Composing a Warm-Up – Grade Seven
Ohio Standards
Connection
Fine Arts: Music
Creative Expression and
Communication
Benchmark B
Improvise or compose a
short melody that includes
key signature and meter
signature with proper
notation in treble or bass
clef.
Indicator 6
Read, write and perform
rhythmic (including dotted
rhythms) and melodic
patterns in a variety of
meters
Lesson Summary:
Students will compose a series of melodic motifs that can be
used as vocal warm-ups. Using proper melodic and
rhythmic notation will allow students to exercise their
abilities to navigate a staff and meter. This lesson will
reinforce previous standards of note and rhythm
identification and basic music theory fundamentals. It will
provide introductory tools used in traditional composition
scoring.
Estimated Duration:
One and one-half to tow hours total. It is suggested that this
lesson plan be presented in 15 to 20 minute segments over
several days.
Commentary:
Since common solfege patterns found in vocal warm-ups
are used, the teacher can modify the project to any
secondary grade level. This lesson will address the needs of
a multi-aged class, such as multi-grade choirs.
Ample time learning and recognizing solfege, interval
relationships and pitch recognition should be provided prior
to attempting this lesson.
Students should be able to identify notes on the treble or
bass clef, whole, half, quarter and eighth notes and dotted
rhythms. Students should be able to identify notes by an
alternative system, such as solfege, numeric and letters.
For the purpose of this lesson, the solfege system is applied.
The teacher also may tailor the project to a variety of scale
patterns or modes, such as pentatonic and diatonic.
Pre-Assessment:
Use several short melodic and rhythmic examples from
Attachment D, Notation and Rhythm that require students to
identify basic melody and rhythm notation and syllables do,
re, mi, fa and sol. Rhythmic counting should be correlated to
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Composing a Warm-Up – Grade Seven
the students’ previous experience using one, two and three, four or ta ti ti, ta, ta).
Assess the performance of a vocal warm-up using a variety of syllables (do, re, mi, fa and
sol) and rhythms employing whole, half, quarter and eighth notes and dotted rhythms.
Have individuals or small groups perform intervallic patterns of unison, seconds, thirds,
fourths and fifths, and rhythmic patterns of whole, half, quarter, eighth and sixteenth notes.
Dotted half, quarter and eighths should be included.
Scoring Guidelines:
 Attachment A, Worksheet Rubric
 Attachment B, Performing and Singing Rubric
Post-Assessment:
Post-assessment will be based on the completed composition projects.
Scoring Guidelines:
Attachment C, Warm-Up Composition Rubric Post-Assessment
Instructional Procedures:
1. Complete pre-assessment:
 Assess melodic and rhythm reading;
 Assess singing ability.
2. Do vocal warm-ups stressing do, re, mi, fa and sol. See Attachment E, Solfege Warm-up
Examples
3. Divide students into groups of two or three. Explain and clarify the lesson.
Instructional Tip:
A complete example of a warm-up should be presented. Group size should not exceed six
students.
4. Pass out student materials (notebook paper, staff paper, pencil).
5. Students write four-measure phrases using solfege syllables: do, re, mi, fa and sol.
Example: do re mi fa, re mi fa fa , mi fa re re, do
6. Students assign a rhythm to each syllable.
Example: do re mi fa re mi fa fa mi fa re re do
Instructional Tip:
Establish a rhythmic pattern that is repetitive.
Example:
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Composing a Warm-Up – Grade Seven
7. After they have completed the rhythms, have students choose a meter (2/4, 3/4 or 4/4)
and complete measure bars.
Instructional Tip:
Students should have at least four measures.
8. Students will edit rhythms as they pertain to selected meter.
9. Using the keys of C, F or G, have the students transfer solfege syllables to the
corresponding line or space on the staff and clef.
Instructional Tip:
Recommend the clef that matches their voice range.
10. After reviewing the students’ efforts, continue by combining two different groups.
Instructional Tips:
 Group size should not exceed six.
 Groups should now try to combine vocal ranges.
Ex.

Group I –Warm-Up + Group 2 – Warm-Up
Soprano
+ Tenor
Groups should have like meters (2/4, 3/4 or 4/4) and be in the same key.
11. Have the two groups combine their projects making an eight-measure or more
vocal warm-up.
Instructional Tip:
These compositions can exceed the eight-measure format, but “best practice” suggests that
the warm-ups not surpass 16 measures.
12. Collect and assess the compositions using Attachment C, Warm-Up Composition Rubric
Post-Assessment.
Differentiated Instructional Support:
Instruction is differentiated according to learner needs, to help all learners either meet the
intent of the specified indicator(s) or, if the indicator is already met, to advance beyond the
specified indicator(s).


Working in groups will permit students who are not meeting an indicator to benefit by
teaming with students advanced beyond the indicator.
Flash cards with the first letter of each syllable (do, re, mi, fa, sol) can be used. Students
should put the cards in the order they prefer. The same strategy may be used for rhythmic
notation.
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Composing a Warm-Up – Grade Seven

Tape recordings of students speaking or singing syllable patterns may help those students
who are not meeting an indicator. Transcribe the recorded pattern to a printed music
format.
Extension:
Assembling the various phrases into a larger work and having students work on lyrics to go
with the music shows the students how to bring an entire vocal composition to fruition.
Instructional Tips:
 Student compositions should stay within their vocal ranges. Determine ranges by having
students sing individually folk songs such as America, I’ve Been Working on the
Railroad, Kum Ba Ya or Bim Bam.
 Have the instrumental or vocal groups in your school play the warm-ups at the beginning
of their respective ensemble rehearsals.
Instructional Tip:
Remember correct instrument transpositions may be necessary. This lesson can be modified
to meet any level or implemented as an ongoing project by using advanced music notation
and solfege. The lesson can continue with student groups combining to increase the length of
the composition. You can provide students an opportunity to teach the class their warm-ups
or you may use the warm-ups during rehearsals. Students can write warm-ups for other vocal
ranges. This lesson can be used as an introduction to a lesson on music form.
Home Connections:
 Students can compose warm-ups at home using family-member input to complete the
project.
 Students can compose warm-ups for an ensemble in which they participate outside of
school, such as a church choir, garage band or barbershop quartet.
Materials and Resources:
The inclusion of specific resources and references to particular musicians, composers or
works of music in any lesson developed by the Ohio Department of Education should not be
interpreted as an endorsement of the particular resource, musician, composer or work of
music. The Ohio Department of Education does not endorse any particular resource,
musician, composer or work of music.
The Web addresses listed are for a given site’s main page, therefore, it may be necessary to
search within the site to find the specific information required for the lesson. Please note
that information published on the Internet changes over time and the links provided may no
longer contain the information related to a given lesson. Teachers are advised to preview all
sites before using them with students.
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Composing a Warm-Up – Grade Seven
Note: Some Web sites contain material that is protected by copyright. Teachers should
ensure that any use of material from the Web does not infringe upon the content owner’s
copyright.
For the teacher:
keyboard, chalkboard, chalk, staff maker
For the student:
paper, staff paper, pencil
Vocabulary:
*Term in the Fine Arts Academic Content Standards Music Glossary.






melody*
meter - an indication of a music work’s rhythmic measure of beat
rhythm*
sequence - An established pattern of rhythm or pitch
solfege*
staff *
Technology Connections:
This lesson can be expanded into a unit using computer notation programs.
After the phrases are completed, the students can produce computer-generated copies of their
work or put them into MIDI files.
Instructional Tip:
The teacher should ask if students know how to use music notation programs and
sequencing.
Research Connections:
Aaron, T. “Music Improvisation and Related Arts.” Music Educators Journal. 66:5 (1980):
78-83.
Anderson, T. J. ”Educating the Creative Musician.” International Society for Music
Education, 4 (1977): 27-30.
Baker, D. “Improvisation: A Tool for Music Learning.” Music Educators Journal. 65:5
(1980): 42-51.
Campbell, P. “Cross-Cultural Perspectives of Musical Creativity.” Music Educators Journal.
76:9 (1990): 43-46.
Coffey, T. “A Human Rite.” Music Teacher. 71 (May 1972): 31.
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Composing a Warm-Up – Grade Seven
General Tips:
 This lesson is written to serve both performing ensembles and general music classes.
 The solfege system is used throughout this lesson, but the teacher can substitute a system
that best serves the classroom.
 Students will produce works that mirror their abilities. Do not look at the final
compositions in a “best of” situation. Assess each composition on its own merit.
Attachments:
Attachment A, Worksheet Rubric
Attachment B, Performing and Singing Rubric
Attachment C, Warm-up Composition Rubric Post-Assessment
Attachment D, Notation and Rhythm Worksheet
Attachment E, Solfege Warm-up Examples
Attachment F, Vocal Range Chart (reference)
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Composing a Warm-Up – Grade Seven
ATTACHMENT A
Worksheet Rubric
4
3
2
1
Rhythmic
Identification
Note
Identification
Solfege
Identification
Key
Identification
Properly
identifies
whole, half,
quarter and
eighth notes.
Properly
identifies notes
two ledger lines
above and
below staff.
Uses both bass
and treble clef.
Properly
identifies all
solfege
syllables (do,
re, mi, fa, sol,
la, ti).
Properly
identifies all
major keys.
Properly
identifies
whole, half,
quarter and
eighth notes;
has difficulty
with dotted
rhythms.
Minor
deficiencies in
identifying
note; limited to
notation only in
bass or treble
clef staves.
Uses solfege
syllables (do,
re, mi, fa, sol)
with only
minor
deficiencies.
Identifies keys
of C, F, G with
no difficulty.
Properly
identifies
whole, half,
quarter notes;
has difficulty
with eighth
notes and
dotted rhythms.
Deficiencies in
identifying
notes on either
clef.
Uses solfege
syllables in a
limited,
repetitive
manner.
Identifies key
of C only.
Shows major
deficiencies in
identification
of all rhythms.
Unable to
consistently
identify any
note on either
clef.
Cannot create a
pattern using
solfege
syllables.
Does not
identify any
key.
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Composing a Warm-Up – Grade Seven
ATTACHMNT B
Performing and Singing Rubric
4
3
2
1
Pitch
Rhythm
Solfege
Minimal pitch
problems; can
perform without
accompaniment.
Properly
performs notated
rhythms.
Properly
performs solfege
warm-ups using
do, re, mi, fa,
sol, la, ti.
Some pitch
deficiencies;
does need
occasional
assistance from
accompaniment.
Performs whole,
half, quarter,
eighth notes. Has
difficulty
performing
dotted rhythms.
Properly
performs solfege
warm-ups using
do, re, mi, fa,
sol.
Frequent pitch
deficiencies;
needs
accompaniment
at all times.
Performs whole,
half and quarter
notes. Has
difficulty
performing
eighth notes and
dotted rhythms.
Properly
performs solfege
warm-ups using
do, mi, sol.
Shows major
pitch
deficiencies even
with
accompaniment.
Shows major
deficiencies in
performing
rhythms.
Solfege warmups are limited to
do and sol.
Other
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Composing a Warm-Up – Grade Seven
ATTACHMENT C
Warm-up Composition Rubric Post Assessment
Solfege Usage
Pitch Notation
Rhythm
Notation
Pitch/Solfege
Correlation
4
Properly uses
solfege
syllables (do,
re, mi, fa, sol).
Uses proper
melodic
notation.
Correctly uses
whole, half,
quarter, eighth
and dotted
rhythms.
Correctly
correlates
solfege
syllables to
note placement
on staff.
3
Uses solfege
syllables (do,
re, mi, fa, sol)
in a limited
manner.
Shows minor
deficiencies in
melodic
notation.
Rhythmic
choices include
whole, half,
quarter and
eighth notes.
Consistently
(with minor
errors)
correlates
solfege
syllables to
note placement
on a staff.
2
Uses few
solfege
syllables (do,
re, mi, fa, sol);
not much
variety.
Melodic
notation limited
to one staff
(bass or treble
clef).
Rhythm
choices limited
to whole, half
and quarter
notes; no eighth
note or dotted
rhythms.
Has difficulty
in correlating
solfege
syllables to
note placement
on a staff.
1
Shows major
deficiencies in
solfege syllable
use.
Shows major
deficiencies in
melodic
notation.
Shows major
deficiencies in
rhythmic
notation.
Unable to
correlate
solfege
syllables to
note placement
on a staff.
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Composing a Warm-Up – Grade Seven
ATTACHMENT D
Notation and Rhythm Worksheet
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Composing a Warm-Up – Grade Seven
ATTACHMENT E
Solfege Warm-up Examples
These warm-up exercises can be performed in any key appropriate to a respective
voice part or type of ensemble (e.g. SATB, SAB, SSA).
Do Re Mi Fa Sol La Ti Do (ascending-descending)
Do Mi, Re Fa, Mi Sol, Fa La, Sol Ti, La Do, Ti Re, Do (ascendingdescending)
Do Mi Sol Mi, Do Mi Sol Mi, Do Mi Sol Mi, Do (ascending or
descending in half steps.)
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Composing a Warm-Up – Grade Seven
ATTACHMENT F
Vocal Range Chart
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