Richmond

Music

PRIMARY
TEACHER’S BOOK
Term 1
Contents
Introduction.................................................................. 4

Syllabus for term 1...................................................... 12

Schemes of work for term 1........................................ 13

Teaching suggestions for lesson 1.............................. 18

Teaching suggestions for lesson 2.............................. 20

Teaching suggestions for lesson 3.............................. 22

Teaching suggestions for lesson 4.............................. 24

Teaching suggestions for lesson 5.............................. 26

Teaching suggestions for lesson 6.............................. 28

Teaching suggestions for lesson 7.............................. 30

Teaching suggestions for lesson 8.............................. 32

Teaching suggestions for term 1 review...................... 34

Scores............................................................................ 37

Reinforcement worksheets ......................................... 45

Tests............................................................................ 55

Answer keys................................................................ 61

Relaxing and breathing............................................... 69

Staves ......................................................................... 72

3
 Syllabus
1 Topics
Lesson STRAND 2: Musical performance
Music
STRAND 1: Listening
term
STRAND 3: Moving and dancing

• Venues for the performance • Experimenting with the properties • Story: Venues
Venues
1 for Music
of music throughout history of sound for Music
• Properties of sound

• The fermata sign • Vocal performance • Fermata Sign

Fermata
2 Sign
• Review of note values • Performing rhythms with body
and rests percussion
• Review of sound-lengthening • Accompanying pieces of music
signs with body percussion ostinatos

• Parts of a piece of music: • Performing a dance with a complex • Plink, Plank,

Plink, Plank,
3 Plunk!
introduction, bridge and
coda
form Plunk!,
L. Anderson
• Creating and performing steps
• Review of musical forms for a dance
• Singing with the names for the notes

• Review of notes from Do • Performing on the recorder and • Please Repeat

Please
4 Repeat
or C to Re’ or D’ on the
recorder, repeat signs
mallet percussion instruments
• Improvising over a given backing
and musical scales track
• Musical improvisation

• Active listening with graphic • Experimenting with electrophones • Feuillet Inédit

5 Electrophones scores No. 4,
• Electrophones O. Messiaen
• Instruments: electric guitar
and synthesiser

• Music around the world: • Vocal performance • Excerpts

The Zulu
6 Warrior
Africa and America • Accompanying pieces of music of music
from Africa
• Instruments: djembe, zurna, with objects that make a sound
banjo and quena and America
• Creating and performing vocal
• Review of electrophones ostinatos to accompany a piece • The Zulu Warrior,
of music traditional song

• Music in the Middle Ages • Performing on the recorder • Excerpts

En Todo
7 Tempo
• Listening to pieces • Accompanying pieces of music of music from
the Middle Ages
of classical music on school percussion instruments
Faz Ben • Instruments: tabor and • Creating and performing lyrics • En Todo Tempo
three-holed pipe for a given melody Faz Ben,
Cantiga No. 111,
• Writing a review of a concert
Alfonso X
the Wise

• Accidentals: the sharp • Performing on the recorder • Eine Kleine

Eine Kleine
8 Nachtmusik
• Intervals: tones and • Accompanying pieces of music Nachtmusik,
W. A. Mozart
semitones on mallet and school percussion
• The note Fa# or F# on instruments
the stave, the recorder
and mallet percussion
instruments
• Listening to pieces of classical
music

term 1 review • Review of the contents and musical practice of term 1 • Oh, Christmas
Tree, traditional
Oh, Christmas Christmas song
Tree

12
 TERM 1 Venues for Music
The Middle Ages

There have always been venues for music. The Romans built
amphitheatres outdoors, with the seats in a semicircle in front
of the stage. The acoustics were so good that we still use
them nowadays.

During the Middle Ages, monks sang Gregorian chant in cathedrals, a type of religious
music performed a cappella in Latin. In village squares and cities, jongleurs set up small
portable stages where they performed their productions.

The Roman Empire

The Present Age

The Modern Era

Nowadays,we
Nowadays, westill
stilluse
usevenues
venuesfrom from
thepast,
the past,but
butwewedon’t
don’tonly
onlylisten
listentotomusic
music
During the Modern Era, the royalty and nobility loved
ininconcert
concerthalls.
halls.Contemporary
Contemporarymusic musicuses
uses
to organise concerts and dances in the chambers of their
electronicequipment
electronic equipmenttotoamplify
amplifysound,
sound,
palaces. They also began to stage operas in theatres
so thatititcan
so that canbebeplayed
playedon onbigbigstages
stages
with a big stage and a separate orchestra pit.
to thousandsofofpeople.
to thousands people.

1 Listen and read about venues for

music throughout history.
1.2

6 Activity 1: Story: Venues for Music CD 1, track 2 (*). • Contents: Venues for the performance of music throughout history. Properties of sound.
(*)
All track numbers refer to the Class Audio.

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Contents Teaching suggestions the answer, demonstrate it vocally);

Where did jongleurs sing and play?
• Venues for the performance of 1   Say: Look at the pictures on page
music throughout history 6. What place can you see in the first • Pictures 4 and 5 (the Modern Era):
picture?; And in the second/third/ Where did the royalty and nobility
• Properties of sound
fourth/fifth picture?; When did these organise concerts and dances?;
• Units of sound measurement When did this happen?; Where
scenes take place?; Have you been to
• Physics of sound: vibration and a concert in any of these venues?; did operas take place?; Where was
sound waves What type of music did you listen to? the orchestra?

Then play the track and say: Listen and • Pictures 6 and 7 (the Present Age):
Key language read the story. Pause the track after Where do we listen to music
each excerpt and ask comprehension nowadays?; What type of instruments
• venue, amphitheatre, outdoors,
questions such as: does contemporary music use?
seat, semicircle, stage, acoustics,
monk, jongleur, set up, portable, • Picture 1 (the Roman Empire): What Say: Guess where I’m performing,
production, royalty, nobility, is an amphitheatre?; When did if I’m a member of a rock band/a
chamber, pit, concert hall, Romans build them?; What were monk/a jongleur/an opera singer/
contemporary, equipment, amplify the acoustics like? a member of a symphony orchestra.
Finally, ask: Can you explain the
• emit, wave, transmit, medium, • Pictures 2 and 3 (the Middle Ages):
meaning of venue?
perceive, measure, timbre, What did monks sing during
dynamics, volume, decibels, the Middle Ages?; What is the 2   Say: Look at page 7, and ask a
duration, metronome, second, meaning of a cappella? student to read out the first paragraph.
pitch, tone, frequency, hertz (if the students do not know Then hit a triangle and let the students

18
 TERM 1 lesson 2

3 Say the right rhythm to accompany the song and explain why.
ReVIeW
Then listen and play along.

           
You know two other sound-lengthening signs: 1.4

• The tie joins two or more notes of the same

𝅗𝅥𝅗𝅥 𝅘𝅥𝅘𝅥 
pitch, adding their lengths together.

(
𝅗𝅥𝅗𝅥 𝅗𝅥𝅗𝅥
snap R L R L snap R L R L

         
• A dotted note or rest lengthens the duration R L
of the note or rest by half its original value.
 

 
R L R L snap snap snap
R L

          
If to this rhythm: 
 R L RLR LR L
 
We add a tie:
 R L

4 The musicians are in the wrong places. Explain where they

  
should be and why.
We get:


2 Play with body percussion.

    

 R L R both R L R both R L R R L R R L R both
R L

            

          

Activity 3: Fermata Sign CD 1, track 4. 9

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2   Say: Look at page 9, and ask
individual students to read out the
review box. To ensure comprehension,
write the following scores on the board:
mean? Perform two bars at a time patting Materials
your legs and say: Repeat after me. When
• Student’s Book, pages 8 & 9
the students are ready, repeat the
procedure four bars at a time. • Class Audio CD 1, tracks 4 & 5

4
& 4 œœœœœœœœ œ œ œ œœ
To end, perform the second and third • Score of Fermata Sign, Teacher’s
rhythms four bars at a time with the Book, page 38
suggested body percussions. • Activity Book, page 5, activities 1, 2,

3 j
œ œ œ œj œ ˙
3&4

&4
3   Ask a student to read out the

œ œ instruction and say: What is the metre • Reinforcement worksheet, Teacher’s

Then call a student to the board and ask:
Are there any mistakes in the scores?
Write them correctly in your Activity
Book. Add dots where necessary.
Then perform each rhythm in the
speech bubbles and say: Repeat after
me. Repeat the procedure until the
students can perform the new rhythmic
group correctly.
Finally, say: Look at the first score
in activity 2. What does the letter R/L
of the first/second/third rhythm? Pay Book, page 47, activities 1, 2, 3 & 4
attention to the body percussions and
repeat after me, and play the rhythms. LibroMedia extras
Finally, ask: Which is the right rhythm • Recordings of all the texts
to accompany the song?; Why? Play the in the Student’s Book
track and accompany the song with
• Karaoke of Fermata Sign
the first rhythm.
• Interactive activities
4   Ask a student to read out the
instruction and say: Put up your hands
to answer.

21
 Plink, Plank, Plunk!
1 Listen and learn the dance. Then make up the missing steps and dance it with your classmates.

1.6

introduction AA B A B A CC bridge A B AA coda

introduction A B

Take three steps to the side With your partner,

and snap your fingers. turn eight steps Greet your partner with
Make up the steps! Repeat in the other direction. in each direction. body percussion.

C bridge coda

Take five steps, make a statue and take another

five steps back to your partner. Repeat. Make up the steps! Make up the steps!

10 Activity 1: Plink, Plank, Plunk! by L. Anderson CD 1, track 6. • Contents: Parts of a piece of music: introduction, bridge and coda.

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Contents Teaching suggestions Part B

• The performance of a complex 1   Say: Look at page 10. Listen
• Bars 1–2: Clap right hands with
choreography and follow the structure, and tell the a partner. Do it again with the back
• Parts of a piece of music: students when each part starts. Then of the hand and snap fingers.
introduction, bridge and coda ask: What is the metre? (quadruple Repeat with the other hand.
metre); How many bars does each part • Bars 3–4: One row puts both hands
• Review of musical forms
have (intro: 2; part A: 8; part B: 8; part in front of them with palms up. The
• Review of units of sound C: 16; bridge: 2; coda: 6). other row claps the hands of the
measurement
Play the track and show the steps first row. The first row puts the left
for the dance. Then with the students hand on the right hand and the
Key language facing each other in two rows, practise other row does the same.
• introduction, bridge, coda the steps while you hum the melody. • Repeat.

• missing, step, snap, greet, partner, Part C

Part A
statue
• Bars 1–4: Both rows take three • Bars 1–4: Take five steps in any
• organisation, determine, chorus, direction and make a statue for two
steps to the same side and snap
verse, attract, section, join, style, beats.
fingers. Repeat in the other
tempo, character, tail
direction. Do it again. • Bars 5–8: Take five steps back
• Bars 5–8: Taking a partner by the to the starting position and make
elbow, turn eight steps clockwise. a statue for two beats.
Repeat in the other direction. • Repeat.

22