TEACHING

MUSIC IN THE
ELEMENTARY
GRADES
An Instructional Module

INTRODUCTION
TEACHER INDUCTION PROGRAM
While we all know the countless uses of music in all aspects of life, this module will
provide you with the different methods and techniques in teaching music, sample
lesson plans and different activities for you to be able to build your confidence in
teaching music, not only for your benefit but for your students as well.

What are the objectives of this component?

After studying this part of the module, you should be able to:

• identify the different methods in teaching music;

• master the different features which can be used effectively in teaching music;

• compare the different methods; and

• teach music effectively.

Remember, I will not be with you in person to guide and clarify matters for you.
Therefore, please work on all the Self-Check Questions (SCQ’s), and Activities. The
activities and learning tasks enable you to use the concepts or practice the skills you
read about in this text. The checkpoints and comments on the activities will not only
give you feedback on your performance but also elaborate on the concepts as well.
The lessons in this component will prepare you for your Postassessment at the end
of the module.

Are you ready to learn more? But first we need to assess your knowledge in
Music. The next page is the pre test. Don’t be afraid, you will not be graded.

You may now go to the next page. GOOD LUCK!

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2
PREASSESSMENT FOR MUSIC

PREASSESSMENT FOR MUSIC

Let’s see how much you already know about the topics which we are going to
discuss in this module.

You may start answering now.

Multiple Choice: Encircle the letter of the correct answer.

1. A Hungarian composer who introduced a method of teaching music.

a. Emil Jacques Dalcroze c. Carl Orff

b. Zoltan Kodaly d. Justine Ward

2. A German composer who introduced a method of teaching music.

a. Emil Jacques Dalcroze c. Carl Orff

b. Zoltan Kodaly d. Justine Ward

3. A Swiss teacher/composer who introduced a method of teaching music.

a. Emil Jacques Dalcroze c. Carl Orff

b. Zoltan Kodaly d. Justine Ward

4. This method is based on the rhythm and pentatonic scale.

a. Kodaly Method c. Dalcroze Eurhythmic Approach

b. Orff-Schulwerk Method d. Justine Ward Approach

5. This method animates the child’s emotional life and orients his taste to the finest
aesthetic standards possible.

a. Dalcroze Method c. Kodaly Method

b. Justine Ward Method d. Orff-Schulwerk Method

6. This method provides a sensory-motor approach in music foundation.

a. Carabo-Cone Method c. Justin Ward Method

b. Dalcroze Method d. Kodaly Method

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TEACHER INDUCTION PROGRAM
PREASSESSMENT FOR MUSIC

7. The grouping of notes in a measure in a given time signature.

a. Dynamics c. Rhythm

b. Form d. Tempo

8. The arrangement of musical sections or parts which may be similar or

contrasting, for beauty and variety.

a. Form c. Rhythm

b. Melody d. Tempo

9. Which of the following indicates volume?

a. Dynamics c. Rhythm

b. Form d. Tempo

10. A musical form that has two or more parts wherein each part begins at different
points and ends after the other depending on the number of repetitions made.

a. Form c. Round

b. Rhythm d. Tempo

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD

LESSON 1

THE KODALY METHOD

I. OBJECTIVES
1. Acquire skills in singing, reading and writing notes.

2. Gain deeper appreciation of our culture.

3. Create and perform rhythmic patterns.

II. DESCRIPTION
The Kodaly Method is a teaching strategy in music which was introduced by a
Hungarian composer, Zoltan Kodaly. This method was adopted by music
teachers from Grades one to six. Its foundation is based on the rhythm and the
use of a pentatonic or five-tone scale.

III. DIRECTIONS
The Kodaly Method has the following components:

a. System of rhythm duration symbols such as using syllables “ta” for quarter
note, “ti” for the eighth note, and “ti-di” for the sixteenth note, to indicate
one-beat and half-beat tones.

b. Kodaly Scale - A scale using hand signs or gestures which indicate the
notes of the scale, from lower do to higher do or vice versa. Each hand
position signifies specific characteristics and mood – acting or moving and
passive or resting. (Please see the illustrations of Kodaly hand signs.)

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD

The tonic (high and low do) in clenched fist manifests rest, repose or finality or
passiveness. The supertonic (re), mediant (mi) and dominant (so) are in open palm
positions. Subdominant (fa) with thumbs down and leading tone (ti) with second
finger pointing up signify activity or movement.

IV. BEC LEARNING COMPETENCIES

Melody

a. Identify High and Low Sounds

b. Scale

• Major Scale

Movable Do–identify the hometone Do and notes in each scale

• Pentatonic Scale Reminder:

Before you can do the sample activities you should master the Kodaly Hand
Signals.

V. SUGGESTED ACTIVITIES
1. Singing simple songs using Kodaly hand signals

2. Dramatization of a story.

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD
SAMPLE LESSON PLAN

I. Objectives
At the end of the lesson, students shall have

1. Identified the high and low sounds.

2. Used Kodaly Hand Signals in singing.

3. Interpreted music through dramatization.

II. Subject Matter

Topic : High and Low Sounds (Melody)

Materials: Lyrics of the Songs, Pictures of Animals, Cassette Tape,

Pitch Pipe, musical instruments

Integration: Science - taking care of our nature/environment

English - predicting outcome in the story read

III. Procedure
A. Preliminary Activities

1. Melodic Drill

a. Singing the so-fa syllable

b. Recalling the standard guide for singing

1. Sit properly.

2. Sing in natural, pleasing voice.

3. Feel the lyrics of the song.

B. Presentation and Development Activities 1. Motivation

Show the picture and ask the following questions:

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD

• Which objects in the picture are high?

• Which are low?

• Which is the highest?

• Which is higher, the mountains or the birds? the tree or the giraffe?
the giraffe or the crocodile?

• What will happen if we will not take good care of our

nature/environment?

• What can you do to help save our mother earth?

2. Lesson Proper

a. Presentation / Discussion

A sound can be high or low. It can also be very high or very low, or in
between the levels of high and low.

Present the short story “Goldilocks and the Three Bears.”

Make it come alive with the sounds.

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD
GOLDILOCKS AND THE THREE BEARS
Once upon a time, there were three bears: Mama Bear, Papa Bear and Baby Bear.
They lived in the woods. A cute little girl named Goldilocks wandered into their house
one day while the three bears were away for a walk. Goldilocks had fun inside their
house. When the bears came back, they found out that somebody had eaten their
porridge, sat on their chairs, and slept on their beds. Dramatize their
story

Who sat on Who

my chair? spilled my
porridge?
Who
Who pushed my
Who tasted chair?
my messed up
my bed?
porridge?
Who jumped
on my bed?

Who broke
Who ate my my chair? Oh! Mommy!
porridge? Three bears!
Oh! Let me go
home! Oh!
And who’s
this sleeping
on my bed?

Describe the sounds in the story. Describe the voice of Papa Bear, Mama Bear, Baby
Bear and Goldilocks.

b. Formation of the Concept

Voices and many objects can produce high or low sounds.

c. Activities

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD
In Music, Pitch is the highness or lowness of a tone. We hear varied
pitches all around us.

Direction: Sing the following melodies with hand signals. SO as high note and MI
as low note.

SO SO SO SO
1.
MI MI 2. MI MI

3. SO SO SO
SO SO
4. .
MI MI MI MI
MI

IV. Evaluation
Teacher will sing 3 to 5 tones as she does the Kodaly hand signals. Draw
note/s on the staff. (Do, Mi, So, La, Fa, MI, Re, Ti) Identify which are high tones and
which are low tones. High tones will be placed on the 1 st staff while the low tones will
be placed on the second staff.

V. Assignment
Sing the melodic pattern at the same time using the Kodaly Hand Signals.

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TEACHER INDUCTION PROGRAM LESSON 1: THE KODALY METHOD

SCQ 1

Sing the song “Ring Around the Rosy” and identify the sofa-syllable.
What is the new tone?

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

LESSON2

THE ORFF-SCHULWERK METHOD

I. OBJECTIVES
1. Acquire knowledge of the fundamentals of music through active
participation.

2. Become familiar with the different instruments and cultural music.

3. Appreciate the activities while singing, moving and using a variety of

instruments.

II. DESCRIPTION
The Orff-Schulwerk Method is a unique way of teaching music which was
developed by a German composer, Carl Orff, who was also a music educator. It
utilizes the natural meter of words and the child’s instinctive desire to incorporate
speech, rhythm and movement as the basis for creating rhythms (e.g., strolling,
skipping, running, swinging, etc.).

III. DIRECTIONS
1. Orff devised simple rhythm chants to serve as the basis for sequential
development activities. Speech patterns were taken from chants, games and
vocal sounds in the child’s vocabulary. The patterns were chanted, clapped,
danced and sung.

2. Emphasis on rhythm led Orff him to the use of percussion instruments in

music education. He developed an ensemble of percussion and string
instruments designed to create the proper timber for the music. The
instruments can be played even without proper training.

3. The children do much imitation and improvisation and are led to create their
own music from their inner feelings and imitation of sounds heard from the
surroundings. Thus, they become sensitive to sound and develop other
sounds from these.

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

Examples: swaying of the trees, dropping of rain, galloping of horses

4. Orff involved creative activities using singing, playing and natural movements.

Examples: jumping, walking, running

IV. BEC LEARNING COMPETENCIES

Rhythm

Rhythmic patterns using quarter notes and eighth notes

Values of notes and rests

Different time signature/meters

Examples:

Aural awareness of the rhythm and bodily response

a. rhythmic flow b. Pulse beat c. Accents

Quarter Note - a closed note with a stem. The stem is in an upward

position and is attached at the right side of the note head

( ). In the downward position, the stem is attached to

the left side of the note head ( )

Eighth Note - can take the place of one quarter note (♪ = ♫).
V. SUGGESTED ACTIVITIES
1. Use of cards with symbols or words, drawings of symbols

2. Play activities – movements of different parts of the body

3. Warming up movements while classical music is played

4. Interpreting music with own movement (examples: walking, running,

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

swaying)

5. Playing rhythmic games

Example: “Partner”

• Both will sing and clap the rhythmic patterns.

• One group will recite and the other group will count while clapping.

• Exchange parts.

• Both clap and count at the same time.

• Both sing and clap at the same time.

SAMPLE LESSON PLAN

I. Objectives
At the end of the lesson, the students shall have

1. Identified quarter notes and eighth notes.

2. Formed word patterns according to notated rhythm.

3. Created rhythmic patterns.

II. Subject Matter

Topic : Rhythmic Patterns

Materials: Charts of rhythmic patterns; pitch pipe

Integration: Science

Places where animals live

Common animals in the locality

Major plant groups

III. Procedure
A. Preliminary Activity

Singing sofa syllable using Kodaly Hand Signals

B. Presentation and Development Activities

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

1. Motivation

Pupils will say their names aloud. Clap the beat as they recite their
names. Feel the beat and rhythm.

Example:
Le ny Jo se phine
2. Lesson Proper
a. Presentation / Discussion
Each box has a set of words with steady beats above them.
Recite the words aloud. Clap the beats as you say each set.
Keep repeating each set. Feel the beats. Feel the rhythm.

U po Ca ra bao A bo ka
do
Si Kan ga roo Ka la ba
taw sa
El e phant A lug ba ti
Ok ra

Box No. 1 Box No. 2 Box No. 3

1. How many beats are there in box no. 1; box no. 2 and box no. 3?

2. Do they have the same number of beats?

3. Where can we find/see the animals mentioned in box no. 2?

4. What groups of plants are mentioned in box no. 1 and in box no. 3?

5. Introduce the rhythmic pattern.

Sing the song “Old MacDonald.” (see page 17 for the song)

Feel the beat by clapping hands and marching.

b. Formation of the Concept

Rhythmic patterns are groups of notes in a measure in a given time

signature.

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

c. Activities

Pupils will be divided into groups. Each group will create its own
simple rhythmic pattern.

1. Gaya- gaya puto maya

2. Mommy ko, Daddy ko

3. Seesaw, up and down

4. Bata! Bata! Tayo na!

5. Pen, pen de sarapen

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

OLD MACDONALD

IV. Evaluation
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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

Direction: Look for the rhythmic pattern that matches Column A and
Column B. Connect them with a line.

a. Gaya-gaya puto maya

a.

b. Mommy ko, Daddy ko

b.

c. Seesaw, up and down

c.

d. Bata! Bata! Tayo na!

d.

e. Pen, pen de sarapen e.

V. Assignment

Create your own rhythmic patterns for the following time signature.

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

ACTIVITY 2

Were you able to teach the lesson to your pupils? Answer the observation
checklist below.
Observation Checklist
Item
A. Pupils’ response to the activity
1. interested
2. participative
3. bored
4. not concern
5. inattentive
6. can do the activity alone
7. can create their own
rhythmic pattern
8. lively
9. need constant guide
10. can’t easily follow
instruction

SCQ 2

A. Sing the song “Rain, Rain, Go Away” and draw / write the pattern using the
or

RAIN, RAIN, GO AWAY

4 Rain, rain, go a – way, come a –a gain an – oth – er day,

4 Lit – tle Su – zy wants to play, in the mea – dow, in the hay

B. Here is a short poem. Use any rhythmic instrument to accompany the

rhythmic patterns (example: drum, sticks, coconut shell, sand blocks, etc.).
Draw/write the pattern using or

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TEACHER INDUCTION PROGRAM LESSON 2: THE ORFF-SCHULWERK METHOD

“SA KAPALIGIRAN”
Mundong ibinigay
Sa atin ng Maykapal
Taglay ay musika
Sa kapaligiran

Tunog ng kulog
Na dumadagundong
Ragasa ng alon
Na gugulong-gulong

Patak ng ulan sa ating bubungan

Yabag ng hayop
Sa mga lansangan

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

LESSON 3 THE DALCROZE EURYTHMIC

APPROACH
I. OBJECTIVES
1. Translate terms and symbols for literate musical reading.

2. Interpret music through body responses.

3. Participate actively in the singing activity.

II. DESCRIPTION
Eurythmics was introduced by Emil Jacques Dalcroze, a Swiss teacher and
composer. Eurythmics is a system of coordinating physical movements with
music to help the participants develop a sense of rhythm. This approach was
based on solfege, piano improvisations, and eurythmics or rhythmic movements.

III. DIRECTIONS
1. Dalcroze method is like dramatization, play-party games, and dancing. The rhythmic
bodily movements in dramatization and play-party games interpret the text of a song
through dancing. Dalcroze eurythmics means bodily movements which interpret
aspects of the music.

2. Play –party games, folksongs and dances are used as singing games.

Some rhythmic movements

a. quarter note ( ) - ordinary walking

b. half note ( ) - step and bow or pause

c. dotted half note ( ) - step and 2 bows or pauses

d. 2 eighth notes ( ♫ ) - 2 light running steps

e. dotted quarter note ( .) – bow
Example: Lubi-Lubi

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

IV. BEC LEARNING COMPETENCIES

Dynamics indicates particular levels of intensity

(Fortissimo, pianissimo, mezzo forte, mezzo piano)

Application and interpretation of musical terms and symbols in music

performances (singing, playing, listening or creating)

LUBI LUBI
Visayas
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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

V. SUGGESTED ACTIVITIES
1. Dynamics
a. Making big motion for loud sounds or small motions for soft sounds

b. Using crescendo (<) and decrescendo (>) to interpret growing or

fading, as one imagines himself to be the subject (e.g., a growing plant

or fading sunlight)

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

Examples: Loud Sounds Soft Sounds

1. drums 1. sticks

2. cymbals 2. flute

3. trumpet 3. piano

4. thunder 4. heart beating

5. ambulance siren 5. bird chirping

6. water faucet
6. ball bouncing
dripping
7. church bell ringing 7. clock ticking
8. jet plane flying 8. wind softly blowing
9. children shouting
10. hammer pounding

2. Rhythm
Showing simple rhythmic patterns through movements like clapping,
tapping, waving, tiptoeing, etc.

SAMPLE LESSON PLAN

I. Objectives
At the end of the lesson, the students will be able to:

1. Recognize dynamics signs.

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

2. Identify terms and symbols used in the song.

3 Interpret dynamics symbols.

II. Subject Matter

Topic: Dynamics

Materials: Tape recorder

Picture of Animals in the Story

Pitch pipe

Chart of the song “Ako ay Pilipino”

Integration: Science - Animals and their Habitat

English - Parts of the Story

III. Procedure
A. Preliminary Activities

1. Rhythmic Drill--clapping the hands, tapping the desk, stamping the feet, beating
with sticks

2. Recalling the standard guide in singing

B. Presentation and Development Activities

1. Motivation – Sing with action, pointing at the body parts.

Ulo, Dibdib, Baywang, Paa
(Leron – Leron Sinta)
Ulo, dibdib, baywang, paa, baywang, paa
Ulo, dibdib, baywang, paa, baywang, paa
Mata, tainga, bibig, pisngi, at ilong
Ulo, dibdib, baywang, paa, baywang, paa

2. Lesson Proper

a. Presentation

• The teacher will present a story “The Friendly Beast.”

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

THE FRIENDLY BEAST

Jesus our Brother, kind and good,

Was humbly born in a stable rude,
And the friendly beast around him stood, Jesus,
our Brother, kind and good.

“I,” said the donkey, shaggy and brown,

“I carried his mother up hill and down; I
carried her safely to Bethlehem town.”
“I,” said the donkey, shaggy and brown.

“I,” said the cow, all white and red,

“I gave him my manger for his bed.
I gave him my hay to pillow his head.” “I,”
said the cow, all white and red.

“I,” said the sheep with curly horn,

“I gave him my wool for a blanket warm;
He wore my coat on Christmas morn.” “I,
“said the sheep with curly horn.

I,” said the dove from the rafter high,

“I cooed him to sleep so he would not cry,
We cooed him to sleep, my mate and I.” “I,”
said the dove from the rafter high.

Thus every beast by some good spell,

In the stable dark was glad to tell Of
the gift he gave Emmanuel, The
gift he gave Emmanuel.
b. Discussion

ƒ The pupils will listen as the teacher reads the story.

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

ƒ The teacher will ask the students what the story was about: setting,

character, plot, climax, and ending of the story.

ƒ The pupils will describe the character in the story and the sounds
animals produce.

ƒ The pupils will imitate the sounds of the animals in the story.

ƒ The teacher will introduce the terms and the symbols in the
dynamics.

TERMS AND SYMBOLS IN DYNAMICS

Piano - p - soft

Pianissimo - pp - very soft

Mezzo Piano - mp - moderately soft

Forte - f - loud

Fortissimo - ff - very loud

Mezzo Forte - mf - moderately loud

< - Crescendo - soft getting loud

> - decrescendo - loud getting soft

c. Formation of the concept

Dynamics is the degree of loudness or softness.

d. Activities

ƒ The teacher will group the class as they listen to the song “Ako ay
Pilipino.”

ƒ The pupils will identify the symbols found in the song.

(Note: See page 28)

IV. Evaluation
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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

Write the meaning of the following symbols for dynamics

1. f

2. mf

3. p

4. mp

5. ff

V. Assignment
Memorize the song “Ako ay Pilipino” and follow the suggested dynamics
signs.

Ako ay Pilipino

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

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TEACHER INDUCTION PROGRAM LESSON 3: THE DALCROZE EURYTHMIC APPROACH

ACTIVITY 3.1

Examples of pattern in dynamics.

How about doing your own?

Create your own patterns and put the necessary dynamics markings.

ACTIVITY 3.2

Use the method in Lesson 3 (The Dalcroze Eurythmic Approach) in your

class. Observe carefully the participation of your pupils in the activities and
make a short narrative report.

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TEACHER INDUCTION PROGRAM LESSON 4: THE CARABO-CONE METHOD

LESSON 4 THE CARABO-CONE METHOD

I. OBJECTIVES
1. Associate visual symbols with musical concepts.

2. 2. Use body movements to show the flow of music.

3. Appreciate the music through movements.

II. DESCRIPTION
The Carabo-Cone method provides a sensory-motor approach in the music
foundation and “intellectual stimulation for academic achievement.” It was observed
by psychologists Piaget and Bruner that “the learning and thinking of children are
linked to the concrete, the seeable and the touchable.”

III. PURPOSE
1. Singing and listening while playing make the music concept alive and
ingrained in the children’s mind.

2. Perception and musical concepts are developed from the simple to the
complex as the children experience movement and touch, and understand
the musical symbols.

3. Fun, familiarity and participation are needed to unravel the music symbols.

4. Suggested activities are the use of cards with symbols or words, drawings of
symbols, giant replicas. Movements of the different parts of the body are
done as play activities.

IV. BEC LEARNING COMPETENCIES

Form: Unitary (A) - When a song has one section/ part only.

Binary (AB) - a structure of a musical piece having two distinct parts.

Ternary (ABA) - a kind of structure in music with the first section ( A )

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TEACHER INDUCTION PROGRAM LESSON 4: THE CARABO-CONE METHOD
played both before and after the second section ( B )
thus taking the ( ABA ) form.

Simple Rondo (ABC) - a structure of a musical piece having three

distinct parts.

V. SUGGESTED ACTIVITIES
1. Follow a Rondo Form with the use of the following:
a. instruments
b. pictures
c. listening to the music

2. Give the specific title of music / songs in the following form classifications:
a. Unitary (examples: Leron-Leron Sinta, Bahay Kubo)
b. Binary (examples: Paru-parong Bukid, Magtanim ay Di Biro,
O Naraniag a Bulan, We Three kings)
c. Ternary (ABA)
Examples: “YES, I love you” by Sean Genesis

d. Simple Rondo (ABC)

Examples: Lupang Hinirang
Maligayang Bati

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TEACHER INDUCTION PROGRAM LESSON 4: THE CARABO-CONE METHOD
SAMPLE LESSON PLAN
I. Objectives
At the end of the lesson, students shall have

1. Recognized musical form.

2. Created simple musical form by using objects.

3. Participated in creating a musical composition.

II. Subject Matter

Topic: Form

Materials: Classical or Popular Songs and Folk Songs

Pictures

Pitch Pipe

III. Procedure
A. Preliminary Activities

1. Melodic Drill

a. Use the music ladder, pitch pipe, as guide in the singing of notes on
the ladder.

Different progressions are sung: ascending, descending, repeating,

skipping and sequencing.

B. Presentation and Development Activities

1. Motivation

• Picture Game – Identify the picture and produce the sound the animals
make.

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TEACHER INDUCTION PROGRAM LESSON 4: THE CARABO-CONE METHOD

2. Lesson Proper

a. Presentation/Discussion

• Describe how plants grow (from seeds, stem, etc.).

Teacher will play songs having the AB form.

“Magtanim ay Di Biro” - (AB)

• Teacher plays the music ABC form and introduces the

concepts by asking the students to listen carefully and identify
the form of the song.

“Lupang Hinirang”

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b. Formation of the Concept

Form is the arrangement of musical sections or parts which may

be similar or contrasting, for beauty and variety. A musical
section is made up of phrases.

c. Activities

• Teacher will divide the class into four groups and ask each
group to interpret the songs having the AB and ABC forms.

IV. Evaluation
The teacher will play the tape with different songs/music for the
pupils to identify songs that belong to the AB and ABC forms.

Examples of songs/music: Lupang Hinirang

Paru-parong Bukid

Maligayang araw

O Naraniag a Bulan

Magtanim ay Di Biro

V. Assignment
List five examples of songs having AB and ABC forms.

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ACTIVITY 4

Knowing the objectives and description of the Carabo-Cone Method, what

suggested activities will you choose when you apply this method in your class?
Support your answer.

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TEACHER INDUCTION PROGRAM LESSON 5: JUSTINE WARD METHOD

LESSON 5
JUSTINE WARD METHOD

I. OBJECTIVES
1. Provide opportunities to develop the power of concentration and listening.

2. Use bodily movements to show the rhythmic flow of music.

3. Experience pleasure in interpreting songs.

II. DESCRIPTION
The technique advocated by the Ward series is to impart music not as dry drill or as
memory work for the child but as something that animates the child’s emotional
life and orients his taste to the finest aesthetical standard possible.

The Ward method is the result of ten years of extensive study and experimentation
by Justine Ward and the staff of music specialists of the Pius XX School of
Liturgical Music in New York. Justine Ward finalized the Ward Series in eight
volumes. Each volume is accompanied by: 1) teacher’s guide, 2) printed chart,
3) set of recorded music, 4) seven (7) song books for children and 5) a set of
lesson plans. Each volume of the Ward Series contains a phase of musical
development partially dependent on the preceding grades and totally essential to
the next grade.

III. STEPS/DIRECTION
Basic Ward Teaching Techniques

a. Prepared Lesson Plans

Each volume in the Ward Series has prepared lesson plans which
contain the framework of the activities and the materials to be taught

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each day. The subject matter content is presented through a definite set
of music learning areas which follow this format:
1. Vocal 4. Rhythm 7. Staff Work
5. Eye test 8. Original
2. Intonation
Work
3. Ear Test 6. Rhythmic Dictation 9. Song
b. The Ward Rhythmic Gestures

The Ward Rhythmic Gestures were introduced to emphasize the

development of a sense of alternate rise and fall of movements (arsis and
thesis). This is done without singing. After gaining acquaintance with the
varied gestures, pupils sing simultaneously with the movements, Rhythmic
Gestures 1-2. The gestures are for the simplest kind of rhythm and time.
The up-pulse is exactly of the same length as the lower-pulse.

2
Fundamental Rhythmic Patterns, 4 up-Pulse

a)

up down up down

b)

up down up down

c)

up down up down

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3
Gesture 3 Rhythmic pattern, 4 up-
pulse

Rhythmic Gesture 3. This is a legato curving gesture beginning on the

uppulse which moves alternately from left to right in an up-and-down gesture.

a)

b)

c)

d)

Left Right
1 2 3

Gesture 4 corresponds to the arsis-thesis movements. Arsis movements are

at the beginning of a phrase, ascending progression of a melody and for renewal of
spirit. Thesis movements are for descending melody, relaxed passages, prolonged
notes and for the end of a phrase.

2 3
Gesture 4. or
4 4

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Rhythmic Gesture 4. This gesture may contain two or three pulses, down-pulse.
Rhythmic patterns for or down-pulse (Compound Rhythm).

a) three arses, one thesis

b) two arses, two theses

c) one arsis, three theses

d) one arsis, one thesis, one arsis

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IV. BEC LEARNING COMPETENCIES

Round Song two-part round

V. SUGGESTED ACTIVITIES
1. Movements of different parts of the body are done as play activities.

Examples: Nod the head, Touch the elbow, Sweep the hand in the air,
etc.

2. Fun, familiarity and participation are needed to unravel the music symbols.

SAMPLE LESSON PLAN

I. Objectives

At the end of the lesson, the students shall have

1. Described what a round is.

2. Followed instructions in doing the activity.

3. Found enjoyment in singing a round song with body movements.

II. Subject Matter

Topic: Round

Materials: Two-part round song “Brother John”

Cassette tape

Pitch Pipe

III. Procedure

A. Preliminary Activities

1. Motivation

a. Brief discussion of the water cycle.

b. Singing of song “Rain, Rain Go Away”

B. Presentation and Development of the Activities

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1. Lesson Proper

a. Presentation / Discussion

• Round Singing

• Teach the song “Are You Sleeping, Brother John.”

• Divide the class into two and sing the song as a two-part
round.

• Set the standard guide in singing:

- Sit properly.

- Sing in natural singing voice.

- Feel the lyrics of the song.

• Teacher will introduce what a round song is.

b. Formation of the Concept

Round is a form of repeated singing where the melody is sung in such a way
that each group enters or begins singing at different points and ends one after
the other depending on the number of repetitions made.

c. Learning Activities

Groupings – sing and move

Song : “Are You Sleeping, Brother John”

Movements : Interpret the song.

The class is divided into three groups:

1st group -interpret the round song with body movements

2nd group - sing the song after two measures

Imitate the movements of the 1st group

3rd group - sing the song after the third measure

Imitate the movement of the 2nd group

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Reminders:

o Follow the numbers written on the musical

score. o Keep the beat. o Look at each other

when moving. o Listen to each other when

singing.

o Do own part correctly.

IV. Evaluation

The performance of the students will be graded as follows:

10 ………………… Excellent

7-9 ……………….. Very Good

5-6 ……………….. Good

4- Below ………….. Needs Improvement

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V. Assignment

Memorize the round song and be ready for a group presentation.

BROTHER JOHN

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TEACHER INDUCTION PROGRAM APPENDICES

APPENDICES

MGA SAMPLE NA BANGHAY-ARALIN SA MUSIKA a)

BANGHAY-ARALIN 1
I. Layunin

Nakikilala ang mga hulwarang panghimig na pataas, pababa, pataas/pababa

na palaktaw, at pantay sa iskor pangmusika.

II. Paksa

Direksyon ng Himig

Umawit at Gumuhit

4
Lunsarang Awit “Inday Sa Balitaw” C so 4

Kagamitan Tsart ng hulwarang himig sa iba’t ibang direksyon

Tsart ng awit na “Inday sa Balitaw”

Cassette Tape

Pitch Pipe

III. Mga Gawain sa Pagkakatuto

. Panimulang Gawain

1. Balik-aral

ation) (isa o dalawang minuto)

Ang pagsasanay sa tinig ay makatutulong upang malinang ang tinig ng

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mga bata at matutuhan nila ang wastong pagpapalabas ng tinig na

maganda sa pandinig.

Halimbawa: ma me mi mo mu

Maari rin namang lumikha ang guro ng mga tono at pantig na pagsasanayan
ng mga bata. Ang mahalaga ay malinang ang maayos at wastong paglalabas ng
tinig sa pag-awit.

B. Paglalahad ng Awit

1. Ituro ang awit na “Inday sa Balitaw” sa pamamaraang pagagad.

2. Ipasuri ang direksyon ng mga himig.

3. Sabihin:

Hanapin ang mga bahagi na may notang tumataas at awitin ang

so-fa silaba.

Awitin ang so-fa silaba ng mga himig na bumababa.

4. Ipaunawa ang iba’t ibang direksyon ng mga himig.

Pataas na himig o paiskalang pataas

Pababang himig o paiskalang pababa

Mga himig na magkakatulad o inuulit

Mga himig na pataas-pababa

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C. Paglalahat

Paano kumikilos ang mga himig sa loob ng isang komposisyong

musical?

IV. Paglalapat

Muling ipaawit sa mga bata ang awit na “Inday sa Balitaw.”

Siguraduhing nasusunod ang tamang direksyon ng mga himig.

V. Takdang Aralin

Isaulo and awit na “Inday sa Balitaw.”

Inday Sa Balitaw

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BANGHAY-ARALIN 2
I. Layunin

1. Nakikilala ang anyong binary (AB).

2. Naawit nang wasto ang “We Three Kings.”

II. Paksa

Anyong Binary (AB )

Musika at Sining 5
3
Lunsarang Awit: “We Three Kings” G mi
4
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Kagamitan: Tsart ng awit, mga larawan, pitch pipe, cassette player

III. Mga Gawain sa Pagkakatuto

A. Panimulang Gawain

1. Balik-aral

2. Pagsasanay

Tono - Ipaawit ang iskala sa G mayor

Ritmo - Ipapalakpak ang sumusunod na hulwaran

B. Panlinang na Gawain

1. Pagganyak

Magpakita ng larawan ng Tatlong Hari. Hayaang magsabi ang mga

bata ng nalalaman nila tungkol sa larawan.

2. Paglalahad ng awit

a. Ipatapik ang ritmo ng awit.

b. Ipabasa ang salita ayon sa ritmo.

c. Iparinig ang awit.

d. Ituro ang awiting “We Three Kings” sa paraang pagagad.

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3. Pagsusuri

Itanong: a. Ilang bahagi meron ang awit?

b. Tukuyin ang unang bahagi. Saan ito nagwawakas?

c. Tukuyin ang ikalawang bahagi. Saan ito nagwawakas?

C. Paglalahat

Ang anyong binary ay may dalawang bahagi.

Ang unang bahagi ay A.

Ang ikalawang bahagi ay B.

D. Karagdagang Gawain

Muling ipaaawit ang “We Three Kings.”

Pangkatin ang klase sa dalawa. Isang pangkat ay aawit ng unang bahagi,

habang ang ikalawang pangkat ang aawit ng ikalawang bahagi.

IV. Paglalapat

Isulat ang TAMA kung ang isinasaad ng pangungusap ay tumutukoy sa

Anyong Binary at MALI kung hindi.

1. Ang Binary ay kilala rin sa tawag na ABC.

2. Ang awiting “We Three Kings” ay may dalawang bahagi.

3. Ang Binary ay kilala sa tawag na AB.

4. Lahat ng komposisyong musical ay nahahati lamang sa dalawang bahagi.

5. Ang Anyong Binary ay mayroong dalawang bahagi.

V. Takdang Aralin

Isaulo ang awiting “We Three Kings.”

BANGHAY-ARALIN 3
I. Layunin

1. Nakaaawit /nakakabasa sa tunugang G mayor at menor.

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2. Nasasabi ang kaibahan ng tugunang mayor sa tunugang menor.

II. Paksa

Tunugang G mayor at e menor

Umawit at Gumuhit

Mga Lunsarang Awit

3
“The Man on the Flying Trapeze” G so
4

“Sipag at Tiyaga” e menor mi 4

4
Mga Kagamitan: Iskala ng G mayor at e menor sa tsart, Iskor ng Awit, pitch
pipe, cassette player

III. Mga Gawain sa Pagkakatuto

A. Paghahanda

1. Pagsasanay sa tinig “ma-ha-ha-ha-ha-ha-ha sa isang tono at itaas nang

kalakalahating tono sa tuwing uulitin.

2. Pagsasanay sa himig (gamitin ang senyas sa kamay ni Ward) so-so-do-re-mi

mi-mi-fa-la-la-re-re-re-do-la-so ti-do-re-mi-re-do

B. Pagbabalik-aral

1. Pag-usapan ang tunugang F mayor at d menor.

C. Panlinang ng Gawain

1. Pagganyak

a. Sino ang nakapanood ng “Kaleido Star?”

b. Tungkol saan ang kwento nito?

c. Sino sa inyo ang may pangarap maging isang akrobatiko?

2. Ituro ang awiting “The Man on the Flying Trapeze” sa paraang pagagad.

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3. Pagsusuri

a. Anong uri ng sukat ang unang sukat?

b. Sa anong bilang ng kumpas nagsimula ang awit?

c. Ano ang lundayang tono ng awit?

d. Ipaawit muli ang awitin.

e. Ano ang katangian ng awiting nasa tunugang mayor?

4. Ituro and awiting “Sipag at Tiyaga” sa paraang pagagad.

5. Pagsusuri

a. Anong uri ng sukat ang unang sukat?

b. Ano ang lundayang tono ng awit?

c. Ano ang katangian ng awit?

d. Tungkol saan ang awit?

D. Paglalahat

Ang awit sa tunugang menor ay may hatid na kalungkutan, ang mga

awiting nasa tunugang mayor ay may masasaya at magagaang
melodiya.

Ang tunugang menor ay nagwawakas sa notang la.

Ang tunugang mayor ay nagwawakas sa notang do.

E. Pangwakas ng Gawain

Pangkatin sa apat ang klase at maglista ng mga awitin na may

tunugang mayor o menor.

IV. Pagtataya

Isulat ang titik T kung tama at ang titik M kung mali ang tinutukoy/sinasabi tungkol
sa mayor at menor.

1. Nagtatapos sa do ang tunugang menor.

2. Bawat tunugang mayor ay may kaugnay na tunugang menor.

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3. May masasayang himig ang mga awit sa tunugang menor.

4. Bumilang ng tatlong nota pababa mula sa lundayang tono ng tunugang

mayor upang matukoy ang kaugnay na tono sa tunugang menor.

5. Nagtatapos sa la ang tunugang menor.

V. Kasunduan

Iguhit ang iskalang G mayor at Iskalang e menor.

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ANSWER KEY TO PREASSESSMENT

FOR MUSIC
1. b

2. c .............................................................................................................................
3...............................................................................................................................a
4...............................................................................................................................a
5...............................................................................................................................b

6. a
7. c
8. a
9. a
10. c

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ANSWER KEY FOR MUSIC

ASCQ 1

New Tone: Do

ASCQ 2

Rain, Rain Go Away

Sa Kapaligiran

(voice)

(Coconut shell)

(Sand bag)

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( Drum)

( Sticks)

ASCQ 4
Lesson 4 - The Carabo-Cone Method
ASCQ 4 Different Forms
Items (A) (AB) (ABA) (ABC)
Bahay Kubo √
Lupang Hinirang √
Paru-Parong Bukid √
Maligayang Araw √
Leron-Leron Sinta √
Yes, I Love You √
Jingle Bells √
Magtanim Di Biro √
We Three Kings √

ACTIVITY 1

Ring Around A Rosy

Ring around a rosy

Pocketful of poises

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Ashes, Ashes we

All fall down

ACTIVITY 2
Observation Checklist
Lesson 2 – The Orff-Schulwerk Method

(Probable Answers)
Item Observed Not Observed
A. Pupils’ response to the
activity
1. interested √
2. participative √
3. bored √
4. not concern √
5. inattentive √
6. can do the activity alone √
7. can create their own √
rhythmic pattern
8. lively √
9. need constant guide √
10. can’t easily follow √
instruction

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ACTIVITY 3.1

ACTIVITY 3.2 Narrative report

(Probable Answer)
The students enjoyed the activities in the lesson using the Dalcroze
Approach. The creativity of the students was developed/enhanced. The
students were able to interpret the dynamic symbols.

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ACTIVITY 4 Suggested
Activities
(Probable Answers)
Activity: Give the specific title of music/song.
Reason: Pupils/students will develop a sense of perception and familiarity
with the music/song while listening.

ACTIVITY 5.1
(Probable Answers)
Easy - pupils/students enjoyed singing the round song

Challenging - it needs focus while the group is singing the different lines of the
song

Confusing - everybody is singing different lines at the same time

Humorous - when the group could not finish the song in proper order

ACTIVITY 5.2

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(Probable Answers)
1. The pupils will learn more in the Justine Ward Method because it needs
concentration while listening.

2. The Dalcroze Eurythmic Method will make the pupils/students enjoy the
activities because they can interpret the rhythm through body movements.

3. The Kodaly Method is easy but attention is needed in learning the notes
through the Kodaly hand signs.

4. Some are easy to teach while reading the module but others need support
from music majors.

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