Is St. Patrick’s Day a big deal where you live? It is one of those holidays that either your city takes very seriously, or no one cares.
Here in Savannah, we take it very seriously.
We actually have the third largest St. Patrick’s ay parade in the US– yes, right here in South Georgia! I looked that up to double check we are still #3, and one of the articles I read said we have the highest density of Irish-Americans for our size– 8%. I did not know that.
Now, I’m going to be honest, none of my kids are Irish. But they still love St. Patrick’s Day, and I am shocked by how much they looooved the music in this Irish lesson! I actually did this K-3, although it is probably best suited for 2-3 grade. Nevertheless, in every class, students were asking me if they could sing it again.
At the bottom, I will link some other ideas if you want to expound upon what we’ve got here!
We start the day out with a well known song as a warm up. We did not previously know any Irish songs (should have planned better!), so each grade did whatever they had done last week.
After that, I told them, “We are going to listen to Irish music today! Does anyone know what holiday is coming soon that has to do with Ireland?”
We learn the chorus to “Tell Me Ma”. I taught it to them by rote– first words, then with the melody. This is actually one of our Musical Explorers songs (find out more about that here), which means I have extra resources to go along with it– that you can access! So I use this page to show the lyrics. You can get the song here.
They sing along with the song for about 30 seconds, and then I pause it. Then we talk about how the chorus is a part of the song that keeps coming back over and over, and the verses are different each time. I have the class pick different ways that we can keep the steady beat, and we change each time the section changes. So I will write something like this on the board:
Instrumental: Pat legs
Verse 1: Stomp
Verse 2: Head
We will listen and sing and do the steady beat, changing our motions for each section. Of course, I am letting the kids pick it so it ends up being different each time.
Instrument time! We looked at the bodhran (an Irish drum played with a stick– you can look at one here) and– with the older students– talked about how it is a percussion instrument. We listened again and played hand drums, since they were the closest thing what we had to the bodhran.
To make it more interesting for my second and third graders, they each played the hand drums. Two students went to the front of the room and played tubanos (I have these!). Everyone was playing the steady beat. We walked in a circle on the chorus and stood still the rest of the time. Each section, the people at the tubanos had to switch with someone in our circle until everyone had played.
Next, I showed the students some pictures of Ireland (I literally just google “Ireland” and click on pictures– but make sure that you do this ahead of time and look to make sure they are appropriate!). We looked at the ocean, the castles, the cliffs, and make sure to show them the bogs.
After explaining what a bog is, I told them I had a song about a bog. They learned the chorus by rote. I sang the verses myself, and had them use their arms to make actions that represented all the things in the bog– the limb and the branch and the twig and the nest, and so on. They joined in on the chorus. And, of course, I played my ukulele (but you could play the guitar or the piano or xylophones or just do it a cappella).
After that, we watched some Irish dancing. Again, my kids are used to Irish dancing because– hello, parade– but they still amaze me with how much they love it. They think it is so cool. One fifth grader told me last year, “It’s kind of like our music, because it’s got a cool beat and then a melody on top.” I thought that was very insightful.
Anyway, I like to have them watch Riverdance, because it is super cool. This is my favorite video so far– I always look for one that have guys as well as girls.
You know those songs that you find and you are not sure if your kids will like it, then they love it? That’s how the Tick Tock song was for my classes. I thought it looked/sounded cute, but it was a HUGE hit! My kids wanted to keep doing this song over and over and over again.
And of course we love any songs that keep students singing!
I used this as a movement activity and for playing instruments, but I am planning to bring it back to teach rhythm. It is a ta and titi song as well as a sol-mi-la song. So of course you can use it for any of those.
I do have a TPT product for this, which you can get here. It has rhythmic and melodic practice with flash cards, slides with rhythm and melody, clock faces, beat charts, and basically everything you need for a super smooth class. If you just want to get a preview to use in your classroom with slides for lyrics, solfege, and rhythm, then you can get that in my free resource library. If you have not accessed my free resource library, then you will need to click here. You provide your email and then you get the password and you can download everything in the library! I only email twice a month, so I won’t be spamming you, and of course you can unsubscribe anytime (but you won’t want to because, again, FREE RESOURCES).
PS My second graders also really enjoyed this song!
Teach students the Tick Tock song by rote. You can focus on rhythm or melody. You can find both the rhythm and melody on the free slide in my resource library or you can get all of the resources in my TPT.
Teach the students the movements to the song. I always (ALWAYS) start non-locomotor movements and then switch to locomotor movements if the students can handle it. The movements are a little bit awkward because they really aren’t supposed to be non-locomotor, but my kids did not notice or care. Here are the movements:
Walk in place
At “open wide”, open your arms up wide
At “cuckoo”, bend your body sideways for each cukoo
I learned this from a video on this YouTube channel. It no longer seems to be on YouTube and the link from my Pinterest is broken. So he gets the credit even though you cannot see it!
3. Each time, ask a student to pick what time it will be. This can make it entertaining for hours, because they all want to pick the time. I like to use a plastic teaching clock like this one or the clock cut out in my TPT product to show the time, because most students cannot tell time on analog clocks. I don’t spend a ton of time on it, but we do talk about the big hand and little hand and the hours and then I will change the time each time we sing.
4. If they are doing a good job with that, then we will do it in partners. Now, of course, you have to make sure that you prep them VERY well before doing anything in partners. Since they are so young, I like to model with a student a few times before I let them do it. Basically, one person is the clock and one is the cuckoo. The clock stands still. The cuckoo walks in a circle around the clock. At “open wide”, the cuckoo opens the clocks’ arms. On each “cuckoo” the cuckoo pops out from behind the clock.
5. Use some small percussion instruments to play the beat to the song. Then use the instruments to play the rhythm. I tend to be partial to rhythm sticks and castanets, both of which are really cheap options if you don’t have much in your classroom.
6. Make the rhythm! Depending on where your students are in the rhythm reading journey, you can have them put manipulative (like the clock cut outs in my resource) onto heartbeat sheets. Use one manipulative for ta and two on a beat for titi. Mini erasers are usually a huge hit for this activity. Or you could use popsicle sticks like I talk about in this lesson to make stick notation ta and titi. I have also seen people use straws for this activity, although I have not used them.
7. Make the melody! Cut out the words to the song. Put two lines on the ground with tape. Have students put the words onto the two line staff. Then you could have everyone practice that by themselves with bingo chips or mini erasers on a personal two line staff.
A clock race: Have students get into teams. One student runs up and changes the clock to a particular time, rushes back and the next student goes.
Rhythm clock: Have students work in groups to make a rhythm clock. They have to make a rhythm for each hour that adds up to the hour. This is more fun with older students who know a bunch of rhythms with different beats, but it can still be fun with the littles.
If you have been to any meeting, any class, or had a discussion with any teacher in the last five years, then you would know that the hot topic is differentiation. I hear it all of the the time. And last year I thought, there is no way that I can differentiate in the music room.
Turns out, I was wrong.
Now, music teachers are constantly differentiating without realizing it. I have a whole post about that here (which is really great if you need to prove you differentiate on your TKES!). This post is about being intentional with your differentiation.
As far as differentiating goes, we are certainly at a disadvantage. I teach 650 students– and I know other teachers who have even more. Most of us see our kids once a week. And we don’t have any MAP testing or iReady or whatever programs and tests your state uses to tell us what the kids know.
So… how do you actually get started with differentiation? How much work is it to differentiate? And when do I have time to do it? Let’s talk. Because I promise, it is less work than you think it is.
So where do I start?
The first thing in differentiation is finding out what your students currently know– AKA a pretest. You can do this via paper and pencil, or through observation (I talk about a lot of different options for assessment in this post).
I started at the beginning of the year with a (short) pretest and interest survey that covered the major concepts we are working on this year. If it’s the middle of the year, don’t stress. You can also go unit by unit.
For example, my fourth graders have been working on treble clef notes for a few months now. And some of them are still not totally getting it. So, I gave them a super short quiz which told me how much they know and what some struggles are.
You can actually get that quiz in the free resource library– if you have signed up for the library, than you can click the “Free Resource Library” tab at the top of the page. If you haven’t, then you can signup here to get the password. Once you have the password, you can download anything that you want from the library– and check back, because I add more resources monthly!
You could even just use an assignment that they have done and use it as an indicator– even if it is not a quiz. I did this last week with my fifth graders and their write the room activity which told me that they needed some help with differentiating between the brass and woodwind families. It wasn’t an official “assessment” but it game me the information I needed!
So I have data… Now what?
I am a fan of simplicity when it comes to differentiation.
I take out three sticky notes. Then, I write an X on one, a – on one, and a check on the other. Then I divide the number of questions by three. This gives me the ranges for each sticky note. (I like to get these with the lines on them.) So if I had 12 questions on a quiz, students who got 1-4 correct would have an X, 5-8 correct would be a -, and 9-12 correct would be a check. I also like to put a star by anyone who got 100%– more about that later.
These sticky notes are the basis of my student groupings during centers. I like to have six groups, so I will split the names on the sticky notes into two groups. Each sticky note represents two groups. If they are not even, then I will adjust them (or if I have students who should not be together, then I will adjust them). In general, I will put – with X or checks, but do not put checks with X’s.
It is also how I decide who gets which activity when I am doing something like my treble clef dice activity, which has many different versions for different levels of understanding.
So I have groups… Now what?
So now you have to decide how you are actually going to differentiate. There are three main ways that you can differentiate in the elementary music classroom.
Sidenote– you do not have to differentiate every. single. day. I probably do portions of lessons that are differentiated once or twice a month. Because if you are having a drum circle or playing Lucy Locket… how are you going to differentiate that?
Ok. So. On the days that you do want to differentiate (intentionally), there are three main ways: chunking, centers, and tiered instruction. (Although when you think about it, it’s all tiered instruction.) We’re going to talk about each one so that you know what they are and how you can do them.
Chunking is basically the concept of not making students do things they already know how to do. If you have a few students who are a bit ahead of the others and have proven they understand the material, then they can have an alternate assignment.
I did this in January with one of my treble clef activities. On the pretest, I had 1-5 students in each class who got 100%. Instead of continuing to make them practice every day, I had the other students working on treble clef activities, and they worked on their recorder songs. They were still working– even still working on reading because they had to read recorder notes– but they were not bored while going over material they had down.
This is not something I would suggest doing with every activity, but it is good every once and a while, especially if you have been working on the same unit for a while. (Plus it makes the other kids work harder because they want to play recorder too!)
Next week’s blog post is going to be a deep dive into differentiating with centers, so I am not going to go super in depth here. But there are a lot of ways you can differentiate during centers. It is a great way to give students activities tailored to their skill level without them noticing that different people have different activities.
My centers differentiation is really just in one of the groups. One group is always the teacher group, and that is where I assess and differentiate. Sometime I have different lessons for each group, but most of the time, it is pretty much the same, but with different levels of guidance. So the group where everyone understands may not get any help from me while the group that is struggling will have a lot of remediation.
I really love having a teacher group for centers because I feel like I can give more attention to each student. I actually know my students and their musical capabilities much better now than I used to.
The third main way to differentiate is through tiered instruction. This just means that students are doing different activities based on their levels.
If you are just getting started, this is where I would start. I would pick a concept, pick two activities and split the students up based on data from whatever quiz or observation you have.
One thing I will say is try to find things that are equally fun. Don’t give one group a worksheet and the other one a game. They don’t have to be the same, but they do need to be equally fun.
A few examples are:
Have one set of students play rhythms from flashcards and have the other set make up their own rhythms to play. (You could use these and these.)
If working on treble clef, one set of students can identify one note while the others find words (such as egg) on the treble clef. You can check that out in my TPT product here.
Have some students matching notes on the staff while others match notes and staff and recorder fingerings. Or have the second group write notes onto the staff because that is more difficult than matching.
Have both groups play a game like Kaboom!, but give one group more difficult rhythms. (You can get levels 1 and 2 in my TPT)
Have students create measures of rhythms with words. (Kind of like in this or this) You can give the lower group only one beat rhythms to manipulate and the higher group one beat and two or three beat rhythms. They will have to work harder to make sure they have the correct amount of beats in the measure.
When playing instruments, you can tier up by having staff notation and tier down by having just the letters or the letters inside of the note heads.
Have one group finding all of the letters in words on the treble clef and the other group coming up with their own words (like BAG or EGG or FADE) to put onto the treble clef like on this.
Have students play hands together instead of alternating hands on the xylophones.
Those are just a few ideas to get you started, but you get the point. It seems sooooo daunting– “I not only have to come up with lesson plans, but now I have to do twice as many!”– but once you start thinking of ideas, it is much more simple than you think.
Also, if your school groups students into classes based on ability level, you can differentiate for whole classes. Even with whole group lessons, I will adjust based on the collective understanding. For example, last week my students did an Orff arrangement of a Japanese song called Star Festival. One group did a great job with four different instruments and different patterns on the xylophones. In another class, it was a hot mess. So I ended up making the arrangement easier for the second class (I took out the glockenspiels and changed the xylophone part to hands together on the steady beat) and they were much more successful. And yes, that counts.
So how often do I have to differentiate?
That totally depends on you! Personally, I think as music teachers, we don’t need to do this every day. I do centers once a month with my upper grades, and I usually do one other differentiated activity in the month– but it depends on what we are working on! Right now my fifth graders are working on Orff skills and drum circles, so, frankly, I am not worried about differentiating right now. Music is inherently differentiated (don’t believe me? Read my post about the differentiation you are doing without realizing it here.)
With my younger students, I really don’t differentiate much at all. That may sound bad, but it’s the truth. I am much more concerned with them singing, playing, listening to music, and more.
Some lessons also lend themselves better to differentiating than others do. That’s why I keep going back to treble clef activities– they are so easy to differentiate!
Basically, you know your students. You know what is best for them. So you should do what is best for them. Sometimes that means tiered instruction, sometimes that means centers, and sometimes that means whole group drum circles. Do whatever is best.
Do you differentiate in your elementary music classroom? How do you do it? Let me know in the comments so that we can have even more ideas!
I know that may seem like a weird comment, but it is true. I have a lot of fun teaching piano and forte. I think this is because there are just so many different things that you can do with it– and it is so different from teaching rhythm and melody and styles of music.
This post has a few of my favorite activities for teaching piano and forte. It is not nearly everything that can be used for piano and forte, but it is a couple things that my students have enjoyed.
And make sure you read to the bottom, because I saved the best for last.
The first thing that I do with my students is relate piano and forte to animals. I ask them to come up with ideas of what is loud and what is soft. This year, we did a series of lessons based off of mice and bears. This was an easy segway into piano and forte, because we were able to talk about how loud they were. (Are bears loud or soft?)
You could use something else, of course, like lions and bunnies or whatever.
You can also get a PowerPoint for FREE in my resource library. If you haven’t signed up yet, you can do that here. I only send out one email every other week, and I add new free resources to the library once a month (and sometimes more, because I can’t help myself!). If you have already signed up, then you can click the tab at the top that says “free resource library” and enter in the password that was emailed to you.
Responding to a Drum
Is that really the best title to describe this activity, Becca? I guess so.
This is one of my favorite simple warm ups. Seriously. I use it the first week of school and for piano and forte and for any other day the kids just need to move. I play my djembe (I have this one and LOVE it!) piano, and students tip toe. Then I play forte and they jump or stomp. With the younger kids, I play piano for 4, 8, or 16 beats, then forte for 4 or 8 beats. If your students are doing a good job, then you can also change the tempo on them for an extra challenge.
With older students, I use this to get them thinking about groups of rhythms (often in preparation for the game Extra Beat, Take a Seat). I play the downbeat forte, and then play seven beats piano. After a few times, they can anticipate the downbeat.
Then we make it even more fun– we do statues. I still play the downbeat forte followed by seven piano beats, but when it is forte, the students strike a pose. They hold that statue until the next forte beat, when they switch to the next one.
Closet Key (or Lucy Locket)
Closet Key is a fun game for piano and forte. It is a song (check it out here). After learning the song, students sit in a circle. One person closes their eyes. While their eyes are closed, the “key” (or whatever object you have) gets hidden (I prefer to have it so that it is hidden in the circle, but you could have them hide it in the room.
Then the students sing while the person who had their eyes closed moves around. The students sing louder when they are close to it, and softer when they are far away. It’s like hot and cold with your voice.
I have also heard of people doing the same thing with the game Lucy Locket, so I included that in the heading. I personally do not play my game that way, but you certainly could. Check out how I play here.
Of course we are going to play instruments! I use these rhythm cards for piano and forte. Each one has either a bear or a mouse on them. If it has a bear, then the students play the rhythm forte. If it has a mouse, then they play the rhythm piano.
This can go along with singing or playing instruments.
For the little people: Make a sign with “piano” and “forte” (I use the ones that are included in the Piano and Forte Rhythm Cards set). Have the students sing and hold up the cards. While they are singing, switch the cards so that the students have to change dynamic. You can change them at any time. Then have a student come to the front and change the cards.
For older students: They can conduct. Hand them a baton (or a pencil) and have them conduct while the students sing or play instruments. If you don’t want to teach them the conducting patterns, then you could just have them show the beat (so like in one) and get bigger when students should sing forte and smaller when they should sing piano.
Of course, there are all sorts of listening activities that can go with piano and forte. The piece Ballet of the Unhatched Chicks has a very distinct piano section. And–of course– the Surprise Symphony. I am going to play this for my first graders this week and I cannot wait to see their faces!
Students could hold up a card with a bear on it when the music is forte and a card with a mouse on it when the music is piano. And of course, you could always use scarves. Students can make large movements for forte and small movements for piano. You can read more about creative movement with scarves here.
Stuffed Animal Sort
To go along with our animal songs, I’ll often ask students what animals are forte and which ones are piano. For a quick review (or during centers), we will sort them. I will put piano and forte signs on bins or next to a pile, and students come and place their animal in either the piano or the forte pile. This is also great for centers, because it is pretty easy.
I really did save the best for last. In The Monkey Game (which is really for crescendos and decrescendos, but I use it for piano and forte as well), one student hides a stuffed monkey. Another student has to find it. Then I have students at the tubanos who play forte when the person is close to the monkey and piano if they are far away.
Is there a game at your school that your students beg to play? Like all of the time? That’s the Monkey Game for me. I know that it teaches piano and forte to the littles and crescendos and decrescendos to the older students, but they do not care. They want to play it all the time.
Seriously. I’ll say, “We’re going to play a game!” and they’ll say, “The Monkey Game?!”
No. It’s not always the Monkey Game.
It actually got to the point where I was so sick of it that I started telling them we couldn’t play it because it took too long to get the drums out.
Anyway, this is a game that teaches crescendos and decrescendos (or piano and forte, if you differentiate). I learned it from my mentor teacher during student teaching, and I do not know where she came up with it. But it is so much fun.
Why do I call it the Monkey Game? Because we use a stuffed monkey. In your class it could be the bear game or the owl game or whatever depending on your stuffed animal collection.
First, discuss what crescendo and crescendo are. I like to have the students say the words with a crescendo and decrescendo. So when we say crescendo, we crescendo. When we say decrescendo, we decrescendo. I also like to have them move their hands up and down to show the dynamics. Then I project them onto the board so that we remember them.
Then, have a few students come up to the tubanos in the front. (After the long discussion about how we do NOT LEAN ON THE DRUMS, of course)
Have one student hide the monkey. They are the hider. (We always let a piece of the monkey stick out to make the game go a little bit faster.)
While that person hides the monkey, another student goes in the corner and closes their eyes. They are going to be the finder. Once the hider is finished, have the finder come out and open their eyes. They are now going to walk around the room and look for the monkey.
The people at the drums help find the monkey by playing with different dynamics. If they are close to the monkey, they play forte. If they are far away from the monkey, they play piano. This causes lots of crescendos and decrescendos. Throughout the game, ask the students, “Was that a crescendo or a decrescendo?”
The students at their seats watch, and I usually tell them they can help by playing on their legs or the ground if they want to. This helps those friends who just cannot sit still have an outlet.
Once the monkey is found, switch out the people. I usually let the drummer stay for two rounds before switching them.
Easy peasy! It’s kind of like hot and cold but with music. I know some people play Lucy Locket in a similar way (I don’t– you can see how I play here)
There you have it– the most requested game EVER in my elementary music room. I think I am going to break down and play it right before Spring Break…. They always need a little extra incentive to do a good job around Spring Break.
What is the most requested game in your elementary music classroom? Let us know in the comments!
Ask your students: are mice loud or quiet? Musicians call quiet a special word– piano. What kind of animal is loud? (keep going until students guess a bear)
Sing the song for the students and have them listen the first time. It is extra fun if you walk around while you sing it because the students get really shocked at the end. Sing it again and have students hold their hands up high when it is forte, low when it is piano, or in the middle when it is in the middle.
Then ask for the students to join you in singing.
Ask them: If we don’t want to wake up the grizzly bear, what dynamic level should we be singing?
Like I said, there are many different types of games for this song. I know of at least three different versions.
Sing the song and walk around in a circle. One student is in the middle, laying on the floor. This child is the grizzly bear. At the end of the song, the teacher walks up and taps the child. The child jumps up and roars at everyone else. (I have also done this without anyone touching the child, they just hopped up at the end of the song.)
Sing the song and walk around in a circle. One student lays on the floor in the middle– this child is the grizzly bear. At the end of the song, the bear gets up. All of the students have to be frozen. If they move, then they bear pretends to eat them. They have to get out of the circle (or just sit down).
Sing the song and walk around in a circle. One student lays on the floor in the middle– this child is the grizzly bear. At the end of the song, the bear pops up. The other students try to get to a safe place in the room (maybe a wall or a carpet). The bear tries to tag the students before they get to the safe place.
While lesson planning, I kept finding all of these songs about bears. And I thought, I should do a bear unit. One of my top ideas was to sing and play the song Grizzly Bear. If you have been around Pinterest or any music blog, you will find people playing and singing Grizzly Bear to teach dynamics. At some point that caused my bear unit to because a piano and forte unit with mice and bears.
Now, you may have read that and thought, “Wait– what?”
Yes. I am teaching my first graders that mice are piano and bears are forte. It gives them a visual to put with the words, and it allows me to tie in all of the bear and mice songs with it!
We did those five songs plus a bunch of other activities– responding to piano and forte on drums, moving our bodies piano and forte to music, and– what I am really going to talk about today– playing instruments piano and forte.
First, warm up with Hickory Dickory Dock. I like to do some actions with this nursery rhyme. We start on the floor and keep the beat on our legs. On “the mouse ran up”, we pretend our fingers are mice and stand up. For “the clock struck”, open your arms like the hands of a clock. Then we have the “mouse” go back down at the end.
Ask the students: “Is a mouse loud or soft? We have a special word for soft. We call it piano. Can you say piano?” I always have them whisper it so that they think of it as being quiet.
Then, ask what kind of animals are loud. They will say a bunch or things, but we keep going until I lead them to bears.
Next, pick one of the bear songs so sing. I suggest Grizzly Bear, because it has dynamics built into it, so it emphasizes the point.
Tell them, “In music we have a special word for loud– forte. Can you say forte?” (side note– there are slides for this dialogue in my Piano and Forte Rhythm cards set)
Now onto the instruments! Get some rhythm cards ready. You can make them and put a bear or mouse clip art onto them. Or you could print a picture of a bear and a mouse and just hold them next to the rhythm cards. Or you could just tell them whether to play forte or piano. I have a set of ta-titi-rest rhythm cards in my TPT that I used. They come with both stick notation and regular notation. You can get them here.
Next, have students play rhythms on instruments. My go-tos are rhythm sticks and egg shakers. Alternate between piano cards and forte cards.
After students play instruments, have them write their own rhythm. You could use the heartbeat charts in my FREE resource library do this. (Sign up here!) Have them draw a mouse or a bear next to their rhythm so that they can choose whether it should be piano or forte.
So there we go! This is just one day of my five-lesson-long bear and mouse and piano and forte unit with my first graders. Of course, many of these activities can be used with students older or younger depending on your group, but I used it with first grade.
What are your favorite bear or mouse songs? How could you make this lesson better– maybe with puppets? Let me know in the comments!
And don’t forget to sign up for my FREE RESOURCE LIBRARY. Once you sign up, you will get a password so that you can download any or all of the resources– including the heart beat charts I mentioned in this lesson. Make sure to check your email every other week to hear about any new items going up in the library. If you’re already a member, go to the resource library here.
Are you looking for a new way to practice the treble clef? I was too. I am always looking for new ways to practice, preferably with little to no set up. This treble clef dice activity checked all of those boxes, and the students loved it.
If you have been reading my blog, then you may have noticed that I am getting more and more into differentiation. Music teachers differentiate all of the time (read about that here), but I am trying to do even better. This was one of the EASIEST ways to differentiate. Ever. Like, so easy.
I have seen a ton of classroom activities where students could roll a die to practice a skill, and I really wanted to do one as well. So I downloaded some dice clip art and made a few different worksheets so that it can be differentiated.
In my product, there are 6 pages. One is just lines. One is just spaces. One has lines and spaces. One has words that students can spell (like ace, bag, etc). One allows students to make their own words with the letters from A-G. The last one is blank.
For this lesson, I gave a really quick pretest the week before. This allowed me to separate students into groups. You can get a FREE treble clef quiz in my free resource library. If you have not signed up for access to the library, then you can sign up here.
Once I had graded the quizzes, I split the class into categories. I do this very simply. Just put an X, a -, and a check mark. I usually just do this on a scrap of paper or an extra long sticky note like these.
Split the number of questions into the number of groups you are making. For this lesson I did students who got all 10 correct, 6-9 correct, and 1-5 correct. Yes, I know this isn’t even, but I wanted to give something different to kids who had 100%.
It seems like a lot of work, but once the pretest is graded it only takes a few seconds to split them up.
Then we did our dice activity. In these activities, the students roll a die. Each number coordinates with a letter on their recording sheet. On the sheet, they will record answers. They write the letter on the line and then put a whole note or solid dot on the treble clef.
I used three different recording sheets to differentiate. You could just use two, but I went with three. What did they get?
X got the sheet with both lines and spaces but only one letter.
— got the sheet with words for them to find on the treble clef. They had to practice putting the notes in the right order, which was a bit of a struggle for some of them.
Students who got 100% on the pretest got a worksheet where they had to come up with words using the letters A-G and then put notes on the treble clef to correspond with them.
Once they were finished, students turned in the sheets and went to get their recorder.
So that’s it! It is really not complicated when you try to explain it. I hope that you found the piece on differentiation helpful. I feel like it is one of those things that sounds intimidating, but it’s really not– it’s all about giving kids what they need to succeed.
To help you, you can get a FREE treble clef quiz in my free resource library. If you have not signed up for access to the free resource library, then you Sign up here.
You’ll get the password to the resource library, plus I will send updates once every other week.
When it comes to rhythm, especially in the younger grades, some things are easier to teach than others. Making rhythms that match songs– easy. Repeating rhythms– easy. Even reading rhythms– easy. But what about improvisation and composition? That’s a little harder. I talked about improvisation and how I set that up in my Rain v. Llueva lesson (which was fabulous!). Today I’m going to talk about composition. Specifically, Christmas composition.
Because it’s time for Christmas lessons!
In this lesson, I am going to talk about how I set up the Christmas composition activity. I took parts of this and broke them apart over a few lessons, supplemented with some Christmas lessons like Arre Mi Burrito.
If you are looking for some other Christmas lessons, you can check out my 2-3 grade lesson/game Oh Christmas Tree (which has a free lyric sheet and coloring sheet!) or 4-5 grade lesson/game for the 12 Days of Christmas. If you want something more comprehensive, you can get 6 different lessons for different grades in my Christmas in the Music Room Bundle (or follow the links and get one of the lessons out of the bundle).
A few notes:
First, my students have already learned about rhythm at this point. Kindergarten knows ta and titi and my first graders know rest. You definitely want them to know rhythm before doing this activity. If you need help, you can check out this post or this lesson.
Second, I am using the rhythm manipulative and worksheet in my TPT product here. You can certainly make your own, and do not have to use the product that I’m talking about. I am also using the ornament composition cards from this TPT product.
So here’s the lesson:
Start with singing a song that is only ta’s and titi’s (mine had a rest– oops!). I like to use a song that the students already know as a warm up. In this case, we are working on the song Arre Mi Burrito.
Write the rhythms on cards or on the board (I print them off of my computer) and go over those. Because we just started using rhythm names and reading rhythms, I do this as a call and response first. We sing the song. Then I will sing and point to the rhythm or one of the lines. Next I will point and we will do just ta’s and titi’s. Then I will have the students say it with me while I point. That sounds like a lot, but it takes all of 30 seconds.
Then, tell the students that we are doing an activity and we need some words. Ask if anyone could tell you a holiday word (and give a few examples). Write a ta and a titi on the board. As kids give you a word, sort them between ta and titi. I usually say the word a few times and have the kids “help” me figure out whether it has one syllable or two (ta or titi). I will say the word and clap or snap and let the kids try and tell me whether it is one syllable or two.
After they have told you some holiday words, guide them towards the words that you are using for the composition activity. For me, for Kindergarten I am using elf and stocking, and for first grade we are using tree and reindeer.
Once the kids have “come up with” those words, tell them that you have some cards you can use to make rhythms with those words.
Then I grab four cards and make a rhythm. The kids say it. Then I make another one and the kids say it. Then I ask if anyone else could come up with a rhythm. A few kids will say a rhythm with the words. Then I tell them that all of them get to make me a rhythm. (This modeling is really helpful with the younger students and getting them to understand the concept of what you are doing.
Break the students into groups or two or three depending on how many students you have. Have on student make a rhythm and have the other student read it.
While they are doing this, walk around the room and listen to student reading. Help when needed. I also take grades while I walk around the room listening to students read.
Next, I give kids a sheet that has boxes and lines (in my Christmas Rhythms Manipulatives product) and have them write four rhythms. They write the rhythms on the line and then draw pictures of the words we used in the boxes. (There is also another line underneath that the students can write the words on, but I find there’s not enough space for the younger students to write in them so we left them blank.)
Give out a small percussion instrument (like rhythm sticks or jingle bells if you are feeling festive) and have students play other people’s rhythms. I had one student stand up and read one of their rhythms and everyone else echoed it back with their instruments.
In the next class period, we review the composition aspect. Then we used the templates form my Ornament Composition Activity to make rhythm Christmas ornaments! You can use any template you already have to this. Students just made a rhythm, and then colored it in, and they went up on my bulletin board!
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What are your favorite Christmas lessons? Any tips for Christmas Composition? Let us know in the comments!
Are you looking for some really fun Christmas lessons? I feel like I am always looking for ideas, and I have a hard time narrowing down the amount of songs that are available for the holidays. I was looking for a song that was common enough that I wanted all of my students to know, but different enough that not all of them would know it. Oh Christmas Tree was the perfect combination or common but unknown by my third graders.
And you know what? In the first two classes I have used this song with, I had a total of about 5 students that knew it.
You could use this song to work on low sol (each line goes sol-do) or for teaching dotted eighth note sixteenth note rhythms. But you know that I used this song for? Fun.
And that is ok.
I am using some of my other songs to push concepts we are working on, but for this one we just had fun.
If you don’t want that many ideas, you can check out the links and see the individual products that are in the bundle.
Oh Christmas Tree
So how do I play the game?
First, teach the students the song Oh Christmas Tree. You can see the sheet music in Beth’s Music Notes here or get my free lyric sheets (for projecting or printing) in my resource library here. If you do not have the password to the resource library, you can get it by joining my email list! Then you can get all of the free resources.
Sing the song and focus on the contour. I love to use scarves and have students move the scarf up when the song goes up and down when the song goes down.
Have students get into groups. It really doesn’t matter how many are in each group, but I like to do 2-4 for this game.
Then, have one student stand with their arms straight out. This student is the Christmas tree.
Sing through the song Oh Christmas Tree. During the first verse, have students decorate the Christmas tree in their group. Give them a box with a bunch of (non-pointy or breakable!) Christmas decorations. I went to the Dollar Store and bought garland, tinsel, and some ornaments with strings instead of hooks.
During the next verse, have the students undecorated the Christmas tree.
Then sing the next verse (or the first one again) and have a different student be the tree.