Full Elementary Unit

PREPARE | PRESENT | PRACTICE
A New Note: Re
Second Grade Unit by Kristen Schrag (Fall 2022)
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TABLE OF CONTENTS
Introduction…………………………………………………………………………………………………………………………..3
Outline of the Unit. ……………………………………………………………………………………………………………….4
Pre-Assessment..……………………………………………………………………………………………………………………5
Prepare Lesson #1..………………………………………………………………………………………………………………..7
Prepare Lesson #2..………………………………………………………………………………………………………………11
Prepare Lesson #3..………………………………………………………………………………………………………………15
Present Lesson..…………………………………………………………………………………………………………………..19
Practice Lesson #1..………………………………………………………………………………………………………………24
Practice Lesson #2..………………………………………………………………………………………………………………28
Practice Lesson #3..………………………………………………………………………………………………………………31
Practice Lesson #4..………………………………………………………………………………………………………………34
Practice Lesson #5..………………………………………………………………………………………………………………38
Practice Lesson #6..………………………………………………………………………………………………………………41
Post-Assessment..………………………………………………………………………………………………………………..43
Song List..…………………………………………………………………………………………………………………………….44
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INTRODUCTION
In this unit, students will learn the final note in a Pentatonic Scale: Re. This unit is drawn
from the Manhattan-Ogden USD 383 K-6 Scope and Sequence. Prior to this unit, students will
have learned the pitches Do, Mi, Sol, and La. In order to be successful in this unit, students will
need to be proficient in reading quarter and eighth note rhythms.
In addition to learning the new note of Re, students will also focus on other concepts.
These concepts include the reading and writing of standard notation as well as xylophone
playing techniques and composition. Students will also be exposed to different musical cultures
aside from Western culture through songs of Caribbean and African origin.
Throughout this music curriculum there will also be connections made in a cross-
curricular fashion. Not only will students have a connection to their social studies courses, but
they will have connections to their English, physical education, history, and art courses. Social
studies have a place in this curriculum as students learn about the origin of the song “Round
and Round (Chee Cheem Bom)” and its relation to makaleli. English skills will be used as they
write lyrics for their own songs in both the composition lesson and improvisation lesson.
Students will have plenty of opportunities for physical movement in these songs as well as
many activities require them to move, which connects to their physical education courses. The
historical contexts of the songs are provided so that connects to their history courses. Students
will also write their compositions in standard notation so they will have practice at writing their
notations on paper so that is their art course connection.

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OUTLINE OF THE UNIT
Prepare
During this portion of the unit, students will be first introduced to the note Re without being
conscious of it. They will learn the first three songs of the unit: Engine, Engine, Number Nine
(EENN); Hot Cross Buns (HCB); and Great Big House in New Orleans (GBHINO) – all of which
contain the pitch Re. To learn EENN, students will the song by rote, add percussion, and then
add melodic improvisation to it. For HCB, students will learn the song by rote, then learn body
percussion along with it. With GBHINO, students will learn the song by rote, learn the body
percussion to go along with it, and then improvise new words to the song as well.
Present
This portion of the unit includes one lesson. This is the lesson in which students will “discover”
Re in the song GBHINO. The steps of this lesson plan are minimal but there is room for guided
discussion about what the new note of Re is. Students will first discover Re aurally, then they
will identify Re in relation to Do using solfege symbols with the help of Mt. Solfege, then
students will eventually identify Re using standard notation.
Practice
This portion of the unit is the most fun because students get to practice singing, reading, and
composing Re using standard notation. We will revisit the first two songs EENN, HCB. Students
will continue to read and sing Re in the following new songs: Green Gravel (GG), Star Light, Star
Bright (SLSB), and Round and Round (RAR). Students will also compose a brand-new song as
well using the new note Re! These lessons will include, reading and writing Re in standard
notation, dancing, improvisation, writing accompaniment to a melody, xylophone techniques,
and singing all songs on solfege.
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SECOND GRADE PRE-ASSESSMENT: I SEE THE MOON
Can students:
• Keep a steady pulse

• Sing skips in pitches from S-M
• Sing skips in pitches from M-D
• Sing steps in pitches S-L
• Sing jumps in pitches S-D
• Sing skips accurately in S-M-D
Student Student Student Student Student

Keep a steady
pulse
Sing skips in
pitches from S-
M
Sing skips in
pitches from
M-D
Sing steps in
pitches S-L
Sing jumps in
pitches S-D
Sing skips
accurately in S-
M-D
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Students will sing “I See the Moon” first on solfege, then on words. I will be there to remind and
review solfege if they need it. If 70% of the class does not sing the solfege with 90% accuracy, I
will spend another week or two reviewing these concepts in this song and others that touch on
DMSL with the students.
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PREPARE LESSON #1
Teacher Name: Miss Schrag Target Grade Level: Second
Musical Concept of Focus: Re
Standards Being Addressed:
MU:Pr6.1.2a: Perform music for a specific purpose with expression and technical accuracy.
MU:Cr1.1.2a: Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
Materials of Instruction:
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Lesson Sequence:
Entry Activity/Transition: Sing back and forth some simple three pitch (DRM) exercises. T
models first then Ss sing it back. Repeat measures as necessary.
Activity #1 Objective: Students will sing the Engine, Engine, Number Nine with 90%
accuracy in pitch.
1. T gives historical context: This song is of black American origin, first recorded by
Perry Othello Redmond at a school in Drew, Mississippi in 1940, which means this is
from a time when schools were still segregated by the color of people’s skin. We
know it was 20 years later that the Civil Rights movement really gained momentum
in the 1960s. The exact history of this song is varied, but I want you to know that it
was sung by students at school too!
T then sings harmonic context, then sings the whole song. Students pat legs during.
2. T sings the song again, but first asks students to listen for how many times “engine”
and words that rhyme with/are “nine”.
3. History of song.
4. PART: T sings first phrase (m. 1-2). Ss echo.

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5. T sings second phrase (m.3-4). Ss echo.
6. Ss sing phrase 1 and 2 once with T, then once without.
7. T sings phrase 3 (m. 5-6). Ss echo.
8. T sings phrase 4 (m. 7-8). Ss echo.
9. Ss sing phrase 3 and 4 once with T, once without.
10. Fill in the blank: T sings phrase 1. Ss sing phrase 2. T sings phrase 3. Ss sing phrase 4.
11. Fill in the blank: switch ^
12. WHOLE: Ss and T sings the whole song. T encourages Ss to sing the whole song by
themselves.
Assessment: Do students sing Engine, Engine, Number Nine with 90% accuracy in
pitch?
Transition: Great job! Let’s add more to this song!
Activity #2 Objective: Students will perform body percussion accompaniment to “Engine,

Engine, Number Nine” with rhythmic accuracy and then transfer to xylophones.
1. Watch me, join when you are ready. Pats all the way through.
2. What did I do differently? Join when you are ready. (Pats on 1, Claps on 2.)
3. Now what do I do differently? Join when you are ready. (P1 & P4, pats on 1, claps on
2. P2 & P3, pat-clap-pat -partner.)
4. Transition to xylophone. Play D on beat 1 of every measure. Ss join when ready.
5. T plays D on beat 1 and E on beat 2 of every measure. “What do I do differently?” Ss

join when ready.
6. For P1 and P4, T plays D on beat 1 and E on beat 2. For P2 and P3, T plays D-E-D-high
A. “what do I do differently?” Ss join when ready.
7. Play the whole song with xylophone accompaniment.

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Assessment: Do the students take the body percussion and transfer it to xylophone
accompaniment with little to no confusion?
Transition: Great accompaniment work! Let’s add one more layer to this song!
Activity #3 Objective: Students will create a melodic improvisation using only the notes in
EENN on the xylophone.
1. T: Watch me, tell me what I do. (T plays only on D)
2. T: Watch me, tell me what I do (T plays only on D and E)
3. T: Tell me what I did. Ss: You made up something different with more notes.
4. Split the group into two groups, half will play the xylophone accompaniment and the
other half will improvise on those two notes FOR PHRASE 2 & 3 ONLY (m. 3-6).
5. Once students are comfortable with melodic improvisation, move to perform the
whole
thing:
One time through with xylophone accompaniment and singing, then the half and half
improvisation for 8 total measures, then everyone back in again singing the song with
the xylophone accompaniment.
Assessment: Do the students improvise of the xylophones using only the notes of the
song?
Closure: Today we learned a new song, how to play the accompaniment on the instruments and
how to improvise on the instruments using the notes of the song! Nice work!
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PREPARE LESSON #2
MU:Cr1.1.2b: Generate musical patterns and ideas within the context of a given tonality (such
as major and minor) and meter (such as duple and triple).
MU:Cr1.1.2a: Improvise rhythmic and melodic patterns and musical ideas for a specific
purpose.
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Lesson Sequence:
Entry Activity/Transition: Warm Up: Sing back and forth some simple three pitch (DRM)
exercises. T models first then Ss sing it back. Repeat measures as necessary.
Activity #1 Objective: Students will sing Hot Cross buns with 90% accuracy in pitch.
1. T sings harmonic context. T sings all of Hot Cross Buns
2. T asks Ss: Listen again. How many times do I sing “cross”? “penny”?
3. PART: All phrases are two measures. T sings phrase 1. Students echo. Students begin
patting their legs while T and Ss sing.
4. T sings phrase 2. Students echo.
5. T sings phrase 1 and two together. Ss echo.
6. T sings phrase 3. Ss echo. If students struggle. Employ fill in the blank.
7. T sings phrase 4. Ss echo.

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8. Fill in the blank: T sings “Hot cross” Ss sing “Buns”
9. Fill in the blank: T sings “one a” Ss sing “penny” T sings “two a” Ss sing “penny”.
10. Fill in the blank: T sings phrase 1, Ss sing phrase 2. T sings phrase 3, Ss sing phrase 4.
11. Switch! Ss sing phrase 1 and phrase 3. T sings phrase 2 and 4.
12. WHOLE: T and Ss sing the whole song together.
13. T encourages Ss to sing the whole song by themselves.
Assessment: Do students sing Hot Cross Buns with 90% accuracy in pitch?
Transition: Let’s add something else to this song!
Activity #2 Objective: Students will perform body percussion that emphasizes the rests of
Hot Cross Buns.
1. T: Watch me, join when you are ready. (pat pat pat clap) x4 Ss join.
2. T: Watch me, what do I do differently? (P1, P2 and P4 pat-pat-pat-clap) (P3 pat-clap-

pat-clap) Ss join when ready.
3. T: let’s change this up a bit. Watch me and them join when ready!
P1: clap cross pat (pat)
P3: pat pat pat pat
4. T asks: on what word do we cross our arms? Ss answer “cross”.
5. T does again. Watch me, join when ready. T replaces second pat in P1 2 and 4 with a
snap. T: what did I do differently? Ss: snapped instead of clapped!
6. T and Ss sing and do whole body percussion together.
7. T asks Ss: on what word do we snap? Ss: nothing!

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Assessment: Do students perform body percussion that accurately emphasizes the

rests of the song?
Transition: Now that we have learned the body percussion accompaniment to Hot
Cross Buns let’s add one more layer to it!
Activity #3 Objective: Students will improvise a body percussion movement on the rests of
Hot Cross Buns
1. T: watch me and see what I do differently! T does the sequence but moves around the
room on the rests and will do an assortment of modified body percussion, such and
claps and snaps above the head.
2. Ss say that you are doing something different on the no words part!
3. T: That’s right! Let’s all do this together! Pick and body percussion you want to do and
move around the room for those beats!
4. Put the whole song together:
Sing and do body percussion one time through. Add one time through of just the
improvisation and then everyone repeats the song and body percussion.
Assessment: Do students recognize the rests of the song and add their own body
percussion to it?
Closure: Great work today students! You have learned Hot Cross Buns and learned the body
percussion to it as well improvised your own body percussion!
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PREPARE LESSON #3
purpose.
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Lesson Sequence:
Entry Activity/Transition: Warm Up: Sing back and forth some simple 5 pitch (DRMSL) exercises.
T models first then Ss sing it back. Repeat measures as necessary.
Activity #1 Objective: Students will sing Great Big House in New Orleans with 90% accuracy
in pitch.
1. T sings harmonic context. T sings GBHINO. Students pat along.
2. T sings again. T asks students to listen for “how tall the house is” and again for “where”
“what is the room filled with”. Ss answer accordingly.
3. PART: T sings P1. Ss echo.
4. T sings P2. Ss echo.
5. T sings P1 and P2 together. Students echo.
6. Ss sing P1 and P2 together, once with T and once without.

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7. T sings P3. Ss echo.
8. T songs P4. Ss echo.
9. Fill in the blank:
T sings “great big house in” Ss sing “New Orleans”
T sings “forty stories” Ss sing “high”
T sings “every room that I’ve been” Ss sing “in”
T sings “filled with” Ss sing “pumpkin pie”
10. Fill in the blank: T sings P1, Ss sing P2. T sings P3, Ss sing P4.
11. Switch! Ss sing P1 and P3. T sings P2 and P4.
12. WHOLE: Ss sings whole song together twice, once with T and once without.
Assessment: Do students sing GBHINO with 90% accuracy in pitch?
Transition: You know the drill, let’s add some body percussion!
Activity #2 Objective: Students will perform body percussion accompaniment with 90%
accuracy while singing GBHINO.
1. T: watch me one time through the song and then join when ready. (Loop body
percussion accompaniment m. 1-4)
2. T: Great! Now what do I do differently? Watch one time through and then join when
ready. (Do the whole accompaniment). Ss: You added a snap! And extra pats!
3. T: great! Watch again. On what word do I change the pattern? Ss: “pie!”
4. T: Fantastic! Join when you are ready!
Assessment: Do students perform body percussion with 90% accuracy while singing
GBHINO?
Transition: Great work kids! Let’s have a little more fun with this song.
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Activity #3 Objective: Students will improvise words changes in GBHINO to add a second
verse to the roadmap.
1. T: Alright everyone! Listen closely to what I sing. What am I doing differently? (T sings
“Great Big House in Kansas City” and “filled with extra fries” Ss: You made up different
words!
2. T: Yes! Let’s all take 20 seconds to think of a word for where the house is and what is
in the room. GO!
3. Ss come up with there ideas for words to use in place of the original words.
4. T: We are going to sing the whole song together and you’re all going to say your new
words in place of the original ones. Ss sing and cacophony of new words.
5. T: let’s decide as a class what our favorite words are! Ss say their suggestions, T writes
them on the board.
6. Decide on the two words you want to use as a class. Maybe select another two for a
third verse if applicable.
7. T: let’s put the whole song together!
Ss sing GBHINO one time through with body percussion. Improvise 2nd and 3rd
verses, still with body percussion. Sing the original song again.
Assessment: Are students improvising new words to sing that fit prompt for the new
verses?
Closure: Awesome work today! You all learned Great Big House in New Orleans, added body
percussion accompaniment, and tried your hand at creating new lyrics!
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PRESENT LESSON
MU:Pr4.2.2b: When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.
MU:Pr5.1.2b: Rehearse, identify and apply strategies to address interpretive, performance, and
technical challenges of music.
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-xylophones
Lesson Sequence:
Entry Activity/Transition: Warm Up: Ss sing through “I See the Moon” on solfege with the
standard notation in front of them.
T: Remember our song “Great Big House in New Orleans?” Let’s sing through our class version
of it with body percussion!
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Activity #1 Objective: Students will discover Re aurally by singing through the solfege of
the known notes of “Great Big House in New Orleans”
1. T: Let’s put our song to solfege to our song! Everyone, look at Mt. Solfege! Our first
note begins on Mi! Let’s see if we can place the other notes!
2. T prompts students to start organizing the solfege based off what they hear. As they
step through the melody, they should hesitate when they get to beat two of measure 4.
Expect to take around 10 minutes with this step.
Assessment: Do students identify the new note Re aurally by stepping through the
solfege of the rest of the song?
Transition: You are all so smart! Let’s see if we can place Re on Mt. Solfege.
Activity #2 Objective: Students identify Re in relation to Do with the solfege symbols on

Mt. Solfege. (30 seconds)
1. T: Now that we know that we have a new note, do we see Re anywhere else?
2. Ss should say the second to last measure on “pump-KIN”.
3. T: Great job! You are all so attentive. Who can tell me: where do you find Re on Mt.
Solfege? What notes is Re in between?
Assessment: Do students identify that Re goes between Do and Mi?

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Transition: You are all rockstars! Now, let’s look at the music and see what we know.
Activity #3 Objective: Students will identify Re visually with standard notation. (short)
1. T displays standard notation of GBHINO
2. T: Let’s add our solfege to the song now that we know where Re goes!
3. Great job! Now, let’s sing this song and do our body percussion as well. We will move
in a circle and stop on Re!
4. T: Great! Now let’s play our xylophones. Can you show me Mi? Ss play Mi.
5. T: Great! How about Do? Ss play Do.
6. T: Fantastic! Now who can add Re between Mi and Do? Show me! Ss play MRD.
7. T: One more challenge for you… can we sing and play MRD?
8. Ss play and sing MRD. T: Awesome job everyone!!
Assessment: Can students identify Re visually with standard notation?
Exit Ticket: Students must fill in Re between Mi and Do.

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3= able; 2=attempted but not able; 1=not attempted
Closure: Great work today students! Today we learned the new note Re! You are building up
your musical toolboxes so well!
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PRACTICE LESSON #1
as major and
minor) and meter (such as duple and triple).
MU:Cr2.1.2a : Demonstrate and explain personal reasons for selecting patterns and ideas for
music that represent expressive intent.
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Lesson Sequence:
Entry Activity/Transition: Use Warm-Up from lesson 1 of EENN, yet sing on the solfege (call and
response style). “Let’s practice our fun new note, Re! Remember our song EENN?”
Activity #1 Objective: Students will accurately sing solfege and do the hand signs to the
song EENN.
1. T displays EENN up on the board.
2. T: Who can show me the hand sign for “Do”?
3. Ss: Form do.
4. T: Great! Now show me Mi!
5. Ss: form Mi.
6. T: You folks are so smart! Let’s give our new note Re a sign!
7. T: All you are going to do is show Mi, and then drop your elbow so that your hand is
slanted!
8. Ss form Mi then turn it into Re.
9. T: “Great work!! Now let’s practice.” T calls out different solfege syllables (DRM) and
students must match with their hand signs.
10. T: You’re all practically pros!! Now, follow me and sing and sign what I do!
11. Ss: copy T on singing/signing solfege from the warm-up.
12. T now transitions to singing and signing EENN. T: “I want you all to listen and sign
what you hear!”
13. T sings and signs one phrase at a time. Ss sign along.

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14. T: Great job!! Let’s sing and sign the whole song together!”
15. Ss sing and sign EENN with teacher.
16. T encourages students to try it without the teacher.
Assessment: Do students sing and sign the solfege of EENN with 90% accuracy?
Transition: Great work! Now let’s have a little more fun with Re!
Activity #2 Objective: Students will take a step when they sing Re.
1. T: “Class, let’s sing the song again in solfege. Watch me and see what I do!”
2. Ss start to sing EENN in solfege. T takes a step around the room whenever students
sing Re.
3. T: “What did I do?” Ss: “Stepped on Re!”
4.T: “That’s right! Let’s all do that! Let’s move in a circle.”
5. Ss and T start to sing EENN on solfege while moving to Re.
6. T: “That was awesome! Can we sing the words to the song, but move on our new
note?”
7. Ss sing EENN and move a step forward in the circle when the Re pitch is sang.
8. T: How awesome! Okay… now this song feels like it’s missing something!
9. T prompts students for suggestions on what to add, hopefully adding “chugga

chugga” is mentioned.
10. T divides class into two groups. T: Okay everyone! Group 1 is going to chant chugga
chugga until Group 2 sings “Chicago Line”. Let’s try that!
11. Ss do this. T: Great! Now group 1 and 2 switch but start at “If she’s…” Let’s try from
there!
12. Ss do this. T: How wonderful! Can we put the whole song together?
13. Ss sing, move to Re, and chant chugga chugga when alternating phrases.
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Assessment: Do students move on Re?
Closure: Great work today! We are starting to get to know Re really well!
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PRACTICE LESSON #2
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Lesson Sequence:
Entry Activity/Transition: Warm-Up using hot cross buns warm up. T sings each measure as call
and response with solfege. Ss copy T.
Activity #1 Objective: Students will sing Hot Cross Buns and do the hand signs as well.
1. T: Show me Do! Ss show Do.
2. T: Show me Mi! Ss show Mi.
3. T: Who remembers how to sign Re? Show me! Ss show Re.
4. T: Great! Repeat after me: T sings and signs HBC first and second phrase.
5. Ss echo.
6. T: That was great! How about this? T sings and signs phrase 3.
7. Ss echo.
8. T signs and sings phrase 4.
9. Ss echo.
10. T: Does that sound familiar? Ss: yes! It’s hot cross buns!
11. T: That’s right! Let’s sing the words and do the hand signs! I know you rockstars can
do it!
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12. Ss do that.
Assessment: Can students sing HCB and do the hand signs with 90% accuracy?
Transition: Great work! Let’s stretch our brains out some more! Let’s learn a dance.
Activity #2 Objective: Students will learn a dance that highlights Re in HCB.
1. T: Watch me and sing! T does dance while Ss sing HCB.
2. T: Watch me again, join when you are ready! T dances only the first phrase and loops
it.
3. Ss join in the dance. T does not move on to the next step until all Ss are solid on these
dance moves.
4. T: Great work! Guess what, you’ve learned 75% of the dance! Ready to learn the last
part? Ss are excited and say yes!
5: T models the stomping in phrase 3. T: Ss, join when ready! Ss join.
6. T: you are all excellent stompers! Let’s try the whole dance together!
7. Ss do the whole thing together with T.
8. T encourages them to do it all by themselves.
9. Ss sing and dance HBC without the T.
Assessment: Do students dance the HCB dance with 90% accuracy?
Closure: Great work today! We got to have more fun with Re by putting a dance to it!
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PRACTICE LESSON #3
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Lesson Sequence:
Entry Activity/Transition: Warm up using solfege shown above. Students should read and sing
the solfege. T: Let’s learn a new song!
Activity #1 Objective: Students will learn Green Gravel by reading standard notation and
identify where the new note Re is.
1. T puts GG on the board. T sings through the song. T: do we think that our new note is
in this song? Listen again.
2. T: Let’s see if we can label the solfege for this new song! Our first pitch is Do.
3. T and Ss work together to identify the solfege syllables for the song GG.
4. T: Great work! Let’s sing it all on solfege with the hand signs!
5. Ss and T sing through GG on solfege with the hand signs.
6. T: Great work! Now, listen to me! I want you to think about and do the hand signs
while I sing for you.
7. T sings GG with the words and signs the solfege. Ss sign along too.
8. T: That was some great signing! Let’s try the singing the words of the first phrase and
signing the words!
9. Ss and T sing and sign the first phrase with the words.
10. T: Great job! Let’s sing the next phrase and sign it!
11. Ss do this with T.
12. T: you are all doing so well? What do you notice about the next phrase?
13. Ss say it’s the same as the first phrase, just different words.
14. T: That’s right! Let’s sing and sign it!
15. Ss and T sign and sing phrase 3.
16. T That was so good! Let’s sing and sign the last phrase!
17. Ss and T do that.

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18. T encourages Ss to put the whole song together while signing it.
19. T and Ss sing and sign GG.
20. T has Ss sing and sign GG without her.
Assessment: Do students sing and sign GG with 90% accuracy and aurally identify
where Re is?
Closure: T: Great job today class! We learned yet another song that uses our new pitch, Re!
Next time, we will have more fun with Re in this song!
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PRACTICE LESSON #4
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Lesson Sequence:
Entry Activity/Transition: Warm-Up: T sings solfege from warm-up listed above in phrases and
students repeat back doing hand signs as well. No notation is showed at this time. T: “You are
all doing so well with Re!”
Activity #1 Objective: Students will sing SLSB on solfege and then with words with 90%
accuracy.
1. T sings SLSB. T: Let’s learn a new song today! Here it is. Our first note starts on sol!
Let’s see if we can write the solfege in.
2. Ss start to go note by in naming the solfege.
3. T: do we see our new note Re? Ss: yes!
4. T: that’s right! Let’s add it in!
5. T: great work, should we sing the whole song on solfege now? Ss: Yes!
6. Ss sing SLSB on solfege. T checks for pitch accuracy in the Re measures.
7. T: you all nailed the solfege! Who wants to sing it on the words now?
8. Ss: Yes let’s!
9. Ss sing through SLSB while reading the standard notation.
Assessment: Can students sing SLSB on both solfege and lyrics with 90% accuracy?
Transition: T: You are all so wonderful! Are you ready to add some magic? Ss: YES.
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Activity #2 Objective: Students will compose a written accompaniment using Re on

xylophones as a class to accompany SLSB.
1. T: Okay Ss, I need y’all to help me out by singing our brand new song.
2. Ss sing SLSB as T starts to play on the xylophone.
3. T plays a D quarter note pulse. T: “Did we like how that sounded?
4. Ss: Yeah, BUT IT’S BORING!
5. T: Okay! Well then let’s come up with something better!
6. T: Can we all sing it again, but this time listen and decide if we like this better?
7. Ss sing SLSB and T plays the xylophone. T just alternates between two Ds and two As.
8. T: did we like that better? Ss: ehhhh it’s okay!
9. T: Goodness, you are all such a tough crowd today! Okay, who has some ideas?
10. Ss started to share ideas with the class for what to do, T writes them on the board. T
eventually prompts: what if we used our new note Re for our accompaniment?
11. Ss: THAT’S THE GREATEST IDEA EVER
12. T: Now we are talking! Where should we add Re in our accompaniment?
13. Ss: When we sing Re!
14: T: That’s a great idea! Can we sing through SLSB and then play Re on our xylophones
when we sing Re?
15. Ss sing SLSB while playing E for Re on measures 5 and 7. T plays D and A quarters.
16. T: Did we like how that sounded?
17. Ss: Yeah!
18. T: Let’s put both our ideas together!

37 | P a g e
Assessment: Can students identify where Re should be in the accompaniment and

perform SLSB with full accompaniment?
Closure: T: Great job today! You learned a brand-new song AND wrote an accompaniment to it!
You’re all such rockstars!
38 | P a g e
PRACTICE LESSON #5
39 | P a g e
PowerPoint: Round and Round Historical Context.pptx
Lesson Sequence:
Entry Activity/Transition: T sings solfege from warm-up listed above in phrases and students
repeat back doing hand signs as well. No notation is showed at this time. T: “You are all doing
so well with Re!”
Activity #1 Objective: Students will sing RAR on solfege through WMP tactics.
1. Attentive Listening - T: Okay class, I want you to listen to me sing through this new
song. Tell me: what direction do we go? T sings song. Ss say “down”.
2. T: That’s right! Listen again, this time for a new big word! T sings RAR and Ss say
“makaleli”
3. Integrating World Music - T: That’s great! Does anyone what makaleli is? Ss: no.
4. T: Makaleli is an African self-defense game that uses sticks and highly stylized music!
The people who performed Makaleli wanted to show that they were not to be messed
with. SHOW SLIDES HERE.
5. Engaged Listening – T: Alright everyone, I’m going to sing this song again and I want
you to all keep a steady beat in some way that is comfortable to you. This could be lap
pats, tapping your foot, however you want! T sings RAR, and Ss externalize pulse.
6. Enactive Listening – T now sings RAR phrase by phrase in solfege, Ss echo.
7. T: You are all singing Re like it’s no big deal! Great job! Let’s put our words to it. First,
let’s review how we pronounce them: T says and Ss echo: Makaleli, Chee, Cheem, Bom
40 | P a g e
8. T: now let’s sing the whole song!
9. T: Let’s sing it once more, on our solfege!
Assessment: Can students sing RAR on solfege after learning it through WMP?
Transition: Great job learning the song! Let’s add a game to it.
Closure: great work today, students! Today we learned a new song and learned about where it
came from, worked with Re even more, and then played a game with it!
41 | P a g e
PRACTICE LESSON #6
purpose.
MU:Cr2.1.2b: Use iconic or standard notation and/or recording technology to combine,

sequence, and document personal musical ideas.
Xylophones
Backing Track for students to play with: https://www.youtube.com/watch?v=k3c-gKJoBJo
Lesson Sequence:
Entry Activity/Transition: Students will choose any of the songs from the preceding lessons to
sing for warm up. They will first sing the song on words and then on solfege. T: I think you have
all been doing such a great job learning and performing our new note Re. What if we wrote a
song together as a class that uses Re?
Activity #1 Objective: Students (in groups) will each compose two measures of a 4/4
melody that uses Re.
1. T divides Ss into groups of 3-4.
2. T: Okay class, here’s what we need to do! You are each going to compose a two-bar
melody that uses Re. You each have a xylophone to play around on. From each group I
need one person that will also record what notes you decide to write. You may use
quarter and eighth notes! Make sure you use Re at least one time!
42 | P a g e
3. You must also start and end on Do. Do is C. T will write these guidelines on the board
so that Ss don’t forget.
4. Ss get to work on writing their melodies. T plays C Major Backing Track for Ss to play
over. Once finished, we all perform for each other.
5. Next, T facilitates student discussion on what the roadmap should be, like whose
melodies should go where?
6. After order is established, T: Let’s write words to our song!
7. T takes topic ideas from students and writes them on the board. Ss decide on the
topic and as a class they write the lyrics.
8. T: This song is sounding awesome! Let’s sing the whole song.
9. T: You are all such rockstars!
Assessment: Do students compose two measures of a 4/4 melody using Re?
Closure: Great work today! You are all masters at Re because you wrote a song with
Re in it!
43 | P a g e
POST-ASSESSMENT
• Sing MRD
• Sing DRM
• Sing DRMSL
• Compose songs that start/end on Do with the use of Re
• Read/Write Re in standard notation
Student Student Student Student

• Sing MRD
• Sing DRM
• Sing DRMSL
• Compose
songs that
start/end on
Do with the
use of Re
• Read Re in
standard
notation
• Write Re in
standard
notation
See Lesson 10 for how I will assess students based on these objectives.
44 | P a g e
SONG LIST
Song Analysis Table: Hot Cross Buns

• Source: Leon and Lynn Dallin Heritage Songster Dubuque, Iowa: W.C. Brown Company, 1966
Tone Set drm
Range M3
Rhythm Set eighths, quarters
Form aaba
• A Song’s Pedagogical Use Table:

Melody re
Rhythm quarter rests
Other game associated with origin?
• Song Analysis Table: Great Big House in New Orleans

• Source: Pete Seeger, Mika Seeger and Rev. Larry Eisenberg American Play PartiesFolkways
FC 7604, 1959
Tone Set drm sl
Range M6
Rhythm Set eighths, quarters
Form AA’
45 | P a g e

Melody re
Rhythm slurred quarters
Other improv for what, where?
• Song Analysis Table: Green Gravel

• Source: Alton C. Morris Folksongs of Florida Gainesville, Fla.: Univ. of Florida Press, 1950
Tone Set drm sl
Range M6
Rhythm Set quarters, halves
Form AA’

Melody re
Rhythm halves, pick up notes
Other pick up notes
46 | P a g e
• Song Analysis Table: Round and Round (Chee Cheem Bom)

• Source: Eleanor G. Locke
Tone Set Drm sl
Range M6
Rhythm Set Quarter, eighth, two sixteenths
Form ababab
Melody re
Rhythm Sixteenths (for referring back to when older)
Other WMP; song’s origin is teachable
47 | P a g e
• f
• Song Analysis Table: Engine, Engine, Number Nine

• Source: Library of Congress - Collected by John A. and Ruby T. Lomax
Tone Set drm
Range M3
Rhythm Set Eighths and quarters
Form aaaa
Melody re
Rhythm Review of different combination of 8ths, improv rhythms for vocal accompaniment
Other Vocal accompaniment? (chugga choo choo)
48 | P a g e
• Song Analysis Table: Star Light, Star Bright

• Source: Teaching Music at the Beginning Levels Through the Kodaly Concept, Vol. II
Wellesley, Mass: Kodaly Training Institute, 1973
Tone Set Drm sl
Range M6
Rhythm Set Quarters and eighths
Form aabbv

Melody re
Rhythm Review of quarters and eighths
Other Create accompaniment together
49 | P a g e

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PREPARE | PRESENT | PRACTICE

Outline of the Unit. ……………………………………………………………………………………………………………….4

Prepare Lesson #1..………………………………………………………………………………………………………………..7

Prepare Lesson #2..………………………………………………………………………………………………………………11

Prepare Lesson #3..………………………………………………………………………………………………………………15

Practice Lesson #1..………………………………………………………………………………………………………………24

Practice Lesson #2..………………………………………………………………………………………………………………28

Practice Lesson #3..………………………………………………………………………………………………………………31

Practice Lesson #4..………………………………………………………………………………………………………………34

Practice Lesson #5..………………………………………………………………………………………………………………38

Practice Lesson #6..………………………………………………………………………………………………………………41

need to be proficient in reading quarter and eighth note rhythms.

notations on paper so that is their art course connection.

OUTLINE OF THE UNIT

SECOND GRADE PRE-ASSESSMENT: I SEE THE MOON

• Keep a steady pulse

Student Student Student Student Student

Teacher Name: Miss Schrag Target Grade Level: Second

Musical Concept of Focus: Re

Standards Being Addressed:

4. PART: T sings first phrase (m. 1-2). Ss echo.

5. T sings second phrase (m.3-4). Ss echo.

6. Ss sing phrase 1 and 2 once with T, then once without.

7. T sings phrase 3 (m. 5-6). Ss echo.

8. T sings phrase 4 (m. 7-8). Ss echo.

9. Ss sing phrase 3 and 4 once with T, once without.

11. Fill in the blank: switch ^

Transition: Great job! Let’s add more to this song!

Activity #2 Objective: Students will perform body percussion accompaniment to “Engine,

4. Transition to xylophone. Play D on beat 1 of every measure. Ss join when ready.

5. T plays D on beat 1 and E on beat 2 of every measure. “What do I do differently?” Ss

7. Play the whole song with xylophone accompaniment.

1. T: Watch me, tell me what I do. (T plays only on D)

2. T: Watch me, tell me what I do (T plays only on D and E)

the xylophone accompaniment.

Teacher Name: Miss Schrag Target Grade Level: Second

Musical Concept of Focus: Re

Standards Being Addressed:

1. T sings harmonic context. T sings all of Hot Cross Buns

4. T sings phrase 2. Students echo.

5. T sings phrase 1 and two together. Ss echo.

6. T sings phrase 3. Ss echo. If students struggle. Employ fill in the blank.

7. T sings phrase 4. Ss echo.

8. Fill in the blank: T sings “Hot cross” Ss sing “Buns”

11. Switch! Ss sing phrase 1 and phrase 3. T sings phrase 2 and 4.

12. WHOLE: T and Ss sing the whole song together.

13. T encourages Ss to sing the whole song by themselves.

Transition: Let’s add something else to this song!

2. T: Watch me, what do I do differently? (P1, P2 and P4 pat-pat-pat-clap) (P3 pat-clap-

P1: clap cross pat (pat)

P2: clap cross pat (pat)

P3: pat pat pat pat

P4: clap cross pat (pat)

4. T asks: on what word do we cross our arms? Ss answer “cross”.

6. T and Ss sing and do whole body percussion together.

7. T asks Ss: on what word do we snap? Ss: nothing!

Assessment: Do students perform body percussion that accurately emphasizes the

4. Put the whole song together:

Teacher Name: Miss Schrag Target Grade Level: Second

Musical Concept of Focus: Re

Standards Being Addressed:

1. T sings harmonic context. T sings GBHINO. Students pat along.

3. PART: T sings P1. Ss echo.