective: Students will aurally and visually identify where the three 8th note
patterns are located within “Skin and Bones”.
1. Review the words for “Skin and Bones”. Review actions to help students recall the words
to the song.
2. T: This time, I’m going to sing the first verse, and I want you to raise your hand when
you hear me sing three 8th notes.
a. T: Sing “Skin and Bones” for students.
b. S: Raise their hand when three 8th notes are heard.
3. T: Where did you hear the three 8th notes in the first verse?
a. “was an old woman all”
4. T: Great! Now I’m going to sing the second verse. Listen for where the three 8th notes
are in this verse and raise your hand when you hear them.
5. T: Where did you hear the three 8th notes in the second verse?
a. There are no groups of three 8th notes in the second verse.
6. Repeat for the remaining verses.
a. Verse 3: no groups of three 8th notes
b. Verse 4: “lyin’ a”
c. Verse 5: “went to the closet to”
d. Verse 6: “opened the”
7. T: Think back to the first verse. Where were the three 8th notes in the first verse?
a. “was an old woman all”
8. T: Let’s see what that verse looks like in notation. Have we seen these rhythms
anywhere?
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a. Students may recognize the rhythms from the warm-up. If not, guide them to this
realization.
b. Display verse 1 notation to students
9. T: See where the two groups of three 8th notes are? When we sing “There was an old
woman all skin and bones” it will look like this! Let’s sing this line together with
notation.
10. T: Now let’s think about the second verse. Were there any groups of three 8th notes in the
second verse?
a. No groups of three 8th notes in verse 2
11. T: Let's see that with the notation.
a. Display verse 2 notation to students
12. T: Now let’s sing this verse together with the notation!
13. Repeat for remaining verses (remember, see notation, sing)
a. Verse 3:
b. Verse 4:
c. Verse 5:
d. Verse 6:
14. T: Great! Now we’re going to sing the whole song with the notation. Whenever you hear
and see the three 8th notes come up, I want you to raise your hand like we did before!
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a. Display full notation of “Skin and Bones” for students
Assessment: Students will sing “Skin and Bones” with notation, identifying where the groups of
three 8th notes are located by raising their hand when they occur.
Closure: Excellent job everyone! The three 8th note pattern is super important in 6/8 so we will
see it a lot in the other songs we are going to learn!
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Practice: Lesson 6- Sleep, Little One

● MU:Cr1.1.5b- Generate musical ideas (such as rhythms, melodies, and accompaniment
patterns) with specific related tonalities, meters, and simple chord changes.
● MU:Cr2.1.5a- Demonstrate selected and developed musical ideas for improvisations,
arrangements, or compositions to express intent, and explain connection to purpose and
context.
● MU:Cr3.1.5a- Evaluate, refine, and document revisions to personal music, applying
teacher-provided and collaboratively-developed criteria and feedback, and explain
rationale for changes.
● MU:Cr3.2.5a- Present the final version of personal created music to others that
dominates craftsmanship, and explain connection to expressive intent.
● MU:Cr2.1.5b- Use standard and/or iconic notation and/or recording technology to
document personal rhythmic, melodic, and two-chord harmonic musical ideas.
notation.
● Rhythm sticks
● Ukulele
● Notation for “Sleep, Little One”
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● Notation for “Sleep, Little One” with the original lyrics removed
● Examples for new verses of “Sleep, Little One” (for teacher use, in lesson plan)
Lesson Sequence:
Entry Activity/Transition: Hello everyone! As you walk in, grab a set of rhythm sticks and sit
down, please.
Activity #1 Objective (Warm-up): Students will create appropriate answers to rhythmic

questions in 6/8 time using rhythm sticks.
1. T: Echo the rhythms I play.
a. Improvise several rhythms using rhythm sticks in 6/8 time. Students should echo
those rhythms.
2. T: Now, you will still play after me, but listen to what I play and use that to create an
“answer” to my question. Don’t play exactly what I play, but play something that makes
sense with what I give you.
a. Improvise rhythms using rhythm sticks in 6/8 time.
3. T: Turn to a partner. Decide which one of you will be the question, and which one of you
will be the answer. You will each get a turn. One of you will play a question, and then the
answerer will play an answer.
4. Allow time for students to play several questions and answers, then partners will switch
roles.
Assessment: Observe student questions and answers. Are they in time and rhythm? Are they
logical and appropriate questions and answers? If students are struggling, guide them to play in
time and in rhythm before moving to the next activity.
Transition: Great questions and answers everyone! You all are so creative. Now, let’s review our
song “Sleep, Little One”.
Activity #2 Objective: Students will work with each other and the teacher to create new lyrics
45
for “Sleep, Little One” using the original notation, melody, rhythms, and 6/8 meter.
1. All sing “Sleep, Little One.” Play ukulele accompaniment while singing.
2. T: Now that we have the song back in our brains and we have the notation, let’s do some
looking at this music. What would you say is the form of this music?
a. Guide students to the answer of ABA
3. T: That’s right! This song is in ABA form. We have the A, “Sleep, little one, sleep”, then
the middle B section with “Out of doors there runs a sheep, A sheep with four white feet,
That drinks its milk so sweet.” and then we return to the A section with “Sleep, little one,
sleep”.
a. Write “ABA” on the board. We will revisit this later.
4. T: Now, what do we notice about the end of each line?
a. Guide students to notice that the end of each line rhymes.
5. T: Right! The ends of each line rhyme! We have the words “sleep, sheep, feet, sweet, and
sleep”.
a. Write “rhyming words” on the board. Revisit later.
6. T: Now, if we were to change the words to “Sleep, Little One” but keep the rhythm the
same, would we be able to use just any words that we wanted to? Or would we have to
use words that have the same number of syllables?
a. Guide students to the answer that the words would have the same number of
syllables as the original lyrics.
7. T: Exactly! Each line would have to have the same number of syllables in order for the
words to work. Let’s count the number of syllables per line of this song.
a. Count the number of syllables in each line of the song (between each rhyming
word). Guide students through the words “A”, “feet”, “That”, and “sweet” to help
them understand that those words have “two syllables” since there are two notes
for each of those words. The rules of syllables can change a little bit in music.
i. Sleep, little one sleep- 5
ii. Out of doors there runs a sheep- 7
iii. A sheep with four white feet- 8
iv. That drinks its milk so sweet- 8
b. Write on the board “Syllables- 5, 7, 8, 8, 5”
8. T: Let’s review the things we’ve pulled out of “Sleep, Little One”. The song is in ABA
form, each line ends in a rhyming word, and we counted the number of syllables for each
line. (The board should look similar to the photo below)
9. T: Now, let’s take all of this, and we’re going to put our “composer hats” on. We’re going
to write our own verse to “Sleep, Little One”! We’re going to use the same melody and
rhythms and work together to write a new set of words to the song.
10. T: First, let’s decide what our A sections should be? Should we keep them as “Sleep, little
one, sleep”? Or should we change them to new words?
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a. Either technique would work well. Guide the students through this process, but let
them take over on the actual composition part.
b. Pros to keeping “sleep, little one, sleep”- Uses the title of the song
i. If students choose to keep the A section as “sleep, little one, sleep”, make
sure to emphasize that the ends of the B section lines don’t necessarily
need to rhyme with sleep. Just as long as all of the B section lines rhyme
with each other.
c. Pros of changing “sleep, little one, sleep”- More composition practice
i. Guide students through the process of choosing a line that has 5 syllables
and that would make sense in a lullaby.
ii. If students should choose to change the A section from “sleep, little one,
sleep” to something else, then the lines of the B section should rhyme with
the last word of the A section.
11. T: Now, let’s look at the next few lines. In the original verse, they sing three different
things about a sheep. What ideas do you all have that we could sing about in the B
section lines? Turn to a partner and come up with a few ideas.
a. Allow 30 seconds to a minute of thinking time.
12. T: Let’s hear some ideas that you or your partner had.
a. Hear student ideas, write them on the board.
b. Examples: Sleep, night, animals associated with night (owls, teddy bears,
crickets) etc. No wrong answers as long as it fits the mood and number of
syllables.
13. Work with students to create new lyrics that rhyme and use the correct number of
syllables per line. For this portion of the activity, there is room for whole group, small
group, and partner work. This may be dependent on class size, class period length, etc.
No matter how the brainstorming portion of this process happens, regroup as a class and
hear several ideas and write them all down for others to hear and see. Sing the melody for
students using the new lyrics so they can hear it in the context of the song. Decide on the
favorite theme and lyrics as a class. Give lots of feedback to students throughout the
entire process.
a. Potential Modifications: If you had either an abnormally large group OR a
“higher” group that would need less guidance, split the students into 2 or more
groups and have students work together to create their own lyrics (there will be
more than one verse coming from each class, in this case). Check in with each
group intermittently to provide guidance, feedback, hear ideas, etc.
14. As decisions are being made for each line of the song, write them on the blank version of
“Sleep, Little One”. Students may also take turns writing the new lyrics under the
appropriate rhythms. (To be displayed on the screen)
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15. Following the composition process, sing the final product together. One could also
combine the new verse with the original verse and sing the full two (or more) verse
version of “Sleep, Little One”.
Assessment: Students will work with each other and the teacher to create new lyrics for “Sleep,
Little One” using the notation, original melody, rhythms, and 6/8 meter.
Closure: Excellent job everyone! Isn’t it so cool that you just wrote an entire song? You can use
this same process for any song you want and become composers!
Examples of new verses for “Sleep, Little One”:

Same A section as original
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New A section
49
Practice: Lesson 7- Skating Away

notation.
● Super Mario Bros. - Underwater Theme - Rhythm Play Along-
https://www.youtube.com/watch?v=cjbh-lg3VCI
● Notation for “Skating Away”
● Dance instructions for “Skating Away”

50
Lesson Sequence:
Entry Activity/Transition: Good morning everyone! As you walk in, find a place in the room
where you have plenty of space to move around. We’re going to be doing some body percussion.
Warm-up Activity: Experimentation with body percussion in 6/8 time.

1. T: I’m going to play you a video that will show you some rhythms. You might recognize
the music. Start off by clapping the rhythms you see on the screen, and once you get
comfortable, start improvising and experimenting with using body percussion to the
rhythms!
2. Observe students as they clap/use body percussion for the rhythms. Model for them and
join the process with them.
Transition: How fun was that! Did any of you recognize the music? Today we’re going to learn
a song that comes from the midwest, called “Skating Away”. There is a dance that goes along
with this song, because it was sung at what are called play parties. Because it’s such an important
part of the song, we will learn the dance later.
Play party: A play party is a social event in which people gather to sing and dance. Play
parties began in the 1830s in the United States as a route around strict religious practices banning
dancing and the playing of musical instruments. The areas most influenced by the practice were
the Southern and Midwestern parts of the United States. Folk songs, many of European and
English origin, were used as means to give the attendants choreographed movements for each
phrase. No instruments were played at the events, as they were banned by the religious
movements of the area. Singing and clapping were used to convey each song. Because dancing
was banned, the movements took on the quality of children's games. Though the performance of
play parties dwindled in the 1950s, music educators use them as ways to incorporate music and
dance in their classrooms.
Activity #1 Objective: Students will sing “Skating Away” with accurate pitch, rhythm, and time
in 6/8 meter.
1. T: While I sing the song for you, listen for what happens in the song.
2. Sing all of “Skating Away” for students (all three verses).
3. T: What happened in this song? This song talks about some people. What did they do?
a. Couples skated away
b. They fell into the ice
c. “The old swing and and the new swing in”- students might not understand this
line but it will make sense when the dance is added.
4. T: Right! Now let’s learn this song. Let’s pat the beat while we sing. Repeat after me.
5. Verse 1 echo
a. T: There two couples a-skating away
i. S: There two couples a-skating away
b. T: A-skating away, a-skating away
i. S: A-skating away, a-skating away
c. T: There were two couples a-skating away
i. S: There were two couples a-skating away
d. T: So early in the morning
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i. S: So early in the morning

6. Verse 1 extended echo (don’t pause in between echo and extended echo)
a. T: There were two couples a-skating away, a-skating away, a-skating away
i. S: There were two couples a-skating away, a-skating away, a-skating away
b. T: There were two couples a-skating away, so early in the morning
i. S: There were two couples a-skating away, so early in the morning
7. T: What do you notice about this first verse? Does it repeat a lot?
a. Students will notice that the words “There were two couples a-skating away” is
repeated, as well as the middle “a-skating away”. Guide students to making this
connection (the last part of the sentence repeats)
8. T: Now listen to the second verse and I think you’ll notice something similar.
a. Sing verse 2
9. T: What did you hear in this verse that was similar to the first verse?
a. Ends in “so early in the morning”
b. Repeating sections
10. T: Exactly! So, you really only have to learn the first and last line of each verse, because
everything in the middle just repeats over and over. Let’s review the first verse, and then
we’ll learn the next verses. Pat the beat again and repeat after me.
11. Verse 1 extended echo review
a. T: There were two couples a-skating away, a-skating away, a-skating away
i. S: There were two couples a-skating away, a-skating away, a-skating away
b. T: There were two couples a-skating away, so early in the morning
i. S: There were two couples a-skating away, so early in the morning
12. Verse 2 echo
a. T: The ice was thin and they all fell in
i. S: The ice was thin and they all fell in
b. T: They all fell in, they all fell in
i. S: They all fell in, they all fell in
c. T: The ice was thin and they all fell in
i. S: The ice was thin and they all fell in
13. Verse 2 extended echo
a. T: The ice was thin and they all fell in, they all fell in, they all fell in
i. S: The ice was thin and they all fell in, they all fell in, they all fell in
b. T: The ice was thin and they all fell in, so early in the morning
i. S: The ice was thin and they all fell in, so early in the morning
14. Verse 3 echo
a. T: The old swing out and the new swing in
i. S: The old swing out and the new swing in
b. T: The new swing in, the new swing in
i. S: The new swing in, the swing in
c. T: The old swing out and the new swing in
i. S: The old swing out and the new swing in
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15. Verse 3 extended echo

a. T: The old swing out and the new swing in, the new swing in, the new swing in
i. S: The old swing out and the new swing in, the new swing in, the new
swing in
b. T: The old swing out and the new swing in, so early in the morning
i. S: The old swing out and the new swing in, so early in the morning
16. Fill in the blank, combining verses
a. T: Now, I’m going to sing part of the song and when I point to you, fill in the
blank.
b. T: There were two couples a-skating away, _________
i. S: a-skating away, a-skating away
c. T: There were two couples a-skating away, _________
d. T: The ice was thin and they fell in, _________
i. S: And they fell, and they fell in
e. T: The ice was thin and they fell in, _________
f. T: The old swing out and the new swing in, _________
i. S: The new swing in and the new swing in
g. T: The old swing out and the new swing in, __________
17. T: Excellent! Now I’m going to hum the melody for you, and I want you to sing the
words in your head.
18. T: Were there any parts that you forgot? Let’s review those.
19. T: Now, I want you to sing the song all together, but without me!
Assessment: Students will sing “Skating Away” with accurate pitch, rhythm, and time in 6/8
time. (Review any mistakes before moving on to the next activity)
Transition: Great job everyone! Now we’re going to learn the folk dance that goes along with
this song.
Activity #2 Objective: Students will perform the folk dance to “Skating Away” while singing
with accurate pitch, time, and rhythm in 6/8 meter.
1. T: I’m going to put the music for “Skating Away” on the board in case you guys need any
reminders as we go.
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2. T: Everyone form a circle! (allow time) Now I need four volunteers to come to the
middle. Don’t worry, everyone will get a turn.
a. Dance instructions, for reference
3. T: My four volunteers, you are the “couples” that the song talks about.
a. Guide students to form the “right hand star” OR simply have students all place
their right hands in the middle of the circle.
4. T: Everyone in the outside circle, you will all join hands, too.
5. T: When we sing the first verse of the song, the people in the middle will move in
CLOCKWISE motion, and the people in the outside circle will move in a
COUNTERCLOCKWISE motion. Let’s practice doing that while we sing our song.
a. Do this as many times as needed. Stop at the end of the first verse.
6. T: For the second verse, everything will be exactly the same, except we are going to
switch directions. Outside people, you won’t have to change anything except for the
direction you are moving. Middle people, when we get to the second verse, you will
switch your right hand with your left hand and then also change the direction you are
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moving.
a. Model this motion as needed.
7. T: Let’s practice singing the second verse while we move in the opposite direction.
a. Repeat as many times as needed. Stop at the end of the second verse.
8. T: Great! Now let’s put the first and second verses together. Let’s face the direction we
were originally going. Sing and do the dance.
a. Repeat as many times as needed. Stop at the end of the second verse.
9. T: Great! Now when we get to the third verse, this is where we do something different.
When we sing the third verse, the four people in the middle will each choose a new
person to be in the middle for the next run of the song. The NEW people in the middle of
the circle will join right hands in preparation for the first verse again. People in the
outside circle will stop moving and clap the beat while the new people are picked. Let’s
practice singing and doing that!
a. Repeat as many times as needed. Stop at the end of the third verse.
10. T: What do we do when we get to the end of the song? We go back to the beginning and
sing it again! Let’s go through the entire song, all three verses, and then practice going
back to the beginning with our new middle people!
Assessment: Students will perform the dance for “Skating Away” while singing with accurate
pitch, time, and rhythm in 6/8 time.
Closure: Great job everyone! Wasn’t that fun? There are tons of songs that we can add dances
to, and we can even make up our own dances sometimes!
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Practice: Lesson 8- Stewball

notation.
● Notation for “Stewball”
● “Stewball” counting worksheet

56
● Orff barred instruments

● “Stewball” Orff accompaniment
Lesson Sequence:
Entry Activity/Transition: Hello everyone! Let’s do some quick review as a warm-up. Can
anyone help me remember how to count 16th notes?
Warm-up Activity: Review of rhythm counting (no assessment)

1. Students should be able to identify the “tika tika” or 1 e + a syllables for 16th notes.
2. T: Now remind me how we count groups of three 8th notes in 6/8?
a. 1 la li
3. T: Now, if we had a quarter note and an eight note in 6/8, how would we count that?
a. 1 li
4. T: How about an 8th note follow by a quarter note in 6/8?
a. 1 la
5. As students produce answers, write them on the board.
Transition: Great job everyone! We’re going to learn a new song today. This song is called
“Stewball”. What do you think this song might be about? (hear student answers) While I sing,
listen for what this song is about.
Activity #2 Objective: Students will accurately count and clap the rhythm to “Stewball”.
1. T: What was “Stewball'' actually about?
a. S: A horse
2. T: That’s right! This song is about a racehorse named Stewball.
a. Context: The horse was foaled in 1741 and originally owned by Francis
Godolphin, 2nd Earl of Godolphin, and later sold. His name has been recorded as
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"Squball", "Sku-ball", or "Stewball".[1] He won many races in England and was

sent to Ireland.[2] The Irish turf calendar states that he won six races worth £508
in 1752, when he was eleven years old, and was the top-earning runner of that
year in Ireland.[3] His most famous race took place on the plains of Kildare,
Ireland, which is generally the subject of the song of the same name. The early
ballad about the event has Skewball belonging to an Arthur Marvell or Mervin.
Based on the horse's name, Skewball was likely a skewbald horse though he was
listed in stud books as a bay.[4]
There are two major different versions of the sporting ballad, generally
titled either "Skewball" or "Stewball"; the latter is more popular in America.
There are multiple variations within the two major divisions. Versions date at least
as far back as the 18th century, appearing on numerous broadsides. In both songs
the title horse is the underdog in the race, up against a favored grey mare (usually
called either "Griselda" or "Molly"), and although in most versions of Stewball
the winning horse triumphs due to the stumbling of the lead horse, Skewball wins
simply by being the faster horse in the end. Probably the most significant lyrical
difference in the songs is the conversation Skewball has with his jockey, while
Stewball behaves more like a typical horse and does not speak.
b. Discuss: underdog, lyrical differences, differences in the horse’s name depending
on the version
3. Let’s look at the music for this song.
a. Display notation for students.
4. T: What do you see in this music that we haven’t seen in any of our 6/8 songs before?
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a. 16th notes
5. T: Right! But how can that be? We have 16th notes in 2/4 and 4/4. How can we have
them in 6/8?
a. Hear student answers, if any
6. T: We still have 8th notes in 6/8, and we know that 8th notes can be divided into 16th
notes. So, that means no matter what our meter is, we can always divide our 8th notes
into 16th notes.
7. T: Let’s clap this rhythm together. Don’t worry about the counting yet.
a. Repeat and isolate until students clap the rhythm accurately.
8. T: Let’s work together to write in the counting for “Stewball”. Let’s use “1 la li, 2 la li”
a. Display below worksheet to students
9. Use “+ a” for the 16th notes. Work together to write in the counts for the song. Let
students take turns writing in the counts on the board. Completed worksheet should look
as follows:
10. T: Now let’s count, using the rhythm syllables. Remember to say the syllables in
parentheses in your head.
11. T: Now let’s hear you clap it while saying the rhythm syllables.
Assessment: Students will accurately count and clap the rhythms for “Stewball”. Isolate and
review as needed before moving on to the next activity.
Transition: Now let’s learn the words to this song!
Activity #3 Objective: Students will sing “Stewball” with accurate pitch, time, and rhythm in
6/8 meter.
1. Display notation with lyrics for students.
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2. Verse 1 echo
a. T: Let’s pat the beat on our legs. Repeat after me.
b. T: Stewball was a good horse
i. S: Stewball was a good horse
c. T: He wore his high head
i. S: He wore his high head
d. T: And the mane on his foretop
i. And the mane on his foretop
e. T: Was as fine as silk thread
i. Was as fine as silk thread
3. Verse 1 extended echo (don’t pause between echo and extended echo)
a. T: Stewball was a good horse, he wore his high head
i. S: Stewball was a good horse, he wore his high head
b. T: And the mane on his foretop, was as fine as silk thread
i. S: And the mane on his foretop, as as fine as silk thread
4. Verse 1 fill in the blank
a. T: Now fill in the blanks where I stop singing
b. T: Stewball was a _______, he wore his _________
i. S: good horse, high head
c. T: And the mane on his ________, was as fine as ________
i. S: foretop, silk thread
5. Verse 1 extended fill in the blank (don’t pause between fill in the blank and extended fill
in the blank)
a. T: Stewball was a good horse, _________
i. S: He wore his high head
b. T: And the mane on his foretop, __________
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i. S: Was as fine as silk thread

6. Let’s put the entire first verse together! Keep patting the beat while we sing.
Assessment: Students will sing “Stewball” with accurate pitch, time, and rhythm in 6/8 meter.
Transition: Once the first verse has been sung several times, start learning the next verses. Keep
the words displayed for students. The rhythms will be the same for all verses, but the words will
change for each verse. Practice transferring the rhythms to the words of each verse. Model for
students how each verse will sound and where the beat lands.
T: Now that we know the words to “Stewball”, let’s add some accompaniment.
Activity #4 Objective: Students will perform the harmonic accompaniment to “Stewball” on

Orff xylophones with accurate time, rhythm, and notes.
1. T: Everyone please make your way to one of the instruments. It doesn’t matter which
one, we will all be playing the same thing today.
2. T: Watch and repeat after me.
a. Play 4 Gs (first two bars)
3. Next two bars (four As)
4. First four bars
5. Next two bars (four Ds)

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6. Next two bars (A G G G)
7. Second four bars
8. Full accompaniment pattern
9. T: Excellent! Now let’s sing “Stewball” while we play the accompaniment.

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a. Repeat as necessary
Assessment: Are students able to sing “Stewball” while playing the xylophone accompaniment
with accurate beat, rhythm, and notes? Observe and assess. If needed, repeat parts of instruction
and reassess.
Transition: Great! I’m going to sing again, and I want you to listen for what I do differently.
Activity #5 Objective: Students will vocally improvise in G major in 6/8 time.

10. T: Sing “Stewball” on “loo”.
11. T: What did I do differently that time?
a. Sang “Stewball” on “loo”
12. T: Let’s do that together. Let’s also play the xylophone part that we learned while we
sing.
13. T: Now listen for what I do differently again.
14. T: Sing in 6/8 in F major, improvising on “loo”
a. S: Made up the melody to the song
16. T: Let’s take turns improvising while we play the accompaniment. I will point to you
17. T: Now, we’re going to sing it again, and I would like to hear you improvise on your
own. We will go down the line, and you will each get a turn to improvise while we play
the accompaniment.
Assessment: Can students successfully improvise within the key of G major in 6/8 time with
harmonic accompaniment?
Closure: Great job everyone! I loved hearing all of your creative ideas!
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Practice: Lesson 9- De Colores (WMP)

● MU:Pr4.1.5a- Demonstrate and explain how the selection of music to perform is
influenced by personal interest, knowledge, and context, as well as others’ technical skill.
● MU:Pr4.2.5.c- Explain how context (such as social, cultural, and historical) informs
performance.
● MU:Re7.1.5a- Demonstrate and explain, citing evidence, how selected music connects to
and is influenced by specific interests, experiences, purposes, or contexts.
● Scarves
● 6/8 instrumental track- https://www.youtube.com/watch?v=pfb9NPBsALM
● Blue Danube track (starts at 0:12)- https://www.youtube.com/watch?v=HAXVO6Rp81E
● “De Colores” recording- https://www.youtube.com/watch?v=48vNfKUHWRw
● Waltz style 8th notes visual
● Ukuleles
● Lyrics with chord changes for “De Colores”
● Ukulele fingering charts- D, A, E7, A7

64
Lesson Sequence:
Entry Activity: Good morning everyone! As you walk in, grab a scarf and find a place where
you have enough room to move around.
Warm-up Objective: Students will explore movement of two different songs in 6/8 meter by
moving (bodies and scarves) in a way that reflects the time, tempo, and mood of the two
contrasting styles.
1. Start the instrumental backing track.
2. T: Listen to the music and walk to the beat.
a. Allow enough time for all students to identify and sync up to the beat of the track.
3. T: (Do not stop the music) Start moving your scarves in a way that reflects the music.
a. Move along with students, acting as a model. Praise students using creative
movements.
b. If students are struggling with walking while moving the scarves, guide them to
just step in place.
4. Stop instrumental track.
5. T: Now, listen to this song and think about what you might do differently to reflect the
mood. Is it the same, different? Faster? Slow? Start moving with the music when you’re
ready.
Assessment: Observe student movements. Student movements should reflect the time, tempo,
and mood of the music being played. Guide students to use appropriate movements.
Transition: (Stop music) Great job everyone! Please put your scarves away and make your way
to the front of the room. We’re going to learn a new song today. Instead of listening to me sing it,
we are going to listen to someone from another culture sing it in their native language. While you
listen, see if you can figure out what language this song is in.
Attentive Listening Objective: After listening to the recording of “De Colores”, students will
recognize that the song is sung in Spanish and that the main instrument heard is guitar.
1. Play “De Colores” recording for students
a. https://www.youtube.com/watch?v=48vNfKUHWRw
2. T: Were any of you able to figure what language this song is in?
a. Students may recognize that this song is in Spanish right away. If not, ask them if
there were any words that they were able to pick out and discuss from there.
65
b. Listen again as needed with

c. Further guiding questions regarding language:
i. Were there any words that stood out to you?
ii. Were there any words that you heard repeated a lot?
3. T: Let’s listen to this song again. This time, listen for what the main instrument is.
4. T: What was the instrument you heard the most in this song?
a. Students should hear the guitar as the main instrument, but will likely hear the
other stringed instrument as well (harp? another guitar-like instrument? I was
unable to find this in my research)
5. T: Great! This song is called “De Colores”. This song is in Spanish and the instrument
that you heard playing the most was a guitar.
Assessment: Are students able to recognize the Spanish language and the guitar
accompaniment? Assess throughout the attentive listening portion and give guiding questions as
needed.
Transition: T: The version of “De Colores” that we listened to is sung by someone named Joan
Baez, a singer and activist who was popular in the 1960s.
Integrating Activity (no objective)

1. Integrating
a. “De Colores” is a traditional Mexican song, popular in the Chicano culture.
The song is associated with Mexican folklore, but it is not known for certain when
and where the song originated.[3][4] It is believed to have been in circulation
throughout the Americas since the 16th century, with melodies being brought over
from Spain during the colonial era. Some versions of the lyrics sung today are
widely understood to have been created by a group of Cursillo participants
in Majorca, Spain, after one of the earliest Cursillo retreats in the 1940s.
Today, in addition to being used as the unofficial anthem of the Farm Worker
Movement and as an inspirational song in Cursillo workshops, the song is often
taught in schools in the United States—from elementary school to community
colleges—as an example of a common Mexican folk song. It frequently appears
in collections of children's songs.
De colores is typically sung in Spanish, but there are different English translations
of the song in circulation, and the song has been translated into other languages.
The lyrics depict an expression of joy and a celebration of all creation with its
many bright colors. Below are four of the most commonly heard verses. Many
additional verses (and variations of these verses) are known to exist, some
including Christian references and some including more specific to farm life or
labor union issues to be used as a rallying-song for farm-laborers.
Transition: Now let’s focus on the song itself again.
Engaged Listening Objective: Students will learn the waltz style 8th note pattern and identify it
within the recording.
66
1. T: This song is in what we call a waltz style. In this style there are still three 8th notes per
beat, but the first 8th note has a little bit more emphasis. So, instead of sounding like this
it will sound like this (show images to students)
2. T: Let’s practice patting waltz style 8th notes together.

a. Practice patting this style of 8th notes, emphasis on first 8th note
3. T: Now, let’s listen again, and see if you can sync up your pats with the waltz style
accompaniment.
Assessment: Are students able to A. pat along with the 8th note beat and B. able to put the
emphasis on the correct 8th note for the waltz style? Assess and give guidance as needed.
Transition: Now everyone grab a ukulele.
Enacting Objective: Students will play the waltz style accompaniment for “De Colores” using
ukuleles.
1. T: First, let’s learn the chords for the song. We need D, A, E7, and A7. We know D and A
already, so let’s review those. D is fingers 1, 2, and 3 on the 2nd fret of the top three
strings. A is the 2nd finger on the second fret of the top string, and the 1st finger on the
first fret of the second string. Practice strumming D and A on your own.
a. Display fingering charts to students.
2. T: Now let’s add one of our new chords, A7. Going from A to A7 is super easy. Just lift
your second finger from the top string. So, you will only have your first finger on the first
fret of the second string. It will sound like this. Find that chord. Now let’s strum it all
together on a loop.
a. Display fingering chart to students.
3. T: Now let’s learn our last chord, E7. It's probably the trickiest chord we’ve learned so
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far, so pay attention to how it’s played. You are going to put your first finger on the first
fret of the first string. Then, take your second finger and put it on the second fret of the
second string. Lastly, put your third finger on the second fret of the fourth string. It will
sound like this. Find that chord, and let’s strum it all together on a loop.
a. Display fingering chart to students.
4. T: Let’s put all of those chords together. Let’s play A, A7, D, E7, one strum each.
5. T: Now, let’s play each of those chords, four strums each.
6. T: Now, I’m going to display the words and the chord changes for you. I will sing, and I
want you to play the right chord on each beat of the song.
a. Model the first few bars
7. T: Now we’re going to change it to the waltz feel that we talked about earlier. Watch how
I play the accompaniment and join when you’re ready. I’ll just be playing an A chord for
now.
a. Model accompaniment for students. Play full A major chord (no plucking), three
8th notes with emphasis on the beat.
8. T: Let’s try that while playing the chords for the song. We will go slowly. Change chords
when it’s time to in the song. Play four beats of A, four beats of A7, four beats of D, and
four beats of E7.
a. Model first two chords
9. T: Now I’m going to sing the song, and I want you all to play the accompaniment part.
Assessment: Are students able to play the ukulele accompaniment for “De Colores”? Assess and
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review areas of struggle.
Closure: Great job everyone! Next, we are going to learn the words to this song and add to our
arrangement of the song!
69
Practice: Lesson 10- De Colores

● MU:Pr4.1.5a- Demonstrate and explain how the selection of music to perform is
influenced by personal interest, knowledge, and context, as well as others’ technical skill.
notation.
● MU:Pr4.2.5.c- Explain how context (such as social, cultural, and historical) informs
performance.
● MU:Re7.1.5a- Demonstrate and explain, citing evidence, how selected music connects to
and is influenced by specific interests, experiences, purposes, or contexts.
● Ukuleles
● “De Colores” notation/lyrics
70
● Ukulele fingering charts
● Song links
○ “We Can Work It Out”- The Beatles- https://youtu.be/Qyclqo_AV2M
○ “Cups”- Anna Kendrick- https://www.youtube.com/watch?v=pjcOzqxu4JQ
○ “Perfect”- Ed Sheeran- https://youtu.be/UDDMYw_IZnE
○ “We Are the Champions”- Queen- https://www.youtube.com/watch?v=Jmd4OLzhQw0
Lesson Sequence:
Entry Activity/Transition: Good morning everyone! Come on in and find a place to sit down
for a listening exercise.
Activity #1 Objective (Warm-up): Students will aurally recognize the difference between
music in simple meters and compound meters.
1. T: I’m going to play you several different songs. Listen, and tell me when you hear a
song that has two 8th notes per beat vs. three 8th notes per beat.
a. Two 8th notes per beat (simple):
i. “We Can Work It Out”- The Beatles- https://youtu.be/Qyclqo_AV2M
ii. “Cups”- Anna Kendrick-
https://www.youtube.com/watch?v=pjcOzqxu4JQ
b. Three 8th notes per beat (compound):
i. “Perfect”- Ed Sheeran- https://youtu.be/UDDMYw_IZnE
ii. “We Are the Champions”- Queen- https://www.youtube.com/watch?v=Jmd4OLzhQw0
Assessment: Students will aurally identify if songs are in simple meter or compound meter. If
students struggle, guide them to the correct answers and explain why through modeling, visual
aids, body percussion, etc.\
Transition: Let’s revisit the song in Spanish we learned the other day, “De Colores”.
Activity #2 Objective: Students will sing “De Colores” with accurate pitch, time, and rhythm in
6/8 meter. Students may view the lyrics throughout this activity.
1. Display notation for students.
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2. T: This may feel like a lot, but don’t worry. You will be able to look at the lyrics while we
are learning to help you know what to say.
3. T: Remember the waltz style pats that we did? Do those while we learn the words.
4. Echo/extended echo:
a. T: Repeat after me.
b. T: De colores
i. S: De colores
c. T: De colores se visten
i. S: De colores se visten
d. T: Los campos en la primavera
i. S: Los campos en la primavera
e. T: De colores, de colores se visten los campos en la primavera
i. S: De colores, de colores se visten los campos en la primavera
f. T: De colores
i. S: De colores
g. T: De colores son las pajaritos
i. S: De colores son las pajaritos
h. T: Que vienen de afuera
i. S: Que vienen de afuera
i. T: De colores, de colores son la pajaritos que vienen de afuera
i. S: De colores, de colores son la pajaritos que vienen de afuera
j. T: De colores
i. S: De colores
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k. T: De colores es el arco
i. S: De colores es el arco
l. T: Iris que vemos lucir
i. S: Iris que vemos lucir
m. T: De colores, de colores es el arco iris vemos lucir
i. S: De colores, de colores es el arco iris vemos lucir
n. T: Y por eso los grandes amores
i. Y por eso los grandes amores
o. T: De muchos colores, me gustan a mi
i. De muchos colores, me gustan a mi
p. T: Y por eso los grandes amores, de muchos colores, me gustan a mi
i. S: Y por eso los grandes amores, de muchos colores, me gustan a mi
5. Extended echo review, larger chunks (continue pats, don’t pause in between echo and
extended echo)
a. T: De colores, de colores se visten los campos en la primavera
i. S: De colores, de colores se visten los campos en la primavera
b. T: De colores, de colores son la pajaritos que vienen de afuera
i. S: De colores, de colores son la pajaritos que vienen de afuera
c. T: De colores, de colores es el arco iris vemos lucir
i. S: De colores, de colores es el arco iris vemos lucir
d. T: Y por eso los grandes amores, de muchos colores, me gustan a mi
i. S: Y por eso los grandes amores, de muchos colores, me gustan a mi
e. Students may need several repetitions of the different chunks. Take as much time
as is needed to help students learn the song.
6. T: Now that we know how to pronounce all of the words and we know the melody, let’s
sing the whole song. Don’t worry, you will still be able to look at the lyrics since there
are so many words!
Assessment: Students will sing “De Colores” with accurate pitch, time, and rhythm in 6/8 meter,
with the use of the notation/lyrics. Assess and review as necessary. The lyrics will stay up during
the next activity.
Transition: Now let’s review our ukulele accompaniment from last time.
Activity #3 Objective: Students will sing “De Colores” with accurate pitch, time, and rhythm
while playing the previously learned ukulele accompaniment.
1. T: Let’s quickly review the chords that we will use in this song. Take some time on your
own and review A, A7, D, and E7.
a. Display fingering charts for students.
2. T: Let’s play those chords together, four strums per chord. Let’s do them in the order A,
A7, D, E7.
a. Assess and review as needed.
3. T: Who can help me remember the strumming pattern that we used for this song?
a. Students should remember the waltz style strumming pattern. Give guidance if
students need help remembering.
4. T: Right! We used a waltz style strumming pattern for “De Colores”. Let’s play that
73
slowly using an A chord.

5. T: Now, let’s play the accompaniment for the whole song, without singing yet, like we
did last time.
6. T: Now, let’s practice singing the song while we play the accompaniment.
a. If needed, do this in chunks. Do this as many times as is needed for the students.
Assessment: Are students able to play the accompaniment while singing “De Colores” with
accurate pitch, time, and rhythm?
Transition: Excellent job, everyone! Now listen for what I do differently this time.
Activity #4 Objective: Students will vocally improvise in D major in 6/8 time while playing the
harmonic accompaniment of “De Colores”.
1. T: Sing “De Colores” melody on “loo”
2. T: What did I do differently? T: Sing “Stewball” on “loo”.
3. T: What did I do differently that time?
a. Sang “De Colores” on “loo”
4. T: Let’s do that together. Let’s also play the ukulele part that we learned while we sing.
5. T: Now listen for what I do differently again.
6. T: Sing in 6/8 in D major, improvising on “loo”
a. S: Made up the melody to the song
8. T: Let’s take turns improvising while we play the accompaniment. I will point to you
74

9. T: Now, we’re going to sing it again, and I would like to hear you improvise on your
own. We will go down the line, and you will each get a turn to improvise while we play
the accompaniment.
Assessment: Can students successfully improvise within the key of D major in 6/8 time with
harmonic accompaniment?
Closure: Amazing job everyone! You are all such talented musicians and I am so proud of you!
75
Post-Assessment
Post-Assessment Objective: Students will show competency with the concept of 6/8 time by
vocally improvising over the melody of “De Colores”.
Materials:
● Ukuleles
● “De Colores” notation
Post-Assessment Sequence:
1. T: Hello everyone! Remember the song “De Colores” we learned? Let’s review that. Let’s
sing the words with the accompaniment like we did in the past.
2. T: Great! Do you all remember when we did the improvisation with this song? We’re
going to do that again, but in smaller groups. Everyone divide up into groups of four.
3. T: Let’s all practice improvising together one time. Use the syllable “loo”.
a. Sing along with students
4. T: Now, every group will have a chance to improvise. When I point to your group,
improvise and we will keep playing the accompaniment for you.
Assessment: Observe groups for pitches that fit within the key and rhythms that are appropriate
for 6/8 time. Place more emphasis on the appropriateness of their rhythmic ideas. Use the
following rubric to keep track of students' performance success.
76
3- All 2- Most/some 1- Few/no Additional comments

appropriate appropriate appropriate
rhythms rhythms rhythms
Student 1
Student 2
Student 3
Student 4
Student 5
If students show that they are not competent/comfortable improvising in 6/8 time, take the
following actions.
1. Return to songs from the unit that emphasize 6/8 meter. Focus on the rhythms that are
appropriate for this time signature and WHY they are appropriate.
2. Show students butterfly notation and/or standard notation to explain rhythm in 6/8 time.

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Elementary Teaching Unit

6/8 Time- 5th Grade General Music

Kansas State University

3- All rhythms 2- Most/some 1- Few/no Additional comments

Student 1 ✓ No issues clapping and counting

Student 2 ✓ Some issues clapping, but was

Student 3 ✓ One mess up of the counting

Student 4 ✓ Significant issues coordinating

Student 5 ✓ A few instances of missing the

3- All 2- Most/some 1- Few/no Additional comments

Cross-Curricular Connections and Other Music Experiences:

Lesson 1: “One, Two, Three O’Leary”

Lesson 2: “Skin and Bones”

Lesson 3: “Sleep, Little One”

Lesson 4: “Old Mother Hippletoe” and “One, Two, Three O’Leary”

Lesson 5: “Skin and Bones”

Lesson 6: “Sleep, Little One”

Lesson 7: “Skating Away”

Lesson 9: “De Colores”

Lesson 10: “De Colores”

3- All rhythms 2- Most/some 1- Few/no Additional comments

Student 1 ✓ No issues clapping and counting

Student 2 ✓ Some issues clapping, but was

Student 3 ✓ One mess up of the counting

Student 4 ✓ Significant issues coordinating

Student 5 ✓ A few instances of missing the

Prepare: Lesson 1- One, Two, Three O’Leary

just step in place.

Transition: Excellent! Now we’re going to learn a new song.

e. T: Eating chocolate fishes

Transition: Excellent! Now watch me.

3. Add in the words.

6. T: Body percussion and words, phrase 2

7. T: Body percussion and words, phrase 3

8. T: Body percussion and words, phrase 4

10. T: Body percussion and words, line 1

11. T: Body percussion and words, line 2

12. T: Body percussion and words, line 3

13. T: Body percussion and words, line 4

14. Extended echo, continuing the body percussion above.

16. T: BP, lines 3 and 4

17. T: Great! Now let’s do the whole thing together!

Prepare: Lesson 2- Skin and Bones

● “Skin and Bones” text (display for students)

a. Variations: Add pick up notes, any combination of the following rhythms:

a. S: She was the bones in the graveyard

d. T: She walked down by the ________, (With action)

Transition: Now we are going to add some instruments to our song!

Activity #3 Objective: Students will use improvisation in order to create instrumental

Prepare: Lesson 3- Sleep, Little One

i. S: Sleep little one sleep

Activity #4 Objective: Students will vocally improvise in D major in 6/8 time.

Present: Lesson 4- One, Two, Three O’Leary

● “One, Two, Three O’Leary” notation

● Butterfly rhythm charts (expanded upon within the lesson)

● Butterfly rhythm manipulatives

Activity #1: Reviewing known concepts- 16th note patterns

Practice: Lesson 5- Skin and Bones

● Notation for “Skin and Bones” by verse

2. Repeat rhythms as necessary.

a. Display full notation of “Skin and Bones” for students

Practice: Lesson 6- Sleep, Little One

Activity #1 Objective (Warm-up): Students will create appropriate answers to rhythmic