Compose Yourself !
A Unit for Grade Two General Music Classes
With a focus on composition
Written by Sandra Denmead and Patricia Johnson
June, 2000
Revised by Sandra Denmead
August, 2001
Farmington Public Schools
Grade Level Two
Author(s)
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Music
Table of Contents
Unit Summary
………………….….…………..page 3
Stage One: Standards
Essential Understandings
Standards
Unit Outcome Statement
Essential Questions
…………………………….... page 4
…………………………….... page 5
…………………………….... page 6
…………………………….... page 7
Stage Two: Assessment Package
Performance Task
…………………………….... page 8
Assessment Strategies and Activities………………………….... page 9
Stage Three: Curriculum and Instruction
Knowledge and Skill
Preparatory Tasks
Skills/Processes
Vocabulary
Thinking Skills
…………………………….... page 10
x
………………………….... page 11
…………………………….... page12
………………………….... page 13
Appendices
……………………………....
Farmington Public Schools Essential Understandings in Music
Worksheet A (rhythmic notation)
Worksheet B (The Thanksgiving Dinner Song)
Student Work Checklist C
Grading Criteria :
Criteria for final composition
Teacher Grading Rubric D
Report Card Grading Guideline
Student Self-Evaluation Sheet E
Audiation Strategies
Resources
Grading Criteria
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Unit Summary
This unit which focuses on rhythmic composition is designed to be used in
grade two general music with a heterogeneous class of students in
November. It should follow instruction, which includes
- echoing 8-beat rhythmic patterns,
- learning chants which model the composition assignment,
- improvising 8-beat question and answer phrases and
- reading rhythms with half, quarter and eighth notes and quarter rests
using two-, ta, ti-ti, with hand tapping.
The unit will culminate in student performances of their own written
compositions.
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ESSENTIAL UNDERSTANDINGS AND CONTENT STANDARDS
#1 Students will understand that the three ways of experiencing music are by
creating, performing, and responding.
 -creating is the process of inventing music.
 -performing is the act of making music.
 -responding is the process of listening, analyzing, describing, and evaluating music.
The students will:
1.5 (4b) Create and arrange short songs and instrumental pieces within specified
guidelines.
1.6 (6a) Identify simple music forms when presented aurally.
1.7 (6e) Respond through purposeful movement to selected prominent music
characteristics or specific music events while listening to music.
1.2 (1e) Sing in groups, blending vocal timbres, matching dynamic levels, and responding to the
cues of a conductor.
#2 Students will understand that specific musical knowledge and skills must be acquired
to create, perform, and/or respond to music.
The students will:
2.2 (2a) Perform on instruments with accurate pitch, in rhythm, with appropriate
dynamics and timbre, and maintain a steady tempo.
2.3 (2b) Perform easy rhythmic … patterns accurately and independently using rhythm…
instruments.
2.6 (2d) Use a variety of sound sources when composing.
2.7 (5a) Read … half, … quarter, eighth notes and rests in 2/4… meter signature.
2.9 (5d) Use standard symbols to notate… rhythm …in simple
patterns presented by the teacher.
2.4 (2d) Echo short rhythms …
2.5(2f) Perform independent instrumental parts while other students sing or play contrasting
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parts.
#7 Students will understand that an appreciation of music allows people to realize how
music can influence their lives.
The student will:
7.1 (7a) Devise criteria for evaluating performances and compositions.
7.5 (9e) demonstrate audience behavior appropriate for the context and style of
music performed.
7.3 (9c) identify various uses of music in their daily experiences and describe characteristics that
make certain music suitable for each use.
7.4 (9d) identify and describe roles of musicians in various music settings and cultures.
#3 Students will understand that music is a distinct form of communication.
The students will:
3.1 (3a) Improvise “answers in the same style as given rhythmic …phrases.
3.2 (5c) Identify symbols and traditional terms referring to dynamics, tempo…and interpret them
correctly when performing.
*4.4 (3c) Improvise simple rhythmic variations…
#5 Students will understand that music uniquely illuminates the culture in which it is produced.
The students will:
5.4 (9a) Identify by genre or style aural examples of music from various historical periods and
cultures.
5.1 (1c) Sing from memory a varied repertoire of songs representing genres and styles from
diverse cultures.
5.5 (9b) Describe in simple terms how elements of music are used in music examples from various
cultures of the world.
5.1 (1c) sing from memory a varied repertoire of songs representing genres and styles from diverse
cultures.
#6 Students will understand that music is related to other disciplines.
The student will:
6.3 (8b) identify ways in which the principles and subject matter of other disciplines taught in the
school are interrelated with those of music.
6.1 (4a) … arrange music to accompany readings or dramatizations.
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Unit Outcome Statement:
As a result of this unit on Rhythmic Composition, students will know and
understand that music contains note values of varying duration which can
be can be combined in original ways, notated, and performed as new pieces.
The students will also demonstrate competency and understanding:
 by reading half, quarter, eighth notes and rests,
 by clapping and playing rhythmic patterns accurately,
 by combining their original work with that of a partner to create a
performance in ABA form, and
 by selecting and playing percussion instruments accurately.
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Essential Questions:
Why do we call some sounds “music” and other sounds noise?
What are the jobs of a composer, a performer and an audience member?
Can anyone become a composer of music?
Am I a composer?
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Stage Two: Assessment Package
Performance Task
Let’s invite some children from Latin America to visit our school and share a holiday with us. Since
Thanksgiving is coming up soon, we’ll need you to invite some of them to your home for the holiday.
They do not know anything about the way Americans celebrate Thanksgiving Day. We’ll put on
an entertaining skit about the holiday so they will know what to expect.
You will be a composer who creates some music that introduces our guests to our tradition. We’ll
sing together some of the traditional American Thanksgiving songs that we’ve learned also. Do
you have any ideas about how we can make this a great show for our guests? Work with a partner
to give a great concert of your composition. Later in the year we will learn about one of their very
special holidays!
Performance Task Process:
 Create:
The students will compose a rhythmic composition in 2/4 time, accurately using quarter
notes, eighth notes and quarter rests in conjunction with chosen words and including
dynamics.
 Perform:
The students will accurately perform their compositions for the class by chanting and
playing self-selected percussion instruments.
 Respond:
The students will engage in listening as an audience member, identify with others who
do not know our tradition, assist with a steady beat accompaniment, reflect and respond
to their own and their peers’ performances.
3.
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Assessment Tools:
Solo Rhythmic ResponsesEach student will have opportunities to respond with a solo rhythmic answer in the chant,
“Mable, Mable”.
Partner Rhythm GameGiven a set of note value cards, each student will create and transfer to written notation an 8-beat
rhythm pattern.
Students will give feedback and assist each other in pairs.
Compose an 8-beat PhraseUsing a given worksheet, the students will write rhythmic stick notation for an original 8beat rhythm pattern with words that fit appropriately. (Students who work quickly and
accurately may make a second line of words which rhyme and/or a second 8-beat pattern
with new words.)
Independent PerformancesStudents will be able to select an instrument, practice playing, and combine their work with a
partner for a final performance.
Group PerformancesStudents will demonstrate the ability to sing a varied repertoire of songs from memory with
appropriate skills.
Audience ParticipationStudents will demonstrate appropriate listening behavior and feedback for their peer’s
performances. Students may also accompany classmates’ performance by patting a steady beat
including an introduction and interlude between sections at the teacher’s discretion.
Self-AssessmentStudents will complete a check sheet and a question survey to facilitate self-monitoring and self-evaluation.
Evaluation by the TeacherUsing all evidence for each student’s work, the teacher will check-off scores on the grading rubric.
Video-taping of performances is a helpful tool.. (See Appendix D.)
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Stage Three: Learning Experiences and Instruction
Knowledge and Skills
PREPARATORY ACTIVITIES:
The following activities are typical of techniques that should have been previously used
to insure that students are prepared with the necessary skills and knowledge for this
unit.
Flash Card Solos:
After adequate practice with the class, use flash cards, such as Conversational Solfege
Rhythm Set 1.1, to give each student in the class an opportunity to read a rhythm pattern
alone. Make a note of those who need more practice. Check off students who were able to
tap and say the rhythms competently.
“A “or “B” game:
The teacher writes two 8-beat rhythm patterns on the board. Label one “A” and the other
“B”. The students show a sign language “a” to represent the “a” pattern and “b” to
represent the “b” pattern. (See Appendix F) After teacher directed practice, a student
leader (selected for success on the rhythm card solo in the previous activity) taps and says
syllables of one pattern. Each student gives an answer,“a” or “b”, using sign language to
identify the correct pattern. The teacher observes those students who need more practice
in aural identification of written rhythms. Also make note of students who successfully
perform this more challenging solo reading.
Popsicle Stick Game:
Each student (or pair of students) is given a pack of 14 sticks. The teacher taps or plays
on a hand drum an 8-beat phrase using patterns such as those in Conversational Solfege
1.1. Each student then creates the notation on the floor using the sticks.
Chanting Activities:
Using a chant such as Happiness by A.A. Milne, Macmillan Music and You, Vol. Two,
experience chanting while patting the beat, tap the rhythm of the words, interpret by playing
instruments on particular words for tonal color, and notate the rhythm using a worksheet. The
teacher will have previously presented quarter note, eighth note and rest by rote.
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UNIT ACTIVITIES
This section includes the key facts, concepts, principles, skills, and processes called for by the
content standards which are needed to reach the desired understandings. Those in bold text are
to be emphasized and evaluated. Those in plain text should be addressed for building toward the
long-range goal of meeting all standards by the end of grade four.
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Create and arrange for performance an 8-beat rhythmic pattern using wellknown rhythms.
Identify same and different rhythmic phrases when presented in ABA form.
Sing with the class with a timbre that blends at the requested dynamic level as directed by
the teacher’s gestures.
Respond to A and B sections using corresponding hand signals.
Perform a simple original composition in rhythm, using dynamics and
instrumental timbre while maintaining a steady tempo.
Perform independently while other students maintain an independent
steady beat part.
Select an instrument from a variety of choices designated by the teacher.
Read rhythms from charts, flash cards, and notation on the board.
Write rhythms using standard notaion.
Echo clap- repeat rhythm patterns after the teacher.
Discuss the criteria for evaluating a good composition and a successful
performance.
Listen quietly and participate actively as an audience member supporting the
performers encouraging behaviors such as applause.
Identify the use of music in celebration of special occasions such as holidays and discuss
the characteristics that make certain music suitable.
Discuss and experience the work of musicians: composing, performing, and listening
responsively.
Chant rhythmic response in the context of a given chant, improvising a rhythmic
variation to fit the tempo.
Learn and use terminology and symbols for identified dynamics and notaion.
Hear an example of a traditional early American hymn .
Sing and chant from memory several American selections.
Discuss the presence of poetry, rhyming, math, and history in music .
Manipulate elements of music in performance of lyrics.
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VOCABULARY
ABA form
Accompaniment
Audience
Bar line
Beat
Compose
Composer
Crescendo
Decrescendo
Dynamics
Eighth note = ti-ti
Forte
Introduction
Membrane instrument group
Metal instrument group
Measure
Meter
Music
Note Value
Pattern
Phrase
Piano
Percussion instrument
Performer
Quarter note = ta
Rest
Rhythm
Shaker or rattle instrument group
Steady beat
Tempo
Time Signature
Wood instrument group
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Thinking Skills
POINT OF VIEW
Students will:

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Demonstrate tolerance for other points of view by making decisions with a partner.
Understand values of others by sharing many perspectives on a traditional holiday.
REASON WITH EVIDENCE
Students will:


Sort and categorize by identifying family groups of instruments and selecting
appropriate contrasting timbres for original compositions.
Evaluate their musical ideas and draw conclusions about the varied products of their
own and their peers’ compositions.
CAUSE AND EFFECT
Students will:


Sequence events by following a process to create themes which they will use in a
given musical form.
Observe the effects of decision-making by exercising personal choice which results in
unique and varying products.
FORMULATING QUESTIONS
Students will:


Author(s)
Ask and respond to evaluative questions about their own work and that of their peers.
Practice the use of question and answer relationship by creating A-B musical
phrases.
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Learning Experiences and Instruction
1. Preparation Phase
2  OPENING
America “ inner
and outer voices”
- Rhy.cards.
- echo&Which
one is this?
- 8-beat
phrase“It’s so
good to See
You”
- Old Mr. Wdpe
- Add R.Sticks
* “Happiness”
Beat/rhy./rest
- Tonal echo
Lsm,
- Here..bluebd
Lsmrd & game
- routine
CLOSURE
-
1. –opening routine
America
Echo clap 4 beat
patterns: ta, ti-ti
Pose the Essemtial
Question
-Name Game
steady beat chant
-V.E. (Vocal
Exploration)
-Hot Cross Buns review
from Gr. 1 with steady
beat and mrd. Look at
music on chart..
-E.U. :When is sound
music? discussion
- Tonal echo sm
- Core song smOld Mr.
Woodpecker
* Circle game lsmrd
Here Comes a Bluebird
CLOSURE:
What did we learn?
How well did we do?
Final song The
More We get
Together
LESSON OUTCOME:
ESTABLISH THAT
MUSIC IS ORGANIZED
SOUND. IT HAS PITCH
AND RHYTHM,
(DYNAMICS, AND
FORM.)
LESSON OUTCOME:
ESTABLISH THAT
WE NEED TO
LEARN RHYTHMS
AND PITCHES TO
MAKE MUSICAL
PHRASES. .
3 OPENING
-America, use “
inner and outer
voices”
-Happiness chant
& clap on “John”
- listening * see #2
- Read Rhy.cards
- 8-beat phrase
* It’s so good to
See You”
- Old Mr.
Woodpec
Add s/m xylos.
- Tonal echos
- Here comes a Bl.
- Add dmd
xylos w/song &
game
 CLOSURE
LESSON OUTCOME:
ESTABLISH THE
DIFFERENCE
BETWEEN ECHO
AND QUESTION
AND ANSWER
PHRASES (SAME
AND DIFFERENT).
4  OPENING
The More We Get
Tog
-audiation game
America, Sing
aloud on green,
think on red.
- Read rhys.
From board.
- Play ‘A’ –‘B’
Phrase game.
- Happiness with
body perc. Prep
for instu.
- St. leaders
Woodpecker
improvised 8beat phrases
-sing and play Here
Comes a Blue Bird
game and ostinato
Listening: *see #2
CLOSURE
LESSON OUTCOME
ESTABLISH THAT
MUSIC CAN BE
THOUGHT INSIDE
THE BRAIN AS
WELL AS HEARD
THROUGH THE
EARS.:
5  OPENING
Hot Cross Buns
-Partner Hand
Game: clap-Rclap-L – tempo
- Tap and say
Rhy. patterns
-Popsicle Stick
Game using rhys.
above.
- Here Comes a
Bluebird game
-Happiness
transfer body perc.
to instrument
groups (classify)
John = membrane
Great big= metal
Waterproof=wood
Boots on= shaker
Hat=
shaker
Macintosh=shaker
Is That!= all
 CLOSURE
LESSON OUTCOME:
THERE ARE
SYMBOLS WHICH
CAN BE WRITTEN
TO MAKE A
PICTURE OF THE
SOUNDS OF MUSIC.
MUSIC HAS A KIND
OF COLOR MADE BY
DIFFERENT
INSTRUMENT
FAMILIES.
1.
Essential Question: “When is sound ‘music’?” We know that sounds are sometimes noisy
and sometimes musical. What is it about sound that makes us think it should be called
music? After each activity elicit responses about the music: It has a steady beat. It has two
pitches, sol and mi. We sing the same tune two times with different words.
2. Review the elements we found last week: beat, rhythm, pitch. Identify the term “phrases”.
3. T.= “Echo me.” (tap and say a pattern) St. repeat the same pattern. T. =“That was an
echo. We repeated the phrases exactly the same.
T.= Ask several questions such as “What did you have for breakfast?” Call st. to answer.
“You wouln’t repeat back to me, “What did you have for breakfast?” That would be an
echo. Practice musical phrases given by the teacher, followed with a different answer by
students. Demonstrate that the answer needs to match the question in music too. “If I ask
‘What did you have for breakfast’, you wouldn’t answer, ‘on the school bus’.
4. Practice in audiation shoud be consistently and sequentially included in lessons.
See Appendix F
5. Stick notation is used for rhythms. Note heads alone are used for introducing the concept
of notes on lines and spaces. Delay writing both pitch and rhythm together until students
understand the concept of reading rhythm and pitch separately. Review the classification of the
classroom instruments into four groups: woods, metals, membranes, and shakers (or rattles)
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2. Presentation Phase Composition Unit
6 OPENING
7 OPENING
8 OPENING
-Write Happiness
rhythm pattern using
Form- Appendix A
What 2 holidays do
Americans celebrate in
November? see charts
in Big Book, Mac. 2, p.
Discuss art p.:
* Over the River and
Through the Woods- -rote sing ing
listen and follow
music on chart p.
BOOK
Ti-ta, ti-ta, say , move
America
CLOSURE
LESSON OUTCOME:
THE RHYTHM OF
THE MUSIC HELPS
TO EXPRESS MOOD
AND ENHANCES THE
WORDS.
6.
E.Q.-WHAT IS THE
job of a COMPOSER?
-Echo patterns1.1
Brainstorm 2-beat
words to fit then chant
and pat.
-Mabel, Mabel
Over the River
-Rhy. Card activity
Make 8-beat Phrase ,
say, write, practice.
CLOSURE
LESSON OUTCOME:
A COMPOSER NEEDS
TO MAKE UP A
MUSICAL IDEA AND
WRITE IT USING
CERTAIN SYMBOLS.
MAKING UP
RHYTHMS IS
SOMETHING LIKE
MAKING UP WORDS.
9
>Sing & pat beat
More We & Amer.
Mabel, Mabel
Echo rhy. from st.
worksheets.
Pass back papers in
matched pairs strong
&weak, share, correct,
and practice.
Over the River with
temple blocks ti-ta
CLOSURE
LESSON OUTCOME:
THE MUSIC WE
WRITE, CAN BE
READ AND
PERFORMED BY
OURSELVES OR
OTHERS.
OPENING
10 OPENING
Write words about
Thanksgiving to fit
your rhythm.
Make final copy
of composition.
Practice in pairs in
ABA form.
Complete
checklist.
CLOSURE
Practice saying
words in rhythm.
LESSON OUTCOME;
WORDS HAVE
RHYTHMS WHICH
MUST FIT EXACTLY
WITH THE
RHYTHMS OF THE
MUSIC. PHRASES
MAY BE COMBINED
IN PATTERNS.
CLOSURE
LESSON
OUTCOME:
COMPLETE THE
COMPOSITION
PHASE.
STUDENTS MAY
NOW SAY, “YES, I
AM A
COMPOSER!”
After writing the first phrase of a familiar chant, Happiness, on the board together, each
student will complete a worksheet in which they notate the second phrase. Successful
completion of this assignment insures that students have the prerequisite skills for the
performance task. (See Appendix A)
7. What is the job of a composer? We know that there have been great composers like
J.S.Bach. What exactly are they doing when they compose music? Is is something that
anyone can learn to do? Arrange the note cards you are given to create a pattern you like
which has two beats in each
measure.
Copy the pattern onto your worksheet. (See Appendix B)
Practice tapping your rhythm with the syllables two, ta, ti-ti, and rest.
The teacher collects work and organizes pairs before the next lesson.
Team a student who demonstrates strong skill with one who made mistakes.
8. Share your pattern with a partner and help each other with corrections.
Practice tapping your patterns together using the rhythm syllables.
The teacher circulates to help students. Reassign stronger students as helpers. Consider
having a parent volunteer, high school mentor or student teacher available to help
individuals with this work.
9. Write words about Thanksgiving to fit your own rhythm pattern.
Give your chant a title.
Add dynamic markings of your choice using:
piano, forte, cresc. and decresc.
Practice your phrase and a partner’s phrase in ABA form. Decide then
label each paper “A” or “B” and fold the two papers together lengthwise.
The teacher begins each lesson by modeling and presenting concepts to the class. Have a
model ABA chant on a chart or quickly compose one at the board with input from the
students.
10. Make your final copy based on the teacher’s feedback on your paper.
Complete a checklist. (See Appendix C)
Practice saying the words in rhythm.
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3. Practice and Performance Phase
11 OPENING
12 OPENING
What is:
Practice
an audience?
Select an instrument
Performer?
for each part,
Composer?
Final preparation in
Teacher guided
pairs.
preparation.
Practice chants and
songs from the unit.
Perform
for your class.
13 OPENING
Complete a selfevaluation. See
Appendix E.
Practice songs from
the unit.
(plan a
presentation for
other students)
11. If yours is correct and you can say it in rhythm, you may select an instrument, which would
sound good for the “A” part, and a different instrument for the “B” part. The teacher should have
a selection of appropriate instruments organized to guide students in making this choice. Practice
playing your completed piece with your partner. The teacher guides students to practice together
by keeping the beat for them and starting them together.
Establish a signal for stopping the sounds
12. Perform for the class. Be a helpful listener in the audience when your classmates
demonstrate their compositions. Follow your teacher’s directions for keeping a steady beat
accompaniment for each performer’s piece. The teacher should illicit student suggestions for
the form including decisions such as number of beats in the introduction, interlude and/or
coda, and choice of body percussion such as clap, tap, pat or combinations.
13. Evaluate your musical composition and performance. (See appendix E)
Additional Recommendations:
For additional or optional song material for this phase see Core Song List Grade 2.
For recommended listening selections see the Core Listening List, Grade 2.
Each lesson should contain a variety of activities: singing, playing, moving, and listening with
emphasis on sequential tonal and rhythmic skill building.
Lessons should use a variety of artistic processes: Creating, Performing, and Rsponding.
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Appendices
FARMINGTON PUBLIC SCHOOLS
ESSENTIAL UNDERSTANDINGS IN MUSIC
Students will understand that:
1. The three ways of experiencing music are by creating, performing and responding.
Creating is the process of inventing music.
Performing is the act of making music
Responding is the process of listening, analyzing, describing, and evaluating
music.
2. Specific musical knowledge and skills must be acquired to create, perform, and/or
respond to music
3. Music is a distinct form of communication.
4. Music is a means of self-expression.
5. Music uniquely illuminates the culture in which it is produced.
6. Music is related to other disciplines.
2. An appreciation of music allows people to realize how music can influence their lives.
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APPENDIX A
APPENDIX B (on IBM disc)
APPENDIX C (on IBM disc)
APPENDIX D (on IBM disc)
List of resources including texts, videos, field trips, web sites, etc.
Appendix hard copies included. To be reviewed by staff for approval and inclusion.
Resources:
Macmillan, Music and You Grade 2
Orff-Schulwerk Workshop materials by Randy Delelle, and Vivian Murray
Conversational Solfege materials by John Feierabend
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