Change up your sequence

Hi all, Christopher here.

One of the raps on Kodály-inspired teaching is that it can be rigid.  People think that there is some prescribed method that dictates exactly what you have to teach and when you have to teach it. 

Not true.

The reality is that while Kodály-inspired teaching is methodological and sequential, it doesn’t come in a one-size-fits-all package.  Every teacher has to take the overall principles and apply them to their own setting. 

For me, what that means is that each year, I re-visit my teaching sequence in the fall, when I am doing my long-term planning (see this link for a description of one way to do yearly planning).  Lately, my basic sequence of teaching rhythmic elements has been something like the following:

Etc.

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Stretching Your Song Literature

Happy Wednesday everyone!  This is Amy from Music a la Abbott.  I hope that you're having a WONDERFUL fall!

I'm finding myself in a little uncharted water this year.  You see, in my district we have a rotational specials schedule.  I have been fortunate for the past 13 years to have a 3 day rotation.  This means I see my students every third day.  When I opened my current school, 4 years ago, all classes were on that rotation, with the exception of 1st grade which had four rounds and was at a 4-day rotation.  While not ideal, I've been able to get most of my concepts into my 4-day rotation classes. Last year we had FIVE 2nd grade classes.  I was able to talk my teammates into spliting one of the classes into fourths so we could stay on a 4-day rotation.  This year?  Not so lucky, both my 1st and 3rd grade classes are on a 5-day rotation.  UGH!  And everyone else is now on a 4 day rotation.  Double UGH! So, essentially my kids get music once a week.  I know many of you have dealt with this or are living this too.

So, this has made me really challenge my song choices to teach different concepts.  There are certain songs that are gems that are very specific to a concept or grade level, for example "See Saw".

This is the ideal first grade song, perfect for teaching ta ti-ti and so-mi.

What I'm finding I really need to look at are songs that I can bring back in later years to teach another concept that is too hard for the current grade level that they are in.  The folks in my level 2 Kodály class at CSU last summer learned that I call this "double dipping".

Let me give a few examples:

Miss, Miss:

Looking at this song, rhythmically it's great for first grade because it's just ta ti-ti and rest.
Melodically, if we look at just the first two measures it's only so-mi, so again, GREAT for first grade. When we look at the third and fourth measures melodically there is do, re, mi & so.   For this reason, I'm going to use it in first grade to read the entire song rhythmically (no solfége) and then isolate the first two measures to practice so-mi in a new song.  Then in second grade I can bring it back again when we learn re in one of two ways: as a mystery song in the practice stage or as a preparation song.  But when I bring it back in second grade I'm elimating a step that is sometimes time consuming: teaching new song literature.  Furthermore, this is a great choice to bring back because it has a game that is always a "hit" and a favorite with my students.  The more memorable of a game the better the chance that the students will remember it.  You can find the game direction on my blog by clicking here.

Let's look at another example, "Land of the Silver Birch"

While this song doesn't have a game the kids (or at least mine) LOVE it.  It's great for low la and ti-tika, which I teach in 3rd grade.  And I love that the ending, which can also be used as a vocal ostinato (or an ostinato on an instrument) uses both low la and ti-tika.  Then I bring it back in 4th grade for syncopa.  I know some people teach syncopa earlier, in second grade.  Which, if that is the case, it would still work for multiple grade levels.  This is also great in 3rd grade to use with The Canoe Song, as a partner song.

And, for me, the Canoe song is another one that I bring back in 4th grade.  I use it in 3rd grade for low la (first two measures) and low sol (last two measures) but then it's so great for syncopa because of how that rhythmic element happens the first two beats of every measure.

Let's look at one more example: Cross Town

This I use in 4th grade when we look at anacrusis, especially ones that last longer than one beat.  Then I bring it back in 5th grade when we learn ti.  The game is super easy: concentric circles, facing a partner.  When you sing "Cross town" you cross your arms on your chest on the word "cross" then pat your legs on the word "town".  After that it's basically patty-cack with clap own hands-clap right hands with partner-clap own hands-clap left hands with partner.  Now, once your students have that you add stepping to the left everytime you sing "Cross Town". Also, make up additional verses that rhythm with numbers. ..  so the second time it would be "when Billy was two, he learned to tie his shoe," etc. until the number "ten" when you sing "cross town, when Billy was ten, he did it all again. Hey, olley, olley, hey olley, olley, half past ten, the end!"  (the end= sol,-do)

So this is a little way that I'm looking at my song literature: what can I bring back the following year to teach the next year's concept so that I save class time not teaching all new song literature. I would like to say, however, that I think it's important to have a balance of recycled/stretched song literature and new song choices.  Students love the new songs! :)

Have a great week!

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Sequence within the sequence

Hi everyone! This is Aileen from Mrs. Miracle's Music Room. 

The Kodály philosophy is widely known as being very sequential. Kodály-inspired educators teach simpler rhythms and solfa first--those rhythms and solfa common in folk songs of the students' mother tongue.

The sequence of a Kodály-inspired classroom was very appealing to me as a new teacher. It wasn't until several years into my teaching, though, that I began to understand the sequence within the sequence.

After students learn ta and ti-ti, for example, we could immediately start throwing improvisation and instrumental activities at them...but they may not be very successful. By first starting with easier practice activities, such as reading rhythms and copying patterns, then sequencing to more difficult practice activities, such as composition and improvisation, students can be much more successful. Here is a typical order in which I practice rhythm. For this list, I'll use the example of ta and ti-ti, but it could be used with any rhythm:

Reading rhythms: After presenting ta and ti-ti, I have students simply read from rhythm flashcards, or read a rhythm of a known song from the board. I do this immediately after presentation, as well as in the beginning of the next lesson, to review with students what they just learned.

Writing rhythms: Students can use pencil and paper or dry erase boards and markers to copy rhythms from the board or from flashcards. This isn't dictation yet--they are simply copying rhythms that you either show them or speak. Much like a Kindergartener writing the letter "a" several times, this gets students comfortable with writing the rhythms.

Playing rhythms: Students can use non-pitched percussion to play patterns from flashcards, or can use barred instruments in C pentatonic to play the rhythm patterns on any bars they want. Sometimes students can say and clap patterns, but having a wood block in their hand is a bit different! Being able to transfer their knowledge to actually playing an instrument is a needed step.

Identifying rhythms: Students can either encode a pattern by hearing it then saying it aloud, saying the rhythm of a known song or chant back at you, or hearing a pattern then choosing which pattern it is (from a list of three patterns, for example.) This is almost dictating, but not quite, as they may be choosing from a list--like a multiple choice test--or may be identifying the rhythm without actually writing it down.

Dictating rhythms: Now students can finally hear a pattern, then either write it with pencil and paper or dictate the pattern with rhythm manipulatives, such as popsicle sticks.

Creating rhythms: Students now can transfer their knowledge and can create rhythm patterns of their own, perhaps by improvising spoken rhythms, or perhaps by composing their own 16-beat piece with known rhythms. The possibilities are endless!

This is not to say that you have to start at reading and work your way to creating in that exact order. In order to differentiate for your higher learners, you will want to have some challenging opportunities in early practice, and for your struggling learners, you will want to have some simpler opportunities in late practice. But having this order in my mind has really helped me unpack exactly what I want my students to do, and when. I just created this set to use with my own students when practicing ta and ti-ti; each week, I will add the next level of complexity.

Do you have any other steps in your sequence within a sequence? Feel free to comment below with any more ideas, and have a great day!

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Beyond the "PPP". . . . Readiness Skills

Hi everyone!  Amy here from Music a la Abbott.  Hurray for summer!  A time for rest, relaxation, rejuvenation and refocusing.  For many of you it's also a time for professional development, which hopefully is rejuvenating and fun!  I'm gearing up to teach level 2 Kodály at the Colorado Kodály Institute at Colorado State University and through this process am reviewing and refining the way I teach the three PPP's for 2nd and 3rd grade concepts.  This year I'm requiring a new pedagogy book, written by my pedagogy teacher, Susan Brumfield.  She already has a Song book 1 published of the "First We Sing" Series but this is her Teacher Book:

While reading through it she mentions that there's an additional step to the PPP process (which, if you're not a Kodály teacher or are not familiar with "PPP", it stands for Prepare, Present, Practice), which she says is assessment.  I agree with this one hundred percent.  Once your students have the foundation of some musical knowledge and vocabulary down you will use assessment to determine if they aurally, visually and kinesthetically understand and can demonstrate the musical vocabulary for the critical attributes of a specific musical element. This assessment process actually serves another purpose: to let you know if they are ready to move onto the next musical element in your sequence.  For instance, if you teach so-mi as your first melodic element, your assessment of their knowledge of so-mi will let you know if you are ready to move onto the next melodic element, which in my sequence is la.  Or, if you teach mi-re-do first, you will use your assessment to check for understanding and mastery but also if you're ready to move onto the next melodic element.

This assessment then becomes part of another stage that is not included in the "PPP", which I know Susan refers to as readiness skills.  With whatever musical concept (or skill)  you are teaching you need to make sure that the students have the readiness skills or necessary knowledge to start preparing for that musical element.  

Let's go through a couple different examples:

1.  Here's a rhythmic example: ta ti-ti (or quarter note and two eighth notes).

This is the first rhythmic element that I teach and I usually teach it in the fall of first grade.  Christopher just wrote a BEAUTIFUL post on annual planning and I LOVE that he mentions in that post that your yearly plan will change every year.  Why?  Because your kids change!  That's why I say I usually teach it in the fall, around the beginning of October.  How do I know when my students will be ready for ta ti-ti?  Well, I have to check their readiness skills.  A lot of their readiness skills are dependent on different variables.

1. Did my students have music in kindergarten?  Next year, four out of the six kindergarten classes last year had music 2-3 days out of the week (we had 4 full day kindergarten classes which regularly had music 2-3 times a week.  We also had two half day kindergarten classes that I tried to pull during my lunch and planning times once a week. . . the main reason? So their readiness skills for first grade concepts will be on the same level).
2. How much do they remember from kindergarten?
3. How many new students are there?
4. How's the classroom chemistry?  Are the students working well together from the get-go or are we having to work on music room expectations. . . this is something that trumps all musical skill preparation.  If they don't know the music room expectations the rest of the year will be a battle.  And that's one I don't want to fight.

So in my situation 2/3 of my students have a lot of musical experience while the other third had some musical experience with comparatives that are imperative for laying the ground work for ta ti-ti.
From here I need to look at fast can we review kindergarten comparatives and how quickly can that 1/3 of my kiddos that didn't have music as often catch up.  Again, there are variables: the students are more mature now than they were last year so we can move a little faster.  But it's important that we don't move too fast as we want a strong foundation laid.  So, the first month or so will be A LOT of steady beat songs and games.  Then we'll start to add some "do what I do" games in which I perform the rhythm and they do it along with me, without labeling it "the words" or "rhythm".  Then after that, switching between the two: keeping a steady beat and "do what I do."  Within this I try to double dip by using some so-mi songs in which I can do steady beat or rhythm patterns with body signs so I subconsciously am having them lay some foundational work for so-mi. . . . that we will get to around February! :)

Once they can keep a steady beat (with OUT me banging the beat for them) and once we label "the way the words go" (AND they can do it with OUT me) then we draw attention to how the two are different.  I can not emphasize how important the student independence piece is here.  If the teacher is banging the beat on their legs and that's the only way the class can keep a steady beat they won't be able to move on.  John Feierabend says "sing for your students, not with your students" and it's so important that we apply this statement to all music skills in our classrooms.  The students are the ones that should be doing the work and we need to step back and let them be the music makers.  Sorry for the soapbox, back to beat vs. "the way the words go": In order to move on they have to be able to describe that when we keep the beat it is steady and does not change and that when we clap "the way the words go" it matches the words and it's not steady (or in other words, that it changes).

From there, we have to move onto identifying some sounds as long and some as short: this is one of the main critical attributes of ta  and ti-ti: one sound is long and two sounds are short.  Once they can start to identify long and short sounds AND they can keep a steady beat on their own we can start to compare the long and short sounds to the beat.  The students will start by identifying one sound on a beat and two sounds on a beat.  From there, they must derive that the one sound on one beat is a long sound and that two sounds on one beat are two short sounds.  Once they can do this we can move onto the preparation stage of teaching ta ti-ti.  It seems like a lot and it seems like it's going to take a lot of time, but really, if it's the first rhythmic element the students learn the foundation HAS to be strong.  

This same thought process goes for all the rhythmic elements but more and more levels are added to it.  We talk about this in level 2 Kodály a lot: what are the critical attributes of the element and what are the skills that the students have to have in order to successfully learn about that rhythmic element?  This is their readiness skills.

2.  Here's a melodic example: so-mi
So, let's look at the critical attributes of so-mi: they are two notes, one is "high" and one is "low".  Within that they are a "skip" away from each other.  So, readiness skills:

1. They have to be able to identify the difference between high and low sounds that are non-singing, or in other words, label sounds as "high" or "low".  Within this is a lot of vocal exploration of animal sounds, environmental sounds and other means of vocal exploration
2. They have to be able to tell the difference between non-singing and singing.  Why is this important?  They are going to have to be able to identify a minor 3rd interval.  There has to be an awareness that singing is related to pitch.  I don't say that to my students, but through singing they demonstrate that they hear and can produce different pitches.
3. They have to be able to identify high and low sounds that are related to pitch and singing.  This starts with extreme examples. "Higher Than a House" is a great example of a song to prepare and teach this as the high and low sounds are an octave apart.  Once they can identify high and low sounds that are an octavo apart, I start to choose literature that gradually begins to narrow that interval until we get down to that lovely minor third interval.
4. They need to be able to aurally discriminate higher and lower sounds of a minor 3rd.
5. They need to be able to show spatial relationship for high and low (minor third)
6. They need to know the musical staff and that the difference between notes "on a line" and "in a space".

These are just a couple of examples of early readiness skills.  For me, once you have these two first elements learned their assessments will pave the way for knowing your students readiness skills for their next melodic or rhythmic element.

It's also important to remember that sequencing and readiness skills apply to many other musical elements and skills: dance, instrument playing, movement, expressive element, composition, improvisation, dictation, notation. etc..  With whatever you're teaching, you always need to ask: what to my students need to know and what skills do they need in order to successfully learn this skill or element.

I hope this was a little summer food for thought for you and that you are finding a lot of time for the things you enjoy to do this summer!

Have a GREAT July!

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