Module Overview Module 2

RUDIMENTS OF MUSIC

In this Module
1. Rudiments of Music
§ Pitch
§ Duration
§ Dynamics
§ Timbre
2. Musical Instruments (Idiophones, Membranophone, chordophone, Aero phones,
Electrophones

“ DYNAMICS”

Music is written by a composer in order to stir the emotion of the listeners, be it a state of happiness,
sadness, serenity or restlessness. One way to interpret a composition or piece musically is through
singing. A good interpretation is best achieved by proper use of dynamics, which refers to the
terms and musical symbols that indicate relative loudness or softness of a tone.

The illustration below shows dynamics comparison.

Symbols/ signs Italian Terms English Terms

Ppp pianississimo very, very soft

Pp pianissimo very soft
P piano soft
mp mezzo piano moderately soft
mf mezzo forte moderately loud f forte loud
ff fortissimo very loud
fff fortississimo very, very loud
The changes in dynamics are indicated by the following terms or symbols.

Ø Decrescendo growing softer

( Diminuendo )
 < Crescendo growing louder

Activity No.1 “ MY EARS ARE WIDELY OPEN”

Make a list of songs that you heard from radio, television, cassette recorder, etc. Identify the
dynamics used in each song, Write your answer on the opposite side of the song.

Song title Dynamics

1. ___________________ __________________
2. ___________________ __________________ 3.
___________________ __________________
4. ___________________ __________________
5. ___________________ __________________

Activity No.2 “ SONG’S MENU”

Give the appropriate dynamics of the following songs. Write your answer on the blank before each
number.

_______________ 1. Ili- ili tuloy anay

_______________ 2. Lupang Hinirang
_______________ 3. Leron- Leron Sinta
_______________ 4. Spaghetti (sexbomb)
_______________ 5. Silent Night

Activity No.3 “ A – 10 – TION”

Write the lyrics of our National Anthem. Decide the order of dynamic markings that was probably
used.

LUPANG HINIRANG
Bayang magiliw ….

F
 LESSON 5 “ TIMBRE”

The quality of sounds that distinguishes a certain voice or instrument form other voices or
instruments is referred to as timbre or tone color. Because of timbre, it is easy for us to recognize
the sound of dropping a twenty -five centavo coin compared to a ten-peso coin; the voice of your
mom compared to your older sister; or the sound of a trumpet from a violin. The ability to recognize
the combination of tone used by a composer gives us greater understandings and enjoyment of
music.

Activity No.1

A person can be identified by his voice it’s own timbre. While taking your music class, try
to close your eyes recognize the voices around you at home. Write their names on the blank
provided below.

1. _______________________ 2.
_______________________ 3.
_______________________ 4.
_______________________
5. _______________________

VOICES

The product of vibration originated by air passing from the lungs over the vocal chords is what
we called voice. Different pitches can be achieved by changing the tension in our vocal chords.
Varying the shape of the resonators, especially the mouth, changes timbre.

Classification of voices according to

Women’s Voices

Soprano : The highest adult female voice with bright quality of tone.

Mezzo Soprano : A quality of voice that sounds between the range of soprano and alto. It
produces rich and full quality of sound.

Contralto : The lowest voice among adult female voices. It has full and rich quality especially in
the lower parts of its range.
Men’s Voices

Tenor : The highest adult male voice with light, rich or dramatic quality of tone.

Baritone : A quality of voice that sound between tenor and bass. Its quality is richer in sound and
lower in pitch than the tenor.
Bass : The lowest of all voices. It has a deep full sound.
Activity No.2 “ My Voice Range”

Check your voice range and identify its type based on the basic classification discussed above.

What type of voice do you have? __________________________

Activity No.3 “ Voice Quality”

Encircle the word/s listed below that describe the quality of your voice.

Light Soft Bright Thin

Heavy Deep Full warm

Rich Warm

Activity No.4 “ Voice Qualification”

Classify the voices of your favorite singers according to six basic classification of voices.

Name of Singer Voice Classification

____________________________ ___________________________
____________________________ ___________________________
____________________________ ___________________________

MUSICAL INSTRUMENTS

It is a device used to produce musical sounds. Musical instruments may vary in purpose and design,
from natural, simple to most complicated products provided by industrial technology. It may be
classified according to its source of vibrations.
Idiophones “Self-Sounders”
A musical instrument whose bodies are naturally the sound box. It is usually played by striking,
clapping, stamping and shaking the body of the instruments.

Membranophone “ Skin sounders”

Musical instruments having vibrating skin. Most of them called “drum”. The drumhead is made up
of dried animal skin or plastic stretched over the instruments.

Chordophones “String sounders”

An instruments with vibrating stretched strings. Sounds is produced when the strings is set into
vibrations. These instruments are usually plucked with the fingers with or without the plectrum or
bowed with hoarse hair stretched from end to end of the bow stick. The sound varying in thickness,
length and tension of the strings.

Aero phones “ Wind Sounders”

A musical instruments with vibrating column of air. It is divided into large groups: the woodwind
and the brass wind instruments. It is usually played by blowing against the mouthpiece while
covering and uncovering the finger holes, by depressing the valve or by adjusting the slide
mechanism of the instruments.

Electrophones

An instruments in which electronic circuits produce sounds. Electrical current aids in the
amplifications of mechanically produced tone.

Activity No.1 “ Cut and Paste”

Cut pictures of the musical instruments used in your favorite songs. Classify and paste them on a
short bond paper to make a music folio.

Activity No.2 “ Listen Carefully”

Listen to Bryan Adams “Have You Ever Really Loved A Woman” musical instruments. Identify
the musical instruments used, paste them on a short bond paper to make a music folio.
Module Overview Module 3

MUSICAL GOALS IN SIX INSTRUCTIONAL AREAS FOR ELEMENTARY

LEVEL

In this Module

1. Musical Goals in Elementary level

( Singing, Listening, Reading, Playing, Moving, & Creating )
2. Conducting Patterns for time signatures

Objectives in Music Education

At the end of the lesson, the students must be able to;
1. Acquire basic understanding in the fundamentals of music
2. Develop interactive learning in teaching music to pupils
3. Gain wholesome strategies and values in the selection of songs, program, activities

LESSON 1

Grade1
Many children, especially those living in the urban communities had gone to nursery and
kindergarten schools where they had their earliest experiences in school music. To those who are
genuine first graders, the teachers can help much in making this group feel group have aligned with
theirs peers, the new comers are still in the “ weaning stage” from the protection arms of their
parents. Nevertheless, during their socializing period, where physical activity is the predominant
undertaking, both groups indulge in play, the most competitive thing they like to do. This is the time
where music helps to adjust both groups to feel as one.

Singing
Sing in natural, pleasing tones.
 Sing many short, simple songs.
Sing dialogue (question-answer) songs in correct rhythm and intonation
Sing simple tones by ear using number or letter names.
Imitate animal cries, sound of vehicles, and names of people for tonal and rhythmic
discrimination.
Acquire a repertoire of action songs and singing games
Reproduce high/low or repeated notes (notes that stay in place).
Listening
Distinguish between music and noise,
Identify note progression; ascending, descending, and repeated (stay in place).
Distinguish between like and unlike phrases.
Listen to recordings of Philippine folksongs.
Recognize : high-low tones (pitch).
Loud – soft tones (dynamics) Fast – low
tones (duration)
Listen quietly and with was concentration.
Repeat correctly what was heard- motives and figures.
Listen for rhythmic feeling.
Discriminate on sounds producing: sweet-violin; intense – big drum; nasal -brass instrument
and bright – bells
Notice that one’s voice goes up and down, or stays on the same pitch as the notes on the staff
or ladder go up and lower or stay on the same place.
Reading
Read the text of simple songs.
Identify the notes through numbers, letters.
Recognize like and unlike, similar and dissimilar, melodic and rhythmic patterns.
Determine the number of phrases in the song.
Understand dynamics signs : p, pp, f, ff,
Realize that parts of a melody can be made louder (crescendo < ) and softer ( decrescendo >).
Identify the tonic chord in the Key of C.
Recognize visually note patterns in 2 3 time signature.
44
Copy simple notation from the chart, board.
Read notes in the (Treble ) Clef.
Recognize simplest form – A Follow
notation while singing.
Playing
Play simple notation by ear, blank notation.
Play instruments of instrumental rhythm band, kitchen utensils, xylophones bottles and
glasses for harmonic, rhythmic accompaniment to songs, recordings.
 Choose instruments to show rhythm brought about by beat, accent, meter, rhythmic pattern,
phrase.
Introduce melody instruments such as the xylophone, psaltery, resonator bells, and song
bells.
Learn to play the ukulele.
Respond freely through rhythmic play.
Learn to keep time to music with rhythmic instruments.
Moving
Take part in action songs and singing games.
Keep time to music according to the structure of notes:

- Stay, fly
- Pause, jump
- walk
- Run
Respond to pulse (beat) by: clapping, tapping, jumping, skipping, etc.
Imitate movement of nature:
Swaying of trees dropping of rain
Swing of pendulum galloping of horses
Show phrases recognition through:
a. Blackboard sweep
b. Hand sweep in the air
c. Open-closed hand sweep
Show the rise and fall of melody through hand- level and bodily movements.
Interpret music through dance, calisthenics, mimetics in rhythm (play activities).
Dramatize occupational activities:
Laundry
Fishing
Planting
Understand that time signature provides an organization of the time value of notes and rests.
Dramatize or pantomime reaction to mood.
Creating
Create rhythmic accompaniments to songs learned.
Make up answer to question phrases.
Color or paint the mood of songs:
Red, orange for happy music
Black, blue for sad music
Illustrate duration of notes through blank notation.
Create chants to familiar songs.
Interpret music through dramatization.
Grade Two
The grade two child is full of energy and vitality. His vigorous physical activities call for
compensating periods of rest. He is interested in fairy tales and myths of all kinds which should be
reflected in the many songs he will sing. At this period he is aiming for independence and
selfreliance.
Experiences in grade one will be extended in addition to the expected goals for grade two.

Singing
Sing in clear tones and words to convey the correct meaning of the text.
Sing songs in the key of G and F.
Enjoy singing rounds in three and four parts.
Acquire a moderate repertoire of Philippine and foreign music.
Sing according to dynamics shadings: mp-mf.
Follow notation while singing.

Listening
Listen to recordings of ballads, waltzes
Recognize repeated phrases, familiar phrases.
Appreciate folk music from other places.
Write from dictation notes of the first and second tetra chords in the key of C.
Become aware of strong and weak beats.
Identify predominant mood of music – happy, sad.
Recognize stepwise, skip wise, and repeated note patterns.
Become aware of grouping of pulse in two’s and three’s.
Reading
Read notes in the keys of g and f.
Be aware that notes are spoken and sung with same syllabication.
Read notes from musical symbols.
Recognize simple form - A B (binary).
Determine intervals of seconds, thirds, fourths, and fifths.
Read notes of the tonic chord in G and F.
Gain acquaintances with half, quarter, eight notes.
Playing
Play simple rhythmic accompaniments.
Select rhythm and melody instruments to match mood.
Learn to play melody instruments of the rondalla – banduria and octavina.
Learn to play simple auto harp instruments.
Play singing games and action songs.
Moving
Respond to movement indicated by the song – march, waltz, lullaby.
Impersonate
 Interpret movements in 2 and 4 time signatures.
2 4 Take part in singing games,
dancing.
Show rise and full of melody through hand – level and body movements

Creating
Complete unfinished simple songs.
Suggest additional stanzas to songs.
Create second voice ( third below the melody line).
Write two or more measures.

Grade Three
The grade three child is on the borderline between early childhood and the child’s more
mature years. While wanting for adult’s support and encouragement, he does not like to be
“babied”. He likes to read prose independently. He sees himself in relation to others. He is
extremely curious and eager to learn more of the world around him. He finds interest in children
from other lands. Grade two musical goals are extended plus the goals aimed for grade three.

Singing
Sing in distinct, artistic words and tones.
Sing easy rounds and canons in three or four parts.
Sing simple descants.
Acquire a varied repertoire of Philippine and foreign music.
To be able to sing in solo parts or individually.
Decide whether a song is to be sung smoothly (legato) or detached (staccato).
Listening
Listen to sounds of different instruments.
Recognize register of human voices: tenor- bass (male); soprano-alto (female)
Identify like/unlike phrases by sight and sound.
Distinguish between major and minor modes.
Appreciate choral and instrumental recordings from the Philippines and other countries.
Enjoy sacred music-hymn , doxology.
Enjoy beauty of music, form, and unity through singing, listening, playing, reading, moving,
and creating.

Reading
Read notes in the keys of D and Bb.
Identify three-part song construction. A B A.
Become increasingly acquainted with different instruments by sight and sound.
Correlate note and rest values.
Increase facility in reading notes through numbers, letters, and syllabus.
 See the differences between the tie and slur in construction and time value.
Understand repeat mark.
Learn a piece of music from ear to note.
Identify instruments used in the rondalla, band orchestra. Playing
Learn to play the chords of the guitar in the key of C.
Play the banduria for melody parts.
Play the octavina to supplement melody parts for the banduria.
Use rhythm instruments to accompany solo singing.
Gain confidence in a group participation.
Join rondalla ensemble
Moving
Acquire a repertoire of action songs, singing games.
Dance to the rhythm of songs , recordings.
Respond accordingly to fundamental movement as : walking, running, skipping, jumping,
leaping, etc.
Make a simple dance patterns.
Create rhythmic patterns for games: basketball, flying kite, tennis, volleyball , etc.
Make up new words to a new songs or a songs already learned.
Make up dialogue songs.
Make up melodies, verses, rhythmic patterns, dances, and dramatizations.

Grade Four
The grade four child is responsible. Perfectionist, yet critical of himself. Strong interest are
beginning to develop and at the same time eliminating fairy tales and fantasies he enjoyed earlier.
He is now interested I the community and his nation. He is beginning to develop strong feelings of
pride for his country.
He likes to be treated as an individual in an adult way. He likes to be included in planning,
make intelligent decisions, making himself ready for more turbulent pre-adolescent years to come.
Music learnings in grade three are extended to include the following: Singing
Sing three to four part rounds and canons.
Sing simple counter melodies.
Sing simple kundimans.
Sing legato or staccato as appropriate.
Sing two-part songs.
Sing parallel harmonies in third and sixths.
Sing even and uneven note patterns ( / . ).
Listening
Identify sounds of groups of instruments – family of violins, family of brass instruments,
family of wood – wind instruments.
Recognize sounds of percussion instruments : pitch and unpitched.
Match like / unlike phrases to printed notation.
 Listen to recordings of soprano and alto.
Listen to different kinds of music from other lands.
Recognize differences between tonal production of opera orchestra.
Feel the tempo of melody parts : allegro, andante, adagio, presto.
Become aware that the qualities of a musical piece are determined by the types of voices or
instruments used.
Listen to recordings of female voices: soprano and alto
Reading
Identify like, similar, contrasting phrases.
Understand the use of the words “ Da Capo (D. C)” and “Fine”.
Recognize rondo form A B A C A.
Read value of notes in 3 6 9 time signatures
888
Understand the value of one dot placed after a note.
Recognize melodic movement (horizontal) and harmonic movement (vertical).
Recognize monophonic and homophonic texture.
Playing
Play simple flute – like instruments (recorder).
Observe production of sounds that depicts mood: nearness tranquility
Pp = darkness
f = brightness
ff =excitement
Extend use of instruments for rhythm, melody, and harmony.
Play melody parts using the recorder, banduria.
Combine the banduria, octavina, laud for melody parts
Play with concentration in group ensembles.
Moving
Dance to the music of recordings of 3 time signature
March or do some fundamental movements to time signatures of 2 , 2 and 4
2 4 4
Perform American square dances, dances from other lands. Creating
Compose, words and music of a four line song.
Create chordal accompaniments for the ukulele and guitar in the keys of C , F , D , A , and Eb
Add two or more measures to create an editing (coda) and introduction to familiar songs.
Select instruments to produce different sounds.
Complete the measures by supplying notes, rests.
Improvise rhythm of songs learned.
Grade Five
This is somewhat an unpredictable year. There is a wide divergence in physical maturation
between the boys and girls. On the average, some girls are one or two years more mature than boys
in psychological growth.
There is more mature development of girls in classroom activities and interest in folk dancing which
is not shared by most boys. The boys energetic activities are sports which account for their physical
laziness for music.

Singing
Sing counter melody, partner songs.
Sing rubato (arbitrary lengthening of sone tones while others are correspondingly shortened
or vice versa)
Sing longer three to four part rounds and canons.
Acquire a wide repertoire of varied songs – kundimans, popular tunes.
Sing counter melodies (three melodies simultaneously).
Listening
Listen to recordings of the rondalla, orchestra, piano for tonal discrimination.
Identify change of rhythm in a composition.
Recognize shifting of melody (modulation).
Appreciate music from other lands.
Distinguish male voices: tenor and bass.
Listen to electronic music.
Listen to abstract as well as descriptive music (program)
Listen to dynamics of climax of melody.
Reading
Read and locate the keynote of the keys studied in the major and minor modes.
Read the scales in the keys of E and Ab Observe syncopation.
Gain facility in placing the sharps and flats for the particular scales learned.
Read notes of mandolin, piccolo.
Understand enharmonic.
Understand polyphonic and homophonic texture.
Classify vocal parts in solo, duet, trio singing.
Identify note grouping (duplet)

Playing
Use melody instruments to play independent parts for coda, interlude, ending (finale)
Play rondalla instruments for class entertainment.
Play chordal accompaniments on the guitar, ukulele
Learn wind instruments for participation in the band.
Utilize harmonic and chording instruments to a greater extent.
Moving
Perform folk dances – Philippine and foreign
Learn conducting patterns in 2 , 3 , 4 time signatures
4 4 4
Observe syncopated rhythmic patterns through bodily movements.
Dramatize ballad type songs.
Creating
Improvise by ear short melodies.
Make up original songs and descants.
Create three part rounds.
Compose simple, short melodies for the banduria.
Draw a pictures about the songs learned.
Compose interlude ( vocal or instrumental 0 to music learned .
Illustrate mood by drawing about : walking (p); tip-toe (pp); jump (f); heavy stomp (ff).
Create variation form original themes of familiar songs.

Grade Six
Physically, there are marked differences between grade six boys and girls. Nearly all the
girls are taller and heavier than boys. Secondary sex characteristics are more pronounced. Some
boys’ voices begin to change. Many boys want to sing in lower pitches although there is no change
in their voices and they do not like to be identified as sopranos.
Peer approval is a stronger motivating force than adult approval. There is a greater need to
conform to expectations of the peer group. Each child is working hard to be accepted by the group.
Group activities, particularly modern and folk dancing are appealing to both boys and girls. They
are more group- oriented. Outlets for music interest are the choir, rondalla, band, and the orchestra.
The sixth grader manifest an emerging vocational interest. “ what are you going to e when you grow
up?” is a question frequently asked. They are on the threshold of adolescence.

Singing
Sing varied songs: unison, duet. Three, and four part songs (quartette)
Sing pop music composed by Filipinos.
Sing more contrapuntal songs.
Build a broader repertoire of music, vocal and instrumental.
Interchange voices in part singing : high, low; and middle voices.
Enjoy singing medleys.
Listening
Listen to recordings of excerpts from opera, oratorio.
Recognize orchestral color through sounds of instruments string, wind, percussive.
Distinguish between regular and syncopated rhythm.
Be aware of changes of rhythm within the melody.
Appreciate classical, contemporary music.
 Recognize register of sounds according to the instruments used;
High = triangle, bells, violin, banduria, piccolo, mandolin, flute
Low = drum, gong, bass , cello, bassoon, contra bassoon Listen
to the accent of duple and compound music.
Identify middle voices:
Male = baritone; female – mezzo soprano
Recognize performing solo instruments:
Piano, violin, clarinet, flute
Reading
Read notes in the keys of b and Gb
See the differences between transposition and modulation.
Copy rhythmic patterns with dotted notes, fermata, slur, tie
Identify primary chords in keys learned.
Understand the use of triplets in duple meter.
Recognize songs in the pentatonic scale.
Playing
Play the primary chords in the different keys learned for the guitar, ukulele
Use the guitar and ukulele to harmonize singing for solo, duet, trio, etc.
Play syncopated rhythmic patterns using percussive instruments.
Use standard band, orchestra, and rondalla instruments to enrich classroom activities.
Participate in musical ensembles : band, rondalla, orchestra, choral, choral speech.
Conduct contests, exhibitions.
Moving
Perform local, foreign dances.
Conduct songs, instrumental music in simple and compound rhythm.
Do couple dance, folk dance, local and foreign.
Conduct music in 5 7 time signatures.
4 4
Creating
Create simple songs with descent, ostinati, chants.
Create medley of Philippine and foreign songs.
Compose introduction, interlude, coda for a simple song or to an original short song.
Collect literature about music composers.
Create original melodies about experiences.
Compare foreign music to Philippine music.

LESSON 2

Time Signatures
How time signatures work
Time signatures show the number and note value of beats in a measure. The top number of the time
signature shows the number of beats, and the bottom number shows the note value of each beat.

Bottom number Note value Note value written out

2 Half-note

4 Quarter note

8 Eight note

16 Sixteenth note

Simple time signatures

With simple time signatures, beat is not a dotted note and is subdivided into two. Shown below are
some of the most common simple time signatures.
 2/4 time signatures 3/4 time signature 4/4 time signature

2/2 time signature (also called cut time) 3/2 time signature 4/2 time signature

3/8 time signature 3/16 time signature

Conducting Patterns
Module Overview Module 4

METHODS OF TEACHING MUSIC IN THE CLASSROOM

In this Module

1. Organizational Study of Teaching Strategies

2. Teaching – learning Strategies
3. Innovations in the teaching of Music

Objectives in Music Education

At the end of the lesson, the students must be able to;
1. Acquire basic understanding in the Organizational study of teaching strategies
2. Acquire expanded skill in teaching music in the classroom.
3. Gain wholesome attitudes and values in the selection of songs, program, activities

LESSON 1
Music plays an indispensable part in man’s life. It is a creative art form of man. From its crude
beginnings to its present sophistication, music has undergone a series of metamorphosis historically
and socially. “ The educational situation which commonly promotes learning is one in which the
uniqueness of the learner is deeply respected and treasured and the learner is free to explore the
relationships, his own particular interest, potentialities and experiences”. According to Clark
Monstaleus (Teaching as Learning Music Educator’s Journal, November, 1972)

Music is so broad a subject that is has to be learned on the following context:

1. Understanding the structured element of music
a. Rhythm and its parts: beat, meter, rhythm pattern phrase.
b. Pitches, highness or lowness of tones.
1. Melody (Tone arranged horizontally)
2. Harmony (Tone arranged vertically)
 c. Form, design or plan
d. Timbre, tone quality or color.
e. Intensity (dynamics), the loudness or softness
f. Tempo, fastness or slowness
g. Compositional techniques and consideration:
1. Melodic (thematic) transformation
2. Harmonic transformation as modulation, transposition
3. Rhythmic transformation
4. Utility and variety (contrast)
5. Dissonance and consonance (Tension and Relaxation)
6. Texture (homophonic, polyphonic, (contrapuntal)
2. Knowledge of music as a creative art form of man.
A. Historical background information about the composition.
B. Biographical information about the composer.
C. Stylistic and performance practice of the period the composition represents.
3. Skills development
A. Aural skills (ear-oriented)
Listening to the music leads to :
1. Identification and discrimination as concerns the structural elements of music:
a. Pitch c. timber
b. Duration d. intensity
B. Dexterity Skills (psychomotor)
1. Vocal
2. Instrumental
3. Conducting
C. Translative Skills (eye-oriented)
1. Music reading
a. individual parts
b. multiple parts (score reading)
2. Sight reading
In the course of the learner’s study and contact with music, he develops appreciations, attitudes, and
habits.
Appreciations:
1. Responsiveness to the expressive qualities in music.
2. Discrimination of different styles and idioms of music, and
3. Sensitivity to skilled and tasteful performance of music:
Attitudes:
1. An open-minded approach to taste in music,
2. A desire to improve one’s competence with music
3. Confidence in one’s own creative potential, and
4. A positive feeling toward music; Habits:
1. Self-discipline (regular and diligent practice),
2. Listening to quality music (live and recorded), and
3. Playing music for enjoyment

Parts of the Lesson Plan

I. Objectives
Objectives are the targets of the teacher for the children to learn.
They are stated as:
A. 1. Entry behavior (Kahandaang Gawi) (Optional)
2. Enroute behavior (Tunguhang Gawi)
3. Terminal behavior (Takdang Layunin)
B. 1. Cognitive objectives (Pangkabatiran)
2. Affective objectives (Pandamdamin)
3. Psychomotor objectives (Saykomotor)
Concepts
Concepts are the resulting knowledges to be learned for the new lesson.
II. Subject Matter
Subject matter is the title of the music piece which the class will study for the day.
Subject matter may be a vocal or instrumental piece.
 1. Reference:
Book from where the song was taken
2. Materials to use:
Blackboard, chalk, flash cards, books, printed chart, record, piano (if available), other
instruments.
III. Activities
A. Opening Song or Songs
Opening number may be songs, instrumental piece, mimetics, choral speech, record
playing.
B. Ear and Eye Exercises
1. Melodic Drill
a. Use the music ladder, pitch pipe, piano, guitar, ukulele, recorder, or any
instrument that is standard with pitch pipe as guide in the singing of notes on
the ladder. Different progressions are sung: ascending, descending, repeating,
skipping and sequential.
b. Sing notes from numbers or letters
c. Sing notes simulating: calling names of persons, animal cries.
2. Rhythmic Drill
a. Clap the rhythm of songs learned.
b. Tap the desk, stamp the feet, beat with sticks, etc.
c. Beat the different time signatures.
2 3 4 : : 3 6 9 12 : : 2 3 4
4 4 4 : : 8 8 8 8 : : 2 2 2
C. Recall of standards for singing, reciting D. Presentation of the lesson 1.
Motivation (Pagaganyok)
1.1 Background information about the composer.
1.2 Use pictures, paintings about the lesson
2. Unlocking of difficulties
2.1 Class sing so – fa – syllables using the ladder.
2.2 Teacher sings, plays on the piano, organ or any available instrument, melodic
phrases; Children respond with sofa syllables.
 2.3 Teacher exposes the perception cards; class match the phrases on the printed
page or blackboard with the teacher’s singing/playing.
2.4 Children clap the rhythm of designated time signature.
2.5 Children match their clapping with the flash cards where rhythmic patterns are
printed.
2.6 Read the notes of the song
2.7 Sing the notes
2.8 Sing with lo and so-fa syllables
2.9 Sing the words
3. Summary (Paglalahat) Song
Analysis:
Highest and lowest note
Beginning and ending note
Kinds of each note
Dynamic signs
How many measures are there in the song?
What is the form – binary, ternary?
On what beat does the song begin, end?
Is there a broken measure, pick up beat?
Based on the notes used, what is the tempo.
E. Evaluation (Pagtataya)
1. What picture do you see in the song?
2. How do you feel – sad, happy?
3. Do you like the song, why?
F. Assignment
Next lesson must have a bearing on the last lesson.
1. Draw the picture
2. Create chordal accompaniments.
G. Closing Song
Closing number may be a song, instrumental playing, choral group, record, mimetics.
Materials and Devices
For effective and efficient teaching, the teacher should be equipped with the necessary materials
and devices which are great assistance in the promotion and development of understanding,
knowledge, attitudes, skills and appreciation.

1. Pitch pipe. The pitch pipe is indispensable to classroom teaching. The pitch pipe gives the
pitch of high do in the key of C. This is the basis for locating “do “in the other keys (14 in
all). Likewise, the school children become attuned to correct pitch.
2. Chalkboard. The chalkboard is the easiest and most economical equipment of the teacher.
Lessons from the simplest symbol (letter or number) to the more complex words, sentences
paragraphs and other lessons needing repetition are fitted for chalkboard use.
3. Chalkboard with staff lines. Reproduction of original songs, rhythmic and melodic phrases
and lessons involving notation need the staff lined chalk-board.
4. Flash cards. For permanency of purpose, the flash cards are indispensable.
5. Bulletin Board. The bulletin board gives identity to the room of the teacher. Each
individual teacher has particular items for display and exhibit which may be pictures,
drawings or photographs of composers and instruments.
6. Charts. Charts are repository of new songs for study or songs already learned. These songs
may be on lines staff or just words of the songs.
Charts serve as reference materials for the teacher and children. The chart may contain: a.
Pictures of the different instruments
b. Terms and symbols
c. Kinds of notes and their corresponding rests
d. Different time signatures and rhythmic patterns for each time signature.
e. Major and minor scales
f. Grouping of notes
7. Scrap books. The scholarly and resourceful teacher, with the children’s cooperation, wil put
in scrap books their collections of:
a. Folksongs, native and foreign
b. Visiting artists and their program music
c. Pictures of pianist, instrumentalist, brief writeups
 d. Choral ensembles
e. Instrumental ensembles
f. Family ensembles
g. Other literature about music
h. Performances
i. Festivals
8. Budget of Work. Teaching must follow logical arrangement of lessons. The lesson for the
day must suit the occasion the objective, and level of difficulty.
9. Continuum. The teacher refers to the continuum for continuity from the previous of the
preceding lessons to find out the points of children’s weaknesses which need reinforcement.
10. Course of study. The course study is the scope of the lesson to be covered within the grade,
elementary or secondary. It suggest the goals and experiences. It gives provisions for
specific lessons to be taught.
11. Guides and Bulletins. Like the coarse of study, guides and bulletin contains the lessons
prescribed for each unit.
12. Music textbooks and supplementary music books. Only the books can offer authentic
guide for the songs to be learned to give to the composer.
13. Music ladder. The music ladder may be permanently written on cartolina to enable children
to visualize the degrees of the scale in half and whole steps.
14. Baton. Baton is not always used, but for early graders, the baton may be useful for beating
time, feeling the accent and visualizing the movement of the melody.
15. Piano. The piano is useful in enhancing the teacher’s facility to keep up with the correct
melody of music used. Other instruments are recorder, rondalla instruments especially the
guitar which can supply the chordal accomplishments.
16. Melody bells, xylophone bottles or glasses. Both the teacher and children will benefit from
these pitched percussive instruments.
17. Phonograph. Phonograph operates the long playing and singles records for listening
lessons.
18. Tape Recorder. Besides copying original melodies, the tape recorder plays melodies for
listening and for music appreciation.
19. Radio. The radio provides not only music but also newscasts for information.
20. Percussion instruments of the toy rhythm band.
 21. Kitchen utensils. The toy rhythm and kitchen utensils provide rhythmic accompaniment to
singing, playing and moving.
22. Resource Persons. Resource persons give lectures, demonstrations, performances to
upgrade musical knowledge and for appreciation.
23. Television is optional unless the school can provide for one.
24. Daily lesson plan. The plan for the day is the teacher’s guide to realize her objectives for
the day.
25. Form 178. This is the document used by the administrators, supervisors and other officials
concerned with the teacher’s methods and strategies of teaching.
26. Hardware such as the film projector is dispensable.

LESSON 2

Learning is a process of inquiry and discovery. Learning is effective when the child is ready to
learn. Schools are concerned with the teaching – learning approaches in music education which will
help children to develop musical concepts and grow in musical understandings, skills, and
appreciations (value judgement). While the teacher understands the nature of the child and the
nature of music, he is also expected to understand the various ways by which the child grows as
individual personalities and the quality of his responsiveness to music.

Conceptual Approach
Each subject has its own structures, concepts, and generalizations inherent in it – hence the
conceptual approach lends itself to the teaching of music.
Concepts are developed through a cycle of processes as seeing and doing, listening and performing,
and analyzing and discussing. Musical concepts are developed through:
1. Listening. The child develops acquaintances with the tones as he listens to the music which
may be vocal or instrumental. Listening is the sensory perception to music.
2. Analysis of what have been perceived. The learner corelates what he has heard to what he
sees.
Concept should not be forced but should be a natural outcome of the child’s experiences
from listening.
Discovery Approach
This is modernized version of the inductive method and one of the modes inquiry based teaching-
learning procedures. Originally identified with elementary mathematics, the approach features a
multidisciplinary content, the use of precise vocabulary and emphasis on structures. Discover by
children is initiated through questions, use of manipulative skills a variety of instructional aids, and
by following a flow chart whose parts include preparation, exploration and discovery, abstraction
and organization, fixing skills, and application.
The student is given the opportunity to think assemble data, weigh, judge, disseminate, organize
ideas and information, remember, project and draw conclusions. Discovery approach is nonverbal
where the learners is no longer the bench bound listener confined to note accumulation,
memorization, and rigid regimentation inside the classroom. The learner is not restricted by the
prescription of command – “do this, do not do that”. He is free from the regular classroom routine –
daily assignment, periodic testing, and subjective grading. Instead he is allowed to explore by
himself that which he finds challenging, stimulating, and rewarding.

Learning Through

1. Lecture Method (deductive). The teacher gives a generalization of an idea or a principle.

He gives an example through pictures and describes what the entity is about. Through
questioning, the teacher is able to present the idea to be true and for the students to accept
this idea as a fact. The effectiveness of the lecture is gauged on the assumption that the
learner can externalize what he has learned from the teacher’s lecture on the “facts” which
are now a part of the “reality” he possesses.
2. Socratic (inductive). The lecture method is from the known to unknown, and the Socratic is
opposite, from unknown to known. The teacher, through a series of logical questioning
moves the students to arrive at something from the shredded parts he has in mind. The
teacher bombards the students with questions in logical sequence until the correct answer is
formulated. The lesson becomes lively because there is greater competitive
studentparticipation which involves the personal reaction and imaginations on the
generalizations to be made.
The Social Studies Approach
The social Studies approach is one of the oldest approaches in education. This approach is intended
to reinforce learning processes so as to make them relevant to the needs of the modern times.

LESSON 3

Zoltan Kodaly believed that music instruction should undertake as early as possible and that it is
the responsibility of the school to teach every child to sing, read and write music to develop
aesthetic sensitivity and musical taste. He prescribed a vocabulary of rhythmic and melodic
patterns, calling a quarter note = ta, eight note = ti, sixteenth note = ti – di .
Dr. Carl Orff believed that music, speech, and movement are inseparable and that music instruction
begins with the simplest songs and concepts, then progresses to the more complex materials. It
incorporates not only vocal creativity and improvising but also the playing of melodies and patterns
initially in the pentatonic scale and on the percussion instruments he designed.

Zoltan Kodaly
Zoltan Kodaly is the noted Hungarian composer, ethnomusicologist, leader of the Hungarian
Nationalist School, and a music educators. He was a greatly loved musical leader who has worked
hard to produce an active crop of intelligent, appreciative and interested teachers and students
throughout Hungary, where it is said that every child is a pupil of Kodaly.
Kodaly made music teachers handle their classes in an expression of happiness and confidence.
Music is an academic discipline in Hungary. The average man and woman in the streets in Hungary
can read and write music as competently as he speaks his own language. It staggers one’s
imagination to think that it is not uncommon to talk to a hairdresser or to a clerk about the latest
musical presentation opera or symphony. At an early age, a child is expected to be musically
conversant: a grade three pupil who cannot read music is considered illiterate.
Kodaly believes that every person:
1. Is musically literate and independent capable,
2. Knows the culture of his country and
3. Has high standards of musical taste.
Kodaly nurtures the belief that instructions should be undertaken as early as possible and that it is
the responsibility of the school to teach every child to sing, to read, and write music and to develop
aesthetic sensitivity and musical taste through a vocabulary of rhythmic and melodic patterns.

Kodaly Method
Kodaly Scale. Kodaly device a scale using hand gestures to read and sing the different degrees.
Each hand position signifies a specific characteristics and mood- acting or moving, and passive or
resting.
The Kodaly’s Scale of Hand Signals
The tonic (high and low do) in clenched fists manifest rest, repose or finality or passiveness. The
supertonic (re), mediant (mi) and dominant (sol) are in open palm positions. Subdominant (fa) with
thumbs- down and leading tone (ti) with second finger pointing up signify activity or movement
resolving either to move again or simply to end in a cadence.
The Pentatonic Scale. Music reading begins in the first grade, gradually and logically building
musical knowledge and skills through the grades. A fundamental characteristics method is that the
starting should always be the child’s musical experience.
Kodaly utilized the pentatonic scale (fixed tone) and the movable – do – with the rational that “
children cannot hear and see half tones in tunes. Half tones are difficult for them”.
Using the pentatonic five tone scale, the child gains familiarity with components of rhythm beat,
accent meter, rhythmic pattern and phrase. Pulse and rhythm are introduced from childhood chants,
nursery rhymes, and songs of the peasantry which Kodaly have collected since 1960.
Lessons are developed, organized, and presented in chants which serve are regulators of the
procedures to be followed in presenting the various musical ideas. Rhythmic syllables are presented
by ta for the quarter note, ti for the eight note and ti-di for the sixteenth note.
Kodaly recommends the following methodical procedures:
1. Only clap the rhythm,
2. Sing the rhythm on a single tone,
3. Sing the melody on a syllable suitable for vocalization, and
4. Sing the melody on sol-fa syllables.
Constant rhythm training is then combined with note reading and writing. The basic instrument for
learning is the voice. Kodaly said, “ the best to start in music education is singing. Not even greatest
talent is able to overcome the handicap of an education that lacks singing. The Kodaly method
presents learning experiences with the intention of true music literacy. The variety of activities
provide reinforcement of each concept and objectives:
1. Prepare = experience the concept,
2. Present = name the idea or concept,
3. Practice = make concept conscious by discriminating and associating, and
4. Generalize
Kodaly organized materials according to difficulty:
a. Melodies, rhythm, forms and other materials are presented from simple to complex,
b. Through discovery sequence, learning goes from known to unknown.
The learning program is both sequential and cyclical proceeding from the best and simple form
through awareness of rhythm and melody patterns.
5. Schooling
Children stay for three years in the kindergarten learning at most 200 songs and animal
games according to their voice range and level of understanding. In the primary grades,
children stay for eight years learning 30-40 songs in two-half lessons a week. After finishing
the primary grade, majority of the children go to the general secondary school. Children
with the best grade in music enroll at the music technical secondary school.
The resulting success of Kodaly’s technique lead to adaptations from the following authors:
1. Percy M. Young – The Kodaly Choral Method, England
2. Frances Wella Aranoff – Music and Young Children

Justine Ward
The ward method is the result of 10 years of extensive study and experimentation by Justine ward
and a staff of music specialist who are nuns and lay teachers at the Sister’s College in Washington
and at Pius XX School of Liturgical Music in New York. The Ward method originated when the
Rev. Dr. Thomas Edward Shields, former head of the Department of Education of the Catholic
University of Washington requested Justine Ward to evolve a system of music education that would
be based on the rationale of catholic education and at the same time satisfy the requirement of the
principles of modern psychology. Objectives of the Ward Method
 1. Develop in school children not only discriminating taste but also keen attention, strong
powers of concentration and observation, creative inclinators, mathematical precision and
will power.
2. Use music as a means to form character, integrate the intellect and the emotion, lift the soul
into a world of truth and beauty.
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 each day. The subject matter content are
presented through a definite set of music learning areas which follow this format.
1. Vocal 6. Rhythmic Dictation
2. Intonation 7. Staff Work
3. Rhythm 8. Original Work
4. Ear test 9. Song
5. Eye test
b. The Ward Rhythmic Gesture
The Ward rhythm gesture was introduced to emphasize the development of a sense of
alternate rise and fall of movements. (arsis & thesis). This is done without singing. After
gaining acquaintance with the varied gestures, pupil sing simultaneously with the
movements. Rhythmic gestures 1-2. The gestures are for the simplest kind of rhythm and
time. The uppulse is exactly of the same length as the lower – pulse.