Two tips for helping students be successful in singing in harmony are: (1) Assign special seating arrangements for music, so hesitant singers are seated in tandem with stronger ones—without singling out either type of singer for aention. (2) Divide the class into groups of unequal size and have the larger group sing harmony (especially if the harmony part sounds weak). Since boys are oen the most hesitant singers, they should not be automatically grouped together.

Children's interest at this level includes history, adventure, and transportation, and contemporary popular songs and songs from other cultures and countries intrigue them. Again, given the range of topics that interest them, there are numerous options for curriculum integration.

Selecting, Teaing, and Leading Songs

Every teaer needs to learn how to select, tea, and lead songs appropriate for the level of their students. It is important to select a song that is developmentally and musically appropriate. e song should also mat the ildren's song interests and offer opportunities for increasing their understanding of music. Use this elist as a start in the selection process.

Table 3.2 Chelist for selecting age-appropriate songs

□ Is the song in the appropriate vocal range for the specific class?

□ Does it mat the song interests of this age level?

□ Are the words appropriate—not too "ildish," or too "mushy"!

□ Are there specific rhythmic or melodic concepts that can be emphasized?

□ Are there obvious repeated paerns or words to focus on?

□ Would you feel comfortable singing and tea this song or is there an available recording to help?

□ Can the song be integrated with other activities or subjects in their curriculum?

A song may be taught by rote (imitation) or by note (reading music notation). In the rote approa, students hear the song over and over. en, they eo parts of the song, presented sequentially. Gradually, they put the parts together until the whole song is learned. In the note approa, they learn the song by reading music notation. ey may begin by anting the rhythm of the song. Or they may discover particular rhythmic or melodic paerns to read first. e goal is that the song will be learned through music reading.

ere are also variations or combinations of approaes. For example, the "whole song" or immersion method is similar to the rote method and actually the way ildren tea songs to one another: they repeat the song over and over again, with ildren joining in when and where they can, until the whole song is learned "by heart." Teaing a song one phrase at a time is the "part" or segmented method. When all the phrases are learned, they are joined together to form the complete song. In studies comparing the two approaes, ildren heard a new song repeatedly and joined in singing when they felt comfortable; the immersion method was determined to be the beer approa (Brand, 1998; Klinger et al., 1998). Ea method has a long history. However, many teaers use a combination of these ideas.

Whatever approa or combination of approaes is used, it is important to introduce a new song using teniques that will "grab" the students' interest and aention. Some ways to motivate singers include giving baground information about the song or telling its story. Asking students to show what they hear allows the teaer to actually observe what the students perceive as they listen to the song. What follows are some ideas for introducing a song by asking them to do one of the following:

Tap the song's steady beats. Clap hands on the very last word or note. Listen for the name of the song's person, place, animal, and so on. Pantomime recurring words of the song as they hear them. Sing (or clap) the repeated parts. Wat the teaer's hand and "do as I do." (Teaer uses hand/arm to show pit levels, rhythms, or both.)

is "introduction" to the song can be repeated, with students doing the same activity or a different one. Repeat the song several times, and if they are ready, invite them to join in. Or have them eo parts of the song until they have learned the entire song.

When leading a song, a teaer needs to consider some basic teniques to make the process move quily and keep the singers on task. Before the "leading" process, the teaer should decide whether he or she will sing or play the song or use a recording. An analysis of the song is important to determine the starting pit, the meter of the song, on what beat the song begins, etc. Memorizing at least one verse of the song is a must! What follows are some tips for leading a song.

Table 3.3 Tips for leading a song

1 Sing the song, perform on an instrument, or use a recording to introduce the entire song (unless it is already familiar to

students).

2 ink the first few words of the song to yourself (and the rhythm and pites, too!) before singing or playing the starting

pit of the song.

3 In the tempo of the song, sing or say "one, two, ready, sing" and give a clear signal for the singers to start. Use a hand gesture or nod of the head. If using a recording, make sure that you are familiar enough with the music to be able to give the signal

to start.

4 Keep the singers together by using conducting (or any gesture) that would indicate a steady beat and give them a sense of the

timing.

5 Maintain eye contact with the students at all times; show your enjoyment of the song!

6 On the song's last note, give a clear signal so the singers end together.

As soon as they are able, ildren should sing independently and unaccompanied without the help of the teaer's voice or recordings. Keys to independent singing include knowing a song well—probably from memory. At that point, singers can concentrate on aieving high levels of accuracy in pit, rhythm, diction, dynamics, and the other elements that are necessary for an artistic performance.

e Role of the Classroom Teaer in Singing

Some sool districts have an elementary music specialist for classroom music and some do not. When a specialist is available, the classroom teaer helps implement the music curriculum and reinforces learning between the specialist's visits. A classroom teaer who sings confidently and accurately can be very effective in helping ildren develop their singing skills. But a teaer who does not feel vocally secure can use song recordings. What is necessary is that a teaer has an understanding of ildren's voices, the need for age-appropriate songs, and the willingness to engage ildren as oen as possible in singing. Since every ild with normal hearing and vocal physiology can learn to sing, every teaer needs to be encouraging and positive toward the singing efforts of ea and every student.

Projects

1. In teams, oose three songs from Section IV that meet the criteria for a selected grade level. Use both the Chelist for Selecting Age-Appropriate Songs (p. 26) and the Developmental Stages in Singing Chart (p. 23) in making your oices. Share the songs with the class, justifying your selections.

2. Che out videos on YouTube that show teaers engaging ildren in singing. Summarize your observations based on age-appropriate songs and singing skills. Note the approa the teaer used for teaing the songs.

3. Review the following two model experiences in Section II and decide whi approa(es) is/are primarily used for teaing the songs: Model 4 "Sally, Go 'Round the Sun" and Model 14 "Wake Me!". Give reasons and examples for your decisions.

Playing Instruments (Performing)

Playing instruments is great fun for ildren so it is no surprise that musical instruments are an exciting part of music-making in elementary classrooms. Playing instruments is also an excellent way to help them improve their motor skills and coordination as they develop concepts about music. Children can play and create songs on melody instruments, create and play accompaniments to songs with a variety of rhythmic and harmonic instruments, and create sound effects for movement, stories, and poems with all sorts of interesting instruments.

e array of instruments available is amazing. Instruments that are typically used in elementary classrooms include: rhythm instruments; recorders; barred or mallet instruments su as xylophones; Autoharps®/Chromaharps® and Qords® (digital guitars); acoustic and electronic keyboards; stringed instruments su as guitars and ukuleles; and handbells and ime bars.

As teaers, it is important to keep in mind the following guidelines in using instruments with ildren.

Table 3.4 Guidelines for oosing and using instruments with ildren

1 Choose instruments that mat the level of the student's musical and motor development.

2 Purase high-quality instruments and maintain all instruments in good working order (store in a secure place, e

instruments that need to be tuned, etc.)

3 Establish routine classroom procedures for distributing and collecting instruments.

4 Tea ildren how to handle the instruments properly and develop correct playing teniques.

5 Make sure that ALL ildren have the opportunity to play.

Rhythm Instruments

Small percussion instruments, playable with a minimum of instruction, are usually referred to as rhythm instruments. A variety of durable instruments with good musical tone should be available in every classroom or sool. Sets of rhythm instruments oen include several types of drums, tambourines, sleigh bells, rhythm stis, sand blos, wood blos, finger cymbals, and triangles. Percussion instruments of various cultures should also be available su as maracas, guiros, gongs, and a conga drum.

Young ildren learn mu about their world through experiences with objects, texture, and shape. As soon as ildren can stroke or tap, instruments should be made available to them. ey can use rhythm instruments for sound effects with songs and stories su as using higher-pited and lower-pited instruments to fit the Mama Bear, Papa Bear, and Baby Bear in "e ree Bears." When they can tap a steady beat with a song or listening selection, they can transfer their tapping to rhythm stis or a drum.

ey can also learn to classify rhythm instruments by how they are played—ringing instruments (triangles), scraping instruments (sandblos), and tapping instruments (rhythm stis). Or learn to classify by the material from whi the instruments are made, for example, skins (drums), metals (finger cymbals), woods (wood blos), and gourds (maracas).

Figure 3.4 Playing the guiro and the tambourine. Courtesy of Sonor Instruments.

Older ildren can learn a classification system developed by world-music specialists in whi instruments are categorized by the vibrating material that produces their sound: for example, the vibrating skin or membrane on a drum results in drums being classified as membranophones. For a teaing strategy using this classification system, turn to Model Experience 38 and learn about membranophones, idiophones, ordophones, and aerophones. Older ildren can also make and play their own replicas of rhythm instruments. For example, students can use two smooth pebbles to serve as ili ili (stone castanets) to accompany a song from Hawaii su as "Hawaiian Rainbows" on page 273. And they can oose a variety of rhythm instruments to use as they create a sound piece accompanying a haiku poem as illustrated on page 200.

Recorders

Recorders, small wind instruments, are included in many classroom music programs. ey are relatively easy to play for both teaers and students. While the recorder comes in several pit ranges and sizes, the soprano recorder is usually osen for elementary sool ildren because it is small enough for ildren's hands. It has a brilliant tone, is high in pit, and is a good mat with ildren's voices. e soprano recorder is used mostly for melody playing.

Figure 3.5 Playing the soprano recorder. Courtesy of Rhythm Band Instruments, Inc.

Instruction usually begins in third or fourth grade, when most students are able to coordinate finger placement with breathing. While almost any song can be played on a recorder, instruction usually begins with songs limited to three pites (usually B, A, and G). "Hot Cross Buns" is a favorite starter song and creating "BAG" tunes is also a part of early instruction. An

instructional section for soprano recorder, complete with many appropriate recorder songs, is included in Appendix B of this text.

Barred or Mallet Instruments

Barred or mallet instruments come in many sizes, have either wooden or metal bars, and are played using mallets. e smaller instruments are placed on tabletops or desks, and the larger ones, built with legs, are played while standing. Many are constructed so that bars can be removed when not needed. Examples include xylophones, metallo-phones, gloenspiels, resonator bars, and step bells. (See the Orff Approach in Chapter 5 for more information on xylophones, metallophones, and gloenspiels.)

ese instruments can be played by students of all ages, according to their level of physical development. ey are used for both melody and harmony. Young ildren can play a single bar as an accompaniment for a melody—for example, playing the C bar to accompany "Sally, Go 'Round the Sun" (p. 312). Slightly older ildren can progress to playing two pites simultaneously —C and G (called a bordun or drone ) as an accompaniment to the song. Full ords can be handled next by playing C, E, and G simultaneously as an accompaniment. Complex mallet work should be delayed until students are older and have greater eye— hand coordination.

Figures 3.6 and 3.7 Resonator bars (le) and step bells. Courtesy of Rhythm Band Instruments, Inc.

Autoharp®, Chromaharp®, and QChord®

e Autoharp®, the Chromaharp®, and the QChord® (Digital Song Card Guitar) are primarily harmony instruments because they are used for accompanying songs. All three are popular instruments in elementary classrooms.

e Autoharp® and the Chromaharp® are trade names (ea being the trademarks of a particular manufacturer) for the orded zither—a ordal, stringed instrument that is strummed while ord bars are depressed. (See ord bar art in Appendix B.) Because both are relatively easy instruments to learn to play and are portable, they have become a valued instrument to accompany classroom singing. e easiest playing position and the one generally used for ildren is placing the

instrument on a table, one's lap, or on the floor. e other playing position is to hold the instrument upright (in a slightly diagonal position) with the le hand pressing the ord bars and the right hand crossing over the le to strum the strings. is position is called the Appalaian style.

Both students and teaers can learn to play Autoharp®/Chromaharp® accompaniments by reading the ord names that appear above the melody and pressing the designated ord bar while strumming the strings. Chordal harmony is the result. Prior to learning to read notation and follow the ord symbols, ildren can experience the instruments in several different ways. Kindergarteners are thrilled to strum as the teaer presses the ord buons for favorite songs su as "London Bridge" (p. 290) or "A Tisket, A Tasket" (p. 245). First and second graders can share these roles, with one pushing the ord buon and another strumming (best to start with a song that requires just a one-ord accompaniment!). When students are ready, teaers can display a art of just the ords for easy reading. Fourth and fih graders can play the instrument by themselves, but they need practice time before they can keep a steady rhythmic accompaniment as they finger different ord buons and follow the music.

Figure 3.8 Playing the Chromaharp®, Appalaian style. Courtesy of Rhythm Band Instruments, Inc.

e QChord®, like the Autoharp® and Chromaharp® is an electronic instrument that is used in similar ways—mostly to accompany singing. It has a built-in amplifier and is completely portable. It can be played on a tabletop, or in guitar position when a guitar strap is added. It will simultaneously produce ords in a oice of rhythms and style.

Figure 3.9 QChord®. Courtesy of Suzuki Corporation.

e Qord® comes with 84 preprogrammed ords, and can be programmed to play a repeating series of ords for the song of your oice. With just the tou of a buon, the QChord® can provide an automatic bass line for a song, or you can program an introduction and ending, or add a "drum fill." When a player strums the plate, ten different timbres, e.g., guitar, banjo, and vibes, are readily available. However, rather than strum, the player can oose from ten preset rhythms, su as waltz, ro, and country. e instrument offers a multitude of ways for teaers to accompany songs and older ildren are fascinated with learning how to play the Qord® to accompany singing.

More information on these instruments, complete with suggested Musical Classroom songs to accompany, is included in Appendix B of this text.

Keyboards

e piano and electronic keyboard can both be used to play melodies, ord tones, song fragments, borduns, ostinatos, and full ords. Playing a keyboard instrument offers students of all ages concrete experiences with music concepts and notation, and helps develop spatial reasoning skills. Electronic keyboards are found at every grade level in many different teaing/learning situations.

Figure 3.10 Keyboard tenology lab. Courtesy of Korg Education, a division of KORG USA.

e keyboard's white and bla key paern for both the piano and electronic keyboard is the same (as is the paern found on barred and mallet instruments).

Figure 3.11

ey differ in that electronic keyboards provide ord accompaniments that are automatic or manual. In addition, they offer preset rhythms (percussion only—no pited sounds) of different styles and meters. For example, a preset rhythm might be in waltz time or in banjo or ro style. What fun to oose a preset rhythm "baup" in a suitable style su as banjo for a song su as "Oh, Susannah"! And given that these keyboards can produce an array of timbres su as a honky-tonk piano, organ or clarinet, the possibilities for interesting accompaniments are unlimited.

An instructional section for keyboard is provided on the companion website.

Guitar and Ukulele

e guitar and ukulele are stringed instruments that are included in some elementary classroom music programs. Both can be introduced when a student's small-muscle coordination is adequately developed. is can be as early as third grade. e instruments are used primarily to accompany songs and require tuning before ea use.

ere are many types of guitars, from acoustic to electric, with bodies and strings of different materials. e classical (acoustic) guitar has a mellow tone and is a good oice for beginner players, as it has nylon strings (rather than steel strings) and a fairly wide ne. ese two features make it easier on the pads of the fingers and allow a bit more space for fingering ords. Introductory guitar work begins with ord roots, simplified ords (using only four strings), or ords that use only one or two fingers.

Figure 3.12 Soprano ukulele. Courtesy of Rhythm Band Instruments, Inc.

e ukulele is a Hawaiian instrument that was developed from a small guitar brought to the islands by the Portuguese in the late 1800s. e ukulele comes in soprano and baritone sizes. e smaller soprano "uke" has six strings and a somewhat metallic sound. It is beer for small hands because of its size and its higher pites mat beer with the vocal range of young singers.

e baritone ukulele is larger and has a more mellow tone. It has a wider fingerboard than the soprano, making it somewhat easier to finger ords. Learning the baritone ukulele can precede guitar study, because the baritone's four strings are the same as the highest four strings of the guitar, making it easy to transfer skills to the guitar.

Chord arts, playing positions, and Musical Classroom songs for guitar and baritone ukulele accompaniment are presented in Appendix B and additional guitar information is on the companion website.

Handbells and Chime Bars

Handbells and chime bars are high-quality, expensive instruments used in some elementary music programs. A handbell is a bell with handle; a ime bar is a tube with an aaed mallet on the top. Both are made of metal and come in sets of graduated sizes (pites). Ea handbell and ime bar is portable and is held in the hand.

By grades 4 or 5, most ildren have developed the motor skills to be successful playing these instruments. ey require control and timing to play at a precise moment in the music. A player is assigned to a specific handbell or ime bar and plays only that pit when it is needed. Ea instrument has a particular playing tenique. Hand-bells are oen used for melody, but they can also be used for harmony. Available ime bars are called Choirimes and ToneChimes, ea name being the trademark of a particular manufacturer.

Figure 3.13 ToneChimes. Courtesy of Suzuki Corporation.

Virtual Instruments

A virtual instrument is a type of soware that acts as a sound module. Virtual instruments use your computer's CPU and other resources to create sound and the program running on the computer is the virtual instrument itself. e types of instruments that can be created are limitless and you can have as many as you like. e GarageBand soware application is one of the most accessible means for inviting ildren to try playing virtual instruments via an iPad. is Apple application offers everything from a virtual drum set to virtual guitar, bass, strings, and piano. Children as young as presool can experiment with virtual instruments and even create a layered composition using an iPad and GarageBand (Hanna, 2016: 78).

Projects

1. Visit two or three websites that sell a variety of classroom musical instruments and review the availability, prices, and online information. (A list of music suppliers with websites is provided in Appendix D.) Take notes about the ones you feel offer the most for elementary music classes.

2. Che out videos on YouTube for playing handbells, tuning a ukulele, demonstrating a Qord®, or learning about virtual instruments. Make a list of the videos related to instruments that you found helpful and pertinent to classroom music.

3. Identify three songs in Section II that can be performed on the Autoharp® or Chromaharp® (refer to the 12- and 15- ord models in Appendix B for available ords). Find a song that can be performed with one ord, one that uses two ords, and a third that requires three ords for an accompaniment.

Listening (Responding)

Listening, or the aural mode, is central to every aspect of music making. In addition to the aural skills required in playing instruments, singing songs, and creating accompaniments, "pure" listening or listening for its own sake should be the focus of many music-learning experiences. Students hear music all around them every day, but pure listening to music is an active skill, and one that needs to be developed and nurtured. To become perceptive, critical, and successful music learners, ildren need to develop specific listening skills. ey need to "learn to listen" and "listen to learn."

Learning to listen aentively to music is a allenge for ildren. Music-listening experiences that involve them as active participants help focus their aention. For example, movement or visual aids can elicit responses to particular events in the music. If ildren are listening to music that has anging tempos, they could respond with fast and slow walking. Or they

could use puppets to show the long and short sounds in an orestral piece. ese experiences are effective ways to demonstrate perceptual understanding.

Teaing students to listen to music involves gradually increasing their aention span. Initially, listening experiences should feature shorter pieces and gradually increase to longer ones. No maer what the length or complexity of a particular selection, students need to hear it many times—they need to become "old friends" with the musical work. And they need to listen for something specific in the music ea time the piece is heard. As they engage in repeated listenings, their understanding of the music will deepen and, as a result, their enjoyment of the

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