{"id":1819,"date":"2017-06-20T18:08:46","date_gmt":"2017-06-20T18:08:46","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/suny-music-and-the-child\/chapter\/chapter-9-music-and-the-older-child-3\/"},"modified":"2017-09-12T15:53:47","modified_gmt":"2017-09-12T15:53:47","slug":"chapter-9-music-and-the-older-child-3","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-music-and-the-child\/chapter\/chapter-9-music-and-the-older-child-3\/","title":{"raw":"Chapter 9: Music and the Older Child","rendered":"Chapter 9: Music and the Older Child"},"content":{"raw":"
\r\n
\r\n

Chapter Summary<\/h3>\r\nThis chapter explores the uses of music with older elementary-aged children. It covers their vocal ranges, preparation for multi-part singing including echo songs, ostinato patterns, drone and multi-part performing including polyphony (multiple melodies) such as rounds, partner songs, harmony and descants, as well as other age-appropriate repertoire such as cumulative songs, play-party songs, and African-American songs.\r\n\r\n<\/div>\r\n \r\n\r\nOlder children, ages 6 and up, have listened to a great deal of musical material in their short lives. The songs and sounds they\u2019ve absorbed are part of western musical style, and are now part of the musical lingua franca<\/em> or the music that is \u201cnormal\u201d for them. They\u2019re familiar with the musical genres, timbres, modes, and instruments, rhythmic and melodic patterns, and have learned the culturally acceptable cadences, harmonies, texture, and so forth. The lower to middle elementary-aged child is ready for more complex listening, singing, and music making. This chapter will offer music suggestions to inspire older children, including cultural games, songs, and dances.\r\n

I. Singing Voices of Older Children<\/h1>\r\n

Developmental Abilities<\/h2>\r\nJust as children\u2019s aptitude to learn a foreign language stabilizes after the age of 9, Music researcher Edwin Gordon (2007) found that children\u2019s musical aptitude is also developmental, fluctuating until age 9, and stabilizing afterwards. This doesn\u2019t mean that children can\u2019t learn music after the age of 9, of course, but that the language of musical enculturation is well under way by that age. It is important to keep in mind that a rich musical environment at home and at school will greatly benefit a child\u2019s musical and cognitive abilities at any age.\r\n\r\nIn terms of the voice, both boys and girls should remain singing in their head voice or falsetto<\/span>. Falsetto is a light, high, head voice that is not pushed, yelled, or forced in any way. Younger boys can switch easily into falsetto or head voice, as their voices have not yet begun to change. A good falsetto produces a clear, clean \u201cboy\u2019s choir\u201d type of sound, and is where children should try to sing in order to maintain a healthy voice.\r\n

Singing Ranges for Older Children<\/h2>\r\nAs we recall from the previous chapter, children\u2019s singing ranges expand year by year. Older children may have an expanded vocal range, but it is important to remember that the pitches that are most comfortable to sing are in the middle of their range.\r\n

Six to Eight Years Old<\/h4>\r\nGrades first through third, or six to eight-year-olds, can sing about an octave from C to C\u2019, with their most comfortable notes from E to G.\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Eight to Eleven Years Old<\/h4>\r\nChildren aged eight to eleven can sing from the B flat below middle C to about an E flat or E, 3 notes above high C\u2019. Their most comfortable notes are between D and G.\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Selecting a Song in the Proper Singing Range<\/h2>\r\nWhen selecting a song for older children, first check the pitch range appropriate for the child given the guidelines above. Most of the notes of the song should match the child\u2019s most comfortable pitches right in the middle of their range. Children start to become weaker when singing around middle C. Try to avoid songs that sit in a lower range such as middle C or D, and instead pitch or place the song slightly higher up around E, F and G. Most of the songs in this book are transposed to the key of F so that most of the pitches of the song are around the tonic, or F.\r\n\r\nAnother important thing to keep in mind is that where an adult feels most comfortable singing, is probably not where the child feels most comfortable. Remember that many times, classroom teachers pitch the song in their own range, not thinking about where the song would work best for the children, and children struggle to sing well.\r\n
\r\n
\r\n
\r\n

Activity 9a: Try this<\/h3>\r\n

Select the notation below that best fits the vocal ranges for children ages 3, 4 and 5. How about 6-8? 8-11?<\/p>\r\n\r\n<\/div>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n

If You\u2019re Happy and You Know It (Keys of E flat Major, C Major, F Major)<\/h1>\r\n

Eb<\/span> Major<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
C Major<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
F Major<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

II. Advanced Musical Experiences<\/h1>\r\nBeginning at around eight years of age, children are ready for more advanced musical experiences vocally, instrumentally, and theoretically, and more complex musical subject matter. This section will explore different types of songs appropriate for older children, and the process for introducing more complex musical experiences.\r\n

Repertoire<\/h2>\r\nMost of us are surrounded by pop music culture, and children at this age are particularly aware of and influenced by the pop scene. They hear pop music, watch singing competition shows on television, have pop idols, and want to sing pop music. The challenge with older children is their desire to vocally imitate the pop singing style. This music, of course, is very familiar and accessible to them, and it is only normal that they are inspired by and want to mimic their favorite pop star. However, keep in mind that a child\u2019s vocal apparatus is still developing, and imitating adult singing with scoops, chest voice, or belting is affected<\/em> singing and not natural. Not only does it inhibit the child\u2019s sense of ownership of their own vocal instrument and musicality, it also inhibits their ability to explore the natural timbre of their own voices, and find their own unique musical style. These songs are intended for adult voices, and are often out of the comfortable singing range of children. Belting or pushing a developing voice too far can be detrimental to the child\u2019s voice, and can result in permanent damage.\r\n

Subject Matter<\/h2>\r\nLuckily, there is an enormous children\u2019s repertoire of songs, including folk songs, historical songs, play party songs, story and game songs, classical pieces, and popular songs written for children\u2019s voices with subject matters that appeal to their developing sense of morality and worldview, and are steeped with sociohistorical meaning.\r\n\r\nMany songs for older elementary children are highly appropriate for use in the classroom curriculum, including core subject songs (math, social studies, science), national songs, cultural and historical songs, language arts songs, holiday songs, etc. The songs presented in this book are folk and popular songs, some of which are not only historically important, but culturally significant as well. These songs are part of a potentially rich musical experience for the child\u2014exposing them to material with inherent sociocultural meaning that can contribute to excellent lessons and, most importantly, enhance integration activities.\r\n

Multiple Part Performance: Introducing Texture and Layers<\/h2>\r\nBy the age of seven or eight, children are ready for some type of vocal multiple part performing. Multi-part performing includes both instrumental and vocal music making, and can refer to the performance of more than one melody at the same time (i.e. a round), vocal harmony, or any type of accompaniment. Playing two or more parts on instruments is far easier and children can begin this type of multi-part performance much earlier. Vocally, however, children find it quite difficult to sustain their own vocal part against that of another singer or singers before the age of 8.\r\n\r\nMulti-part performance in either the vocal or instrumental milieu is cognitively beneficial, and will increase a child\u2019s musical competence. Older children appreciate and are capable of singing complex songs, particularly those that include multiple parts and simple harmony. Musical texture (performing multiple lines of music simultaneously) not only creates more intricate and interesting music, but it provides significant cognitive benefits. Multi-part performance of any kind requires the child to focus intensely on their part, training the brain to produce one part while acknowledging additional auditory stimuli coming from the other parts. The brain then must process the whole piece at once while still remaining focused on the one performing part.\r\n\r\nChildren, who may not yet ready for harmony, can be prepped for harmony at much earlier ages through the use of layered speech pieces, rhythmic instrumental or vocal patterns (see ostinato<\/em> below). Keep in mind that children are performing in multiple parts even when they are singing a song and doing any other simultaneous activity such as tapping the beat, playing a pattern on an instrument or performing body percussion (snapping, stomping). Any rhyme can be made more complex by adding a body percussion pattern or simple instrument pattern.\r\n

Deedle Deedle Dumpling<\/h1>\r\n

English nursery rhyme<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nAny familiar song can be used to teach two parts, such as taking a simple melody and adding a vocal ostinato. The song \u201cA Ram Sam Sam,\u201d for example, is a traditional Moroccan folk song that contains many simple repeating patterns. Begin by learning the song and performing it in unison. Then sing several times as a two part round.\r\n

A Ram Sam Sam<\/h1>\r\n

Traditional Morrocan folk round<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Creating ostinati patterns<\/h4>\r\nOstinati<\/span> are short patterns, repeated persistently throughout a piece often at the same pitch. Ostinati (pl. of ostinato<\/span>) can be either vocal or rhythmic. The easiest way to find an ostinato is to take a short pattern right from the song itself. Ostinati can also be composed. Using short patterns from the song is a simple way to create vocal or rhythmic ostinati. Start by finding a short, simple, fun or interesting pattern in the song. An ostinato can be performed using body percussion, instruments or with the voice.\r\n\r\nIf the children are not ready to sing the song with a sung vocal ostinato, begin by chanting the song as a speech piece and adding one or more speech ostinato patterns.\r\n

A Ram Sam Sam (Speech with one ostinato)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nBegin with a simple ostinato. In this case, the rhythm of the very last phrase \u201cRam Sam Sam\u201d (ta ta ta rest), works very well. Have children clap and say the words simultaneously.\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nTwo additional ostinati for this song with more complex rhythms include \u201cra-fiq a ra-fiq\u201d (\u201cta-a ta, ta ta-a ta\u201d) or \u201cgu-li gu-li gu-li gu-li\u201d (ti ti ti ti ti ti ti ti). Have children clap and say their ostinati. Notice, however, that \u201ca ra-fiq\u201d begins on a pickup beat, which can be tricky for entrances. To avoid that, begin with \u201cra\u201d on the downbeat so that both ostinati (ra-fiq and gu-li gu-li) begin in simultaneously.\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nDivide the class into four equal parts, one group chanting and clapping the \u201cmelody\u201d rhythm and the other three chanting and clapping the ostinati. After a few times through, have the students drop the chanting and perform the piece using clapping only.\r\n

A Ram Sam Sam (Speech with vocal ostinato)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nDepending on the level of the class, the switch to singing the song with all of its ostinati can be done all at once or by using a combination of spoken and sung. Using a combined approach, begin by having the melody group sing the melody, while the ostinati groups come in one at a time using speech only.\r\n

A Ram Sam Sam (With one ostinato)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nGradually add the other two ostinati patterns, one at a time.\r\n

A Ram Sam Sam (With two ostinati)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

A Ram Sam Sam (With three ostinati)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nMove from using rhythmic ostinati to melodic ones. Be sure to have them learn the song very well before adding a sung ostinato. Divide the group in half and have half sing \u201cRam Sam Sam\u201d while the other half sings the melody. These are examples of pitched ostinati that are taken directly from the melody of song (measures 2 and 9). The easier of the two is 1a, but if the class is advanced, use 1b.\r\n
Vocal Ostinato ex. 1a<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
Vocal Ostinato ex. 1b<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nThe other two ostinati can also be sung. For more advanced groups, try dividing into three parts, with the melody in one part and sung ostinati in the other groups.\r\n
Vocal Ostinato #2<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
Vocal Ostinato #3<\/h5>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

A Ram Sam Sam (With three sung ostinati)<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nNote: In order for the harmony to work with the song, the pitches for \u201cgu-li gu-li\u201d need to be changed in measures 3 and 7 to a \u201cBb<\/span>\u201d rather than \u201cA.\u201d If this is too difficult, remain on the \u201cA.\u201d\r\n

Drone<\/h4>\r\nA drone is usually a single pitch, usually held or repeated underneath a melody. The simplest type of accompaniment is to add a single note drone to a melody. Songs such as \u201cAmazing Grace,\u201d \u201cBow, Wow, Wow,\u201d \u201cTideo,\u201d are all pentatonic songs that work well with a drone accompaniment. Drones can also be several pitches, but they repeat throughout all or most of a song. Children may be tempted to speak or chant the drone part, but it is important that they sing it, maintaining a constant pitch and good tone.\r\n

Tideo<\/h1>\r\n

Traditional American play party song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

More complex part singing<\/h4>\r\nOlder children are ready for singing in two, three and four parts, and also performing on instruments layering many different patterns together. In singing, there are two types of basic part-singing appropriate for children: polyphony<\/span> <\/strong>and harmony<\/span>.<\/strong>\r\n\r\nPolyphony<\/span><\/strong> is a word that refers to multiple independent lines of music sung at the same time. Polyphony can happen in many different ways. Rounds<\/span><\/strong> and partner songs<\/span><\/strong> are two good examples of polyphony.\r\n\r\nIn a round, all of the voices are singing the same melody but at slightly different times, and in a partner song each part is singing a different melody. The important element is that all of the parts or \u201cvoices\u201d are equal, and there isn\u2019t a single dominant melodic line. Although we associate rounds with children, there are many complex and lengthy rounds with more serious topics for adults.\r\n

Rounds<\/h4>\r\nRounds or canons have been around for hundreds of years, and play a significant role in European and American society. Group singing played a major role in society, for emotional expression, entertainment, social cohesion, and so forth. In a round, everyone contributes equally in terms of melody. The oldest polyphonic song known is the Medieval English song \u201cSumer Is Icumen In\u201d dated from the mid-13th century. This round, which is about the arrival of summer, actually has two \u201cmelodic ostinati,\u201d which are known as \u201cgrounds,\u201d at the end, which can be sung along with the melody.\r\n

Sumer Is Icumin In<\/h1>\r\n

Medieval English song, 13th century<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nMore simple rounds that most people know include: \u201cRow, Row, Row Your Boat,\u201d \u201cFr\u00e8re Jacques<\/a>,\u201d and \u201cScotland\u2019s Burning.\u201d\r\n

Row, Row, Row Your Boat<\/h1>\r\n

American folk song and round, 1852<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Fr\u00e8re Jacques<\/h1>\r\n

French folk round, 18th century<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Scotland\u2019s Burning<\/h1>\r\n

Traditional American round, 19th century<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nMore complex rounds include: \u201cOh How Lovely Is the Evening,\u201d \u201cDona Nobis Pacem,\u201d \u201cHey, Ho, Nobody Home,\u201d which is in minor, and \u201cViva la Musica,\u201d a 16th century round written by the Renaissance composer Giovanni Palestrina.\r\n

Oh, How Lovely<\/h1>\r\n

German folk round<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Dona Nobis Pacem<\/h1>\r\n

Text from \u201cLamb of God,\u201d Latin Mass<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Hey Ho, Nobody Home<\/h1>\r\n

Chrismas round<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Viva la Musica!<\/h1>\r\n

Michael Praetorius (1571-1621)<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n

Partner songs<\/h4>\r\nPartner songs are another way to experience multiple-part (polyphonic) singing. In a partner song, two or more songs, which are musically compatible, are sung together. Similar to a round, everyone contributes a melody. Partner songs are slightly more challenging to sing in that they use different melodies. A good example is the song \u201cOne Bottle of Pop\u201d in which three separate melodies work well together.\r\n

One Bottle of Pop<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nBelow are some additional examples of individual songs and their potential \u201cpartners\u201d that blend well and go together. The songs \u201cThis Old Man,\u201d \u201cSkip to My Lou,\u201d \u201cShoo Fly,\u201d \u201cBow Belinda,\u201d and \u201cSandy Land,\u201d for example, are all able to be sung simultaneously.\r\n

This Old Man<\/h1>\r\n

English game song, 19th century<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Skip to My Lou<\/h1>\r\n

Traditional American play party song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Shoo Fly<\/h1>\r\n

American folk song, 1863<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Bow Belinda<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Sandy Land<\/h1>\r\n

Traditional folk song, Texas<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

This Old Man and Sandy Land<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Bow Belinda and This Old Man<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nAll of the songs together:\r\n

Bow Belinda, This Old Man, Shoo Fly, Sandy Land<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

List of children\u2019s songs and partner songs<\/h4>\r\nThe list below consists of suggested songs that work well when sung together. Each box represents a group of songs that can be sung in pairs as partner songs, or even layered as three or more songs.\r\n

Partner songs: groups of commonly known songs that can be paired or layered.<\/h1>\r\n<\/colgroup>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n

Row, Row, Row, Your Boat<\/p>\r\n

Here Comes a Bluebird<\/p>\r\n

Frere Jacques\/Are you Sleeping?<\/p>\r\n

Three Blind Mice<\/p>\r\n

London Bridge<\/p>\r\n

The Old Grey Mare<\/p>\r\n

Mary Had a Little Lamb<\/p>\r\n

Merrily We Roll Along<\/p>\r\n

Boola, Boola<\/p>\r\n

The Farmer in the Dell<\/p>\r\n

Here We Go Looby Loo<\/p>\r\n

Go Tell Aunt Rhody<\/p>\r\n

Hot Cross Buns<\/p>\r\n

Where is Thumbkin?<\/p>\r\n

He\u2019s Got the Whole World in His Hands<\/p>\r\n

Rock-a My Soul<\/p>\r\n<\/td>\r\n

\r\n

Bow Belinda<\/p>\r\n

Sandy Land<\/p>\r\n

This Old Man<\/p>\r\n

10 Little Indians<\/p>\r\n

Skip to My Lou<\/p>\r\n

Paw, Paw Patch<\/p>\r\n

Mulberry Bush<\/p>\r\n

Oh, Dear, What Can the Matter Be?<\/p>\r\n

Irish Washerwoman<\/p>\r\n

Liza Jane<\/p>\r\n

Old Brass Wagon<\/p>\r\n

Michael Finnegan<\/p>\r\n<\/td>\r\n

\r\n

Good Night Ladies<\/p>\r\n

Pickalittle, Talkalittle (Music Man)<\/p>\r\n

When the Saints Go Marching In<\/p>\r\n

Swing Low Sweet Chariot<\/p>\r\n

This Train<\/p>\r\n

Nobody Knows the Trouble I\u2019ve Seen<\/p>\r\n

Gospel Train<\/p>\r\n

She\u2019ll be Comin\u2019 Round the Mountain<\/p>\r\n

All Night, All Day<\/p>\r\n

Rock-a My Soul<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Joshua Fought the Battle of Jericho<\/p>\r\n

Hey Ho, Nobody Home<\/p>\r\n

When Johnny Comes Marching Home<\/p>\r\n

Wondrous Love<\/p>\r\n

Kookaburra<\/p>\r\n

Wade in the Water<\/p>\r\n<\/td>\r\n

\r\n

Juanita<\/p>\r\n

Santa Lucia<\/p>\r\n

Bicycle Built for Two<\/p>\r\n

Sidewalks of New York<\/p>\r\n

In the Good Old Summertime<\/p>\r\n<\/td>\r\n

\r\n

Arkansas Traveler<\/p>\r\n

Oh, Susanna<\/p>\r\n

Turkey in the Straw<\/p>\r\n

Camptown Races (verse)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Humoresque<\/p>\r\n

Old Folks at Home<\/p>\r\n

Put on Your Old Gray Bonnet<\/p>\r\n<\/td>\r\n

\r\n

Child of God<\/p>\r\n

Mary Had a Baby<\/p>\r\n

Sing Hallelu<\/p>\r\n<\/td>\r\n

\r\n

One Bottle of Pop<\/p>\r\n

Don\u2019t put your Dust<\/p>\r\n

Fish and Chips and Vinegar<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

My Bonnie Lies Over the Ocean (refrain)<\/p>\r\n

Cielito Lindo (refrain)<\/p>\r\n

Man on the Flying Trapeze<\/p>\r\n<\/td>\r\n

\r\n

Home on the Range<\/p>\r\n

My Home\u2019s in Montana<\/p>\r\n<\/td>\r\n

\r\n

Old Texas<\/p>\r\n

Old Chisholm Trail<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Ta-Ra-Ra-Boom-De-Ay<\/p>\r\n

Long, Long Ago<\/p>\r\n<\/td>\r\n

\r\n

All Night, All Day<\/p>\r\n

Swing Low Sweet Chariot<\/p>\r\n<\/td>\r\n

\r\n

I Love the Mountains<\/p>\r\n

Heart and Soul<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Bluetail Fly (refrain)<\/p>\r\n

Shoo Fly (refrain)<\/p>\r\n<\/td>\r\n

\r\n

Dixie<\/p>\r\n

Yankee Doodle<\/p>\r\n<\/td>\r\n

\r\n

Zum Gali Gali<\/p>\r\n

Shalom Chavarim<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

I am a Poor Wayfaring Stranger<\/p>\r\n

Scarborough Fair<\/p>\r\n<\/td>\r\n

\r\n

Land of the Silver Birch<\/p>\r\n

My Paddle<\/p>\r\n<\/td>\r\n

\r\n

Be Bow Wow Wow<\/p>\r\n

Hot Cross Buns<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Sally Go Round the Sun<\/p>\r\n

See Saw, Margery Daw<\/p>\r\n<\/td>\r\n

\r\n

We Wish You a Merry Christmas<\/p>\r\n

O Christmas Tree<\/p>\r\n<\/td>\r\n

\r\n

Mango Walk<\/p>\r\n

Sweet Potatoes<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Lida Rose (Music Man)<\/p>\r\n

Will I Ever Tell You?<\/p>\r\n<\/td>\r\n

\r\n

Go Tell It on the Mountain<\/p>\r\n

Some Folks Do<\/p>\r\n<\/td>\r\n

\r\n

Mr. Frog Went A-Courtin\u2019<\/p>\r\n

Goin\u2019 Down to Cairo<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Jubilate (Hark! The Vesper Bells are Ringing)<\/p>\r\n

Chumbara<\/p>\r\n<\/td>\r\n

\r\n

Haul Away Joe<\/p>\r\n

Early in the Morning<\/p>\r\n<\/td>\r\n

\r\n

Hush-a-bye<\/p>\r\n

Lullaby<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

What Shall We Do with a Drunken Sailor<\/p>\r\n

Sinner Man<\/p>\r\n<\/td>\r\n

\r\n

Sing a Song of Peace<\/p>\r\n

This is My Country<\/p>\r\n<\/td>\r\n

\r\n

Little Red Caboose<\/p>\r\n

Sourwood Mountain<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

Harmony<\/h4>\r\nAfter success singing rounds and partner songs, children may be ready to sing in harmony. Harmony<\/span><\/strong> is the sounding of two notes simultaneously. When singing harmony, one voice usually has the melody and is dominant, while the harmony parts take a \u201cback seat\u201d so to speak. The melody notes are usually the highest notes, with the harmony supporting underneath. Singing in harmony is quite a bit more challenging than partner songs or rounds.\r\n\r\nHarmony lines are often the interval of a third (3rd) or a sixth (6th) below the melody line. Singing a 3rd or 6th away from the melody is very challenging, as the tendency is for singers to slip from their parts into unison with the melody.\r\n
Preparation for vocal harmony<\/h5>\r\nSinging a drone is excellent preparation for harmony (see \u201cTideo\u201d above). Here is a scale warm-up that also helps prepare students to hold onto their part against another moving part.\r\n

Warm-up for Harmony<\/h1>\r\n

N. Sarrazin<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Sarasponda<\/h1>\r\n

Attributed as a Dutch spinning song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Ah, Poor Bird (with harmony)<\/h1>\r\n

Elizabethan English round<\/p>\r\n

Harmony N. Sarrazin<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\nDescants<\/span> are also a type of harmony, but are instead placed above the melody. Descants can have text, but are also sung on neutral syllables such as oh, or ah.\r\n

Ah, Poor Bird (with descant)<\/h1>\r\n

Elizabethan English round<\/p>\r\n

Descant N. Sarrazin<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n

III. American Children\u2019s Games and Game Songs<\/h1>\r\nAmerica\u2019s folk heritage is rich with songs from many cultures. Folk songs such as play party songs, African-American songs, story songs, and dance-songs are all a part of American music history and are excellent opportunities to discuss history and the role of music in our culture. The lyrics to these songs contain literary and social references, and are rife for inclusion in the interdisciplinary classroom. The songs can also fit into other aspects of children\u2019s lives and their school curriculum as well.\r\n\r\nMany game songs originated in the Georgia Sea Islands, a series of over 100 islands off the coast of South Carolina, Georgia, and Florida. The Islands have a long and complex cultural history, but are most known for their rich African-American heritage as white plantation owners left the islands in the 19th century leaving their slaves behind. The result was the creation of a distinct Gullah\/Creole language and culture, which can be found in many children\u2019s games.\r\n

Draw Me a Bucket of Water<\/h1>\r\n

Georgia Sea Islands singing game<\/p>\r\n

Groups of four: Couples facing each other grab both hands and sway back and forth to the beat while singing. The inside of the circle represents the \u201cbucket.\u201d As the numbers increase, a person is added to the bucket encircled by the clasped hands.<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Ridin\u2019 in a Buggy<\/h1>\r\n

Traditional American play party song, South Carolina<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Oh! Susanna<\/h1>\r\n

American minstrel song<\/p>\r\n

Stephen Foster, 1848<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Doctor Knickerbocker<\/h1>\r\n

American game song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Here We Go Zudio<\/h1>\r\n

African American song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Play Party Games<\/h2>\r\nPlay parties are singing parties that evolved along with the rural frontier American experience. In the early 1800s in the southwestern and western states, there was a prohibition against playing musical instruments and dancing by certain religious organizations. Play parties were a way around this. They were a social activity in which young people sang songs while clapping, incorporating drama, and some swinging movements. Many songs we know such were play-party songs such as \u201cBuffalo Gals,\u201d \u201cSkip to my Lou,\u201d \u201cOld Dan Tucker,\u201d \u201cOld Brass Wagon,\u201d \u201cPop Goes the Weasel,\u201d \u201cWeevily Wheat,\u201d and \u201cB.I.N.G.O.\u201d\r\n\r\nThe movements to \u201cOld Brass Wagon\u201d have children in a circle, basically following the instructions in the song. Everyone holds hands and circles to the left on the first verse, right on the second, etc.\r\n

Old Brass Wagon<\/h1>\r\n

Traditional American play party song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nThe circle dance song \u201cI\u2019ve Been to Haarlem\u201d requires a more sophisticated choreography. One child stands in the middle of a circle of partners who walk in a circle in promenade position. On the words \u201cturn the glasses over,\u201d the partner on the outside of the circle turns under the inside partner\u2019s arms, thus changing direction. The partners let go, and circle in opposite directions until the words \u201close your partner in the ocean.\u201d On this last word \u201cocean\u201d the child in the middle quickly rushes around trying to find a partner and leaving one child \u201cout\u201d who is now the one in the middle.\r\n

I\u2019ve Been to Haarlem<\/h1>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\nThe song \u201cWeevily Wheat\u201d refers to wheat that is infested with beetles or weevils that destroy the plants. The game for \u201cWeevily Wheat\u201d requires children in small groups of four, with each child numbering off 1-2-3-4. The song begins with the children holding hands and moving clockwise. On \u201ctake some,\u201d everyone reverses direction. On the words \u201cfive times five\u201d all stand in place and layer hands in the center of the circle to the beat of the song. Child 1 puts their left hand in, 2 put theirs on top, 3 and 4 continue the pattern. Then all layer their right hand in. When they run out of hands, the children pull their left hand out from the bottom of the pile in turn and place on top, continuing until the end of the verse. This song contains multiplication and can be used as an extension activity for math.\r\n

Weevily Wheat<\/h1>\r\n

Traditional American play party song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

Cumulative Songs<\/h2>\r\nCumulative songs are those in which each verse adds on lyrics and music from the previous verse, and by the end of the song, the singer sings through all of the accumulated lyrics. The most well-known cumulative song is \u201cThe Twelve Days of Christmas,\u201d but there are many others. These songs provide an excellent cognitive workout, as the singer has to mentally catalog each verse, adding each verse as they progress through the song, but then singing all of the lyrics backward in a cumulative fashion.\r\n\r\nSome examples of cumulative songs are \u201cHey Ho, the Rattlin\u2019 Bog,\u201d \u201cThere was an Old Lady who Swallowed a Fly,\u201d \u201cThe Green Grass Grew all Around,\u201d \u201cAllouette,\u201d and \u201cI Bought me a Cat.\u201d\r\n\r\nThe song \u201cRattlin\u2019 Bog\u201d has a refrain with verses that accumulate. This Irish song is also meant to gradually speed up in tempo as you sing.\r\n
\r\n
\r\n
\r\n

Activity 9b: Listen<\/h3>\r\n

Listen to the band Irish Descendants<\/a> sing \u201cRattlin\u2019 Bog.\u201d What is your reaction to the tempo of the song? Are you able to sing along? How might you use this type of song in a lesson?<\/p>\r\n\r\n<\/div>\r\n \r\n\r\n<\/div>\r\n<\/div>\r\n

The Rattlin\u2019 Bog<\/h1>\r\n

Traditional Irish folk song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n\u201cI Bought Me a Cat\u201d is a traditional American song arranged by the famous American composer Aaron Copland. This song does not have a refrain, but the verses themselves accumulate lyrics.\r\n

I Bought Me a Cat<\/h1>\r\n

Traditional American children\u2019s song<\/p>\r\n\r\n

\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n
\r\n
\"\"<\/div>\r\n<\/div>\r\n

I bought me a pig, my pig pleased me<\/p>\r\n

I fed my pig under yonder tree,<\/p>\r\n

My pig says \u201cgriffey, griffey\u201d<\/p>\r\n

My hen says \u201cshimmey shack, shimmey shack\u201d<\/p>\r\n

My goose says \u201cquaw, quaw\u201d<\/p>\r\n

My duck says, \u201cquaa, quaa\u201d<\/p>\r\n

My cat says \u201cfiddle-i-fee.\u201d<\/p>\r\n

I bought me a cow, my cow pleased me<\/p>\r\n

I fed my cow under yonder tree,<\/p>\r\n

My cow says \u201cbaw, baw\u201d (etc.)<\/p>\r\n

I bought me a horse, my horse pleased me<\/p>\r\n

I fed my horse under yonder tree,<\/p>\r\n

My horse says \u201cneigh, neigh\u201d (etc.)<\/p>\r\n

I got me a wife, my wife pleased me<\/p>\r\n

I fed my wife under yonder tree,<\/p>\r\n

My wife says \u201choney, honey\u201d (etc.)<\/p>\r\n\r\n

Songs Every Child Should Know<\/h2>\r\nNational Association for Music Educators (NAfME) (formerly known as Music Educators National Conference, MENC) developed a suggested list of 42 songs every child should know. The songs are culled from folk, stage musicals, patriotic songs, Tin Pan Alley songs, culturally diverse songs, film songs, and religious songs.\r\n

42 Songs Every Child Should Know<\/h5>\r\n