CKC 6th Grade Final

Creative Kids Co-Op Curricular Guide Sixth Grade
6th Grade
Overarching Goals / Theme
Curricular Overview
Song Collection (in order of use)
Example Experience Designs
Additional Resources (children’s books, methodology books, etc.)
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Overarching Goals / Theme
Grade Level Goals

Transfer Goals ● Students will develop their internal reflective skills and will be able to communicate how they feel in other situations.
● Students will be able to identify patterns to help them use quick critical thinking
● Students can react and respond to music
● Students will learn skills to help research what they are interested in through multiple trustworthy sources holistically
and will be sensitive of other cultures.
● Students will be able to examine interpretations/opinions of music and other aspects of life while looking outside of
themselves.
VA State Goals
Addressed Music Theory/Literacy: Students will be able to identify notes on the treble and bass staffs, will be able to differentiate
among different common time meters (2/4, ¾, 4/4, C), and will read rhythms up to eighth note divisions.
Performance: Students can perform, create and improvise music via pitched and unpitched instruments, as well as singing.
Students can perform rhythmic patterns and respond to them using choreography.
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Music History and Cultural Context: To create lifelong appreciators of music by teaching concert etiquette, and music in a
holistic way that is inclusive of various cultures, historical periods, and connections to other fine arts.
Analysis, evaluation, and critique: Students will be able to examine, describe, and critique musical performance for
themselves and others with accepted criteria including cultural influences and interpretations of works while using musical
terminology.
Aesthetics: Students will be able to identify and explain how music makes them feel and why it is important.
Acquisition Skills Knowledge

Goals ● Identify rhythmic patterns ● Learn how to communicate in a way for others to understand their
● Identify the difference between treble point of view.
and bass staffs. ● Learn the different ways to identify patterns
● Read rhythms ● Learn how to express themselves in any given parameter
● Perform specific prepared pieces ● Learn how to do holistic research on music or other arts they are
● Behave politely during a performance interested in to discover the background behind it
● Learn a little bit about the specific time ● Learn how to shape their views of a performance or critique
periods and cultures taught through through the background or the intention
songs ● Learn how to connect literature, history, and the arts as
● Critique their classmate/their own evidenced through music.
musical performance
● Learning the proper context of musical
terminology relating to the pieces they
learn
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Curricular Overview
Grade Level Goals (*indicates example experience design)

Day 1- Song of Music History and Cultural Context: I can identify and explain the history behind this piece, and identify some of the
the Eagle differences between Euro-American and Native American musical traditions.
Music Theory/Literacy: I can identify the time signature, as well as the difference between 3-3 feel and a 2-2-2 feel.
Aesthetics: I can identify the tonal center of the song.
Activities:
1. The song can be difficult for students to learn, as it does not follow many of the normal European or Western music
traditions and idioms. This could be an opportunity for students to try to experiment with the rhythmic elements in this
song, after learning the original song. Using the recording of this particular song, which can be found at
http://kodaly.hnu.edu/song.cfm?id=772 might be helpful, as well as playing other examples of Indian songs and chants
to allow the students to get a feel for this particular choice.. There are many examples found on YouTube with a simple
keyword search for Plains Indian songs, Indian Prairie songs, Native American chants, Etc. I would recommend beating
out even eighth notes on a drum, or even using a metronome and demonstrating the song for them, asking them to clap
on each note to realize the subdivisions.
2. This could be recorded and use as background music for a story presentation, or used in conjunction with art to
facilitate a dialogue. Discussing the connection between American citizens and Native Americans throughout the 19th
century in order to connect with material covered in their history studies could be useful as well. Giving examples of
Euro-American songs like Amazing Grace, Will the Circle, Shenandoah, Buffalo Gals, Red River Valley, Home on the
Range, Battle Hymn of the Republic, or many others, and discussing the differences between the styles, variables, etc.
This encourages students to create those relationships and to see the commonalities between what they learn in music
and what they learn in other courses. The discussion could end with an exit slip, asking questions like “What did you
learn in this discussion? How has your perception of Native American culture been affected? What did you notice about
this song that is different than songs today? What instruments would go well with this song?”
Assessments:
I can perform this piece of music using my voice or an instrument
Meets Expectations: The student is able to perform the rhythm of the piece on an instrument or voice correctly
F: The student is able to tap steady tempo while performing the song, including pitches
B: The student is able to keep the steady beat with others, and can correctly identify the melody when performed correctly.
I can talk about American history and music
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Meets Expectations: The student articulates some differences between Native American music and Euro-American music
(differences in pitch, time, timbre, beat, language, etc.)
F: The student can identify specific differences between Song of the Eagle and an American folk tune (Amazing Grace, Will the
Circle, Shenandoah, Buffalo Gals, etc.)
B: The student can identify whether a song is Euro-American or Native American
Day 2- Ring, Music History and Cultural Context: I can identify and explain the history behind this piece.
Ring the Big Music Theory/Literacy: I can use the eighth note as the steady beat to learn about sixteenth notes.
Bell Aesthetics: I can identify how this song relates to the song “ain’t gonna rain no more” and can explain how that makes me feel.
Activities:
1. Set a personal tempo yourself on a percussion instrument of your choosing-even body percussion. Beat out the steady
beat. With some percussion instruments across the group, indicate for the room to follow your lead. Look to half of the
room and begin beating out eighth notes to go with the steady beat. Chant the lyrics to the group in a call and response
fashion, splitting the song into four sections. Go through the song in this manner two times, making sure to sing it the
second time. For those experiencing boredom with this activity, invite them to improvise a rhythm to go along with the
piece while continuing the activity to move on to singing the piece in two sections rather than four. Lastly, listen to the
group sing the whole song together with all the percussion.
2. Ask the group what they thought of the lyrics of the song/what they think about the tune and how the emotions both this
song’s lyrics and the tune make them feel. Describe the history of the song and ask if it relates to how they felt about
the song. Pull up a video or a soundtrack of “Ain’t gonna rain no more” and play it for the class introducing it as a
change of gears. After the song ends, open discussion to the class to compare and contrast those two songs to each
other in both mood, melody, and lyrics. Wait until all the learners speak at least once, whether or not there are repeated
ideas.
3. After the discussion dies down, mention that “Ain’t gonna rain no more” song was inspired by the other and ask if there
is any way they could see this comparison or the inspiration. Introduce the room to either coolors.co or bring multiple art
mediums to have the room create personal art pieces that reflect the moods of each piece. Explain that they can be
based off of the emotion/mood, the tempo, the melody, the lyrics, or the comparison itself. When there’s about 5
minutes left, allow individuals to explain their reasoning behind their art piece. If physical art mediums are used, hang
up pieces around the room on the learner’s permission for classes to come. Introduce the idea of creating an art piece
related/inspired by a song that they really like to bring the following week to explain and it can be hung up around the
room alongside that activity’s art.
Assessments:
I can identify and explain the history behind this piece.
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Meets Expectations: This student will create an art piece that reflects that the two pieces are similar or that one is inspired from
the other.
F: This student will create an art piece that reflects that the two pieces are similar or that one is inspired from the other and can
explain how their artistic decisions reflect that.
B: This student will create an art piece that reflects on either one of these pieces.
I can use the eighth note as the steady beat to learn about sixteenth notes.
Meets Expectations: This student can speak/sing this piece with the most accurate and correct rhythms using the eighth note
percussion with the quarter note percussion.
F: This student can speak/sing this piece with the most accurate and correct rhythms using the eighth note percussion with the
quarter note percussion. This learner has also begun improvising their own percussion part to help them or their neighbor use
correct rhythms.
B: This student can at the very least play the correct and most accurate eighth note or quarter note percussion and can
speak/sing the piece independent of the other.
I can identify how this song relates to the song “ain’t gonna rain no more” and can explain how that makes me feel.
Meets Expectations: This student can use what they had just listened to in “Ring, Ring the Big Bell” to describe a similarity to
“Ain’t gonna rain no more” with tempo, mood, lyrics, melody, or a mixture of several of them while using these terms.
F: This learner can use the historical context as well as what they had listened to in “Ring, Ring the Big Bell” to describe a
similarity to “Ain’t gonna rain no more” using more than one of the following: tempo, mood, lyrics, or melody while using these
terms.
B: This learner can use what they listened to in “Ring, Ring the Big Bell” to describe a similarity to “Ain’t gonna rain no more”
using at least one of the following: tempo, mood, lyrics, or melody whether or not they use this given terminology.
Day 3- El Alba Music History and Cultural Context: I can describe the historical culture behind this piece through the translation and I can
also explain how it’s different from mine.
Music Theory/Literacy: I can identify the way the drone is used to aid an understanding of the piece’s flow
Performance: I can explain how a drone can be used to help my understanding for a key and can sing a piece more accurately
because of one.
Activities:
1. Ask for three to four volunteers from the group of learners before the day starts. Teach them the song in a way that
suits those three to four students the best be it call and response, showing them the sheet music, or singing it for/with
them a couple times. Hand them tubes and tell them not to do anything with them until the rest of the class is there/the
class time begins. When the class time begins, demonstrate how to make the tubes produce the drone and when the
group begins making the drone, cue for them to sing the piece with you about two times. After the second time, ask the
group information about the piece, waiting for someone to mention the language-Spanish. Explain the historical context
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of the Southern Native American piece for why it’s in spanish. Go through the lyrics in the native language on the
melody with some of the volunteers. Ask the group to remind you of the song line by line on the melody. Ask how they
were able to remember the melody and suggest that it may have been the tubing drone to keep them in the same key
and helped them avoid incorrect notes.
2. Have a powerpoint open to pictures of the living settlements that Native Americans in Southern America lived in while
the Spanish were there. Ask the learners if they know what the lyrics mean. If someone is able to translate the song
from their fluency, allow them to do that by speaking the Spanish lyrics to them and having them repeat the English
version to the group. Ask the group to use context clues to describe how this song would be used in this kind of
community. Crack a joke or two about it being a much calmer alarm clock than what we have now. Get the group to
sing it one more time walking around the room using different styles involving what their alarm clocks sound like (so
using different dynamics).
3. Take out some cardstock posters that have multiple rhythmic patterns from the song in order. Instruct the volunteers to
hand the tubes to four new volunteers and get them to begin creating the drone. Sing the song with the group while
holding up the cardstock posters that go along with each measure or phrase. After that run-through, add more
cardstock rhythm posters into the stack and play a game where you hold up one of the posters and they clap or speak
the rhythm. In the ones that they get easily-being the ones that relate to the song in some way shape or form-ask for
their reasoning behind remembering those phrases more. On some of these pages, have the same rhythm but in a
different meter for those students that can recognise the pattern to explain that it’s a slower version of one of the
phrases.
Assessments:
I can describe the historical culture behind this piece through the translation and I can also explain how it’s different from mine.
Meets Expectations: This student can use the translation of the piece to explain how this piece was used and how its use as an
alarm clock in a community compares to what wakes them up in the morning.
F: This learner can use the translation of the piece to explain how this piece was used, can ask questions about traditions in
Native American history, and can then compare this way of waking up to what wakes them up in the morning.
B: This learner can at the very least compare this way of waking up to how they wake up in the morning.
I can identify the way the drone is used to aid an understanding of the piece’s flow.
Meets Expectations: This learner can mention that with any other note for the drone, the piece wouldn’t work as well and
explain that its presence could be helpful for learning the piece.
F: This learner can mention that with any other note for the drone added, the piece wouldn’t sound as good and can also
explain how its presence could be helpful for learning the piece.
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B: This learner can at the very least mention that with any drone note added, the piece wouldn’t sound as good with or without
an explanation for why.
I can explain how a drone can be used to help my understanding for a key and can sing a piece more accurately because of
one.
Meets Expectations: This learner can explain that the drone helped them find a certain note, or that it “felt like home.” These
learners had some help singing the piece without the instructor because of the drone.
F: This learner can explain that the drone helped them stay in the key, playing a triad or just “do.” These learners were capable
of singing the piece without the instructor only using the drone.
B: This learner can explain that the drone sounded like home, but couldn’t explain why and weren’t able to sing without
someone who fully knew the melody around them.
Day 4- John Music Theory/Literacy: I can identify the new altered solfege used.
Henry Performance: I can perform rhythmic patterns that include a wide variety of rhythms.
Analysis, Evaluation, and Critique: I can examine the importance of cultural influences on my interpretation of this song.
Activities:
1. Bring the class together by making/encouraging them to make “train chugging sounds” to the steady beat
(“ch-ch-ch-ch”) encourage them to continue the steady beat while I sing the melody two times through on the first verse
lyrics hitting rhythms that have syncopation on the cowbell. Ask them what they all think the song is about based on
what they heard, what it makes them think of, or even if they had heard it before. Introduce the name of the song “John
Henry” as an American folk song. Turn on either the recording or the Disney video of the song (whichever one is readily
available)
2. Invite the class to break into groups of two or three to discuss the contents of the lyrics for about. Walk around and
engage each group at least once to see what they retained. Bring the class together so that each learner can express
what was most important to them based on the lyrics they retained. After they get their comments through, sing through
the lyrics of the first verse 2 more times while tapping the rhythm and encouraging the learners to tap the rhythm as
well. Break the room in half so that half of the learners will tap the rhythms and half will tap the steady beat. Then have
the learners mouth the lyrics while tapping the rhythms once while I sing, and then have them sing with me while
tapping the rhythms.
3. Ask them to demonstrate how the first phrase goes (lyrics: When John Henry was just a little baby), this is for the
quarter-eighth-quarter rhythm and for the anacrusis. Clap the rhythm of that pattern. Then ask them to demonstrate the
second phrase (lyrics: sitting on his daddy’s knee) in a similar fashion for the quarter-eighth-dotted quarter rhythm and
the pickup into that phrase as well. Ask the learners what makes those rhythms similar to each other, but different from
the rest of the song. [if they can’t identify what’s wrong, ask one to three learners to tap eighth notes while the rest of
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the room sings the lyrics]. Explain that that is syncopation and it’s in most pop or hip-hop songs on the radio. Pull out
the posters that have the rhythms on them and have the learners speak the lyrics with the note heads.
4. Encourage the students to stand up in the circle. Here they will focus on the second and third phrases for the “te”.
When “te” appears in the line, squat (because te is lower than ti). Go through those two phrases 2 more times with that
motion. On the second time, use solfege hand signs. If the students appear confused, go through the scale and instead
of the normal “la-ti-do” change it to “la-te-ti-do”. Explain the use of altered syllables in music. Ask the learners if/where
they have heard other altered syllables in their favorite songs.
5. Invite 1-2 students to pass out the sheet music, ask for volunteers to read the other verses to the class. Begin a
discussion about when this was, where it was speculated to be (either Virginia or West Virginia), and where it could be
over-exaggerated or romanticized. Ask the students how the tune was effective in portraying the story. If there is time
left, invite the learners to sing through the rest of the piece with the other lyrics.
Assessments:
I can identify the new altered solfege used.
Meets Expectations: This learner can identify the unique solfege as new when it occurs and will use the motion with the
educator during the two phrases that use it.
F: This learner can identify the unique solfege when it occurs and will use the motion the instructor uses during those two
phrases. These learners are able to identify a song they know or have listened to before that also use altered syllables.
B: This learner is able to do some kind of motion with the educator on the two phrases that use altered syllables whether or not
they understand. They may not sing the altered syllables correctly.
I can perform rhythmic patterns that include a wide variety of rhythms.

Meets Expectations: This learner can accurately perform the piece excluding some rests both on tapping the rhythm and on the
lyrics.
F: This learner can accurately perform the piece by both tapping the rhythm and while using the lyrics. They don’t seem to miss
even an eighth rest.
B: This learner can accurately perform the piece excluding some of the syncopation and rests with either the tapping or by
singing with the lyrics.
I can examine the importance of cultural influences on my interpretation of this song.

Meets Expectations: This learner is able to take the lyrics to explain a tone for the piece to the group. This learner can also use
the historical context to explain the tone.
F: This learner is able to take the lyrics and the historical context of this piece to explain a tone for the song. This learner can
also relate this piece because of proximity to the historical context.
B: This learner is able to take the lyrics, history, or melody of the piece to explain how the song makes them feel.
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Day 5- Sleep, Music History and Cultural Context: I can describe the background of this piece and commonalities between lullabies.
My Baby, Sleep Music Theory/Literacy: I can differentiate between a triplet and a dotted-eighth rhythm aurally and in notation
Performance: I can perform this piece using my voice or a melodic instrument.
Activities:
1. This piece is a lullaby so the mood behind it is important, and should be emphasized from the start. The notation can
appear confusing, so I would recommend the teacher learn the melody ahead of time and teach it aurally. An echoing
approach could be used, but I think that singing the song for the students and asking them to act out the lyrics would be
a better way for them to internalize the material. In addition, the teacher could provide the students with basic
accompanimental parts to play along on whatever instruments are available (chords or a bordun accompaniment). This
would be helpful in internalizing the tune and gaining some familiarity with the melody. After introducing the notation, a
careful reproduction of the accurate sound should be given, allowing the students to connect the familiar tune with the
unfamiliar notated version. Special attention should be given to the triplet and dotted eighth-sixteenth rhythm in order to
portray it accurately. Asking the students to identify the difference aurally will be helpful too.
2. The Pennsylvania Dutch heritage is not a topic typically covered in great depth, but this could be a great launching
point into a discussion about this subject. This tune pairs well with Wayfaring Stranger, as both have a direct
connection to the Eastern seaboard and immigration in the 1800s. In addition to the history of this piece and people,
students could discuss other lullabies and look for similarities with their own experiences. Identifying idiomatic elements
can lead into more in-depth study of other songs and pieces of music, specifically in the Euro-American tradition.
Students who do not want to participate in the discussion can write their ideas instead and share in pairs.
Assessments:
I can discuss the Pennsylvania Dutch and Lullaby components
Meets Expectations: The student participates in the discussion and provides their opinions during the discussion.
F: The student is proactive in identifying key differences, and makes suggestions for other instances of lullaby components in
songs given.
B: The student correctly identifies the origin of the piece when presented with a choice, and can tell the environment in which it
is used.
I can correctly identify the triplet and dotted eighth-sixteenth rhythm

Meets Expectations: The student can differentiate between the two rhythms aurally and in notation
F: The student can perform the two rhythms and can identify related syncopated rhythms (sxt-eighth-sxt, tri-(po)-let, etc.)
B: The student can identify when one of these rhythms is occurring aurally or visually.
I can perform this piece using my voice or a melodic instrument

Meets Expectations: The student can perform this piece accurately, with few mistakes.
F: The student can sing and perform the piece, playing an accompanimental part
B: The student can play an accompanimental part with another playing the melody.
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Day 6*- Music History and Cultural Context: I can describe the emotion behind this piece through the lens of the historical context of
Wayfaring the piece.
Stranger Music Theory/Literacy: I can identify a difference between a tied half note to an eighth note and a dotted quarter note.
Performance: I can play a variety of rhythms on both an instrument and my own voice.
Activities:
1. Introduce the Walk-Band’s rhythm by clapping and encouraging the group to follow along. This is the simplest rhythm
going “one and-and three four”. The rhythm fits with the whole piece so when it appears the group as a whole generally
understands the rhythm, sing the whole piece for the class. While singing, if some of the learners appear bored, begin
the rhythm for the bongos by using the right and left leg as the two sides of the bongos and patting “left right-right left
left right right” in the rhythmic pattern “one-and-a two and three four.” The hands you use for the easiest demonstration
doesn’t matter. I do prefer to play as “left right left right left right right” because that works for me, but I’m not the one
teaching this. Invite the learners to discuss in small groups what they heard in the lyrics. This includes if there were any
repeated phrases, any key words they found important, what the lyrics could mean or where they think they come from.
While this is happening, be going around from each group to the next talking with them and giving an idea of the
context of this piece. This piece is a song sung by Protestants coming from Europe to America in search of religious
freedom. Another context of this piece could be the peace and relief they found in their trials where even if they were
prosecuted or jailed, they could find peace in heaven.
2. Bring the group together and hear each group’s responses. Use keywords or phrases to teach the lyrics and the song
to the learners through call and response by phrase. After teaching the whole piece, get the group to sing it without you.
Maybe ask for each phrase by phrase as a reminder for you. Ask the group to show you the rhythms they used at the
beginning of class. Assign key phrases to each. For example, the rhythm for the bongos could be “See I am going
home. Oh,” and the rhythm for the phone application could be “Wayfar-ing Stra-nger.” Split the group into two. One half
will use one rhythm and the other half will use the other. Pass around some bongos and the application (at least one of
each) to some students that look like they are having trouble, as they can continue working on that while the rest of the
group can move on. Have the group sing through several phrases. Stop the piece after about two lines of lyrics.
3. Suggest that something is missing. Invite some of the learners to sit at either a Metallophone or an Alto Xylophone.
There should be scores in front of each instrument. Ask those in front of the Metallophone to place their mallets over
both the B in their right hand and the E in their left hand. Those in front of a Metallophone will play from the phrase left
off from. When the end of the phrase occurs, it would be good to stop the ensemble and ask what sounds funny.
Hopefully, the group will be able to say that the Metallophone doesn’t fit the piece at that moment. Suggest that they try
playing one note down-where the right hand is over the A and the left hand is over the D. Try that phrase again. Stop
right before the chorus and ask them to play one half of the first pattern and one half of the second pattern. Announce
that that is what the chorus will sound like for them. Another option is to have them use the two chords they have been
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playing to figure out how the chorus will go while the group of learners sing it to them.
Try the chorus one time with the whole class. During this, sing the melodic ostinato to the Alto Xylophones. The lyrics
that will help with the rhythm and with helping the group remember the notes and order will be “go-ing o-ver home” in
the rhythm “one and two and three.” Learners on the Alto Xylophone should be the learners that have appeared bored
or too advanced for the instruction after one explanation of each. When the song is over that time around, ask the
whole group to sing the melodic ostinato to you line by line through call and response “b-e-e-d-e” and so forth.
4. Ask each group to remind you of their part one by one. When all of the parts are playing together, encourage the
learners that aren’t focusing too hard anymore on their instrument to sing with the accompaniment they created and
played.
Assessments:
I can describe the emotion behind this piece through the lens of the historical context of the piece.
Meets Expectations: The learner can identify key terms that show the mood of the piece that fits into what the instructor
described the historical context to be.
F: The learner can use key terms and what the instructor said to describe the mood of the piece. This learner can also connect
to that mood to a real-world event or personal experience for the piece.
B: The learner can say what the instructor stated about the historical context of the piece.
I can identify a difference between a tied half note to an eighth note and a dotted quarter note
Meets Expectations: The learner can sing the piece with rhythmic accuracy and also play their own part with the same level of
rhythmic accuracy.
F: This learner can begin to improvise rhythms on their instrument that work with the piece while continuing to sing the piece.
B: The learner can play the steady beat that the Metallophone provides, whether or not they can sing the piece with rhythmic
accuracy.
I can play a variety of rhythms on both an instrument and my own voice.

Meets Expectations: The learner is attentive and can play along with at the very least their own part and the song while learning
and performing the piece.
F: The learner is able to play another person’s part while that section is learning it and also can play their own part while singing
the melody. There is also the option for that learner to play the melody on the glockenspiel while they sing another person’s
part.
B: The learner is able to play or sing their own part, sing another person’s part, but may not be able to play their own part on the
instrument provided.
Day 8- John Music History and Cultural Context: I can identify the Polynesian origin of this song and its Protestant creation
Kanaka Music Theory/Literacy: I can differentiate between solo and ensemble parts.
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Performance: I can perform this piece with my peers in an ensemble environment.
Activities:
1. This piece is unique in its origin, given that it is a Protestant song from Samoa, but was recorded in Barbados. The
colonial history of the area is English, and the song comes from sailors born on the island. Unfortunately, there is some
evidence that the name “John Kanaka” is a catch-all term for Polynesian sailors and some have interpreted it as a racial
slur. A discussion or project on colonialism and songs from colonized peoples could come from this, as well as race
and personhood discussions. In addition to a discussion or individual writing, students could rewrite the lyrics to the
song to make it relevant to a job they do at home. This is not a technique to avoid the discussion or to ‘fix’ the song, but
could be used in addition to the activity.
2. This song employs a solo-verse style, and can be easily used to highlight specific performers in your group. If you have
some students that are highly motivated and interested in solo work, they can use this song as a way to perform
individually for one verse. If no student is interested in this, the teacher can do it. To teach the song itself, i would
recommend singing it to the group several times, asking a question after each listening. “What parts are the same?
What is different? Do you hear any names in the song? When do I sing the same parts?”They should identify the
second and fourth line, and then you can ask them to sing that part. Once they have that they can volunteer to sing the
solo line, or they could incorporate nautical sound effects on instruments (“What sounds would we hear on the ocean?
On a ship? How can we make those sounds? When should they happen?). A composite performance can be at the end
of the class or end of the week.
Assessments:
I can talk about the history and background of this piece
Meets Expectations: The student participates in a discussion or individual writing on the Polynesia and colonial history.
F: The student provides examples of other songs that may have been influenced by other colonial powers.
B: The student can identify the original location of the song.
Day 7: Music History and Cultural Context: I can identify differences between Armenian interpretation of the partridge and my own
Nakhshoon via musical ideas.
Gakavig Music Theory/Literacy: I can differentiate between slurred and articulated notes, as well as the relationship between
subdivisions.
Performance: I can perform a section of this piece, or adapt the piece with my peers. .
Activities:
1. One of the advantages of using a song that is written in another language is that most, if not all, of your students will be
unable to understand the lyrics. This would be a fun exercise where students are presented with the lyrics only and not
the tune, and are asked to compose a tune that they think goes along with the lyrics. After the students have composed
songs they would share the songs with the class, and then compare their songs with the actual tune. Adding English
lyrics may be helpful in order to find overlap between the tunes, as it would be difficult to compose a piece with another
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language with no concept of the subject of the piece. Alternatively, perhaps the English translation of the refrain could
be included but not the rest of the translation.
2. Converse to the above activity, the tune to be provided to the students with no lyrics and only a title, and the students
are asked to come up with lyrics that they believe fit the tune. This will be interesting to see the perceived meaning
versus actual meaning of the tune by students individually or in small groups. A writing activity could be used as well, or
a story is composed to follow the tune. Additionally this could be done with artwork, and students could create
illustrations that they think best represent the story they came up with, or the actual story provided with the lyrics.
3. An arrangement of the tune could be composed by the students using instruments that all require air to play (as the
song is about birds). The students could present their pieces to each other, and coordinate a dance or movement
activity that could accompany their songs.
Assessments:
I can explain differences between my interpretation of the song and the given song
Meets Expectations: The student compares their work to the initial song and identifies 3 similarities & differences
F: The student hybridizes their interpretation with the initial version and can identify 3 similarities & differences
B: The student creates their own interpretation of the song and can identify one similarity & difference
I can differentiate between slurred and articulated notes, and subdivisions

Meets Expectations: The student correctly identifies slurred v. articulated notes, and can provide the breakdown of subdivisions.
F: The student can correctly identify the difference aurally, and can extrapolate to the next level (quarters to halves, sxt to 32nd)
B: The student can correctly identify either subdivisions or slurred and articulated notes.
I can perform the piece or my own interpretation of the piece

Meets Expectations: The student performs their piece or the given piece with moderate accuracy (most notes and rhythms).
F: The student performs both their piece and the given piece with moderate accuracy.
B: The student can perform part of the given piece or their own piece.
Day 9- Kalinka Music History and Cultural Context: I can identify the difference between Russian culture and my own and will be able to
describe how the stereotypes surrounding Russia are incorrect starting with this song.
Music Theory/Literacy: I can identify the significance between the upper and lower numbers on a time signature.
Performance: I can create a performance piece that is reminiscent of this song and perform it for my peers either by myself or
in a group.
Activities:
1. Have the students sit in small groups at the beginning of the class. Ask them to create something in the arts that
demonstrates what they immediately think of when they think about Russian culture. Make sure it’s appropriate (pg
rating or less) and that it can be put together in about 7-10 minutes. Encourage more experimenting and less talking in
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how each group is shaped. Have a short performance from each group to go, whether it be a song, skit, or poster with
explanation. Sit the last group down and show them a video involving this song and also one with classic dances and
those representing a positive view on their culture. Open a discussion on how that differs from both how they reflected
on the Russian culture or how the culture they watched is different from their own. Send the groups back to edit their
performance pieces from what they had and incorporate what they just talked about/the song Kalinka. During the next
2. After the second round of performances bring the group together to analyze the song’s score. Ask the group what they
notice about the song, and have a volunteer or two write them down/draw them on the board. After the observations
become repetitive, seat the volunteers down and circle the 2/4 meter. Ask them for an explanation for why that is
significant, hoping for one student to mention how most music they had seen have a 4/4 meter. Show that the meter
means that there are two quarter notes per measure. Go through the rhythm with the class using rhythmic syllables
measure by measure. If there are many learners that know this information and have no problem reading the rhythms
correctly, ask the group if they know how to make the piece look more reasonable without creating sixteenth notes.
Write the piece in 4/4 so that the smallest rhythmic unit is the eighth note. Invite the learners to go further and
rewrite/transcribe the piece in more unique meters 2/2-where there are two half notes per measure or ½-where there is
one half note per measure.
Assessments:
I can identify the difference between Russian culture and my own and will be able to describe how the stereotypes surrounding
Russia are incorrect starting with this song.
Meets Expectations: This learner is able to form a significant difference in the first and the second performance piece after
observing non stereotyped videos of the culture.
F: This learner is able to form and explain a significant difference in their first and second performance piece after observing
non stereotyped videos of the culture. These learners can also identify differences in other performances after this experience.
B: This learner is able to make some difference between the first and the second performance piece after observing the non
stereotyped videos of the culture.
I can identify the significance between the upper and lower numbers on a time signature.
Meets Expectations: This learner is able to chant the rhythm syllables correctly on both the version of the piece in 2/4 and 4/4.
This learner is able to identify the pattern but may not be able to explain how they understand the rhythmic pattern for the 4/4
bar yet.
F: This learner is able to chant the rhythm syllables correctly on both the version of the piece in 2/4 and 4/4. This learner is able
to identify the pattern and can begin to explain how they understand by transcribing some of the rhythms of the piece in one of
the more unique time signatures.
B: This learner is able to chant the rhythm syllables correctly on either the pieces version in 2/4 or 4/4 but may be confused on
accuracy when the other is used. They may recognise that the two sound exactly the same, but may not be able to identify how
on a staff yet or read the rhythm the way it sounds by looking at a staff yet.
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I can create a performance piece that is reminiscent of this song and perform it for my peers either by myself or in a group.
Meets Expectations: This learner is able to create a piece relating to the Russian culture they experienced whether or not it
relates to the first performance piece they created while using sensitivity to the culture they are creating a performance piece of.
F: This learner is able to create a piece relating to the Russian culture they experienced and have it relate in a creative sensitive
manner to what they had already performed.
B: This learner is able to create a piece relating to the Russian culture they experienced whether or not it relates to the first
performance piece they created.
Day 10- Performance:I can play/sing this song with my classmates

Vakavanha Music History and Cultural Context:I can identify how this song connects with other subjects and give other examples of
Vainamoinen similar songs
Activities:
1. Refer to the experience design below for a more detailed description of these activities. I would recommend introducing
this song by introducing each of the runes, the five Melodies included in the piece. Each rune is 2 measures long, and
the first the second measure always into the same way between each rune. The students should enter the classroom
and listen critically to the original recording of the song so they become familiar with each of the runes. After this, the
teacher can perform one rune several times, following the critical questions explained in previous lessons. After several
repetitions, ask students to replicate either on their voice or on a melodic instrument. This process can be repeated for
the remaining runes as time permits, but some may be omitted if time constraints create an issue. The students can
then be asked to come up with their own rhythmic and harmonic accompaniment, and at the end of class this could be
compared with the given arrangement.
2. The provided list of other national epics can be given, and students can pick their epic of choice to create their own
arrangement. The given arrangement can be presented, and students can study it in order to gain a better idea of the
structure, melodic patterns, harmonic patterns, and rhythmic patterns. Students can then be asked to compose their
own tune for these national epics, it can present them at the end of several weeks. Additional parameters may be
added at the teacher’s discretion, including key, meter, length, speed, and pitch class.
Assessments:
I can play/sing this song with my classmates
Meets Expectations: The student can perform the song with moderate accuracy (Most notes and rhythms)
F: The student can improvise rhythmic elements within the song
B: The student can chant/speak the song…
I can identify how this song connects with other subjects and give other examples of similar songs
Meets Expectations: The student can discuss the connection between music and stories using the Kalevala as an example.
F: The student can connect the story with other stories given in the list or beyond, and give musical connection ideas.
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B: I can identify the country/continent of this song and one other on the provided list.
Extension Day 1 (as our group was comprised of two people, we were not required to add extension days. We won’t be including these)
Extension Day 2
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Song Collection (in order of use)
Song of the Eagle
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Source: Background:
http://kodaly.hnu.edu/song.cfm?id=772 “The "Eagle Song" belongs to the Wechihit tribe, according to Josie
Atwell. In this song, the Indians praise and glorify the beautiful eagle
for his strength and grace as he soars high in the sky. Josie Atwell
stated that her father taught her this song when she was just a little
girl. Since Leon Manuel (Tachi) and Josie (Wechihit) lived on the same
Santa Rosa Rancheria for a number of years, they traded and learned
the ancestral songs of each other's tribes” - Retrieved from hnu.edu
Melodic Element: Rhythmic Element:

la Eighth-qtr-qtr-eighth
Mode: Tetratonic (d-l)
Learning Facets:
Rhythm - The syncopations throughout the song could be isolated and used in a rhythmic activity (like improvisation)
Language - This song is not in a commonly spoken language, so it could be used in support of learning diction when singing unfamiliar words.
Historical/Cultural Context - This song is from a Native American tribe in the Western US, and could be used in conjunction with discussions of
historical prejudices, race relations, and westward expansion. Maybe partnered with some songs from that period in American History?
Game: N/A
Ring, Ring the Sweet Bell
Notation:
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Source: http://kodaly.hnu.edu/song.cfm?id=665 Background: Thought to be the song that inspired the ragtime piece
“ain’t gonna rain no more,” this song is about slaves finally being free
and being able to have money for the first time.
Melodic Element: Fa Rhythmic Element: Ta (ka) di mi
Mode: Tetrachord
Learning Facets: syncopation, form, historical context and what this song inspired.
Game: Maybe one day people will decide 6th graders deserve a game. Today is not that game. No game was provided with this piece.
El Alba
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Notation:
Source: http://kodaly.hnu.edu/song.cfm?id=1027 Background: The document provided says all this information, but
this song was used by a community member who leads prayers to
wake people up in the early americas after the Spanish got there,
clearly.
Melodic Element: Ti Rhythmic Element: Ta (ka di) mi
Mode: Major/Diatonic
Learning Facets: Pick-up/anacrusis, sequences, form
Game: There was no game provided with this piece.
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The Ballad of John Henry
Notation:
Source: Background: John Henry was said to be a legend, but it has been
https://www.bethsnotesplus.com/2013/07/john-henr argued that he is a real man, an African American named John William
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y.html Henry. after being tried for Burglary, he received food and clothing
working to clean up the battlefields after the civil war. He was buried
farther away from his sentence, though, because steam-powered
machinery wasn’t used close by the prison he was at. The statement
of “buried in the sand” refers to an unmarked grave, which is a dark
turn of events for younger children but is generally the topic.
Melodic Element: “te” Rhythmic Element: dotted half note, dotted quarter note
Mode: Major/ Diatonic
Learning Facets: historical context, energy, pitch
Game: No game came along with this
Sleep, My Baby, Sleep
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Source: Background:
http://kodaly.hnu.edu/song.cfm?id=560 “In the first stanza, the one which is most commonly known, a primitive
pastoral setting is suggested. We can readily imagine its origin in the
mountains of Germany where a young mother with her first child in her
arms sat in the shade of an evergreen tree "minding" the cows, and
sang to the child her dreams of the father who was guarding the sheep
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in the upper hills and would remain with them through the night. But in
Pennsylvania, this lullaby often lost its pastoral setting and took on a
more humorous character. The verse which tells of a mother who has
gone off on a gossiping trip while her husband presumably remains at
home and rocks the cradle seems to be of rather a late vintage and
probably immortalizes a certain "gad-about."” - Retrieved from hnu.edu
Melodic Element: la Rhythmic Element: eighth-note pickup
Mode: Hexachord (s - l’)
Learning Facets:
Cultural Context - Concepts of nations within the US, communities that align strongly with another place - Refugees?
Rhythm - Triplet and duple feel can be difficult
Meter - What if we re-wrote this in 6/8? How would that look, and what would that change?
Game: N/A
Wayfaring Stranger
Notation:
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Source: http://kodaly.hnu.edu/song.cfm?id=923 Background: Once again, the document states most of this
information, but this song was used as a congregational hymn for
Protestants that came to America for religious freedom. These people
were poor and wanted their idea of “all people being equal in the eyes
of God” to be accepted.
Melodic Element: minor key using both te and ti Rhythmic Element: The dotted quarter note
Mode: minor
Learning Facets: Dynamics, timbre, color, emotional/historical connection, and context.
Game: There is no reasonable explanation for any of these songs to be void of games.
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Vakavanha Väinämöinen
Source: Background:
http://kodaly.hnu.edu/song.cfm?id=941 “The Kalevala is the Finnish national epic, which, like the Iliad and the
Odyssey, grew out of a rich oral tradition with ancient roots. The texts
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(Lyrics included on site) comprising the epic were collected and compiled from rural storytellers
in the Baltic region of Karelia, which straddles the border between
Finland and Russia, by the physician and linguist Elias Lönnrot in the
early to middle years of the nineteenth century. The epic consists of
over 22,000 verses in 50 chapters or runot, traditionally chanted to a
set of pentachordal melodies. There are hundreds of rune melodies
used in Finland. The Kalevala song style includes a typical meter of 8
syllables in 5/4 time and a free use of alliteration, repetition and
recurring conventional epithets and phrases. In the traditional practice
of chanting the epic, the singer chooses which melodies will be used
for each verse. Embellishment and improvisation are encouraged.
This section of the epic comprises the 31st to 37th verses of the 40th
poem: one of the most celebrated events of the Kalevala, the making
of the first kantele by Väinämöinen, the Finnish culture hero and, like
Orpheus, symbol of the spiritual power of music. The Kalevala went on
to inspire Longfellow in his composition of Hiawatha, as well as
Tolkien’s Lord of the Rings.” - Retrieved from hnu.edu, edited by
Andrew Foote
Melodic Element: si Rhythmic Element: N/A
Mode: F Minor/Harmonic
Learning Facets:
Cultural Context - This is a part of a great national epic, and is very important to the culture of the Finns. This also inspired other great works.
Historical Context - Exploring themes like “How do literature and music interact historically? How do they today?” Compare to other epics (Ex.
Song of Roland, Gilgamesh, etc.)
Improvisation - Melodic improvisation is encouraged!
Game: N/A
John Kanaka
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Source: Background:
http://kodaly.hnu.edu/song.cfm?id=757 “This halyard song is the only known representative of a sizeable
group of Anglicized Polynesian work-songs popular at one time among
seamen in the various Pacific Islands trades. The one given here
appears to have Samoan connections. However, it was not limited to
ships in the Pacific Island trades, this one is very popular in most
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American sailing ships of the mid-nineteenth century. John Kanaka is

one of the few representatives of the three-line solo and three-line
refrain shanties. The "oh" in the third solo, when sung by a good
shantyman, was always rendered with a hitch (a sort of wild yelp).” -
Retrieved from hnu.edu
Melodic Element: do’ Rhythmic Element: N/A
Mode: Pentatonic (s-d’)
Learning Facets:
Pitch - working on nailing down the do’ and the intervallic jumps in the solo. Connects with ensemble
Ensemble - switch solo and ensemble sections to create a more difficult part for the class. Easily scales forward and back
Improvisation/solo - This song includes a solo and chorus part (like call and response) so an activity with improvised solos could be easily
derived from this (whether in form or material)
Cultural Context - Discussions of globalism and sharing cultural traditions (protestant Polynesia) could be facilitated with this song
Game:
Kalinka
Notation:
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Source:http://folksongcollector.com/kalinka.html Background: his song is from Russia. The translation is roughly:

https://lyricstranslate.com/en/kalinka-kalinka-kalinka.html
Little snowberry, snowberry, snowberry of mine!

Little raspberry in the garden, my little raspberry!
Ah, under the pine, the green one,

Lay me down to sleep,
Rock-a-bye, baby, rock-a-bye, baby,
Lay me down to sleep.
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Ah, little pine, little green one,

Don't rustle above me,
Don't rustle above me.

Ah, you beauty, pretty maiden,

Take a fancy to me,
Take a fancy to me.

This song inspired an entire genre of dance, which is stereotypically

what Russian culture is known as and for.
Melodic Element: “si” Rhythmic Element: Ta (ka di) mi
Mode: Minor
Learning Facets: tempo, dynamics, cultural context, harmonies
Game: No game came with my finding this folk song.
Nakhshoon Gakavig
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Source: Background:
http://kodaly.hnu.edu/song.cfm?id=937 “The Song of the Partridge is better known in the version composed by
the great Armenian composer and ethnomusicologist Komitas
Vardapet, who wrote his own music to the traditional text. Mrs.
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Shapazian sings what appears to be the original folk song, learned in

Western Armenia prior to the Armenian genocide which destroyed the
Armenian population of her hometown of Harpoot.” - Retrieved from
hnu.edu
Melodic Element: ti Rhythmic Element: tiri-ti (sxt-sxt-eighth)
Mode: D Dorian (do-ti)
Learning Facets:
Cultural Context - Armenian song gathered before the Armenian genocide (discussion topic). Connecting with other Eastern European tunes for
compare and contrast activity
Rhythm - Variations on eighth-sixteenth rhythms throughout the song
Language - practicing speech and diction away from a familiar language
Game: N/A
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Example Experience Designs
WAYFARING STRANGER EXPERIENCE DESIGN

Overview
The emphasis on this piece is to help students with the Analysis, evaluation, and critique goal. The learners
have the opportunity to play an instrument and learn a song with an interesting historical context. They
should have the opportunity to critique a performance in order to discuss their own orchestration or the notes
used in a specific instrumental part.
I Can Statements (learning goals)
● I can sing music in unison and also play an instrument that uses simple harmony alongside it (VA
SOL 6.2.3)
● I can perform rhythmic patterns that include a variety of note durations (VA SOL 6.4)
● I can describe the culture that this piece came from to explain the reason behind the lyrics (VA SOL
6.7.1)
Materials
● Bongos
● Metallophones
● Alto Xylophones
● Glockenspiels (optional)
● Walk Band for android
● Printed out scores for all these parts
Detailed Process
Time Required
30 mins 1) Introduce the Walk-Band’s rhythm by clapping and encouraging the group to follow
35
along. This is the simplest rhythm going “one and-and three four”. The rhythm fits
with the whole piece so when it appears the group as a whole generally
understands the rhythm, sing the whole piece for the class. While singing, if some
of the learners appear bored, begin the rhythm for the bongos by using the right
and left leg as the two sides of the bongos and patting “left right-right left left right
right” in the rhythmic pattern “one-and-a two and three four.” The hands you use for
the easiest demonstration doesn’t matter. I do prefer to play as “left right left right
left right right” because that works for me, but I’m not the one teaching this (3
minutes)
2) Invite the learners to discuss in small groups what they heard in the lyrics. This
includes if there were any repeated phrases, any keywords they found important,
what the lyrics could mean or where they think they come from. While this is
happening, be going around from each group to the next talking with them and
giving an idea of the context of this piece. This piece is a song sung by Protestants
coming from Europe to America in search of religious freedom. Another context of
this piece could be the peace and relief they found in their trials where even if they
were prosecuted or jailed, they could find peace in heaven. (3 minutes)
3) Bring the group together and hear each group’s responses. Use keywords or
phrases to teach the lyrics and the song to the learners through call and response
by phrase. After teaching the whole piece, get the group to sing it without you.
Maybe ask for each phrase by phrase as a reminder for you. (4 minutes)
4) Ask the group to show you the rhythms they used at the beginning of class. Assign
key phrases to each. For example the rhythm for the bongos could be “See I am
going home. Oh,” and the rhythm for the phone application could be “Wayfar-ing
Stra-nger.” Split the group into two. One half will use one rhythm and the other half
will use the other. Pass around some bongos and the application (at least one of
each) to some students that look like they are having trouble, as they can continue
working on that while the rest of the group can move on. Have the group sing
through several phrases. Stop the piece after about two lines of lyrics. (4 minutes)
5) Suggest that something is missing. Invite some of the learners to sit at either a
Metallophone or an Alto Xylophone. There should be scores in front of each
instrument. Ask those in front of the Metallophone to place their mallets over both
the B in their right hand and the E in their left hand. Those in front of a
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Metallophone will play from the phrase left off from. When the end of the phrase
occurs, it would be good to stop the ensemble and ask what sounds funny.
Hopefully, the group will be able to say that the Metallophone doesn’t fit the piece
at that moment. Suggest that they try playing one note down-where the right hand
is over the A and the left hand is over the D. Try that phrase again. Stop right
before the chorus and ask them to play one half of the first pattern and one half of
the second pattern. Announce that that is what the chorus will sound like for them.
Another option is to have them use the two chords they have been playing to figure
out how the chorus will go while the group of learners sing it to them. (7 minutes)
6) Try the chorus one time with the whole class. During this, sing the melodic ostinato
to the Alto Xylophones. The lyrics that will help with the rhythm and with helping the
group remember the notes and order will be “go-ing o-ver home” in the rhythm “one
and two and three.” Learners on the Alto Xylophone should be the learners that
have appeared bored or too advanced for the instruction after one explanation of
each. When the song is over that time around, ask the whole group to sing the
melodic ostinato to you line by line through call and response “b-e-e-d-e” and so
forth (6 minutes)
7) Ask each group to remind you of their part one by one. When all of the parts are
playing together, encourage the learners that aren’t focusing too hard anymore on
their instrument to sing with the accompaniment they created and played. (3
minutes)
Assessments
I can sing music in unison and also play an instrument that uses simple harmony alongside it
Meets standards: The learner is attentive and can play along with at the very least their own part and
the song while learning and performing the piece.
F: The learner is able to play another person’s part while that section is learning it and also can play
their own part while singing the melody. There is also the option for that learner to play the melody on
the glockenspiel while they sing another person’s part.
B: The learner is able to play or sing their own part, can sing another person’s part, but may not be
able to play their own part on the instrument provided.
I can perform rhythmic patterns that include a variety of note durations
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Meets standards: The learner can sing the piece with rhythmic accuracy and also play their own part
with the same level of rhythmic accuracy.
F: This learner can begin to improvise rhythms on their instrument that work with the piece while
continuing to sing the piece.
B: The learner can play the steady beat that the Metallophone provides, whether or not they can sing
the piece with rhythmic accuracy.
I can describe the culture that this piece came from to explain the reason behind the lyrics
Meets standards: The learner can identify key terms that show the mood of the piece that fits into
what the instructor described the historical context to be.
F: The learner can use key terms and what the instructor said to describe the mood of the piece. This
learner can also connect to that mood to a real-world event or personal experience for the piece.
B: The learner can say what the instructor stated about the historical context of the piece.
Extensions:
● There may be a learner that can play the melody on the glockenspiel.
● The learners as a whole may have the opportunity to talk about how they would orchestrate the piece
using instruments they had played before or how they would change the parts they are playing
themselves. That second option can be shown through performing the piece one more time and
allowing all the learners to either improvise or stay on their own part that would fit into the piece.
● Music theory can be explored through asking each learner to write out what it is they are playing so
they could remember it in the future. Explore and ask questions that will help the learners explain
their thought process behind their individualized scores. Tie it into what the staff notation would look
like for each part.
Adaptations
Size ● If the group is larger, there may be more opportunity for body percussion and part
singing rather than instrumental exploration. This can help with orchestration as the
group can be invited to show what they believe each body percussion section
should look like or sound like and they can explain to the group and the instructor
why they chose that.
● If a group is smaller, they may have the opportunity to play multiple instruments
38
and they can describe to the group and the instructor the differences in playing and
their opinions of each part and instrument.
● If the learner using the phone app has a difficult time seeing on a phone or tablet,
there is a computer version of the application that can be put on the smart board.
Color ● Sides of the bongos can be given colors to avoid a left and right situation. So
instead of “left right right left left right right,” it could be something like “blue red red
blue blue red red.”
● Bars on the Orff instruments can have colored stickers which would be more
vibrant and require less searching than the letters engraved into them. Then the
score given can also be written in colors rather than letters or the letters can be
written in those colors so that there can be that extra level of thinking and applying.
Pacing ● If a student shows deep frustration/confusion with a certain part, it would benefit
them to play that instrument or part more to develop it.
● On the other hand, if a learner develops boredom with one part, it would be
advantageous to bring them to the glockenspiel to play the melody while singing
another part. These learners can also be invited to improvise a new rhythm or
melodic part to go alongside the song as well.
Modality ● The instrumental parts could also be taught before the lyrics if that would suit the
learners better if they need to be playing something or multitasking in order to
learn.
● The musical scores for each part could be in either the manner provided or in staff
notation depending on what level the learners are on or how they are able to piece
together the piece most accurately.
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Instrumental Notation/Visual Aid:
40
Bongos
low High-high low low high high
“See I am go-ing home. oh”
Walk Band
“Wayfar-ing stra-nger”
Metallophone:
B B B B
E E E E
B B B B
E E E E
A A A A
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D D D D
B B B B
E E E E
B B B B
E E E E
B B B B
E E E E
A A A A
D D D D
B B B B
E E E E
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B B A A
E E D D
B B A A
E E D D
B B A A
E E D D
B B A A
E E D D
B B B B
E E E E
B B B B
E E E E
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A A A A
D D D D
B B B B
E E E E
Alto Xylophone:
B, E E D E
E G G F# G
E F# F# E F#
B, E E D E
“Go-ing ov-er home”
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Vakavanha Väinämöinen Experience Design

1. Rationale: This design focuses on the literary connections in music throughout history. The Kalevala is
the great Finnish national epic, and has been told for centuries through song. This activity builds on an
understanding of the song from an Orff arrangement they have been using, with basic review covered in
the beginning of the lesson. Selecting one melodic passage to begin, the teacher will engage with the
students in identifying components in the passage including the connection between rhythm and text,
melodic repetitions, and rhyme. After this initial discussion, the students will adapt the song to a story
of their own choosing, and reword it so it aligns with the music chosen. Improvisation will be
incorporated throughout the lesson. This activity ‘legitimizes’ music beyond the music room and draws
on literature and literary ideas to support the musical goals.
2. Understanding Statements
1. Students can perform their chosen part from the Orff arrangement of Vakavanha Väinämöinen
covered previously in class.
2. Students can perform the given excerpt Vakavanha Väinämöinen singing or on instruments.
3. Students will know the origin of the Vakavanha Väinämöinen, and provide examples of other
national epics (including Shahnameh, The Eddic Sagas, Song of Roland, Beowulf, Epic of
Sundiata, etc.)
3. “I can” statements/standards: (forward - partwork + improv)
1. I can play/sing this song with my classmates (VA 6.2.3)
i. B: I can chant/speak the song…
ii. B: I can distinguish high/low pitch when sharing the song
iii. F: I can tap an ostinato and sing the song
iv. F: I can improvise rhythmic elements within the song
2. I can identify how this song connects with other subjects and give other examples of similar songs
(VA 6.7.1)
i. B: I can identify the country/continent of this song…
ii. F: I can connect this story with other stories I know
4. Materials:
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1. Slide with image of Finland, Väinämöinen, Kantele

2. Score for Vakavanha Väinämöinen
3. Ensemble instruments (Orff, tambourine, iPad with Garageband or other DAW, any other pitched
instruments
4. List of National Epics
i. Epic of Sundiata, Beowulf, Gilgamesh, Nibelungenlied, Epic of King Gesar, Song of Roland,
Epic of Manas, Poetic Edda, Ramayana. More can be added!
5. Access to recording devices (cell phones would work)
6. Paper and pencils
5. Detailed Process: Pedagogical steps including thoughtful questions and time stamp of how long each
step will take. Remember: Prepare, present, and practice; Enactive, iconic, symbolic; and questions
(have many). Make this clear enough that someone you don't know could take your plan and make it
run.
1. Students enter classroom to a Recording of the song, and are asked to go to their seats.
2. Students will review the song on their parts using the arrangement from previous classes (7
minutes)
3. Students will return to their spots and pick up pencils and a note card. (1 minute)
4. Students will record their thoughts about the song, working to answer the questions: (2 min)
i. What do you notice about the words being used? What do you remember about their
meaning?
ii. Who is making the music?
iii. Do we hear the notes one at a time, or are there chords in this song?
iv. How is the recording different from our performance?
5. Students will share their observations with their neighbor (1 min)
6. Teacher will ask students to raise their hands and share their observations (1 min)
7. Teacher will play the song again, and ask the students to tally the different number of melodies
they hear (4 min)
8. Students will share results and discuss (2 min)
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9. Teacher will ask one student to sing or play the their favorite rune on their instrument, and
review the beat divisions. (2 min)
10. Students will identify beat grouping with a partner (2 min)
11. Students will sing the line with them (1 min)
12. Students will figure out the melody with a partner on a different instrument than they used in
the arrangement (2min)
13. Students will play the melody with the teacher (1 min)
14. Repeat listening for unity of sound (1 min)
15. Teacher will review background of song - National Epic from Finland, first written down in
1830’s, origin sometime in iron age (500 BC-1200 AD) Väinämöinen builds the Kantele and
produces beautiful music (using slide) (6 min)
16. Teacher will play a different rune for the students (1 min)
17. Repeat process with singing, asking questions for guided listening: (6 mins)
i. What is different about this melody?
ii. How does the rhythm compare to the first melody?
18. Teacher will ask students to notate the melodies using “fish” for quarter note “jaw-bone” for
eighth notes, and “kan-te-le” for eighth-sixteenth-sixteenth rhythm. (4 min)
19. Students will perform the melodies using their instruments as a group. (2 min)
20. Students will work in small groups/individually to learn the remainder of the song on
instruments with notations (12 min)
21. Teacher will present list of other national epics, and students will select their song and group,
to learn for the next class (6 min)
6. Assessments: only one thing - see examples in Winding book
7. How am I going to be able to measure my I can statement - y/n, chart (checklist), rubric (needs more
help, developing, meet, extending, exceed)
1. Teacher will assess informally by looking around the room to check that each student is
participating. As they are working individually, the teacher will walk around and check on them,
checking for rhythmic consistency, awareness of different melodies, and notation/note accuracy.
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8. Adaptation: How will you open this experience up for learners with different ways of engaging and
knowing? Consider adaptations to:
1. - Color - Color of slides can be adjusted to better suit specific learners
2. - Shape/Size - Images can be increased in size for ease of view
3. - Pacing - Students who are struggling with the new melody can continue to refine the first
segment, and work on the second segment after class or at home.
4. - Modality - Students who struggle aurally can be given an iconic score for the tunes and an
instrument with physical notes (orff, keyboard). Students can choose to make up movements to
go along with the tune instead of creating music for the other epics.
9. Extension (what would you do next and/or how could you make this experience longer?)
1. After this, the lesson can be used to incorporate the natural improvisations that are found
throughout performances of the Kalevala. The students can choose to add small embellishments,
or write their own melody to be used in tandem with the given tunes.

To find a score of this song for use in the experience design, check out the pdf here.
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Additional Resources (children’s books, methodology books, etc.)
Children’s Books Methodology Books
● Mike Venezia, “Getting to know the world’s greatest ● Bob Duke, Intelligent Music Teaching: Essays on the Core
composers” series Principles of Effective Instruction
● Bill Thompson, Chalk ● Performance Standards for Music: Strategies and Benchmarks
● David Wiesner, Flotsam for Assessing Progress Toward the National Standards,
● Jerry Pinkey, The Lion and the Mouse Grades PreK-12
● Barbara Lehman, The Red Book
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Creative Kids Co-Op Curricular Guide Sixth Grade

Overarching Goals / Theme

Song Collection (in order of use)

Example Experience Designs

Additional Resources (children’s books, methodology books, etc.)

Overarching Goals / Theme

Grade Level Goals

● Students can react and respond to music

and will be sensitive of other cultures.

Acquisition Skills Knowledge

Grade Level Goals​​ (*indicates example experience design)

I can talk about American history and music

I can perform rhythmic patterns that include a wide variety of rhythms.

I can examine the importance of cultural influences on my interpretation of this song.

I can correctly identify the triplet and dotted eighth-sixteenth rhythm

I can perform this piece using my voice or a melodic instrument

I can play a variety of rhythms on both an instrument and my own voice.

Performance: ​I can perform this piece with my peers in an ensemble environment.

I can differentiate between slurred and articulated notes, and subdivisions

I can perform the piece or my own interpretation of the piece

Day 10- Performance:​​I can play/sing this song with my classmates

Song Collection (in order of use)

Song of the Eagle

Melodic Element: Rhythmic Element:

Mode: ​Tetratonic (d-l)

Ring, Ring the Sweet Bell

Melodic Element: ​Fa Rhythmic Element: ​Ta (ka) di mi

Melodic Element: ​Ti Rhythmic Element: ​Ta (ka di) mi

Learning Facets: ​Pick-up/anacrusis, sequences, form

Game: ​There was no game provided with this piece.

The Ballad of John Henry

Mode: ​Major/ Diatonic

Learning Facets: ​historical context, energy, pitch

Game: ​No game came along with this

Sleep, My Baby, Sleep

Melodic Element:​​ la Rhythmic Element:​​ eighth-note pickup

Mode:​​ Hexachord (s - l’)

Learning Facets: ​Dynamics, timbre, color, emotional/historical connection, and context.

Melodic Element:​​ si Rhythmic Element:​​ N/A

American sailing ships of the mid-nineteenth century. John Kanaka is

Melodic Element: ​do’ Rhythmic Element:​​ N/A

Mode: ​Pentatonic (s-d’)

Source:​​http://folksongcollector.com/kalinka.html Background: ​his song is from Russia. The translation is roughly:

Little snowberry, snowberry, snowberry of mine!

Ah, under the pine, the green one,

Little snowberry, snowberry, snowberry of mine!

Little raspberry in the garden, my little raspberry!

Ah, little pine, little green one,

Little snowberry, snowberry, snowberry of mine!

Ah, you beauty, pretty maiden,

Little snowberry, snowberry, snowberry of mine!

This song inspired an entire genre of dance, which is stereotypically

Melodic Element: ​“si” Rhythmic Element: ​Ta (ka di) mi

Learning Facets: ​tempo, dynamics, cultural context, harmonies

Game: ​No game came with my finding this folk song.

Shapazian sings what appears to be the original folk song, learned in

Melodic Element: ​ti Rhythmic Element:​​ tiri-ti (sxt-sxt-eighth)

Mode: ​D Dorian (do-ti)

Example Experience Designs

WAYFARING STRANGER EXPERIENCE DESIGN

I Can Statements (learning goals)

I can perform rhythmic patterns that include a variety of note durations

Instrumental Notation/Visual Aid​​:

Grade Level Goals (*indicates example experience design)

Performance: I can perform this piece with my peers in an ensemble environment.

Day 10- Performance:I can play/sing this song with my classmates

Mode: Tetratonic (d-l)

Melodic Element: Fa Rhythmic Element: Ta (ka) di mi

Melodic Element: Ti Rhythmic Element: Ta (ka di) mi

Learning Facets: Pick-up/anacrusis, sequences, form

Game: There was no game provided with this piece.

Mode: Major/ Diatonic

Learning Facets: historical context, energy, pitch

Game: No game came along with this

Melodic Element: la Rhythmic Element: eighth-note pickup

Mode: Hexachord (s - l’)

Learning Facets: Dynamics, timbre, color, emotional/historical connection, and context.

Melodic Element: si Rhythmic Element: N/A

Melodic Element: do’ Rhythmic Element: N/A

Mode: Pentatonic (s-d’)

Source:http://folksongcollector.com/kalinka.html Background: his song is from Russia. The translation is roughly:

Melodic Element: “si” Rhythmic Element: Ta (ka di) mi

Learning Facets: tempo, dynamics, cultural context, harmonies

Game: No game came with my finding this folk song.

Melodic Element: ti Rhythmic Element: tiri-ti (sxt-sxt-eighth)

Mode: D Dorian (do-ti)

Instrumental Notation/Visual Aid:

Vakavanha Väinämöinen Experience Design