Activate! Magazine by Heritage Music Press

The Must-Have

Music Resource for Grades Kâ&#x20AC;&#x201C;6

Music, Movement & More

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Ready, Set, Activate! Activate your students to love music and learn by doing with this music magazine designed for all educators working with elementary students. Learning never stops! Discover details about all of the fabulous features in an Activate! subscription, including lessons to aid student learning and articles to aid yours.

Highlights of Every Issue

Skill-rated Lessons.............................................................................................................2 Written by Classroom Teachers........................................................................... 15 Trends in Music Education.............................................................................................7 Calendars and Connections...........................................................................................8 Choral Corner......................................................................................................................9 CD+ Printable Resources............................................................................................. 10

Lesson Features

Targets...................................................................................................................................3 Assessments........................................................................................................................3 National Core Arts Standards........................................................................................4 Materials List........................................................................................................................4 Sessions.................................................................................................................................5 Extension Ideas...................................................................................................................5 Cross-curricular Opportunities.....................................................................................5 Take Note! Tips.....................................................................................................................6 Additional Resources........................................................................................................6

CD Features

Performance Recordings............................................................................................. 10 Accompaniment Recordings...................................................................................... 10 Scores Galore!.................................................................................................................. 11 Reproducible Lyric Pages............................................................................................. 11 Printable Visual Aids...................................................................................................... 12 Digital Visual Aids........................................................................................................... 13 Interactive Whiteboard Lesson.................................................................................. 13

Skill-rated Lessons

The table of contents groups lessons by the level of skill required and highlights the types of activities for each. Build your recorder unit at a glance. Quickly find lessons with reproducible worksheets to leave with a substitute. Easily locate listening lessons when you need to rest your voice. Planning couldn’t be easier! Da

Re p rod Cla ucible s sr oom Wor k nce Inst shee r t / Ba Move umen r re d me t s Sin Perc nt gin uss g/C ion Tec hn hantin o Rec logy g ord Lis er te n ing

Contents BEGINNING Green Onions Forward & Backward

T. Scullin K. Kuper

DEVELOPING Uno, Dos, y Tres Welcome Back to School Choral Corner: Prep Guide Get to Know Frédéric Chopin

B. Finucane D. Dirksing E. Whitehill P. Thomas

CHALLENGING Gotta Get Back Groove Respect Thirteen Colonies Two Left Feet

M. Shelton M. Schay D. Imiolo P. Corbiére

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12 CD 1–2 |14

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16 22 CD 3–7 | 25 36 CD 12–13 | 43 46 52 54

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Lessons

We understand that the needs and skillsets of students in each classroom are unique and that lesson plans will need to be altered to be applicable to your students. We strive to give you the most complete starting point possible.

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Each plan contains a target that summarizes what students will learn during the lesson. Many lessons also include a note from the authors that gives a glimpse into why they teach this material in their classrooms.

Mari Schay

4. Assign students to starting positions and layer in the parts: non-pitched percussion, pitched percussion playing the intro, song with all instrumental accompaniment parts. Standards:

National Core Arts

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Extension Ideas will learn about chord ents Stud • The chords for “Bulldogs Respect” areent. nim the same as those used in “Respect” by accompa Aretha ussionChallenge percFranklin. your students to figure out the form of “Respect.” Project or write the form on the board, then challenge the students to play t along with “Respect.” Students will have to school year is a grea stop playing during the bridge inni in aof the different key. The beg as it isng •

Tying back to the initial target, matching assessments appear at the end of each lesson to help determine if this lesson was right on the mark or if your students need some further review on the topic.

Session 3 1. Review how to play the chords learned in the previous lesson. 2. Project or post the Chord Progressio n Visual. Lead the class in performin g the chord progression. Initially, it may be helpful to put a measure of rest in between each measure. If this is helpful, reduce the silence between measures from four beats to two beats to one beat to playing fluidly. Repeat until everyone is able to play the chord progression smoothly and accurately. 3. Select about half of the students from each of the sections to leave the instruments and be the chorus. Teach the class the term balance, and ask them to determine which part is more important in a song: the singing or the instruments. Guide the students toward maintaining balance between the instruments and chorus. 4. Perform the song with instrumen tal accompaniment. Rotate the students between the three instrumental parts (high, middle, and low pitches for each chord) and the chorus.

Session 4 1. Repeat the body percussion activity from Session 1 with Aretha Franklin’s “Respect,” then transfer the three rhythms to cowbell, tambourine, and drum, as written. 2. Review the chord progression and parts byfrom the last lesson. ions gest Sug on 3. Review theLess melody and lyrics for “Bulldogs Respect.”

Targets

Assessments

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chord and non-pi tched

The beginning of the school year is a great time to remind your looks like to show students about what respect. Teach the song, play the ensemb it students when they le, and then surprise play along with Aretha your Franklin’s “Respect.” Session 1 1. Play a recording of Aretha Franklin’s “Respect.” Have the alternate between students join you tapping your foot as you to the steady beat back-beat (beats (beats 1, 2 and are somewhat experie 4), and patting the drum rhythm (1&2, 2, 3, 4), clapping the 3&4). If your studen nced with ensem ble music, divide and put all three ts the class into three parts together using groups body percussion. 2. Discuss what respect looks and sounds like in your music classroom. 3. Teach the melod y and lyrics for “Bulldo gs Respect.” You fit your school’s name can change the lyrics or mascot. so they Session 2 1. Review all of your expectations for respect and then review “Bulldogs 2. Introduce or review Respect.” expectations for playing pitched percus to the barred percus sion. Have the class sion instruments. move 3. Define chord (two or more notes playing at three chords in the song and three differe the same time) and explain how there work together to nt instrumental parts are form each chord. in the ensemble that 4. Display the Chord Visual. Explain how the I chord is created pitches listed in the by playing all of the first column. Demon used on the barred strate which two pitches (double stops) percussion to play the C and A. Lead A to a steady beat. are all students in playing Then do the same for the other chords C and so that the studen , following the high ts know how to move part Follow the same process for the mediu between the chords within the high part. m and low parts. 5. Divide the studen ts into three section s, assigning one to your bass instrum play the low pitches ents); one to play the (ideally middle pitches (ideally and the last to play the high pitches your alto instrum in each chord (ideally ents); the class perform the I chord to a steady soprano instruments). chords in the same Have beat. Then practic e playing the IV and manner. V 6. Rehearse the chord changes by pointing to one chord class play that chord on the visual and until you point to having the a new perhaps even outlinin g the harmony. Studen one. Change chords in musical ways, ts can also lead this activity.

Step 5: Set up the classroom so that students can easily rotate between the three non-pitched percuss ion parts, the three pitched percussion parts, and the chorus. (See the diagram on page 49.)

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Lesson Suggestions

National Core Arts Standards: 5 and 6

Materials Teach the song, ’s like to show respect. Use “Bulldogs Respect” look. sRemembe ha Franeklin in school-wid meetings or assemblies g of Aret Areth rdin recothe Achange r youthey lyrics to match your mascot. We’ve included n can play along with ents a score stud for youwhe insert your own lyrics t” in the pec data files. “Res Barred percussion ussion Session 1 ’s “Re Non-pitched perc g of Aretha Franklin 1. Play a recordin to tapping your foot alternate between patting and 4), Data Files and 2 ts back-beat (bea m ense with d al rd Visu erience Cho are somewhat exp Choose one instrumental part toal assess how accurately the individual together using ression Visu e part s are rdtheProg playing thre the spart. You could also vid Cho record put all performance for review later. Think andyour about focusing res camera on one particular part. A possible mightdog include: s Respect Sco Bull s and soundr • Student plays with correct technique uss what respect look 2. Discand : mallets are bouncing both hands are used • Student plays correct pitches for each chord and lyrics for “Bulld ody mel the h • Student is able to follow the chord Teac 3. progression fluently e or mascot. fit your school’s nam t and detail Step 2: Think abou for when your expectations ot play, students can and cann select or will ents stud how or other rotate instruments, situation. issues unique to your

Visit www.activatemagazine.com for more information.

are C6, Step 4: The chords I refer to F6, and G7. However, V. them simply as I, IV,

Session 2 re r expectations for 1. Review all of you ew expectations for 2. Introduce or revi ussion instrument to the barred perc or more notes pla 3. Define chord (two song and three d three chords in the each chord. form to work together rd Visual. Explain ho 4. Display the Cho first column. D pitches listed in the percussion to p used on the barred n do the sam The t. bea dy stea a A to know how to so that the students ess for the m proc e sam the Follow ents into three sec 5. Divide the stud ents); one to pla your bass instrum the high pitch play to and the last the I chord to a the class perform manner. e sam chords in the

Lesson Suggestions by

Mari Schay

Respect

National Core Arts Standards

The National Core Arts Standards with which a lesson is aligned can be found at the top of every activity, but if you’re d and non-pitched with chor perform a song looking for a to particular standard that’s ther work toge formation and Students will learn about chord eluding you, an index is located in the percussion accompaniment. back of each issue. National Core Arts Standards: 5 and 6

Materials A recording of Aretha Franklin’s “Respect ” Barred percussion Non-pitched percussion Data Files Chord Visual Chord Progression Visual Bulldogs Respect Scores

Step 2: Think about and detail your expectations for when students can and cannot play, how students will select or rotate instruments, or other issues unique to your situation.

Step 4: The chords are C6, F6, and G7. However, I refer to them simply as I, IV, V.

Step 5: Set up the classroom so that students can easily rotate between the three non-pitched percussion parts, the three pitched percussion parts, and the chorus. (See the diagram on page 49.)

about wha a great time to remind your students The beginning of the school year is surprise yo then and , mble ense the play , song looks like to show respect. Teach the Aretha Franklin’s “Respect.” students when they play along with

Materials List

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what you y Session 1 planning. We’ll let you know .” Have the students join you as rding of Aretha Franklin’s “Respect 1. Play a reco need and provide many of the visual beat (beats 1, 2, 3, 4), clapp y stead the to foot your ing alternate between tapp . If your stu m (1&2 aids onts the CDthe sodrum yourhyth won’t get, 3&4)into 4), and patting 2 andincluded t (bea back-bea three g class the e divid ic, mus mble and realize rienced with ewhat expe halfway through theense lesson are som n. ussio e parts together using body perc all thre and put that you’re missing something. music classroom. your in like ds soun 2. Discuss what respect looks and change the lyrics for “Bulldogs Respect.” You can 3. Teach the melody and lyrics cot. fit your school’s name or mas

Session 2 dogs Respe for respect and then review “Bull 1. Review all of your expectations n. Have the cl ons for playing pitched percussio 2. Introduce or review expectati nts. ume instr to the barred percussion explain how s playing at the same time) and 3. Define chord (two or more note umental parts in the ensem instr rent diffe e thre and song three chords in the d. work together to form each chor playing all of ain how the I chord is created by 4. Display the Chord Visual. Expl h two pitches (double st whic rate onst Dem mn. colu first pitches listed in the in play play the C and A. Lead all students used on the barred percussion to the hig wing follo ds, chor r othe the same for A to a steady beat. Then do the hig the in with ds chor the to move between so that the students know how s. part low and ium med the for Follow the same process the low pitch e sections, assigning one to play 5. Divide the students into thre pitches (ideally your alto ins le midd the play to one nts); your bass instrume instrum es in each chord (ideally soprano and the last to play the high pitch the IV ing play tice prac Then . beat y a stead the class perform the I chord to chords in the same manner. visual and ha by pointing to one chord on the 6. Rehearse the chord changes ds in music chor ge Chan one. new a t to class play that chord until you poin activity. this lead also ony. Students can perhaps even outlining the harm

Did you know...

The average issue contain s twenty lessons. Over the course of a subscription, you will re ceive well over 100 lessons that yo u can use for years to come—at a cost of less than $0.80 per lesson.

Sessions

Session 3 d in the previous lesson. 1. Review how to play the chords learne Visual. Lead the class in 2. Project or post the Chord Progression l to put a measure of res progression. Initially, it may be helpfu silence between measur measure. If this is helpful, reduce the . Repeat until everyon two beats to one beat to playing fluidly ately. chord progression smoothly and accur from each of the sections to 3. Select about half of the students term balance, and ask t and be the chorus. Teach the class the the singing or the ins which part is more important in a song: between the instrume students toward maintaining balance al accompaniment. Rotate 4. Perform the song with instrument e, and low pitches f the three instrumental parts (high, middl the chorus.

Sometimes a great lesson doesn’t fit into a single class period. We’ve split these moreinvolved lessons into sessions that are better suited to your schedule, including logical stopping points and concepts to review.

Session 4 ty from Session 1 with Are 1. Repeat the body percussion activi cowbell, tambourine, and to ms rhyth three the er then transf parts from the last lesson 2. Review the chord progression and “Bulldogs Respect.” 3. Review the melody and lyrics for and layer in the parts: ons positi g startin to 4. Assign students g the intro, song wi percussion, pitched percussion playin accompaniment parts. 5. Rotate positions and repeat.

Extension Ideas are the same as those u • The chords for “Bulldogs Respect” nts to figure out the stude your nge Challe lin. Frank Aretha , then challenge the board the on form the write or t Projec playing during t stop to have will nts Stude ect.” with “Resp key. nt differe l-wide meetings or assem • Use “Bulldogs Respect” in schoo t. We’ve included a masco your match to lyrics the change files. data the in own lyrics

Extension Ideas

There are also times when your students just get it (we hope) or maybe they’re itching for more. We’ve thought of and tried some lesson extensions to help you keep your students engaged.

Cross-curricular Opportunities

When the opportunity arises, we incorporate s how accurat other subjects into our lessons, just as you Choose one instrumental part to asses later. Think abou review for ce rman perfo the record may in your classroom. Whether building might include: a narrative or counting in a ique: mallets are • Student plays with correct techn s ie n lo t pitches for each chord foreign language, skills in o correc C plays nt n Stude • e Thirte • Student is able to follow the chord progression flu literature comprehension, œ œ œ œ œ Œ math, science, language arts, œ. œ œ œ œ c œ œ b œ œ & œ œ œ and history can all benefit Œ  ∑ c b & from music! œ œ œ lo Deborah A. Imio

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Take Note! Tips

These lessons have been vetted by teachers just like you. Take advantage of their tips and alternatives in the margins to help you address problems before they arise and customize the activity for your students. You won’t want to miss these valuable insights! Full-size version available on CD You may want to point out that going from quarter notes to pairs of eighth notes to sets of sixteenth notes is known as sub-dividing the beat.

The dotted quarter and eighthnote rhythm can be challenging. I call it the "hiccup rhythm" because it sounds like a hiccup. This analogy helps my students.

Be sure to separate the 3 whole notes. I realize that ending on a pair of eighth notes is challenging. Your students can do it, and it sounds amazing.

Students should remain seated and “dance” or groove along in place with their sticks! They should not play. Direct them to focus their listening on the great bass line and beat boxing.

Students can use all instruments and improvise during this interlude. Remind the students that their improvisations should be musical and not crazy noise! .

Highlight this fermata so you can bring the class into the final chorus correctly.

This material is similar to that of the introduction. Be sure to point out the whole rest at the end.

interludes. You abilities to improvise during the Additional Resources to perform the rhythms and their small Observe your students’ abilities also repeat the activity assigning

later. You could ce for referencingresources, rmanadditional students’ perfo If your lesson benefit from we’ll tell you about video your may want tocould ns. solos to the sectio groups or eventhere’s them. Whether further reading to learn more about a topic (learning never stops, right?) or there’s a phenomenal YouTube video that your kids 59 August/September 2015 will love, we’ll provide you with the information that you need.

Visit www.activatemagazine.com for more information.

Trends in Music Education

We can also learn a lot from each other. We provide at least one the Getting to Know informative article per issue Arts Standards that delves into a subject that National CoStrre s 4–6 d: Anchor Standard is relevant to today’s music The Perform an te educators. From standards and By Heather Co . Music is Perform Arts Standards for testing to creating inclusive the National Core new standards take ed ple. However, the cess address by sim pro s tic for nt seem artis orta nd this The seco what we do, s that are imp higher-order skill e is at the heart of environments for students with Since performanc coupling them with the next level by to s skill e anc perform ning. out that these new special needs, we’ll start the 21st-century lear te strand, pointing of the Perform er explored the Crea e, Katie Grace Mill ms. The same is true issu sroo 5 clas 201 ay our in il/M e to do so. Apr ady do discussion. Like us on Facebook and Instanthedard and we will continu h of what we alre dards are e in our curriculum, s encompass muc anc stan arts form y per ntar of e new volu some form “Th ude s, incl dard us , learning, of Stan All king nd. ional Core Arts ways of thin follow our blog to join the conversation.stra preface of the Nat is classroom with new According to the cation. Though it education in the

Techie Tips

edu arts s of 21st-century e the delivery of ng 21st-century designed to guid are seeing in all area s loom, by embraci reflects a trend we are re when concert rtoi repe and creating.” This create as we prep the to and think, learn, into teaching to s ped way trap new get to a very diverse easy students with not. We work with can provide our standards as a do that? Of course e to learning skills, we thes way t use righ uld e. Is there one rent ways. We sho s. for a performanc will learn in diffe of 21st-century skill ents, all of whom ct the importance population of stud classes that refle dard states ons, rehearsals, and Stan less hor plan Anc to e h guid s. Eac Anchor Standard ). Let’s , there are three ntial Questions (EQ process of Perform ings (EU) and Esse Within the artistic uring Understand are driven by End ch whi es cess 4. sub-pro Standard details of Anchor tion. take a look at the work for presenta interpret artistic Select, analyze, and 4: rd For example, nda Sta Anchor r own EU and EQ. thei by en driv are facebook.com/HeritageMusicPress heritagemusicpress.blogspot.com , and Interpret, es, Select, Analyze EQ: and EU These sub-process the are e sub-process, thes ical works, within the Select knowledge of mus ence the ers’ interest in and performance influ anding: Perform the context for a and , skill l Enduring Underst nica their own tech of ing and erst und rtoire. re? selection of repe ers select repertoi n: How do perform we will realize that Essential Questio this sub-process, eriences to EU and the EQ for rent musical exp If we focus on the d to a lot of diffe ose y also should exp be to d don’t, and why. The students nee they t wha are like, All of these skills knoitw what they be able toVis es many purposes. th Students need to be serv e ic Ne up through mus w e that SF mov ize SK we ids ic. As We nt mus be able to real ng ere bs ussi ite diff disc of is and e lot g eriencin in to see that ther exposed to a born through exp By PhSele -process, we beg subom cribe yllis ct Th to be able to des as ences to be Even if wetheonlygrade levels in theired ents. They need stud a Fileeri the the for musicalDatexp s by occ ropriate requ asioctio nallynacce refle , ic clasmor ss symphony whether the selection is app Discover the Mus at they likemus srooe ms, I believe that form lain websites geared tow per ic wh exp can e, ow piec they kn a mos to ther Kids like t of us are awa whekids in our , the NYP ss ards able Discover the Instruments why hilthey to asse Kidzone, and re able of be ities the abil also grea SFSe, and plea t one ut the upon a new vers per formanc Kids k abo Disc d why. http thinthe d tos, like , an DSO the Com n’tpos givenion of the San Fran . I was aske tly surp arerise they ers e,san d when I rece grad what theoveyrdo ://www.sfskids.o al skill fifth o site In cisc buileding on skills ntly cam , SFSKids: Fun dards are rg/. Accord).ing (technic stan Gam So &the es with designed toitbe to the e gro “For anc ic!king Teacup. at critically about a funclas form hers” page on ic toMus per onlisneormus thin the ic clas mus the in edu sica the site with cati l , SFSKids “is ers music and orchestr reso form urce ing justonper for children 8–13 arin albey and interests of oth musond g the students for ic.” ing, it is prep to learn about ut building the students to go ng elm aski rwh but ove h, The interactive we teac level. It is abo this may seem h tain ougcon ic. Althsite at much deeper mus a weaeng com g them lth ofagin posing, and con res,s and knowle their selections of dge about inst ducting, as wel r futu ruments, com pres l as orchestra dence in thei posers, game-based seg excerpts for acti musical indepenFurt ented inr less . ments that are ons ve liste herm you ning ore, into , sure to appeal the entire site to active reflection

We often include technology tips, featuring new apps and websites to bring our students’ music-learning environment into the digital world. Each issue’s CD will include any additional worksheets and 6 activities that relate to the technology highlighted in the article. The CD also features a hyperlink resource so you don’t have to transcribe long URLs from the magazine.

Techie Tips

entices users the target aud progress in each to continue to ience. section and awa explore by trac You may wish rding percenta king their to have your stud ge ents use SFSKids points as activates are explore homework assi gnments. It is for d. selfdirected learning also useful for cooperative lear or whole-class inst ning projects. ruction or sma Some ideas are ll-group included at the end of this artic The 124 orchestr le. a excerpts, per formed by the 0:38 to 3:01 in San Francisco length. Some Symphony, rang selections will others will rota remain on the e from te every six mon site permanently ths. Rotating exce green leaf indi whi le cates a Winter/ rpts are marked with Spring playlist June 30); oran a leaf symbol: (selections are ge leaf indicate available from s a Summer/Fal 1–December January 1– l playlist (sele 31). ctions are ava ilable from July Upon entering the site, the use r will notice six Discover, Liste tabs across top n, Play, Perform of the webpag , Conduct, and Use the search e: Com box to find info pose, followed rmation about by a search box composition. a specific com Or, jump right . poser, instrum in and explore different backgro ent, or the site using und setting, sou the tabs . Each section nd effects, and has a its own animal guide.

August/Septem ber 2015

August 2015 International Friendship Day

Go to http://bit.ly/1xDIYKm and sing “In Summer” with Olaf.

International Left-Handers Day Share some jokes

National Radio Day

Have a dance party with some of your favorite songs from the radio.

29 Liam Payne’s birthday (1993)

out the suggested apps, When you see the following icons, check movies. websites, YouTube videos, activities, and

Bryant Oden Songdrops.com

Go to a concert in a local park or festival.

www.fromthetop.com

Leonard Bernstein’s birthday (1918)

Dumb Jokes

Go to http://bit.ly/1vw96Ts and listen to "The End of Summer" by Vadim Kiselev.

National Tell A Joke Day

with your family. Then go to http://bit.ly/1qYedak and watch “Funny Song: Dumb Jokes” on YouTube.

www.dariamusic.com

National Lighthouse Day

Louis Armstrong’s birthday (1901)

Guess the Song Game

FREE

Saturday

Friday

Thursday

Wednesday

Tuesday

Monday

Sunday

Music App Monday

FREE

YouTube Tuesday

Family Fun Friday

Website Wednesday

Movie Musical Night

this page for and Julie Thompson has permission to reproduce of It's a Date! (25/1031H) by Gennifer Bradshaw The Lorenz Corporation. The original purchaser third party website content and/or availability. Heritage Music Press is not responsible for

use in his/her classroom setting.

Calendars and Connections

August 2015

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Communicating with all of your students’ parents could take weeks, but we can help. Each issue comes with a calendar that contains interesting holidays, musicians’ birthdays, and most importantly, fun music activities that parents can do with their children! Music App Monday, YouTube Tuesday, Website Wednesday, and Family Fun Friday will brighten up everyone’s week.

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Included with the calendar are Calendar Connections. This letter can be sent home with every student to provide a mystery music term to unscramble, a melody to identify, and featured musicians to explore. Students can remove and return the bottom of the letter if you would like to keep track of at-home participation.

Visit www.activatemagazine.com for more information.

Music s and y Estes Word Jerr

Choral Corner

If you’ve ever wanted to use a choral piece in your general music classroom, now is the time! Our choral composers write beautiful music that’s perfect for the classroom and stage. Detailed lesson suggestions for introducing and teaching choral literature will help you to bring a vibrant, educationally sound piece to your young singers. Lyrics, vocal scores, and piano scores are all included on the CD so you can reproduce the music for your class. Rehearsal is a breeze when it’s broken down into such easy steps. Looking for additional accessible choral selections? Further recommendations are included to help you choose music for your general music classroom or elementary choir. Listen to full performance recordings of these pieces on your issue’s CD.

œ œ œœ œœ œœ œœ œ . œ . n œ œ œ œ 4 ca. 10 œœ œ œ y q= 4 œ œ œ Livel œ œ œ. 5. This piece has a driving œ that to dance. To address the rhythm, bb bb 44 j œ . œ œ œ needs your singers’ attention focus . œonrhythm œ the stressed and unstressed notes (most often œ œ beats 1 and 3). œ Have yourœ students sing the melody using “Ta” for the stressed & syllables and “Da” for the unstressed notes. (In mm. F F . 4 œ œ –6, you would sing: da TA da, da TA da.) I would œ j also have them mark the stressed œ syllables j on their or lyrics pages. When they 4 ‰ scores are able to sing the passage securely œ. using the nonsens œ e syllables ? bb bb 4 œ , go back to the lyrics; the students will naturally Œ transfer the accents. Yo Yoh  6. Once the choir is singing mm. 1–14 with confidence, guide them to realize the returns in mm. 24–31. You may even congratu  late them on already being able torefrain ∑ so much of the song! sing œ œ œ œœ  3 b bb œ. œ œ œ b RehearsalœOvervie .w œ & œ œ n œ œI suggest teaching the refrain and then verse one. Then teach œ verse 2 and the coda. œ œ œ œ Following is a more detailed description ofj theœsections œ andœ some tips for success. bb bb œ œ œ Refrain (mm. 1–14) . œ & The œ d warm up procedure will help introduce this section. œ œ suggeste ‰ œj œ œ œ . Verse 1 (mm. 15– 23) œ b b ?bb . This section features some importan I œ t dynamics. Be sure to highlight  lyrics them and have students mark them onœtheir pages or scores. Discuss and rehearse . the dynamicsjas needed. ‰ œ n œ - do, n h ta do Refrain (mm. 24–31) œ œ œ œ can - tahn œœ 5 kahn bb . œ  œ œœ œœ ChoralœPrep Guide by Verse 2 (mm. 32–40) &b b œ œœ œ œ vo Erik Whitehill n vi h Measure œ 35œ canœ beœ tricky; work on this measure National - vo in isolation œ 39œ hass:the œœ same tricky . Measure Core vee 5 and 6 ted rhythm as measure 12. If needed, œ Arts Standard œchoralwithsyncopa Students will learn and the rhythm in œ œœ œœ a unison isolation or without syllables piece totion, œ . clap featuring refresh your students syncopa œSpanish bb bb œœcontrastœs. perform ’ memorie and dynamic text, a Latin style, s. œ & Coda (mm. 41–45) œ œ œ œ The.octave leap may pose some œ and demonst challenges. ThisMateria ls opportunity Yo Vivo Cantand œ o!about is a great to talk rate breath support and posturePerf. as it affects students’ ability ? bb bb œ (I Live To Sing) œ œ œ to comfortably sing in the higher part of their registers Acc.. = ca. 104 œœ œ œ Composer: Jerry Estes y q 4 Livel œ œ Text: Spanish and English Data Files œ . 44 j Vocal œ œ b b Student Voicing: Unison œ œ & b b Lyrics œSheet Score bœ Range: & Fcal Score œ œ œ œ. Piano-Vo j œ Question s for determining student success 4 œ The following œ. outline provides include: s and ideas for introducing this piece to your ? b b 4 • Are singers maintaining awarm-up bb level of energy through choir. In the Rehearsa 4. The rhythms in mm. 4–6 and in m. 12 can be a bit challenging. Isolate these sections, focusing on the rhythm. I would have my students clap the rhythms while reciting nonsense syllables, as described in the next step.

Choral Corner

4-7

l Overview (p. 26), I’ve outlined the the phrases to help convey meaning and style? remainin • Are the syllables on beats one and some tips for teaching each. and three being stressed? g sections of the song • Do the singers' facial expressio ns reflect the emotion of the piece? 1. Begin your rehearsal of this piece by teaching the Spanish text and reviewing the vocabulary terms and symbols. 26 3 August/September 2015 Spanish Text Yo vivo cantando Pronunciation

Yoh

vee-voh

kahn-tahn-doh

Translation

live

to sing

Vocabulary harmonic minor: syncopation: crescendo: mezzo forte: mezzo piano: forte: subito piano:

bb &b b

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minor scale with a raised 7th when an accent is off the beat gradually get louder medium loud medium soft loud suddenly soft

3. After the students have heard the song, isolate and sing each of these three passages on neutral syllables. These passages reflect the intervals found in the refrain.

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2. Perform the refrain (mm. 1–14) or play the performance track to generate student interest. Of course, you can also share the entire piece, if time permits.

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During a subscription ye ar, you’ll receive five choral pieces that you can duplicate for your cla ss. If you had ten students in your class (we wish!), you would spend more than $100 for that sheet mus ic alone!

Visit www.activatemagazine.com for more information.

œ œ

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Step 3: Generally, I use eartraining exercises such as this for intervals that appear multiple times in a song. You certainly could create similar exercises using pitches from other sections of the song.

August/September 2015

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CD+ Printable Resources

What’s that you ask? CD+ Printable Resources means that your CD includes both audio and data files that you have permission to reproduce for use in your classroom.

Performance Recordings

Performance recordings are great resources to help you and your students get familiar with the music. Each issue of Activate! includes performance recordings of choral pieces from the lessons throughout the magazine.

Accompaniment Recordings

It’s impractical to be attached to the piano all day. During rehearsal or performance, accompaniment recordings can add excitement and give you the flexibility to conduct or attend to other details (like that pesky back row). The melody is removed from these recordings so your students can shine!

Acc.

Perf.

4-7

Did you know...

Purchased separately, th e professional performan ce and rehearsal recordings on each issue’s CD would cost more than the subscription itself, savin g you over $400 per year.

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Scores Galore!

Don’t be frightened by the small scores in your issue. Whether you want a full score, vocal score, piano score, instrumental score, or lyric sheet, we’ve provided full-size versions on the included CD so you can put the right information (at the right size) in front of your students.

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Printable Visual Aids

Would a lesson benefit from some simple visuals? Of course! Do you have time to create them all? Not always, but we do! The CD also includes visuals and manipulatives that you can print or project when lessons call for them.

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Visit www.activatemagazine.com for more information.

Digital Visual Aids

Some visuals are better when displayed on a screen. Whether you have an interactive board or a projector, we have lesson resources for you. For example, you don’t want to be fumbling with cards when you’re trying to clap rhythms. Keep your hands free and use a PowerPoint presentation to support hands-on activities.

BEAT

Interactive Whiteboard Lesson

If a lesson includes an interactive whiteboard component, you’ll find it on the CD. These lessons benefit from the interactive board, but, since the software is Flash-based, they can also run on any Flash-capable device if an interactive board is not available to you. For whole-class presentation, you can use a projector and mouse, and many of these files are also suitable for individual learning at student computers.

Visit www.activatemagazine.com for more information.

10 Years of Activate!

This year marks the tenth volume of Activate! and we couldnâ&#x20AC;&#x2122;t be prouder to continue to provide this bi-monthly resource. In celebration of its success, we are delighted to include coupons in each issue of the 2015â&#x20AC;&#x201C;2016 subscription as our gift to you. When you subscribe, you will find a new promo code in each issue that details your savings for the month. Thanks for subscribing!

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One Year (5 Issues).............................. $79.95 Two Years (10 Issues).......................$149.95 Three Years (15 Issues)....................$209.95

To Order Visit: www.lorenz.com Call: 800-444-1144 Email: order@lorenz.com

Contributors

Activate! is written by teachers, for teachers! As a result, all of our materials are designed with an eye toward practicality and accessibility to fit the diverse needs of classroom music educators like you. Visit www.lorenz.com to find more contributors and complete biographies.

Jeanette Morgan

Jeanette Morgan began her career teaching elementary music, and was later an adjunct professor at Rochester Community College in Rochester Hills, Michigan. She was a subscriber and huge fan of Activate! before she became its editor and the Classroom Resources Editor for Heritage Music Press.

Phyllis Thomas

Phyllis Thomas teaches elementary music at Bridlewood Elementary in Flower Mound, Texas. She presents music, technology, and IWB sessions at district and regional workshops in Texas, North Carolina, and Arkansas.

Mark Shelton

Mark Shelton has presented hundreds of arts-in-education performances as a percussion soloist. He continues to travel the country as a soloist and clinician.

Artie Almeida

Dr. Artie Almeida has more than thirty years of teaching experience, and she is the music specialist at Bear Lake Elementary School in Orlando, Florida where she teaches 1,100 K–5 students. She is also an adjunct professor at the University of Central Florida and teaches applied saxophone lessons.

Brian Hiller and Don Dupont

Brian Hiller and Don Dupont have more than thirty combined years of experience in music education. They currently teach as music specialists in Westchester County, New York and as professors at Hofstra University.

Mari Schay

Mari Schay currently teaches K–5 general music, choir, beginning band, and marimba band at Earl Boyles Elementary School in Portland, Oregon. She has also taught middle school general music, band, and private percussion lessons.

Deborah A. Imiolo

Deborah A. Imiolo teaches PreK–6 general/vocal music, adaptive music, dance, drama, puppetry, and percussion at Heritage Heights Elementary School in the Sweet Home Central School District in Amherst, New York while still finding time to present workshops throughout the United States.

Konnie Saliba

Konnie Saliba is a professor emeritus of music at the University of Memphis in Memphis, Tennessee following years of teaching choral and general music in elementary and secondary public and private schools.

Diane Lange

Dr. Diane Lange is an associate professor and area coordinator of music education at the University of Texas at Arlington where she teaches undergraduate and graduate courses in early childhood and elementary music education.

Donna Dirksing

Donna Dirksing is an elementary music specialist at The Summit County Day School in Cincinnati, Ohio and she frequently presents workshops and clinics at the local, state, and national levels.

Did you know...

The combined teaching experience behind an issue of Activ ate! spans more than 250 years.

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