Primary

Teacher s Book

This material is a collective work, conceived, designed and

created by the Editorial department at Santillana, under
the supervision of Teresa Grence Ruiz.

The following team has collaborated in this material:

Writers
María Larumbe Martín
Miguel Ángel de la Ossa Rebollo

Illustrator
José Labari Ilundain

Editor
Juan José Castro Díaz

Project editor
Eva Herrero González

Managing editor
Mercedes Rubio Cordovés
Contents 1

TERM

This is the material for Primary Music 4

 1 A New Note C 20
The subject of Music and...
2 All Note Values Come with Heads 22
I.  Specific competences 6
3 Morning Mood 24
II. Neuroscience 8
III.  Emotional education 10 4 The Downbeat 26

Initial assessment 13 5 The Monsters' Dance 29

Teaching suggestions 6 In a Persian Market 32

Term 1 17 7 Irish Dance 34

Term 2 51
8 Jingle Bells 37
Term 3 85
Review 40
Instrument practice 119
Ready for More 42
Theatrical performance 127
Term 1 test 44
Answer keys 131
Reinforcement worksheets 46
 2 3

TERM TERM

19 I Play Like This 54 17 Silence at Last! 88

10 Supercalifragilistic 57 18 Eram, Sam, Sam 91

11 Semibreve and Samba 60 19 Many Ways to Sing 93

12 Papagena! Papageno! 62 20 Peter and the Wolf 96

13 Dance of the Seven Moves 65 21 Ensembles 99

14 Oh, When the Saints 68 22 Waltz of the Flowers 101

15 I'm a Little Leprechaun 70 23 Yabbadabbadoo 103

16 Csárdás 72 24 New World Symphony 105

Review 74 Review 107

Ready for More 76 Ready for More 109

Term 2 test 78 Term 3 test 111

Reinforcement worksheets 80 Reinforcement worksheets 113

This is the…
Material for Primary Music
Student's Book Waltz of the Flowers
1 Dance freely when you hear the harp and then follow the steps. Record

• 8 lessons per term. The essential knowledge

the end result.

is presented in an engaging way, through

a story, a song, a dance, an active listening 3 Sing along in unison

activity and other methods. Then there are

Walk and Take 4 steps in, lifting your Move your Turn around.
form a circle. hands, and 4 steps out. arms to each side.
Repeat.

performance activities. The Key concepts B

section summarises the theoretical contents Repeat

parts A
and B.

of each lesson. Take 3 long steps to the right.

4 times
Clap your
hands. Take 3 long steps to the left.
4 times
Clap your
hands.

• The Review section contains suggestions

< 54 >

ES0000000117309 115480_TRIMESTRE_03_101004.indd 54 08/02/2022 15:49:08

of ways to revise what the students have worked lesson 22

on during the term. 2 Do some research. Then copy and complete the text in your
Activity Book.
Key concepts
triple metre harp Tchaikovsky orchestra The Nutcracker

• The Ready for More section allows the students is the composer of the Waltz of the Flowers, which is part of
There is a solo instrument, the , accompanied by the
.
. It is a piece

to do a self-assessment of the term's contents.

of music in .

3 Sing along in unison and then in canon.

• The Instrument practice section allows the & œ œ œ œ œ œ œœ œ œ ˙ œ œ œ œ œ œ œ œ ™™

4
1 2
The harp is a string

œ ˙
instrument with many
strings that we play

students to progress on the recorder at the pace These are all the notes that I al-rea-dy know. Do,Sol,Si, La, Sol, Fa,Mi,Re, Do.
mf
with our fingers.

that the teacher decides. It includes warm-up 4 Say the right order. What families do they belong to?

exercises for each piece, and various types

of music: traditional, classical and popular. < 55 >

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• The Student's Book includes a stave notebook

La, La, La
for musical notation activities and a music
stand to hold it for reading.
1 Practise.

& œ œ Œ œœœ ™™ & œ ˙ œœ œ Ó ™™

Practising tips

1 2 2 3 To play the note La or A,

cover the first two holes and
the thumb hole.

2 Play along with a partner.

Activity Book & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™

call response

1 4

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
4
• 1 page per lesson. The activities can be done
2

in the class or at home.

3 Play along with your teacher.

students teacher

& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
#3
Allegro
œ œ

LibroMedia 
<6>

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• Class audio: references to all the musical lesson 21 Waltz of the Flowers lesson 22

resources from the course are included in the

1 Follow the code and circle the names 2 Write T for true or F for false.
of string instruments.
 In the orchestra there are string, wind
and percussion instruments, and also

Student's Book, with audio icons and are also

 with  with  with a conductor.
the fingers a bow keys
 A children's choir includes male and female
voices.

available at e-vocacion.es.
 A rhythm is a series of sounds with different
pitches and durations.
 An opera is a theatre play performed
by singers and an orchestra.
A R H U V S O K V E

• Videos: animations of graphic scores,

 The trumpet, the trombone, the French horn
V I O L I N F O Z C and the harp are wind instruments.
I Q U L O B O E A B
K C R E L M U G R O 3 Complete with note values and rests.

instrument and dance routine videos, and L E I X A E H U Z F

crotchets

crotchets

crotchets

crotchets

U L E D L I T I S I
2

3
7

excerpts of films, operas and ballets to play 𝄽𝄽

N L L E A F O T E Y
D O U B L E B A S S
q
4
iq
𝄖𝄖𝄼𝄼
crotchets
H Y H B E R A R U T
w h
in the classroom are indicated with video icons
W K A E S P V F E S 11

𝄾𝄾
crotchets
L U R D I A R U C A
e
3
O S P I A N O Z U S crotchets

and available at LibroMedia. ES0000000121970 134476_Cdno_Music_3_102323.indd 27

< 27 >

17/02/2022 11:37:22

<4>
Teacher's Book lesson 4

The Downbeat
Teaching suggestions
1 Explain that, just as we emphasise out the rhythm of different types of metre
lesson 4

1 Sing and move to the beat. syllables when we speak, in music some with a mallet. On the downbeats the students
sounds are louder than others. You can recite

• Specific competences and assessment

GO ONE, TWO, THREE,
A DUPLE METRE IS LIKE
RIDING A BIKE. ONE, TWO, THREE, WHEN
YOU SKATE ON ICE.
QUADRUPLE METRE IS LIKE
DANCING ALL THE TIME. the lyrics of the song, beating out the rhythm
and the downbeats with body percussion,
so that the students can identify the louder
beats.
Then play the three verses of the song
pass the mallet to their partner; on the other
beats, they pass the mallet from one hand
to the other. In the second part, the students
perform the rhythms with body percussion,
bearing in mind that the downbeats should
be noticeable.

criteria for this stage of Primary Education,

separately. Ask the students to move as the
lyrics say: first, pretending to ride a bike 3 The instruments play in the following
as they beat out the duple metre; then order:
LOUD AND QUIET: LOUD AND QUIET,
QUIET: TRIPLE
LOUD AND QUIET,
pretending to skate as they accentuate
DUPLE METRE BAR. QUIET, QUIET:
 1. Flute.
METRE BAR. QUADRUPLE the downbeat of each triple-metre bar;
METRE BAR.
and, finally, dancing freely while beating 2. Clarinet.

and the promotion of neuroeducation and

out the quadruple metre. 3. Bassoon.
2 3 4
/ œœœ œœ / œ œœ œ œ œœ / œ œœœœ œœœœ 2 The activity has two parts and is done 4. Oboe.
in pairs. In the first part, the students beat 5. Trumpet.
< 10 >

emotional education in the subject of Music.

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 10 16/02/2022 16:03:33
The Downbeat, M. Á. de la Ossa
lesson 4 Allegro
2 œ œ Œ
& b4 Œ œ œ œ œ œ œ œœ œ ‰ j œ œ œ œ
2 Move to the beat with your partner. Then play the rhythms.

œ œ
PASS THE CHANGE HANDS
We need to know where there are down -beats in a bar. A du -ple me -tre
q5 MALLET ON THE
q5 ON THE OTHER

™™ œ œ œ œ œ œ œ œ œ œ œ

• Initial assessment of the course in printable

DOWNBEATS. BEATS.

&b œ œ œ œ œ œ œ œ Œ œ
is like rid - ing a bike. Loud and qui - et, loud and qui - et: du - ple me-tre
2
& b œ Œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ™™ 4
/ œ œ œœ œœœœ œ Œ œœœœ ˙
1

(3 times)
3

and photocopiable format.

3
/ œ ˙ œœ œ œ œœ ˙ Œ œ œ œœ œ Ó
2

bar.
3
3 œ ˙ Œ œ
(3 times)

4
/ œ œ œœœœœœ œ Œ œœœœ œ œ ˙ & b4 Ó œ œ œ œ œ œœ ˙
œ œ œ
œ
3 Key concepts

(3 times)
The first beat of each
bar is always louder
œ
than the others and it's
We need to know where there are down- beats in a bar. Go one, two, three,

Œ ™™ œ œ œ œ œ œ œ œ œ œ œ œ
called the downbeat.

&b œ œ œ œ œ œ œ ˙
3 Say the right order.

• Table of contents with the specific competences

oboe clarinet trumpet flute bassoon

< 11 > one, two, three, when you skate on ice. Loud and qui - et, qui - et, load and qui - et, qui<-27
et:>

& b œ œ œ œ ˙ Œ ™™ ˙ œ œ œ œ ˙ œ ˙ œ ˙ œ œ œ œ
1. 2.
ES0000000117309 115480_TRIMESTRE_O1_101002.indd 11 08/02/2022 15:50:10

and essential knowledge for each term.

tri -ple me -tre bar. bar.

&b ˙ œ ˙ œ ˙ œ œ œ œ ˙ œ ˙ œ ˙ œ œ œ œ ˙ œ
2
4 œ œ œ

TRIMESTRE
b
Term 2 test & œ ˙ Œ and
4 ˙ Number 4 complete.
œ œ œ œ œ œ œœ œ ‰ j

TERM
œ

• Reproduction of the pages of the Student's

We need to know where there are down- beats in a bar. Qua-

™™ œ œ œ œ œ œ œ œ
2
Name: Date:
&b œ œ œ œ œ œ œ œ œ œ œ œ Œ
5-4

dru -ple me - tre is like danc-ing all the time. Loud and qui - et, qui - et, qui - et.

Book.
1 Complete with note values and rests.
2
Œ ™™
3 j
Instrument: Instrument:

2 & b œFamily:
œ œ œ œ œ œ œ œ œ œ œ œ Family: œœœœœœœœ
/ œœ ‰ / ˙œ œ
1 2

œ œ Loud and qui - et, qui - et, qui - et. Danc -ing all the time.

4
/ ˙ & b Jœ œ œ Œ™
3 œ œ œ œ œ œ œ œ œ œ œ Œ™ œ bœ œ œ œ œ Œ
œ J

• Teaching suggestions for the Student's Book,

4
bœ œ œ œ œ Œ
& b œInstrument: œ œ œ œ œ œ œ œ œ œ œ œj Œ
2 Number. Are they rhythms or melodies? JInstrument:
Family: Family:

4 / 4 œœœœœœ w
œœ œ w
with the answers to the activities, and all the & œ
œ œœ
œ
5-3

5 Name the horses with tempo indicators.

I ALWAYS I GET TIRED

I LOVE TO GO I ALWAYS
I ALWAYS GO AT AND GO

necessary materials to carry them out: scores,

FASTER AND GO
GO SLOWLY. MEDIUM SLOWER AND
FASTER! QUICKLY.
3 Match. SPEED. SLOWER.

Do Re
singers

audio transcripts, and more.

or C or D
wind and
percussion
quaver
orchestra semibreve

• Term final assessment in printable

marching
opera rhythm
band melody

Ad Ac An Ri Al

and photocopiable format.

Content courtesy of Santillana. Physical redistribution and/or communication Content courtesy of Santillana. Physical redistribution and/or communication
< 78 > on the internet or on social networks is prohibited. on the internet or on social networks is prohibited.
< 79 >

• Reinforcement worksheets in printable Puppet theatre

and photocopiable format.

This music project is designed to improve to the size, or you can recycle some boards • To make the puppets' costumes, first make percussion instruments. Work with the
communication and interaction between that are left over from repairs in the school. a pattern out of cardboard. Cut out two students on the vocal part, and then teach
Primary and Early Years students. To do Once the structure of the puppet theatre identical pieces with this pattern, and sew them the ostinatos, so that they can
this, the students of Primary 3 will create is ready, proceed to decorate it. them together. incorporate them gradually.
a puppet theatre for the younger students. The sets will also need to be built, using
pictures drawn on a roll of paper. For this Learning the song (1 lesson)
Rehearsing (2 lessons)
TIMING part, we suggest involving the Early Years Lesson 4:

• Collaborative theatrical performance for the

This project can easily be carried out using children, together with the older students. Lessons 5 and 6:
An instrumental piece of music is suggested
two Arts and Crafts lessons and four Music To make the puppets, follow this procedure: for this activity. This can serve as an Before the performance, prepare the lighting,
lessons, with some simple preparation ending for the artistic creation. It will do the rehearsals, hand out invitations and
• Find puppets in the school and look at how
by both teachers. be performed with vocals and school pin up posters advertising the show.
the neck and head should be shaped so that
Assigning tasks (1 lesson) they can be moved. From this, draw
sketches and make a first version of the

students to put into practice the knowledge

Lesson 1: heads with modelling clay, exaggerating Materials
After reading out the play and checking the features.
understanding, assign the tasks that each For the puppet theatre: • Old newspapers.
• Using the modelling-clay model as a guide,
student must carry out. The aim is to • Plywood. • White glue.
model the final figure in clay. When the
achieve a satisfactory artistic production figure is completely dry, cover it with • Gouache paint, coloured paper and / or • Sandpaper.

acquired in the field of Artistic Education.

from the group. vaseline so that it is easier to separate fabric to decorate the puppet theatre. • Gouache paint and brushes.
Give out the following tasks: it from the figure that is going to be For the sets: • Coloured wool.
• Six students narrate the story. made with newspaper. • Roll of paper. • Cardboard.
• Then cut strips of newspaper of about • Coloured pencils or gouache paint • Needles and thread to sew the puppets'
• Three students are puppeteers.
5 cm wide, wet them and place them like and brushes. costumes.
• Four students change the sets. a bandage on the clay figure until it is
For the puppets: For the music:
• Six students are singers and perform completely covered. It is important to
• Plasticine. • Triangles, hand drums, bongos,
the storm. adjust the strips of paper to the features

• Answer keys for the Activity Book, the

of the face so that the figures do not lose • Modelling clay. maracas, brass sheet, xylophones,
• Four students play mallet percussion
expression in the process. metallophones amd glockenspiels.
instruments. • Vaseline.
• Then spread white glue over the layer
• Two students play the accompaniment
on school percussion instruments. of newspaper and put another layer of glue.
Repeat the process until there are at least
• One student makes the thunder sound
five layers. It is important to note that these

reinforcement worksheets and the assessments.

effect with the brass sheet. puppets take from one week to ten days
to dry.
Constructing the puppet theatre,
the sets and the puppets (2 lessons) • Once the figure is dry, cut each puppet
in half and take the clay figure out.
Lessons 2 and 3: Then the students will sand both parts
Use plywood to build the puppet theatre, to eliminate any imperfections. To make
as the aim is to make not just a theatre for the hair, the students can cut pieces
a single performance, but a resource that can of coloured wool and glue them
be used later. The wood can be ordered cut to the top of the puppet's head.
Content courtesy of Santillana. Physical redistribution and/or communication Content courtesy of Santillana. Physical redistribution and/or communication
< 128 > on the internet or on social networks is prohibited. on the internet or on social networks is prohibited.
< 129 >

Posters
Large format, to hang up in the classroom.
• Wind instruments. Pitched
percussion
Percussion instruments

Pitched Unpitched
percussion percussion

• String instruments.
4

1 marimba 1 cymbals
1 2 glockenspiel 2 bodhran
3 timpani 3 snare drum
4 temple block 4 tambourine
3
tubular bells finger cymbals

• Percussion instruments.
2 5 5 5

6 bass drum
7 shaker
Unpitched 8 scraper
percussion 5 9 triangle

• Recorder fingering chart.

10 cajón
11 gong
4
1 3
2

• The rock band.

• The symphony orchestra.
6 7 8 9 10 11
3/6

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<5>
The subject of Music and…
I. Specific competences
In Primary Education, the curriculum for the
area of Artistic Education, which includes
the subject of Music and Dance, develops the
following specific competences:
Specific competences
1. To learn about artistic expressions from
different genres, styles, time periods and
cultures through active listening, in order
to develop curiosity and respect for
diversity.
2. To research different cultural and artistic
expressions and their contexts using
different channels, media and techniques,
in order to enjoy them, to understand
their value and to develop one's own
artistic sensibility.
3. To express and communicate ideas,
feelings and emotions creatively,
experimenting with the different
possibilities of sound, images, the body,
and digital media, in order to produce
one's own pieces of work.
4. To participate in the design, preparation
and dissemination of individual and
collaborative cultural and artistic
productions, appreciating the value of the
process and assuming different roles
to achieve a final result in order to
develop creativity, ownership and the
sense of belonging.
In parallel, the curriculum determines
the following assessment criteria,
which seek to assess the degree
of acquisition of the different specific
competences in the second stage
of Primary Education.
<6>
Assessment criteria
Specific competence 1
1.1. To recognise artistic expressions from
different genres, styles, time periods and
cultures, through active analysis
and showing interest and respect
towards them.
1.2. To describe forms of cultural and artistic
expression, exploring their characteristics
with an open mind and an attitude of
interest, and establishing basic relations
between them.
Specific competence 2
2.1. To select and apply strategies in guided
research on forms of cultural and artistic
expression, through simple channels
and media, individually as well
as in a collaborative format.
2.2. To identify basic characteristic
elements of different forms of cultural
and artistic expression that are part of
our heritage of different environments,
explaining the channels, media and
techniques used in the analysis
of their differences and similarities
and reflecting on the sensations
produced, with an attitude of interest
and respect.
Specific competence 3
3.1. To produce basic pieces of work, using
the expressive possibilities of the body,
sound, images and basic digital media,
and showing confidence in one's own
abilities.
3.2. To express ideas, feelings and emotions
through basic artistic expressions
 creatively, using different artistic
languages and accessible tools.
Specific competence 4
4.1. To collaborate in a guided design
of cultural and artistic productions
by working collaboratively toward a final
outcome that meets agreed objectives
and assuming different roles, through
a coeducational approach based
on equality and respect for diversity.
4.2. T
 o participate actively in the
collaborative process of creation
of cultural and artistic productions
creatively and showing respect, using
basic elements of different artistic
mediums and techniques.
4.3. To share creative projects using
different basic communication
strategies, explaining the process and
the final result and respecting and
valuing one's own experiences and those
of others.
The table of contents for each of the terms
in the Student's Book presents the specific
competences and essential knowledge
corresponding to each lesson of this
third year of Primary Education. However,
as is required at this stage of education,
all the lessons have been developed
with a holistic approach, so the four
specific competences of the curriculum
are practised in almost all of them.
<7>
The subject of Music and…
II. Neuroscience
Contributions
to neuroeducation
The most recent research on the human
brain continues to provoke amazement
at the enormous plasticity and complexity
of an organ that differentiates us as a species
and that, in turn, makes each individual
unique.
In the field of education, neuroscience has
proved what many teachers have already
experienced day-to-day in the classroom:
motivation, attention and memory are basic
mechanisms in learning processes.
Neuroscience has also provided invaluable
information on the way in which these
mechanisms are activated. To begin with,
we are exposed to so many stimuli that our
brain builds patterns to organise the
information more efficiently. In other
words, our knowledge involves building
selective representations of the world.
And we only learn what our brain considers
relevant.
In this sense, scientists speak of three
essential ingredients for our brain
to consider a certain piece of information
important.
• Surprise. The unexpected, whether
pleasant or unpleasant, catches our
attention. The more unexpected
the stimulus is, the more intense the
activity of the neurones that arouse
excitation and attention in the receiver.
For this reason, the element of surprise
is key in leaving a deep impact
in the brain.
• Emotion. This is an essential element
for both those who teach and those
<8>
who learn. It is the limbic system,
or emotional brain, that is the first
to receive the information captured
by the senses, and it transmits this
to the cerebral cortex, which is in charge
of the cognitive processes. The limbic
system contains the amygdala, one
of the most primitive parts of the brain,
which is activated in situations that the
brain considers important for survival.
Therefore, the emotional filter
determines the relevance of any learning,
and contributes to its efficient
consolidation.
• Movement. The brain needs physical
activity for it to work properly. The
movement of the muscles, on the one
hand facilitates the circulation
of oxygen and blood, and on the other
hand, generates proteins that promote
the plasticity of the brain (i.e. the
production of new connections and
neural circuits). In addition, cardiovascular
activities trigger the production of
endorphins, which activate the neurones
related to the feeling of well-being
and pleasure that is necessary for
concentration and attention when
learning.
Body movement and expression are
perhaps some of the aspects that
traditional education gives the least
importance to, and yet they are crucial
to child development. There is,
therefore, a pressing need to incorporate
them systematically into the study
of any discipline. In the subject of Music,
dance offers an excellent opportunity
to include them.
The musical brain
Recent contributions from neuroscience
have shed light on the importance
of Music in the Primary Education
curriculum. Who doesn't move, sing
or make music in some way when they're
in a good mood? In which group event
or celebration is music not present?
Music is a common element of all
cultures, and its development is closely
linked to our evolution as a species.
Neuroimaging studies show that there
is virtually no area of the brain that is
not involved when we listen to, or play,
music. Its importance in the integral
development of a human being
is fundamental, contributing in all facets
of this process:
• Psychomotor skills. Music is perceived
by our entire body, and our body
responds to it with movement of one
type or another. Our sense of rhythm
is strongly linked to movement;
therefore, both listening to and playing
music stimulate visuospatial and motor
skills, and favour proprioception,
coordination and control over the body.
Dance, in turn, enhances muscle
development, balance and multisensory
stimulation. From the age of six, singing
in tune develops, along with a better
perception of tonal music.
• Affective-social capabilities.
Music communicates and brings
us together. It is often highlighted
that there are cultures without writing,
but none without music. And in fact,
several studies on human evolution
suggest that we even made music
before we spoke. Music has such
a powerful emotional component
that it is not only extremely valuable
in the field of therapy, but also in the
field of education. It allows us to
communicate emotional states with
a level of precision that other types
of language would find hard
to reach. In addition, playing music
together fosters self-esteem, empathy
and altruism.
• Perceptual-cognitive abilities. Music,
while stimulating the development of the
senses, encourages perceptual-cognitive
abilities and tends to improve physical
and mental abilities, which is why it is
used in the field of therapy. In addition,
the areas of the brain involved in musical
activity largely coincide with those
involved in language. Thanks to the
musicality of language, that is,
intonation, we learn to speak and
express ourselves correctly.
The advantages of music at a cognitive
level are countless: it aids attention,
concentration and memory, and facilitates
abstract thinking and problem-solving
abilities, among other skills.
In order to acquire these skills and
abilities, a well-designed Music
education programme must adequately
combine music-making activities;
through singing, body expression
or instrumental performance, with
activities related to sensory perception,
active listening and distinguishing
voices and instruments.
<9>
The subject of Music and…
III. Emotional education
Emotion pervades our whole life, to the
point that it is a determining factor
in different cognitive processes, such
as learning and memory. When all
is said and done, we understand the world
through our emotions: joy, fear or disgust
push us forward or hold us back, making us
avoid what we perceive as dangerous
or unpleasant. Affective phenomena
alert us and direct us, long before our
judgement comes into play.
Humans take a long time to grow up
(the longest of all species), until
we acquire the knowledge and skills
necessary to live autonomously. Initially,
instinct helps us cope with life situations,
but very quickly it is not enough, and
education and socialisation processes
come into play. In this sense, emotions
have a direct impact on each individual.
Since the early 1990s, the neuroscientist
António Damásio has been conducting
research on the ingredients that make
up the neurological bases of the human
mind. Among other findings, he has
demonstrated that emotions are present
in the regulation of the life processes
of almost all animal species, but that
human beings have the particular ability
to connect these emotional processes
with intellectual ones, thus creating
a new world around us.
As we grow, we can identify longer-lasting
states (like our mood, sentiments
or personality) and more passing ones
that are often involuntary, which we
often call ‘emotions’. This process
of self-awareness of our emotional states
is crucial in our development as humans.
< 10 >
Over two decades ago, the psychologist
Daniel Goleman popularised the
expression ‘emotional intelligence’
to refer to the set of skills that allows
us to be in touch with ourselves and
be aware of our emotional states, in order
to manage them appropriately. This type
of intelligence is directly related to our
ability to understand what we feel,
to focus on our goals, and to connect
and communicate with others. People
who know how to recognise and manage
their emotions, and the emotions
of those around them are better
equipped to cope with life's difficulties
and find it easier to connect and
empathise with others. In short, these
people are more likely to be happy
and to live in harmony with others.
These skills, fundamental to the
development of a healthy individual,
are acquired and exercised throughout
life, although it is especially important
to work on them during childhood.
In spite of this, they are still not dealt
with adequately in the academic
curriculum. Teaching students to deal
with their emotions, especially those
that are disturbing and negative and that
hinder learning processes, means
combatting problems of violence,
integration, and school dropout present
in our educational system. In this sense,
artistic disciplines like Music are highly
effective.
We have already mentioned the
exceptional ability of music to express
emotions. Thanks to this, we can work
on the four basic dimensions of emotional
intelligence in the classroom:
• The students learn to become aware
of the emotional state provoked by the
piece of music that they listen to,
perform, or dance to.
• Music and dance also bring emotional
self-regulation into play, since it is not
possible to express ourselves musically
if we let our emotions take over and
stop paying attention, for example,
to the technical aspects of the
performance.
• Playing music together encourages
connection with others and empathy.
• Group performance, both in chamber
ensembles and in large groups, requires
cooperative work in which individuals
must contribute to a shared goal. In this
sense, music is the perfect medium
through which to learn to communicate
in a respectful and positive way.
The value of the subject of Music as a vehicle
for emotional education should not be
ignored by our educational system, not only
if we seek to better educate our students, but
above all if we aspire to raise healthy, balanced
individuals who are in harmony with society.
< 11 >
 Initial
assessment
 Initial assessment
Name: Date:

1 Look at the score and answer.

3Ó ˙ œ ˙ ˙ œ Œ
& ˙ œ ˙ œ
œœ œœ
œ
˙
. Physical redistribution and/or communication on the Internet or on social networks is prohibited.

• Which is the highest note? 

• How many Do or C notes are there? 

• What is the metre? 

• Which is the longest rest? 

2 Number from the slowest tempo to the quickest.

andante allegro adagio

3 Complete the score.

• The tempo is at medium speed.

Content courtesy of

• It's in triple metre.

• The last two bars are an echo of the first bars.
• The first two bars are loud and the next bars, quiet.
MU SIC IN TU N E 3 PR IM A RY

& œ œœœœœ œ œ
œ
< 14 >
4 Do the crossword.

1 3 4
2

6
8
5

. Physical redistribution and/or communication on the Internet or on social networks is prohibited.

7

1 2 4

5 3

6 7

5 Write the names of the instruments from the previous

activity in the table.
Content courtesy of

Strings Wind Percussion

MU SIC IN TU N E 3 PR IM A RY

trumpet

violin

< 15 >
Term 1
 Lesson Essential
1
 The note high Do or high C on the stave.
 1 A New Note C  Listening for differences in ascending and descending
series of sounds and timbre.
TERM

 The quaver and the quaver rest.

2 All Note Values
 Parts of the note values: notehead, stem
Come with Heads and flag.

  Active listening with graphic scores.

3 Morning Mood   Properties of sound: timbre.
  The oboe.

 The downbeat in duple, triple and quadruple

metre bars.
4 The Downbeat  Listening for differences in types of metre
and timbre.

  Electrophones: the electric guitar.

5 The Monsters' Dance   Melodic dictation.
  Listening for differences in types of metre.

  The orchestra.
6 In a Persian Market   Active listening to a piece of classical music.
 Listening for different musical instruments.

7 Irish Dance   Repeat signs: begin- and end-repeat signs.

  The choir and the soloist.

  The children's choir.
8 Jingle Bells
 Listening for differences between choir
and soloist and other types of ensembles.

Review   Review of concepts learnt during the term.

Ready for More   Self-assessment of term 1.

< 18 >
 Specific
knowledge competences Music

  Vocal and instrumental performance.

 Accompanying songs with objects  A New Note C,
3, 4
that make a sound. M. Á. de la Ossa.
  Creating rhythms in triple metre.

  Vocal performance.
 Accompanying songs on school  All Note Values
percussion instruments. 3, 4 Come with Heads,
 Creating and performing scores M. Á. de la Ossa.
and graphic scores.

 Accompanying songs on school

 Morning Mood from
percussion instruments. 1, 4
Peer Gynt, E. Grieg.
  Expressing emotions related to music.

  Vocal performance.  The Downbeat,

3, 4
  Body movement and expression. M. Á. de la Ossa.

 The Monsters' Dance,

  Moving and dancing. 1, 3, 4
Ó. Arriagada.

 S
 tory: In a Persian
  Acting out a story.
1, 4 Market by A. W. Ketèlbey,
 Vocal and instrumental performance.
M. Larumbe.

 Moving and dancing.

 Accompanying songs on school  Irish Dance, traditional
1, 3, 4
percussion instruments. dance.
  Vocal performance.

  Vocal performance.
 Jingle Bells, traditional
 Accompanying songs on school 1, 3, 4
song.
percussion instruments.

  Musical game.

< 19 >
lesson 1

1 A New Note C
TERM

1 Perform.

2 2
/ œ œ œ Œ œ Œ Repeat. / œ œ œ œ Œ Repeat.
2
&œ œ œ œ œ œ œ œ œ ˙ Ó œ œ œ œ œ œ œ œ ˙ Ó
Look! There is a new note in the song. If you learn it, we can sing a - long.
Mi, Mi, Sol, La, Do, Si, La, Sol, La. Mi, Mi, Sol, La, Do, Si, La, Sol, Do.

&œ œ œœ ˙ œ œ œœ ˙ œ œ œ œ œœ œ œ ˙ Ó
You can call it Do. You can call it C. Sing this song with me and you will see. 4
La, La, La, La, Si. Do, Do, Si, Si, La. La, La, La, La, Si, Mi, Do, Si, La. Repeat.
<4>

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 4 08/02/2022 15:49:46

lesson 1
2 Listen and answer the questions.

1 2 3 4
Key concepts

& œ
We write the note
• Name the instruments.
high Do or high C
• What type of series do they play? in the third space
of the stave.
ascending descending
ascending descending
and descending and ascending

3 Play.

2
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
1

4
&œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œœŒ œœŒ Œ
2

œœ ˙
4 Make up a rhythm in triple metre. Then play a series of ascending
and descending notes with it like the ones in activity 3.
<5>

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 5 08/02/2022 15:49:50

 lesson 1

Teaching suggestions
1 Ask different students to come 2 The answers to the questions are:
to the board and ask them to draw a high • 1: piano; 2: clarinet; 3: cello; 4: xylophone.
Do or high C crotchet, minim or two quavers.
• Piano: descending and ascending; clarinet:
Play the song and ask the students to follow descending; cello: ascending; xylophone:
the score. Then sing each of the four phrases ascending and descending.
with the names for the notes with the
students repeating after you. Do the same 4 Once the students have created their
with the lyrics and sing along over the series, beat the rhythm on a percussion
backing track. instrument to guide their performance.
Finally, divide the class into two groups: one
with disposable cups and the other with
spiral notebooks and pens, and perform the
ostinatos over the music.

< 21 >
lesson 2

All Note Values Come with Heads

1 Sing along.

notehead flag
stem

verses

All note values come with heads

And stems go up on the right.
But stems go down on the left,
chorus When the notes are very high.

Now that you know three note values:
Quavers, crotchets, minims, too,
Learn to write them on the stave.
They are all different. Have a look!
<6>
All note values come with heads
And stems go up on the right.
If the notes have flags on their tops,
Then quavers are what you write.

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 6 08/02/2022 15:49:52

lesson 2
2 Play along.

2 j j
/ œ ‰œ ‰ Ó
œ
chorus Key concepts

2
The quaver lasts the
e
/œ˙ Œ œ same as half a crotchet.

𝄾𝄾 The quaver rest also

j j
Repeat.

/ 2œ œ ‰ œ œ œ ‰ Œ
lasts the same as half
a crotchet.
verses

Repeat.

3 Play and match. Then make up your own score

and a drawing that represents it.

4 j j
&œ œ œ ‰ œ œ ‰ œœ œœ˙
1 A

2
& œ œ œ Œ œ œ œ œ œJ ‰ ˙
B
2

3
& œ ˙ œœ œœœ œ ˙ Œ
C
3

<7>

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 7 16/02/2022 16:03:30

 lesson 2

Teaching suggestions
1 Remind the students that note values
are used to indicate the duration of a sound
and that each of their parts crucial
to distinguishing them. Therefore, we can
distinguish the note values of the minim
and the crotchet by the colour of their
heads, and the quaver by its flag.
Then review the parts of a song, pointing
out that the chorus is always repeated in the
same way, and that the lyrics change in
the verses. Finally, once the song has been
performed, ask for the number of verses
it has (two).
2 Remind the students how to hold the
instruments in the pictures to get a good
sound. Before accompanying the song,
practise the two ostinatos that will be
performed during the chorus simultaneously
and the ostinato for the verses.
3 The solution to this activity is: score
number 1 corresponds to graphic score C;
number 2, to A, and number 3, to B.
Before doing the activity, perform the scores
with the students repeating after you. Then
they will do it again on their own. Finally,
ask about the aspects of the scores that are
reflected in the drawings (graphic scores):
pitch and duration of the notes, as well as the
rests. The colour backgrounds could also
indicate different timbres.

All Note Values Come with Heads, M. Á. de la Ossa

œ œ ™™ œ œ
Andante
%
2 œ œ œ œ œ œ œ œ œ œ œ œ œ
& b4 Œ
Now that you know three note val- ues: qua -vers, crotch-ets, min-ims, too, learn to

œ œ œ œ œ œ ™™ œ Œ Œ ™ œJ
1. 2.

&b œ œ œ œ œ œ œ œ œ œ
write them on the stave. They are all dif - fer- ent. Have a look! Now that look! All

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ œ œ œ
note val-ues come with heads and stems go up on the right. But stems go down on the
note val-ues come with heads and stems go up on the right. If the notes have flags on

7
& b œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ
j U j 1. 2. Fine Al segno
Œ œ œ
left, when the notes are ve - ry high. But stems high. Now that
their tops, then qua - vers are what you write. If the write.

< 23 >
Review

Review
1 Name the last note in each series. Then answer the questions
in your Activity Book.
MI
OR E
RE
OR D
DO
OR C
SI
OR B
LA
OR A
SOL
OR G
FA
MI OR F
OR E
RE
OR D
DO
OR C

10 QUESTION
CHALLENGE

< 20 >

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 20 08/02/2022 15:50:37

TERM
Questions

1
1  What instrument can you hear? Does it play 6  What type of voice can you hear? Complete
series of ascending or descending notes? the score with crotchets.

4
&œ
œ
2  What instrument can you hear? What is the
name of the instruments that use electricity
to generate sound?

7  What instrument can you hear? Copy the score

3  What instrument can you hear? Complete and circle the downbeats.

3
the rhythm.

2 / œ œ œœœœ œ œ œœ œ Ó
/ œ œœ
8  What do we call someone who sings alone? Write
4  What instruments can you hear? What is the the rest that lasts the same as half a crotchet.
difference between the sounds?

9  What is the name of a group of string, wind

5  What instrument can you hear? Write the score and percussion instruments when they play

& œ œ œœ œ œœ œ œœ œ Œ ™™
without repeat signs. together? Who leads it?

4 10  Which note value has got head, stem and flag?

How long does it last?

< 21 >

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 21 16/02/2022 16:03:35

 Review

Teaching suggestions
1 Form two teams and toss a coin 5. Sol or G. A violin. The score without
to see which team will start the game. Then repeat signs is:
play the track. At the beginning a xylophone 44œ œœ œœ œœ œ œ œ œœ ŒŒ
performs an ascending series of notes, &
&œ œ œ
œ œœœ œ œ œ
starting on Do or C. The team that is playing

œ œœ œœœ Œ
will have to name the last note that they
hear to get a point. If they get it wrong,
the rival team gets a chance to try. Then, the & œ œ œ œœ œœ œœ œœ œ œ œ Œ
&
playing team gets a question. If they answer
it correctly, they get another point. Then it's 16. Do or C. A child's voice. The score is:
the other team's turn. 4 œ œ œ
&œ œ œ œ
The last note in each series and the solution œ œ
to the questions are as follows:
 1. Mi or E. An oboe. It plays two series 17. 
Fa or F. A hand drum. The downbeats
of ascending notes. are:
3
2. High Do or high C. An electric guitar.
Electrophones. / œ œ œœœœ œ œ œœ œ Ó
3. La or A. Claves. The rhythm is:

2œ œ œ œ œ ‰ œj œ 𝄾
18. High Re or high D. Soloist. The quaver

/
rest: .
19. Si or B. Orchestra. A conductor.
4. Re or D. A flute and a trumpet. 10. High Mi or high E. The quaver.
The timbre. The same as half a crotchet.

< 41 >
Ready for More

Ready for More

1 Help the painter to name his pictures.

10 crotchets      6 crotchets      11 crotchets      7 crotchets

2 Write the scores with repeat signs in your Activity Book.

2
/ œ œœœœ œŒ œœœœ ˙ œŒ œ œ œŒ œœ
p
4
/ œ œŒ œŒ ˙ œœ œŒ œŒ ˙ œœ
f

3 j j
/ œ ‰ œ ‰ œ œ ˙ œœ œÓ ˙ œœ œÓ ˙ Œ
f
< 22 >

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 22 16/02/2022 16:03:37

TERM
3 Choose the right words and write them in your Activity Book.

THE QUAVER IS THE

THE FIRST BEAT I PLAY...
1
OF EACH BAR
ONLY ONE WITH...
IS CALLED THE...

a percussion an a wind
stem   flag  notehead metre   downbeat  first note
instrument electrophone instrument

WHAT DO WE CALL IT WHEN

STRING, WIND AND PERCUSSION
INSTRUMENTS PLAY TOGETHER?

4 3
&œ œ œœ œ & œ œ œœ œ œ

WHICH INSTRUMENT
PLAYS AN ASCENDING
SERIES OF SOUNDS?

a choir    an orchestra    a soloist the trumpet    the bassoon    the oboe

< 23 >

ES0000000117309 115480_TRIMESTRE_O1_101002.indd 23 16/02/2022 16:03:41

 Ready for More

Teaching suggestions
1 From left to right, the titles of the 3 The right words are:
paintings are: 11 crotchets, 7 crotchets,  1. Flag.
10 crotchets and 6 crotchets.
2. Downbeat.
2 The scores, including the repeat signs, 3. An electrophone.

/ œ œœœœ œ Œ œœœœ ˙ ™™ œ Œ œ œ ™™
are: 4. An orchestra.
2 5. The bassoon.

/ œ œ Œ œ Œ ˙ œ œ ™™
4

3œ ‰ œj ‰ œj œ ™™ ˙ œœ œ Ó ™™ ˙ Œ
/

< 43 >
 Term 1 test
Name:  Date:

1 Complete the note values and answer.

2
& ˙ œ œ ‰œ œ ˙
œ
. Physical redistribution and/or communication on the Internet or on social networks is prohibited.

• Are there any notes with the stem pointing down? 

Are there any flags? Which bars are they in? 


• How long does the note in the first bar last?  .

2 Write the names of the instruments in the table.

Strings Wind Percussion

Content courtesy of

3 Circle the electrophone.

MU SIC IN TU N E 3 PR IM A RY

< 44 >
 TRIMESTRE
TERM
4 Follow the instructions and complete the score.

IT'S IN DUPLE
1
METRE AND WE CIRCLE THE
PLAY IT QUICKLY. DOWNBEATS.

. Physical redistribution and/or communication on the Internet or on social networks is prohibited.

IN THE LAST BAR
IN THE SECOND
THERE IS THE HIGHEST
BAR THERE
NOTE YOU KNOW AND
ARE FOUR LA
A CROTCHET REST.
OR A NOTES.
SHOW THAT THE
SCORE REPEATS
ITSELF.

& œ œœ œ œœ

5 Number and write their names.

Content courtesy of
MU SIC IN TU N E 3 PR IM A RY

< 45 >
 Reinforcement worksheet 1

TERM
1
Name:  Date:

1 Match.

The trumpet plays The xylophone The violin

. Physical redistribution and/or communication on the Internet or on social networks is prohibited.

a high Do or high C plays a high Do plays a Do

at the start. or high C at the end. or C at the
start and
another
at the end.

2 œ 2 œ j ‰ 2œ
& œ & œœ œœ
œ & œ
œ œ œ œ

2 Write the names of the note values and tick (✓) their parts.

q h e
notehead notehead notehead

stem stem stem

flag flag flag

Content courtesy of
MU SIC IN TU N E 3 PR IM A RY

3 Complete the scores with rests.

3œ j 4˙
/ ˙œ / œœ
1 2

œ œ
< 46 >
Instrument
practice
Instrument practice

Hold your Recorder

1 Learn about your recorder. Practising tips

• Keep your back straight.

• Put your feet on the floor.
THIS IS MY RECORDER.
IT HAS SEVEN HOLES • Relax your shoulders, arms
AT THE FRONT AND and hands.
ONE AT THE BACK. • Hold the recorder with your left
hand on top and your right hand
underneath.

mouthpiece 2 Hold your recorder correctly as quick

as you can.
window
thumb hole
GO!
he
ad
1
2
3
4
bo 5
dy 6
7

< 2>

ES0000000117309 115480_METODO_FLAUTA_101005.indd 66 08/02/2022 15:48:31

Control your Breathing Instrument practice

1 Practise.

1  Rest the mouthpiece on your lower

lip and on your right thumb.
2  Walk around the classroom.
Practising tips
3  Move your head from one side
to the other and upwards.
Blow softly, saying ‘too’.
4  Don't let your recorder fall!

2 Hold your recorder and play.

2œ œœœ ‰ œj œ ™™
/ œ œ œ œœœ ™™
1
2 /
2

/ œ ˙ œœ ˙ Œ ™™ / œ œ œœœœ œÓ ™™
3
3 4
3

4œ œœœœ ‰œjœœ œœœ Œ ™™

/
5

<3>

ES0000000117309 115480_METODO_FLAUTA_101005.indd 67 08/02/2022 15:48:37

 Instrument practice

Theatrical
performance
 Puppet theatre
This music project is designed to improve
communication and interaction between
Primary and Early Years students. To do
this, the students of Primary 3 will create
a puppet theatre for the younger students.
TIMING
This project can easily be carried out using
two Arts and Crafts lessons and four Music
lessons, with some simple preparation
by both teachers.
Assigning tasks (1 lesson)
Lesson 1:
After reading out the play and checking
understanding, assign the tasks that each
student must carry out. The aim is to
achieve a satisfactory artistic production
from the group.
Give out the following tasks:
• Six students narrate the story.
• Three students are puppeteers.
• Four students change the sets.
• Six students are singers and perform
the storm.
• Four students play mallet percussion
instruments.
• Two students play the accompaniment
on school percussion instruments.
• One student makes the thunder sound
effect with the brass sheet.
Constructing the puppet theatre,
the sets and the puppets (2 lessons)
Lessons 2 and 3:
Use plywood to build the puppet theatre,
as the aim is to make not just a theatre for
a single performance, but a resource that can
be used later. The wood can be ordered cut
< 128 >
to the size, or you can recycle some boards
that are left over from repairs in the school.
Once the structure of the puppet theatre
is ready, proceed to decorate it.
The sets will also need to be built, using
pictures drawn on a roll of paper. For this
part, we suggest involving the Early Years
children, together with the older students.
To make the puppets, follow this procedure:
• Find puppets in the school and look at how
the neck and head should be shaped so that
they can be moved. From this, draw
sketches and make a first version of the
heads with modelling clay, exaggerating
the features.
• Using the modelling-clay model as a guide,
model the final figure in clay. When the
figure is completely dry, cover it with
vaseline so that it is easier to separate
it from the figure that is going to be
made with newspaper.
• Then cut strips of newspaper of about
5 cm wide, wet them and place them like
a bandage on the clay figure until it is
completely covered. It is important to
adjust the strips of paper to the features
of the face so that the figures do not lose
expression in the process.
• Then spread white glue over the layer
of newspaper and put another layer of glue.
Repeat the process until there are at least
five layers. It is important to note that these
puppets take from one week to ten days
to dry.
• Once the figure is dry, cut each puppet
in half and take the clay figure out.
Then the students will sand both parts
to eliminate any imperfections. To make
the hair, the students can cut pieces
of coloured wool and glue them
to the top of the puppet's head.
• To make the puppets' costumes, first make
a pattern out of cardboard. Cut out two
identical pieces with this pattern, and sew
them together.
Learning the song (1 lesson)
Lesson 4:
An instrumental piece of music is suggested
for this activity. This can serve as an
ending for the artistic creation. It will
be performed with vocals and school
Materials
For the puppet theatre:
• Plywood.
• Gouache paint, coloured paper and / or
fabric to decorate the puppet theatre.
For the sets:
• Roll of paper.
• Coloured pencils or gouache paint
and brushes.
For the puppets:
• Plasticine.
• Modelling clay.
• Vaseline.
percussion instruments. Work with the
students on the vocal part, and then teach
them the ostinatos, so that they can
incorporate them gradually.
Rehearsing (2 lessons)
Lessons 5 and 6:
Before the performance, prepare the lighting,
do the rehearsals, hand out invitations and
pin up posters advertising the show.
• Old newspapers.
• White glue.
• Sandpaper.
• Gouache paint and brushes.
• Coloured wool.
• Cardboard.
• Needles and thread to sew the puppets'
costumes.
For the music:
• Triangles, hand drums, bongos,
maracas, brass sheet, xylophones,
metallophones amd glockenspiels.
< 129 >
Answer keys
Activity Book
Lesson 1 4
1
1 Ascending: Q

& œ œ œ œ œ œ œ œ
U 3

4 F L A G H
V 2 I
Descending: E S G

& œ œ œ œ œ œ œ œ
5 C R O T C H E T
E
6 M I N I M D
O
2 • Re or D, Si or B, Fa or F, Do or C,
La or A, Sol or G, high Do or high C,
Mi or E. Lesson 3
• Do or C, Re or D, Mi or E and Fa or F.
1
• La or A, Si or B and high Do or
high C.
• High Do or high C.

Lesson 2 flute            oboe

1 violin
f lag

e
stem
notehead 2 Each voice or instrument has

a different timbre.

 e𝄾 e𝄾 e𝄾 e𝄾 3
& œ œ œ œ œ œ œ œ œ œ œ œœœœ
2 3

3
2 œj ‰ œ ˙ Œ œ Ó
/ œ
& œœœ œœœ œœœ Œ
j‰ ˙
/ ‰ ‰ œ œ Œ Ó ˙
Lesson 4
1 • The oboe.

• The cello.
• Eight.
• The dynamics.

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Tests and worksheets
Answer keys

Initial assessment Term 1 test

2 ‰ j ˙
œ œ
• Si or B. 
& ˙ œ œ
1 1
• Three.
œ
• Triple metre. • Yes, the stem from the high Do or
• The minim rest from the first bar. high C points down. Yes, one quaver
has a flag. It is in the third bar.
2 1. Adagio. 2. Andante. 3. Allegro. • Two beats.

3  Andante 2 • Strings: cello, violin.

3
&œ œ œ œ œ œ œ œ œ • Wind: oboe, trumpet.
• Percussion: glockenspiel.
f

& œ œœœœ œ œ œ 3

2 4

& œ œ œ œ œ œ œ œ œ œ œ Œ ™™
1
4 Allegro
C
L
T
R
C
E
2 œ
5 H A N D D R U M 3 L
R M B L
6 V I O L I N 7 P I A N O 5 1. Children's choir. 2. Choir. 3. Soloist.
N E S
E T S
T O
8 X Y L O P H O N E
N Term 1, worksheet 1
1 • Trumpet:

2œ
5 
Strings Wind Percussion & œ
œ

piano trumpet xylophone
• Xylophone:
violin bassoon hand drum
2 œ
& œ
cello clarinet
œ
< 135 >
 PROGRAMACIÓN DE AULA
EDUCACIÓN ARTÍSTICA.
MUSIC: IN TUNE 3 PRIMARIA
PROGRAMACIÓN DE AULA
EDUCACIÓN ARTÍSTICA.
MUSIC: IN TUNE 3 PRIMARIA



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< 142 >

1.
CONTEXTO CURRICULAR DE LA ETAPA DE EDUCACIÓN PRIMARIA
1.1.
Objetivos generales de la etapa
a)
Conocer y apreciar los valores y las normas de convivencia, estimaciones, así como ser capaces de aplicarlos a las situaciones
aprender a obrar de acuerdo con ellas de forma empática, de su vida cotidiana.
prepararse para el ejercicio activo de la ciudadanía y respetar los
h)
Conocer los aspectos fundamentales de las Ciencias de la
derechos humanos, así como el pluralismo propio de una sociedad
Naturaleza, las Ciencias Sociales, la Geografía, la Historia y la
democrática.
Cultura.
b)
Desarrollar hábitos de trabajo individual y de equipo, de esfuerzo y
i)
Desarrollar las competencias tecnológicas básicas e iniciarse en su
de responsabilidad en el estudio, así como actitudes de confianza
utilización, para el aprendizaje, desarrollando un espíritu crítico
en sí mismo, sentido crítico, iniciativa personal, curiosidad, interés
ante su funcionamiento y los mensajes que reciben y elaboran.
y creatividad en el aprendizaje, y espíritu emprendedor.
j)
Utilizar diferentes representaciones y expresiones artísticas e
c)
Adquirir habilidades para la resolución pacífica de conflictos y la
iniciarse en la construcción de propuestas visuales y audiovisuales.
prevención de la violencia, que les permitan desenvolverse con
autonomía en el ámbito escolar y familiar, así como en los grupos k)
Valorar la higiene y la salud, aceptar el propio cuerpo y el de los
sociales con los que se relacionan. otros, respetar las diferencias y utilizar la educación física, el
deporte y la alimentación como medios para favorecer el desarrollo
d)
Conocer, comprender y respetar las diferentes culturas y las
personal y social.
diferencias entre las personas, la igualdad de derechos y
oportunidades de hombres y mujeres y la no discriminación de l)
Conocer y valorar los animales más próximos al ser humano y
personas por motivos de etnia, orientación o identidad sexual, adoptar modos de comportamiento que favorezcan la empatía y su
religión o creencias, discapacidad u otras condiciones. cuidado.

e)
Conocer y utilizar de manera apropiada la lengua castellana y, si la
hubiere, la lengua cooficial de la Comunidad Autónoma y
desarrollar hábitos de lectura.
f)
Adquirir en, al menos, una lengua extranjera la competencia
comunicativa básica que les permita expresar y comprender
mensajes sencillos y desenvolverse en situaciones cotidianas.
g)
Desarrollar las competencias matemáticas básicas e iniciarse en la
resolución de problemas que requieran la realización de
operaciones elementales de cálculo, conocimientos geométricos y
m)
Desarrollar sus capacidades afectivas en todos los ámbitos de la
personalidad y en sus relaciones con los demás, así como una
actitud contraria a la violencia, a los prejuicios de cualquier tipo y a
los estereotipos sexistas.
n)
Desarrollar hábitos cotidianos de movilidad activa autónoma
saludable, fomentando la educación vial y actitudes de respeto que
incidan en la prevención de los accidentes de tráfico.



 1.2.
Competencias
La Recomendación del Consejo de la Unión Europea de 2018
conceptualiza las competencias como combinaciones complejas y
dinámicas de conocimientos, destrezas y actitudes, en las que:
•
Los conocimientos se componen de hechos y cifras, conceptos,
ideas y teorías que ya están establecidos y apoyan la comprensión
de un área o tema concretos.
•
Las destrezas se definen como la habilidad para realizar procesos y
utilizar los conocimientos existentes para obtener resultados;
•
Las actitudes describen la mentalidad y la disposición para actuar
o reaccionar ante las ideas, las personas o las situaciones.
Competencias clave. Competencias clave según la Recomendación
del Consejo: «aquellas que todas las personas necesitan para su
realización y desarrollo personales, su empleabilidad, integración
social, estilo de vida sostenible, éxito en la vida en sociedades
pacíficas, modo de vida saludable y ciudadanía activa».
Las competencias clave son transversales a todas las áreas y deben
orientar el aprendizaje de los alumnos. Se relacionan con las
competencias específicas y con los perfiles de salida de las
diferentes áreas. La transversalidad es una condición inherente al
Perfil de salida, en el sentido de que todos los saberes se orientan





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hacia un mismo fin y, a su vez, la adquisición de cada competencia
contribuye a la adquisición de todas las demás.
En la LOMLOE son competencias clave las siguientes:
•
Competencia en comunicación lingüística (CCL).
•
Competencia plurilingue (CP).
•
Competencia matemática y competencia en ciencia y tecnología
(STEM, por sus siglas en inglés).
•
Competencia digital (CD).
•
Competencia personal, social y de aprender a aprender (CPSAA).
•
Competencia ciudadana (CC).
•
Competencia emprendedora (CE).
•
Competencia en conciencia y expresión culturales (CEC).
Las competencias específicas
Están vinculadas a las áreas, a los ámbitos o materias y se
concretan mediante los descriptores operativos de las competencias
clave. De tal modo que, de la evaluación de estas competencias, se
pueda inferir, de forma directa, el grado de consecución de las
competencias clave y de los objetivos de la etapa.
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< 144 >
1.3.
Situaciones de aprendizaje
Son contextos de aprendizaje, tareas y actividades interdisciplinares,
significativas y relevantes que permiten vertebrar la programación de
aula e insertarla en la vida del centro educativo y del entorno para
convertir a los alumnos en protagonistas de su propio proceso de
aprendizaje y desarrollar su creatividad. Las características de las
situaciones de aprendizaje son las siguientes:
•
Conectan los distintos aprendizajes.
•
Movilizan los saberes.
•
Posibilitan nuevas adquisiciones.
•
Permiten la aplicación a la vida real.
El currículum expresa literalmente que “Las situaciones de aprendizaje
representan una herramienta eficaz para integrar los elementos
curriculares de las distintas áreas mediante tareas y actividades
significativas y relevantes para resolver problemas de manera creativa
y cooperativa, reforzando la autoestima, la autonomía, la reflexión y la
responsabilidad.”
Una situación de aprendizaje implica la realización de un conjunto de
actividades articuladas que los estudiantes llevarán a cabo para lograr
ciertos fines o propósitos educativos en un lapsus de tiempo y en un
contexto específicos, lo que supone distintos tipos de interacciones:
•
Con los integrantes del grupo y personas externas.
•
Con información obtenida de diversas fuentes: bibliografía,
entrevistas, observaciones, videos, etc.
•
En diversos tipos de espacios o escenarios: aula, laboratorio, taller,
empresas, instituciones, organismos, obras de construcción, etc.



Estas situaciones de aprendizaje deben vincularse a situaciones reales
del ámbito social o profesional en las que tienen lugar acontecimientos,
hechos, procesos, interacciones, fenómenos… cuya observación y
análisis resultan relevantes para adquirir aprendizajes o en las que se
pueden aplicar los aprendizajes que van siendo adquiridos a lo largo
del curso.
En las situaciones de aprendizaje el alumnado se constituye en el
objetivo y el protagonista y tiene un papel activo y dinámico en su
proceso de aprendizaje.
Las claves para el diseño de las situaciones de aprendizaje son las
siguientes:
•
Integrar saberes (conocimientos, destrezas y actitudes)
pertenecientes a diferentes ámbitos.
•
Promover la transferencia de los aprendizajes adquiridos.
•
Partir de unos objetivos claros y precisos.
•
Proporcionar escenarios que favorezcan diferentes agrupamientos,
desde el trabajo individual al trabajo en grupos.
•
Facilitar que el alumnado vaya asumiendo responsabilidades
personales progresivamente y actúe de forma cooperativa en la
resolución creativa de retos de diferente naturaleza.
•
Implicar la producción y la interacción oral e incluir el uso de
recursos auténticos en distintos soportes y formatos, tanto
analógicos como digitales.
•
Atender a aquellos aspectos relacionados con el interés común, la
sostenibilidad o la convivencia democrática.
 Finalmente, existen una serie de aspectos que deben impregnar las •
Estímulo de los hábitos de vida saludables y sostenibles.
situaciones de aprendizaje:
•
Uso seguro de las tecnologías.
•
Fomento de la participación activa y razonada.
•
Interacción respetuosa y cooperativa entre iguales y con el
•
Estímulo de la libre expresión de ideas. entorno.

•
Desarrollo del pensamiento crítico y autónomo. •
Gestión asertiva de las emociones.

1.4.
Criterios de evaluación

Los criterios de evaluación se establecen en cada área para cada ciclo
de la etapa y permiten determinar el progreso en el grado de
adquisición de las competencias específicas a lo largo de la etapa; es
decir, se concretan a partir de dichas competencias específicas, y han
de entenderse como herramientas de diagnóstico y mejora en relación
con el nivel de desempeño que se espera de la adquisición de aquellas


Estos criterios se formulan de un modo claramente competencial,
atendiendo tanto a los productos finales esperados, como a los
procesos y actitudes que acompañan su elaboración.
Para llevar a cabo la evaluación de estos criterios es necesario poner en
marcha una variedad de herramientas e instrumentos de evaluación
dotados de capacidad diagnóstica y de mejora.

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1.5.
Perfil de salida del alumnado de Educación Primaria

Competencias clave Descriptores operativos

Competencia en CCL1. Expresa hechos, conceptos, pensamientos, opiniones o sentimientos de forma oral, escrita o signada, con
Comunicación Lingüística claridad y adecuación a diferentes contextos cotidianos de su entorno personal, social y educativo, y participa en
(CCL) interacciones comunicativas con actitud cooperativa y respetuosa, tanto para intercambiar información y crear
conocimiento como para construir vínculos personales.

CCL2. Comprende, interpreta y valora textos orales, signados, escritos o multimodales sencillos de los ámbitos
personal, social y educativo, con acompañamiento puntual, para participar activamente en contextos cotidianos y
para construir conocimiento.

CCL3. Localiza, selecciona y contrasta, con el debido acompañamiento, información sencilla procedente de dos o más
fuentes, evaluando su fiabilidad y utilidad en función de los objetivos de lectura, y la integra y transforma en
conocimiento para comunicarla adoptando un punto de vista creativo y personal a la par que respetuoso con la
propiedad intelectual.

CCL4. Lee obras diversas adecuadas a su desarrollo, seleccionando aquellas que mejor se ajustan a sus gustos e
intereses; reconoce el patrimonio literario como fuente de disfrute y aprendizaje individual y colectivo; y moviliza su
experiencia personal y lectora para construir y compartir su interpretación de las obras y para crear textos de
intención literaria a partir de modelos sencillos.

CCL5.Pone sus prácticas comunicativas al servicio de la convivencia democrática, la gestión dialogada de los
conflictos y la igualdad de derechos de todas las personas, detectando los usos discriminatorios así como los abusos
de poder, para favorecer la utilización no solo eficaz sino también ética de los diferentes sistemas de comunicación.

Competencia Plurilingüe CP1. Usa, al menos, una lengua, además de la lengua o lenguas familiares, para responder a necesidades
(CP) comunicativas sencillas y predecibles, de manera adecuada tanto a su desarrollo e intereses como a situaciones y
contextos cotidianos de los ámbitos personal, social y educativo.

CP2. A partir de sus experiencias, reconoce la diversidad de perfiles lingüísticos y experimenta estrategias que, de
manera guiada, le permiten realizar transferencias sencillas entre distintas lenguas para comunicarse en contextos
cotidianos y ampliar su repertorio lingüístico individual.


Competencia Matemática y
Competencia en Ciencia,
Tecnología e ingeniería
(STEM)
Competencia digital (CD)



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CP3. Conoce y respeta la diversidad lingüística y cultural presente en su entorno, reconociendo y comprendiendo su
valor como factor de diálogo, para mejorar la convivencia.
STEM1. Utiliza, de manera guiada, algunos métodos inductivos, deductivos y lógicos propios del razonamiento
matemático en situaciones conocidas, y selecciona y emplea algunas estrategias para resolver problemas
reflexionando sobre las soluciones obtenidas.
STEM2. Utiliza el pensamiento científico para entender y explicar algunos de los fenómenos que ocurren a su
alrededor, confiando en el conocimiento como motor de desarrollo, utilizando herramientas e instrumentos
adecuados, planteándose preguntas y realizando experimentos sencillos de forma guiada.
STEM3. Realiza de forma guiada proyectos, diseñando, fabricando y evaluando diferentes prototipos o modelos,
adaptándose ante la incertidumbre, para generar en equipo, un producto creativo con un objetivo concreto,
procurando la participación de todo el grupo y resolviendo pacíficamente los conflictos que puedan surgir.
STEM4. Interpreta y transmite los elementos más relevantes de algunos métodos y resultados científicos,
matemáticos y tecnológicos de forma clara y veraz, utilizando la terminología científica apropiada, en diferentes
formatos (dibujos, diagramas, gráficos, símbolos…) y aprovechando de forma crítica, ética y responsable la cultura
digital para compartir y construir nuevos conocimientos.
STEM5. Participa en acciones fundamentadas científicamente para promover la salud y preservar el medio ambiente
y los seres vivos, aplicando principios de ética y seguridad practicando el consumo responsable.
CD1. Realiza búsquedas guiadas en internet y hace uso de estrategias sencillas para el tratamiento digital de la
información (palabras clave, selección de información relevante, organización de datos…) con una actitud crítica
sobre los contenidos obtenidos.
CD2. Crea, integra y reelabora contenidos digitales en distintos formatos (texto, tabla, imagen, audio, vídeo,
programa informático…) mediante el uso de diferentes herramientas digitales para expresar ideas, sentimientos y
conocimientos, respetando la propiedad intelectual y los derechos de autor de los contenidos que reutiliza.
CD3. Participa en actividades y/o proyectos escolares mediante el uso de herramientas o plataformas virtuales para
construir nuevo conocimiento, comunicarse, trabajar cooperativamente y compartir datos y contenidos en entornos
digitales restringidos y supervisados de manera segura, con una actitud abierta y responsable ante su uso.
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CD4. Conoce los riesgos y adopta, con la orientación del docente, medidas preventivas al usar las tecnologías
digitales para proteger los dispositivos, los datos personales, la salud y el medioambiente, y se inicia en la adopción
de hábitos de uso crítico, seguro, saludable y sostenible de dichas tecnologías.

CD5. Se inicia en el desarrollo de soluciones digitales sencillas y sostenibles (reutilización de materiales tecnológicos,
programación informática por bloques, robótica educativa…) para resolver problemas concretos o retos propuestos de
manera creativa, solicitando ayuda en caso necesario.

Competencia personal, CPSAA1. Es consciente de las propias emociones, ideas y comportamientos personales y emplea estrategias para
social y de aprender a gestionarlas en situaciones de tensión o conflicto, adaptándose a los cambios y armonizándolos para alcanzar sus
aprender (CPSAA) propios objetivos.

CPSAA2. Conoce los riesgos más relevantes y los principales activos para la salud, adopta estilos de vida saludables
para su bienestar físico y mental, y detecta y busca apoyo ante situaciones violentas o discriminatorias.

CPSAA3. Reconoce y respeta las emociones y experiencias de las demás personas, participa activamente en el trabajo
en grupo, asume las responsabilidades individuales asignadas y emplea estrategias cooperativas dirigidas a la
consecución de objetivos compartidos.

CPSAA4. Reconoce el valor del esfuerzo y la dedicación personal para la mejora de su aprendizaje y adopta posturas
críticas cuando se producen procesos de reflexión guiados.

CPSAA5. Planea objetivos a corto plazo, utiliza estrategias de aprendizaje autorregulado y participa en procesos de
auto y coevaluación, reconociendo sus limitaciones y sabiendo buscar ayuda en el proceso de construcción del
conocimiento.

Competencia ciudadana CC1. Entiende los hechos históricos y sociales más relevantes relativos a su propia identidad y cultura, reflexiona
(CC) sobre las normas de convivencia, y las aplica de manera constructiva, dialogante e inclusiva en cualquier contexto.

CC2. Participa en actividades comunitarias, en la toma de decisiones y en la resolución de los conflictos de forma
dialogada y respetuosa con los procedimientos democráticos, los principios y valores de la Unión Europea y la
Constitución española, los derechos humanos y de la infancia, el valor de la diversidad, y el logro de la igualdad de
género, la cohesión social y los Objetivos de Desarrollo Sostenible.



 CC3. Reflexiona y dialoga sobre valores y problemas éticos de actualidad, comprendiendo la necesidad de respetar
diferentes culturas y creencias, de cuidar el entorno, de rechazar prejuicios y estereotipos, y de oponerse a cualquier
forma de discriminación y violencia.

CC4. Comprende las relaciones sistémicas entre las acciones humanas y el entorno y se inicia en la adopción de
estilos de vida sostenibles, para contribuir a la conservación de la biodiversidad desde una perspectiva tanto local
como global.

Competencia CE1. Reconoce necesidades y retos que afrontar y elabora ideas originales, utilizando destrezas creativas y tomando
emprendedora (CE) conciencia de las consecuencias y efectos que las ideas pudieran generar en el entono, para proponer soluciones
valiosas que respondan a las necesidades detectadas.

CE2. Identifica fortalezas y debilidades propias utilizando estrategias de autoconocimiento y se inicia en el

conocimiento de elementos económicos y financieros básicos, aplicándolos a situaciones y problemas de la vida
cotidiana, para detectar aquellos recursos que puedan llevar las ideas originales y valiosas a la acción.

CE3. Crea ideas y soluciones originales, planifica tareas, coopera con otros en equipo, valorando el proceso realizado
y el resultado obtenido, para llevar a cabo una iniciativa emprendedora, considerando la experiencia como una
oportunidad para aprender.

Competencia en conciencia
y expresiones culturales
(CCEC)
CCEC1. Reconoce y aprecia los aspectos fundamentales del patrimonio cultural y artístico, comprendiendo las
diferencias entre distintas culturas y la necesidad de respetarlas.
CCEC2. Reconoce y se interesa por las especificidades e intencionalidades de las manifestaciones artísticas y
culturales más destacadas del patrimonio, identificando los medios y soportes, así como los lenguajes y elementos
técnicos que las caracterizan.

CCEC3. Expresa ideas, opiniones, sentimientos y emociones de forma creativa y con una actitud abierta e inclusiva,
empleando distintos lenguajes artísticos y culturales, integrando su propio cuerpo, interactuando con el entorno y
desarrollando sus capacidades afectivas.

CCEC4. Experimenta de forma creativa con diferentes medios y soportes, y diversas técnicas plásticas, visuales,
audiovisuales, sonoras o corporales, para elaborar propuestas artísticas y culturales.

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2.
CONTEXTO CURRICULAR DEL ÁREA DE EDUCACIÓN ARTÍSTICA PARA EL SEGUNDO CICLO DE EDUCACIÓN PRIMARIA
2.1.
Competencias específicas-descriptores-criterios de evaluación
Competencias específicas
1.
Descubrir propuestas artísticas de diferentes
géneros, estilos, épocas y culturas, a través de
la recepción activa, para desarrollar la
curiosidad y el respeto por la diversidad.
2.
Investigar sobre manifestaciones culturales y
artísticas y sus contextos, empleando diversos
canales, medios y técnicas, para disfrutar de
ellas, entender su valor y empezar a
desarrollar una sensibilidad artística propia.
3.
Expresar y comunicar de manera creativa
ideas, sentimientos y emociones,
experimentando con las posibilidades del
sonido, la imagen, el cuerpo y los medios
digitales, para producir obras propias.



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Descriptores del Criterios de evaluación del 2.º ciclo de Primaria
perfil de salida
CP3, STEM1, CD1, 1.1. Reconocer propuestas artísticas de diferentes géneros, estilos,
CPSAA3, CC1, CE2, épocas y culturas, a través de la recepción activa y mostrando
CCEC1, CCEC2. curiosidad y respeto por las mismas.
1.2. Describir manifestaciones culturales y artísticas, explorando sus
características con actitud abierta e interés y estableciendo relaciones
básicas entre ellas.
CCL3, CP3, STEM2, 2.1. Seleccionar y aplicar estrategias para la búsqueda guiada de
CD1, CPSAA4, CC3, información sobre manifestaciones culturales y artísticas, a través de
CCEC1, CCEC2. canales y medios de acceso sencillos, tanto de forma individual como
colectiva.
2.2. Distinguir elementos característicos básicos de manifestaciones
culturales y artísticas que forman parte del patrimonio, indicando los
canales, medios y técnicas utilizados, analizando sus diferencias y
similitudes y reflexionando sobre las sensaciones producidas, con
actitud de interés y respeto.
CCL1, CD2, CPSAA1, 3.1. Producir obras propias básicas, utilizando las posibilidades
CPSAA5, CC2, CE1, expresivas del cuerpo, el sonido, la imagen y los medios digitales
CCEC3, CCEC4. básicos, y mostrando confianza en las capacidades propias.
3.2. Expresar con creatividad ideas, sentimientos y emociones a través
de manifestaciones artísticas básicas, experimentando con los
diferentes lenguajes e instrumentos a su alcance.
 Competencias específicas
4.
Participar del diseño, la elaboración y la
difusión de producciones culturales y
artísticas individuales o colectivas, poniendo
en valor el proceso y asumiendo diferentes
funciones en la consecución de un resultado
final, para desarrollar la creatividad, la noción
de autoría y el sentido de pertenencia.



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Descriptores del Criterios de evaluación del 2.º ciclo de Primaria
perfil de salida
CCL1, CCL5, CP3, 4.1. Participar de manera guiada en el diseño de producciones
STEM3, CC2, CE1, culturales y artísticas, trabajando de forma cooperativa en la
CE3, CCEC3, CCEC4. consecución de un resultado final planificado y asumiendo diferentes
funciones, desde la igualdad y el respeto a la diversidad.
4.2. Participar en el proceso cooperativo de producciones culturales y
artísticas, de forma creativa y respetuosa, utilizando elementos básicos
de diferentes lenguajes y técnicas artísticas.

4.3. Compartir los proyectos creativos, empleando estrategias
comunicativas básicas, explicando el proceso y el resultado final
obtenido, y respetando y valorando las experiencias propias y las de los
demás.
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2.2.
Los saberes básicos/contenidos del área de Educación Artística en segundo ciclo

Los saberes básicos/contenidos aúnan los conocimientos (saber), las destrezas (saber hacer) y las actitudes (saber ser) necesarios para la adquisición
de las competencias específicas del área:

•
Propuestas artísticas de diferentes corrientes estéticas, procedencias y épocas producidas por creadores y creadoras
locales, regionales y nacionales.

•
Estrategias de recepción activa.

•
Normas comunes de comportamiento y actitud positiva en la recepción de propuestas artísticas en diferentes espacios. El
A. RECEPCIÓN Y silencio como elemento y condición indispensable para el mantenimiento de la atención durante la recepción.
ANÁLISIS •
Vocabulario específico de uso común en las artes plásticas y visuales, las artes audiovisuales, la música y las artes
escénicas y performativas.

•
Recursos digitales de uso común para las artes plásticas y visuales, las artes audiovisuales, la música y las artes
escénicas y performativas.

•
Estrategias básicas de análisis de propuestas artísticas desde una perspectiva de género.

•
Fases del proceso creativo: planificación, interpretación y experimentación.

•
Profesiones vinculadas con las artes plásticas y visuales, las artes audiovisuales, la música y las artes escénicas y
B. CREACIÓN E
performativas.
INTERPRETACIÓN
•
Interés y valoración tanto por el proceso como por el producto final en producciones plásticas, visuales, audiovisuales,
musicales, escénicas y performativas.



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