CKC Kindergarten

Creative Kids Co-Op Curricular Guide Kindergarten
Kindergarten
Overarching Goals / Theme
Curricular Overview
Song Collection (in order of use)
Example Experience Designs
Additional Resources (children’s books, methodology books, etc.)
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Overarching Goals / Theme
Grade Level Goals

Transfer Goals The majority of each of the days in the following curriculum is based off of a song helping to introduce either a melodic or
rhythmic element.
The musical elements of this grade level’s curriculum stays within boundaries of what is high or low, pitches do/mi/sol, and
rhythmic elements of the quarter and eighth note while still placing an emphasis on the importance of movement and
exploration at this age.
VA State Goals K.1, K.3, K.5, K.6, K.7, K. 8, K. 9, K. 10, K.14

Addressed
Acquisition Skills Knowledge

Goals -Students will learn how to take -Students will develop an understanding of improvisation.
turns and make music with other -Students will know how to demonstrate the difference between an eighth note and a
students.. quarter note.
-Students will be introduced to the -Students will know contributors of both the blues and reggae styles.
skill of solfege.
-Students will have the opportunity
to learn and perform on a variety of
instruments.
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Curricular Overview
Grade Level Goals (*indicates example experience design)

Day 1 Goals/Foci
K. 1 - K. 2
I can demonstrate high vs. low voicing by exploring melodic contour.
Overview of Activities
● Use a light source such as a flashlight or a laser and draw different lines of melodic contour around the room. Students
voices should raise in pitch as the height of the light increases and vice versa.
● Explore melodic contour though examples of song: ex. The melodic contour in the phrase “down by the riverside” in
song #1 listed below consistently moves downward. Room for circle dance or movement opportunities here as well.
● Provide students with paper, colored string, and glue where each colored string represents a different vowel. Students
can create their own melodic contours by glueing on their pieces of string in different heights and hills.
Students could be assessed based on their melodic contour creations by not only viewing them, but, providing class time for
each student to perform creations. This can also be used to invite students to use both their singing voices and their speaking
voices when performing to asses their understandings of both of the previous standards. If adaptation is necessary students
can also create melodic contours via “paint” app on an iPad, Smartboard, or whatever is more easily accessible.
Day 2 Goals/Foci
K.3 (K. 6)
I can sing melodic patterns using the solfege do, mi, and sol.
● Introduce mi and sol through call and response song ‘Cuckoo’. Keep in mind that as time is available this lesson could
potentially be broken up into multiple days.
● Use the body to help coordinate memorization and development of sol and mi. For example; do = knees, mi = hips, sol
= shoulders. Allow students the chance to improvise melodic patterns using do, mi, and sol, by tapping their bodies
while the rest of the class sings their patterns back.
● The first four measures of the song Lord Randall could be used to re-put do, mi, and sol into context (with the exception
of re). The rest of Lord Randall could be added into curriculum once more musical skills have developed. This song
can also be used in regards to movement and the showing steady beat (scarves, etc.)
Students can be assessed based on whether or not they are able to demonstrate a steady beat. Adaptations can be made in
regards to winding back or forward (including rhythmic ostinatos, simple speaking, etc.) Assessment in relation to
understanding of sol and mi can be done while students are improving their own melodic patterns or when given the chance to
sing the responses of ‘Cuckoo’ individuality. There is also room for adaptation, when understanding these patterns. If students
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are unable to sing full patterns, provide opportunities so just sing each pitch individually or just do/mi, mi/sol, and so forth.
Day 3 Goals/Foci
K.10 and K. 14
I can actively engage in a drum circle by taking turns sharing basic rhythms.
I can move my body to express personal feelings and expressions of a song.
● Begin with a coordinated movement activity. Have about 3-4 songs on deck that represent different moods or could
result in different expressions and feelings.
● Provide students with items that will encourage them to move more freely (scarves, ribbons, etc.) Play the songs for
students again, this time encouraging them to create their own movements to the song based on how they feel about it.
● Drum circle! Introduce the song ‘Hi Yo Ip Si Ni Yah’ to introduce rhythms of quarter and eighth note. Have various
pitched/non-pitched instruments in the middle of the circle. Allow students time to improvise when taking turns sharing
their own rhythms.
● If time allows, there is room for discussion about their expressions when moving, the explanation of the names of the
instruments both inside and outside the circle, and the culture surrounding the Native American songs’ origin.
Assess students on whether a not they were able to keep a steady beat and participate well in the coordinated movement
activities. Pay close attention during this activity and be ready to change pacing based on how quickly the movements are
being understood. Assess both the variety of expressions during the movement activity and the variety of improvisation during
the drum circle. Be sure to have different sized instruments or adaptations of accessibility needs to be addressed. This may
even include an addition of time for demonstration or more in depth explanations of the activity.
Day 4 Goals/Foci
K. 8 - K. 9
I can discuss contributors and singers of the blues style and era AND improvise over a simple blues bass line.
● Have boomwhackers ready and accessible at the beginning of class. Begin with a simple hello song of your choice so
that students can essentially have time to “warm up”. Be sure the hello song includes use of boomwhackers, this
should only take about 3-4 minutes.
● Introduction of the blues. There is room to show videos of authentic performances here if you chose. But, remember to
select the videos from a verified resource for an authentic musical experience. Be sure to show a video AND sing
through the song ‘Alberta’ multiple times before adding in the boomwhacker bass line.
● Go slow at first, be ready to simplify if necessary. Group students into four: **low Do, high Do, Ti, Sol in 4/4 quarter
notes in whatever key you chose to do it in.
● Provide plenty of time to discuss the origins and contributors to the blues style and era.
Though this lesson could potentially be done aurally, be ready to provide a visual representation of the 4 note bass line if
necessary. If it is, provide a color coded representation for those who need this adaptation. Assessment should be done based
on whether or not students were able to successfully play their one bass line note the beat they were written to do so. If
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students are unable to do so, provide assessment by encouraging them to improvise on other instruments around the room or
via vocalization. There is lots of room for assessment here, but be sure to only do so on musical concepts addressed so far
such as the quarter note or success of overall melodic contour.
Day 5* Goals/Foci

K. 1, K. 6, K. 9
I can read and understand the rhythms of ta and ta ti via both traditional and non-traditional notations.
I can discuss cultural aspects of the reggae “style” by exploring musicians, rhythms, and instrumentation.
Overview of Activities **This is just an extracted overview, see the fully fleshed experience design is below!
● Students with a welcome song of “Go Mango Walk” to introduce and teach the FIRST NINE MEASURES of the song
before moving on.
● Move on to the circle/passing activity once students have developed a basic recognition of the song.
● Introduce the rhythmic syncopation of the song via methods of Bruner’s iconic notation. Have the icons available either
on a screen, or other visual representation.
● Circle dance to ‘I Can See Clearly Now’
● Cultural discussion of both rhythmic and musical similarities of the two songs. Include time for questions and
explorations regarding the Jamaican culture and the origin of their musics.
Assessment can be easily ‘snuck’ in be introducing a Where is the Penny game and asking students to sing or speak back the
syncopated rhythm that was the focus of the lesson this day. (go man-go walk = oh yes I do OR oh no I don’t). Winding back
can be down by asking students to simply clap, or to speak over an ostinato while singing to wind forward. Be ready to adapt
things such as the size of both the icons and tangible mango or representation of the taught rhythm. Have instruments students
can demonstrate on if they are unable to vocalize or clap it.
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Song Collection (in order of use)
Day 1: Down by the Riverside (Spiritual) Erin Dixon
● SOURCE: Free Notes public domain

● BACKGROUND:
Down by the Riverside is an African American spiritual that originated before the Civil War. Most spirituals contain allusions to not only religion, but, escaping
slavery as well. The “river” sang here has often been thought of as the Ohio River which stood as a border between many confederate and union states during the
Civil War.
● MELODIC ELEMENT/RHYTHMIC ELEMENT:
Both the main melodic and rhythmic elements found in this song occur in measures 4-5. Though the melody moves either up or down, the rhythm remains a
constant theme. The use of half steps in this motive is also an essential element.
● MODE: F Major (Ionian)
● LEARNING FACETS:
This spiritual could serve as introduction to many different concepts including the historical context of spirituals in regards to the civil war, melodic contour via
the addition of half steps, rhythm. Specifically, the rhythm of dotted eighth followed by a sixteenth note might not yet be discussed in this grade level, but could
potentially be explored via this song later in the curriculum.
● GAME:
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A movement game to encourage engagement through this song could begin by having students form two parallel lines down the center of the classroom, making
a river. Partners would each hold a scarf and would lightly bounce/wave it during the song to make the water. Finally, the teacher would place a small, foam
sword at one end and explain that the classroom must sing and work together to get the sword all the way to the other end without it falling off. After some
estimated difficulty, the importance of spirituals during the Civil War can be discussed. (via metaphor that the foam sword attempting to crossing the river could
be a real person)
Day 2: Cuckoo and Lord Randall
Lord Randall (English Folksong) Erin Dixon

● NOTATION:
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● BACKGROUND:
Lord Randall is a traditional English folksong dating back to 1629. It can be found in nearly every language spoken around Europe and also has Anglo-scottish
roots. The text basically tells the story of a young lord returning home to his mother to tell her that he has been poisoned.
● MELODIC ELEMENT:
Each section of this song has a very different melodic contour. Botht the A section and B section have motives, but, the main motive of this piece occurs in the
last two measures: fa re ti do.
● RHYTHMIC ELEMENT:
Similar to the melody, both the A and B sections of this song have strong rhythmic motives. The rhythm in measure one represents A while the measure 5
represents B.
This song could be used to discuss the styles of medieval music. This could include discussion of instruments, tempo, and how the color varies from any other
pop song. It also introduces the rhythm of two sixteenth notes. Because of the strong difference between the A and B sections it could also explore the
dimension of musical mapping including A sections, B sections, and coda.
● GAME:
To explore mapping in the song, it could easily be done as a partner song. One partner, responsible for the A section would ask “Oh where have you been oh
(insert name) my son”, the other student (B section) would reply I’ve been (insert phrase). Each partnership would have time to discuss their creations before
performing them for the class then discussing their findings in regards to mapping as well as the coda!
Day 3: Hi Yo Ip Si Ni Yah (Happy Song), Navajo folk Erin Dixon
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● SOURCE: Ms. Folsom’s

● BACKGROUND: Hi Yo Ip Si Ni Yah is both a welcome song and song of happiness native to the Navajo Indians originally located in South Western
modern-day America.
● MELODIC ELEMENT: Low sol as well as the interval to sol from do and from sol to do. (ascending/descending 4ths)
● RHYTHMIC ELEMENT: Tas and ta-tis!
● MODE: D major
● LEARNING FACETS: Could be used to teach low sol and the intervals associated with both low and high sol in regards to do as a “home base”. Could
also serve to teach cultural, historical, or social contexts of Native Americans in past and present America.
● GAME: If available, use instruments such as indigenous drums or rattles to create music that is a bit more authentic throughout this experience.
Students will sit in a drum circle and have the opportunity to improvise their own rhythms of tas and ta-tis throughout the repetition of the song. After
each “round” students will rotate so that everyone has the opportunity to play the different instruments. Further discussion…
Day 4: Alberta (Blues) Erin Dixon
● NOTATION:
● SOURCE: Free Notes Public Domain

● BACKGROUND:
Alberta is a blues ballad based off of Gabriel “Uncle Gabe” Hester’s text set to music by Lead Belly around 1935. Alberta is a steamboat work song that Hester
likely sang in his younger days. It was later adapted by other blues artists such as Burl Ives, Pernell Roberts, and Bob Dylan. The text is essentially referring to
an unknown love or “crush” of sorts.
The melodic contour of this song seems to place emphasis both on the first and last two measures as well as so-mi-re-do motives throughout the song.
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The main rhythmic element in this song is the syncopation first seen in the first full measure. This rhythmic motive is repeated again in multiple measures.
● MODE: F major (Ionian)
This song would could serve as a bridge into either cultural or historical context, two of Wiggin’s (2015) Meta-dimensions of Music. It could be used to discuss
the history of blues, specifically the deeply rooted culture that lies behind this history. It could also encourage discussions of the social justice that is inevitably
apart of each song or other genres of music such as jazz or hip-hop.
● GAME:
Because this was originally a steamboat ballad, perhaps a game could include passing a toy steamboat in a circle. There could be one student in the circle
“choreographing” small movements for the rest of the circle to copy. During the singing of the song, the boat would be passed around the circle on the steady
beat. If the song ends with the boat in the student’s hand, then they have the opportunity to stand in the circle and be the leader during the next round. Feelings
throughout this process would be discussed then connected to the historical and cultural contexts.
Day 5: Mango Walk
Mango Walk (Jamaica traditional) Erin Dixon
● NOTATION:
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● BACKGROUND:
Mango walk is a traditional folk song that originated in Jamaica. It dates so far back in Jamaica culture that it is actually quite challenging to pinpoint the
origination of this song. The ‘mango walk’ refers to the journey that occurs during the workday of a mango farmer.
The main melodic elements in measures 2-4, or, each time the phrase “go mango walk”repeats.
Though this song is mostly quarter notes and eighth notes, the rhythmic emphasis is definitely on the syncopation that occurs first in the second measure. This
motive is repeated throughout.
● MODE: F Major (ionian)
This fun song could be used to experience the excitement behind the perceptual elements of flow and energy, as well as other cultural contexts. Because this folk
song is from a different country, the energy will naturally be very different. Energy can be discussed by noticing recurring rhythms, textures, or instruments used
in this specific “tango” style. This could also encourage learnings of genres.
● GAME:
Because this song originated in the Caribbean, it would actually be a great way to incorporate techniques often used through World Music Drumming. A drum
circle would engage students while focusing on the rhythms commonly found in this style of music. The rhythms played throughout the drum circle can be both
planned and improvised by both teacher and student.
Extension Day #1: Siyahamba

Siyahamba, Trad. South Africa Erin Dixon
● NOTATION:
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● SOURCE: Peace of Music

● BACKGROUND: Siyahamba is a traditional South African hymn originally written in the language of Zulu. This hymn spread largely around
North America in the 90s and has since been re-arranged in many different languages all over the world. The text, meaning “we are marching” also
has many different verses allowing opportunity for adjustment.
● MELODIC ELEMENT: interval/contour of low do-la-so, as every voice part sings some variation of this
● RHYTHMIC ELEMENT: syncopation of half notes tied to eighth notes and the combination of dotted eighth followed by a sixteenth tied to an
eighth note
● MODE: G major
● LEARNING FACETS: Could be used to teach rhythmic elements or serve as an introduction to two voice parts by eliminating the bottom staff
completely. The language and cultural context can also be further explored and discussed as the verses progress.
● GAME: This would be a great opportunity to explore some locomotive skills because of the variety of verses. The “siyahamba” verse could be
assigned specific partner movements taught through the Weikart method, then, each new verse they would find a new partner to do the next
Siyahamba, or A section with, in the style of the verse. For example, we are marching in the light of God vs we are walking in the light of God.
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Other Options:
1. Home on the Range (traditional folk) Erin Dixon
● NOTATION:
● SOURCE: Free Notes Public Domain

● BACKGROUND:
“Home on the Range” is one of the most popular American traditional folk songs and is often called the “unofficial anthem” of the American West specifically.
The lyrics were developed based off of Brewster M. Higley’s 1872 poem called “My Western Home”. Sometime in the 1940s, it ended up becoming the official
state song of Kansas and was then sang by many western settlers that spread across the United States during the territorial expansion of the American Frontier.
Melodically, this piece includes pitches only in the diatonic scale of F major (or any other key chosen). The chorus, however; only includes the pitches do, re, mi,
fa, and sol, which could potentially be used as a modification if necessary. The main element is so fa mi re me.
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Most of the rhythms used throughout this song are either quarter notes, eighth notes, or dotted half notes. The most complicated rhythm is dotted quarter
followed by a dotted eighth. This syncopation in combination with m17-23 are the main rhythmic elements.
This song could potentially explore many if not all of Wiggins’ (2015) Dimensions of Music. Two of these dynamics that stand out to me are rhythm and meter.
This song would be an efficient way to introduce the popular rhythm of dotted quarter followed by eighth note. It could also be a great way to teach simple triple
meter.
● GAME:
Ask students to walk around the classroom to both the steady beat and subdivisions of the song. Discuss the difference between steady beat and “waltz” like
movement. Then, ask students to walk around the classroom to the rhythm of the lyrics. Ask what happens during “home on the” and further discussion of
dotted quarter eighth note via Bruner’s enactive, iconic, and symbolic notation.
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Example Experience Designs

DAY 5: Mango Walk, Jamaican Traditional Erin Dixon
**(Stop before measure 9)

1. Rationale:
The purpose of this design is to begin to introduce concepts to students early on in their music education. Specifically larger concepts such as the
discussions of genre as an obstacle, elements of these different styles, and the culture behind each of them. Expanding on these thoughts more
VA standard K.9 specifically states that the music to be explored and evaluated “culturally“ should be either patriotic or seasonal. The music
explore throughout this experience design is patriotic to the Caribbean region and will encourage discussion of the styles found in this region,
specifically reggae. This is extremely important to the personhood of our learners to ensure that they are receiving a well-rounded music
education. This experience will also serve to introduce the musical element of syncopation early on, so that it comes easier when necessary. The
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syncopation explored is taken from the recommend rhythms taught throughout this grade level. It is recommended that this grade level receives
comprehension of quarter notes, eighth notes, and quarter rests. This experience aims to do so by giving students opportunities to understand
this concepts based off of Jerome Bruner’s research on early childhood development and iconic notation by combining this approach with methods
of movement inspired by Weikart and Dalcroze.
2. Understanding Statements:
Students will be able to understand the concept of syncopated rhythm. Specifically the common rhythm of “ti ta ti ta” in a 4/4 pattern song.
Students will begin exploration of different musical elements, such as rhythmic features, standing for key elements in certain styles of music.
Students will have the opportunity to understand this rhythm in ways represented aurally, kinesthetically, and visually via the iconic and symbolic
notation of tas and ta tis through the learning of Mango Walk. Lastly, students will begin to develop an understanding of music as styles rather
than genre. Specifically, the origination of the reggae style in regards to where it originated from as well as some of its key musical components.
3. “I can” statements/standards:
REMEMBER: how do we measure these standards (via assessment)
-I can read and understand the rhythms of ta and ta ti via both traditional and non-traditional notations. (VA K.1)
*Back: just ta
*forward:
-I can respond to music (specifically the steady beat) via movements both locomotive and non locomotive by engaging in the circle dance (VA K.
6)
-I can discuss cultural aspects of the reggae “style” by exploring musicians, rhythms, and instrumentation. (VA K.9)
Assessment:
*Back: I can clap the rhythm OR I can speak an easier rhythm such as ta ta ta ta OR improvise my own.
*Forward: I can clap or stomp the steady and speak the rhythm at the same time OR improvise my own with ostinato.
4. Materials:
-Icons:
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Quarter note/ta: “walk/man” Eighth note/ta ti: “man-go”

**Man-go would have a vertical, dashed line dividing it into two
-An actual mango
-Stretchy band
-Map
-Small instruments (shakers, etc.)
-Ribbons
5. Detailed Process:
Teach Mango Walk (6 min)
-Begin with inviting students to join sitting in a circle in which a mango is sitting in the center
-Perform Mango Walk twice with either ukulele or guitar
-Invite students to sing in the next round only the words “go mango walk”
-Continue by adding in the phrase “my brother did a tell me”, then “steal all the number ‘leven”
Short game (5 min)
-Quickly explain that one student will stand on the inside of the circle holding the mango and walk around to the beat while the rest of the class
sings. The student will pass the mango on to the person he ends in front of on the phrase “number ‘leven”. On this phrase, however; the student
is able to add in their own rendition of “number ‘leven” by creating their own phrase such as “steal all the chicken nuggets”
-Before moving on, ask students “what do you think this song is about?” Evaluate responses and eventually make clear that the song is about the
workday of a Jamaican farmer
Iconic Notation (15 min)
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-Invite students to look at the board (assuming that there is a projector available, if not, print out icons).
-Show each icon. “Whenever we see this we’ll know it stands for “walk”. When ever we see our mango, the first half will stand for “man” and
the second will stand for “go”.
-Give a few easy examples, then have them get a little more challenging
(r) (adding in the concept of quarter rest)
(r) (adding in the concept of eighth rest)
(concept of syncopation, “go man go walk”)

-Last slide will be the concept of syncopation, “go man go walk”, however; it will first sound as “go walk go walk”.
-Invite students to speak and clap and say the lyrics again in rhythm
-”Go mango walk sounds like go walk go walk doesn’t it? So this guy (motion to the symbol for walk) can actually mean more than one thing.
What if we call him “ta” instead so that we don’t get him confused? If we’re calling him ta then we should probably call our mangos something else
too. We’ll call them “ta ti”s instead.
-Refer back to the power point. Have the iconic notation paired next to the symbolic notation and go through each example again, pausing to
repeat and review as necessary.
Circle dance (15 min) “I can see clearly now…”
-”Alright, everyone stand up and stretch a little, when your done be ready to listen”
-Lay stretchy band in the middle of the circle. ”Repeat after me right 2 3 4 5 6 7 8 left 2 3 4 5 6 7 8. (they repeat) right 2 3 4 5 6 7 8 left 2 3 4 5 6 7
8 (they repeat) in 2 3 4 5 6 7 8 out 2 3 4 5 6 7 8 (they repeat) bright, bright bright sunshiny day (stretch arms up and out on the word bright, 3 step
turn to the right on sunshiny day)”
-After this has been done a few times (determined by the confidence of the class) add on physical movements to the right, left, in and out
-Continue these steps throughout Weikarts process: say and do, whisper and do, think and do
-Press play and complete the circle dance with stretchy band.
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-After it has been completed, ask for two helpers. Hand one a rainstick to be played whenever the group says negative words such as rain, pain,
or dark clouds. Hand another a tambourine to be shaken on positive words such as bright or sunshine. Perform the circle dance again. Switch
helpers and perform again as time allows”
Cultural discussion (10 min)
-Invite students to sit down and ask them “What do you know about this song.” or “What does this song remind you of”. Listen and discuss with
students before making clear the following: Written by Johnny Nash, an American reggae composer, in 1972.
- Ask “What is reggae, where is it from, what do you know about it, etc.?” Listen and discuss with students before making clear the following:
➔ Style of music (such as rock or pop)
➔ Originated in the late 1960s in Jamaica, an island in the Caribbean, just like our song Mango Walk did
➔ Influenced by jazz and blues but distinct in it’s own instrumentation (guitar, drums, congas, etc) and relaxed groove
➔ Spread to the many regions of the world and led to many fusions of the style, as we see in Johnny Nash’s “I can see clearly now”
➔ Rhythms are famous for their unique syncopation, which is essentially off-beat rhythms, just like our rhythm we found in “go man go walk”
-”Let’s clap and sing the rhythm of I can see clearly now”
-The rhythm found in the second measure of this example shows how the go man go walk rhythm is similarly found in I can see clearly now. Point
this about by asking “does anyone notice similarities between this song and our Mango song? Let’s clap the rhythm here. Let's speak the rhythm
“go man go” then symbolically “ti ta ti” Revert back to slides as needed for review.
Further exploration (6 min)
-”Alright grab either an instrument or a ribbon from the circle. I’m going to play some examples of songs in the reggae style and you are going to
move and play however you’d like to the steady beat.”
-Examples to include Bob Marley, Jimmy Cliff, Peter Tosh, etc.
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Assessment (3 min)
-Invite students back to the circle. Explain that you have a penny and that a student is going to give it to someone else while your eyes are closed.
Then, I will ask ___do you have the penny? Then they will respond in the same rhythm as “ti ta ti ta” Oh, no I dont OR Oh yes I do. (See
assessment portion below) If time allows ask students if they would like to do either the circle dance or the passing game one more time.
6. Assessments: (other than consistent evaluation and observation throughout this experience, this chart specifically corresponds to the
assessment feature of this lesson plan listed above)
Student’s Name 1 2 3
Jimmy x
Haley x
1: The student did not speak in the rhythm and when the rhythm was demonstrated again they were still not able to do so.
2: The student spoke the rhythm correctly with the exception of one or two of the durations
3: The student spoke the rhythm completely correct.
Back: no syncopation
Forward: clap steady beat and say words
7. Adaptation:
- Color: There is already some representation of this adaptation in this experience design being that the icon for ta is black and the icon
for ta ti is orange (mango). When moving from iconic to symbolic notation, however; this could be transferred by having quarter notes be
black and eighth notes be orange.
- Shape/Size: Size of either the iconic or symbolic notations can be changed if necessary. The mango in the beginning activity offers
opportunity for students with tactile needs to express them. But, the mango could likely be too large and heavy for some students. Have
the option of something lighter such as a shoe, or smaller such as a toy mango in the place of the real one if necessary.
- Pacing: Many of these activities planned leave plenty of room to either be cut or expanded upon. Pay attention during the execution of
the design and note if anything is taking longer than expected and needs to be extended for the sake of pacing. On the other hand, some
extensions (such as the repetition throughout the circle dance) can be taken out completely if students are becoming bored. That being
said, if discussion cause students to become fidgety, have the opportunity of moving to reggae music available early on.
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- Modality: Though students do have the opportunity to clap the rhythms, students could also have the opportunity to move in a way that
feel right to them by stepping to the rhythm. This could also help with anxiety from sitting down. Iconic notation can also be used
throughout “I can see clearly now” in order to clearly seam the transfer from one song to the next visually. Students could also have the
opportunity to tap the rhythm on drums.
8. Extension
This experience offers many opportunities for extensions. If it were to carry into the next week, you could easily add on the rhythmic notation of a
quarter rest since this experience design did not really focus on this musical aspect. It could also be expanded by exploring syncopation in other
songs of various styles such as country, pop, etc. Further, the rhythms taught can be further developed through something as simple as a drum
circle in which students first demonstrate their understanding of the syncopated, then, have the opportunity to improvise and create their own in
various styles.

Extension Day #1: Siyahamba Erin Dixon
Summary/Overview
This experience is designed based off of my own Orff arrangement of the traditional South African folk song ‘Siyahamba’. Though it is not exactly
clear as to what language this song is in, it is suggested that is either Xhosa, Swahili, or, likely a combination of a few South African languages.
The text: “Siyahamba kukhanyen’ kwenkos” translates to “we are marching in the light of God” in English. Because the mentioning of God could
potentially play a problem in some school districts, I decided to change the english lyrics to “we are marching in the light of love” so that it is more
universally accepting of any cultures present in the classroom. This arrangement will be used to introduce the concept of two voice parts, a
melody and contrasting harmony, and will also expand on the concept of syncopated and tied rhythms, rhythms common within the South African
culture. You can access a PDF of the Orff arrangement at:
https://erindixon.weebly.com/musicianship/in-the-light-of-love-mued-380-musicianship-portfolio-project
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Rationale:
Throughout this experience students will have the opportunity to develop and perform the traditional South African folk song ‘Siyahamba’. This will
be done so via a variety of Orff instruments and layerings. LittleBits will also be used to allow student to create their own color additions to the
arrangement. Though there is a Little Bit melody written in already, it is recommended that students play and create their own melodic pattern
with the LittleBits before the class begins performing the arrangement. Students will also have the opportunity to respond to the music through a
variety of locomotor and nonlocomotor motions that are both mentioned and improvised throughout their learning of the melody and lyrics. Though
the arrangement is based off of a song in another language, the language uses similar sounds found in the English language and will in turn be
exciting for students to learn rather than nerve wracking. After students have had the chance, students will also have the opportunity to improvise
their own rhythmic or melodic patterns as well as discuss the musical traditions of the South African Culture.
Standards:
K.5 The student will perform rhythmic patterns that include sounds and silences, using instruments, body percussion, and voice.
K.7 The student will respond to music with movement, including 1. matching locomotor and nonlocomotor movements to rhythmic patterns;
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I Can Statements:
-I can perform various rhythmic patterns found in ‘Siyahamba’ via my voice and pitched/unpitched instruments.
-I can keep a steady beat through a variety of locomotor and nonlocomotor movements.
-I can discuss rhythmic elements commonly found in the music of South African cultures.
-FORWARD: I can play a rhythmic ostinato with on the drums while improvising a vocal melodic pattern.
-BACK: I can keep a steady beat via body percussion OR I can sing the lyrics while keeping a steady beat via moving around the classroom.
Materials and Visual Aids:

-Powerpoint, or some other innovative way of displaying the lyrics if visual modalities are needed
-3-5 Glockenspiels (dependant on class size)
-3-5 Xylophones (dependant on class size)
-3-5 djembes or tubanos (dependant on class size)
-1 premium LittleBit set (if available, if not, select an iPad app)
-10-20 ribbons and or scarves
Detailed process:
Begin my making music/welcome (5 min)
-”Hello everyone! Come grab either a scarf or a ribbon and stand around the circle. When I start singing, begin moving to the beat”
-Start singing the song in the native text, do so about 3-4 times.
-Switch to the first version of English text “we are marching”. Tell students “now begin moving based on how we responding to the light of love”
-Sing each adaptation 2 or 3 times before switching to the next: walking, dancing, running, jumping, skipping, etc.
-Finish by switching back to the native text and singing through twice before asking students to sit in the circle.
Learning of native text (3 min)
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-Pacing is really important here! Start by saying each phrase relatively slowly and be on the lookout for those needed to go either slower or faster.
1st phrase: Siyahamba
2nd phrase: kukhanyen’ (speak the first and second phrase together)
3rd phrase: kwenkhos (speak the second and third phrase together before moving on to speaking each phrase in one continuous line)
-Sing each phrase and follow the same process to add in singing if necessary
-Switch to english translation once or twice (or as many reps as necessary)
Learning of instrumental parts (12 min)
-Split students up into 4 groups: LittleBits, Glockenspiel, Drums, and Xylophone.
-Begin my instructing students in the LittleBits group to stay at this station to assemble their melodic pattern to go with Siyahamba (assuming
students have used this technology in the past and understand how to get started). If this is not the case, be ready to adapt and add time to
address these understandings to the entire class.
-Walk group over to Glockenspiels
-Glockenspiels: will already be assembled so that the open fifths are easier to locate and play. “Today you’ll be playing G and D for each measure
except where you sing the second “siyhamba kukhanyen” where you’ll play D and A twice. Address mallet hand position or any questions as
necessary.
-Walk group over to Xylophones
-Xylophones: demonstrate repetitive pattern and have options available and at the ready if the pattern is either too hard or too easy for some
students.
-Walk group over to drums
-Drums: teach by explaining the pattern as “low low high, low high low”.
Performing!! (8 min)
-”Let’s start with adding in the drums. Low low high low high low”
-Wait until the drums have settled in before moving on to Glockenspiels
-”Alright now let's add in this group” check to make sure each measure is correct before adding in melodic pattern of the xylophones
-Do the same before adding in LittleBits or ipad melodic pattern
-Once everything has settled in start singing and go through each verse twice:
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--Siyahamba
--Marching
--Walking
--Dancing
--etc.
-As students are performing as “is there anyone who’d like to grab a scarf and dance instead?
-After each verse has been completed twice ask “Who would like to create their own melody or rhythm first?” Demonstrate if necessary encourage
creative expression.
-Each student who wants to improvise should have the opportunity to, so be mindful of this when pacing.
-If time allows, students will also have the opportunity to rotate in a clockwise motion.
Discussion (2-3 min)
-”What did you think of the song?”
“What did you notice about the song?”
“What did you notice about the rhythm”
--Switch to the following guided questions if they haven’t been brought up already
-”Where do you think it’s originally from?”
-”What language do you think it’s originally in”
-”What is this type of rhythm called”
-Throughout discussion eventually make clear:
Siyahamba is a traditional South African folk song likely in the language of Xhosa, Swahili, or a combination of languages. The rhythms that we
sang are called syncopated rhythms and are often heard throughout the music of African and Caribbean cultures.
Assessment:
● Observe students throughout the learning and engagement of Siyahamba and assess based on the following criteria:
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0 1 2 3
Student refuses to participate or Student attempts to engage but Student engages well throughout Student engages well throughout
engage in any meaningful way does so with multiple distractions, the Orff performances with only a the arrangement and even goes
even when showed how to do so few mistakes above and beyond as to
improvise over a rhythmic
ostinato
(A) (A+)
Extensions:
● There is also an exciting circle dance that goes along with this song, if the lesson time frame is longer students could engage with this
dance or create a new one based off of their movements earlier in the class.
● The discussion could also be extended via method of sharing more examples of rhythms commonly found in South African music or
teaching this rhythms through Bruner’s methods of enactive, iconic, and symbolic notations.
● Encourage students to create new alterations of the English text at home by creating their own rhythmic ostinatos on various household
items.
Adaptations:
○ Size: Provide options if necessary for instrument sizes. Have moldable clay at the ready if students playing
Xylophone/Glockenspiel cannot grip the mallets well. Consider duration of some notes and have places of pause available.
○ Color: Color code instruments based on Boomwhacker coloration:
■ G (dark green) D (orange) A (blue)
Place color coded tablets on the xylophone as well if necessary to make clear the order of the melodic pattern. Each verse could
also potentially be color coded.
○ Pacing: As mentioned throughout the detailed process, pacing is very important to observe especially because this arrangement
focuses on another language that could potentially be complicated for kindergarteners. Allow plenty of time to slow done
teachings and for repetition as well if necessary.
○ Modality:
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■ Aural: Call and response should be used to teach the song, especially in regards to language. A recording of the
arrangement should also be made available and at the ready if there are any confusions about the role of each Orff
instrument.
■ Visual: Have lyrics available to display (electronically if possible) so that the size can also be adjusted. Create another
way to visualize the instrumentation via methods of Bruner’s notation.
■ Kinesthetic: Though this is already in place, students can extend their moving of the steady beat to just “moving”.
Students could also have the opportunity to practice the rhythm of the main melodic line by means of body percussion.
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Additional Resources (children’s books, methodology books, etc.)
● Boomwhackers Boom-a-Tunes Curriculum, Volumes 1 or 2

● Ideas for implementing improvisation and jazz styles
● Origins of Jazz and Blues
● J is for Jazz: A Roaring Twenties Jazz Book
● I Love You Too (Book by Ziggy Marley)
● Raven: A Trickster Tale
● World Music Drumming for ideas in regards to drum circle...be careful when selecting topics from this resource!
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CKC Kindergarten

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CKC Kindergarten

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Creative Kids Co-Op Curricular Guide Kindergarten

Overarching Goals / Theme

Song Collection (in order of use)

Example Experience Designs

Additional Resources (children’s books, methodology books, etc.)

Grade Level Goals

VA State Goals K.1, K.3, K.5, K.6, K.7, K. 8, K. 9, K. 10, K.14

Acquisition Skills Knowledge

Grade Level Goals​ (*indicates example experience design)

Day 5​* Goals/Foci

Day 1: Down by the Riverside (Spiritual) Erin Dixon

● SOURCE: ​Free Notes public domain

Lord Randall (English Folksong) Erin Dixon

● SOURCE: ​Free Notes public domain

● SOURCE: ​Ms. Folsom’s

● SOURCE: ​Free Notes Public Domain

● SOURCE: ​Free Notes public domain

Extension Day #1: Siyahamba

● SOURCE: ​Peace of Music

1. Home on the Range (traditional folk) Erin Dixon

● SOURCE: ​Free Notes Public Domain

**(Stop before measure 9)

Quarter note/ta: “walk/man” Eighth note/ta ti: “man-go”

(r) (adding in the concept of quarter rest)

(r) (adding in the concept of eighth rest)

(concept of syncopation, “go man go walk”)

Materials and Visual Aids​:

● Boomwhackers Boom-a-Tunes Curriculum, Volumes 1 or 2

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Grade Level Goals (*indicates example experience design)

Day 5* Goals/Foci

● SOURCE: Free Notes public domain

● SOURCE: Free Notes public domain

● SOURCE: Ms. Folsom’s

● SOURCE: Free Notes Public Domain

● SOURCE: Free Notes public domain

● SOURCE: Peace of Music

● SOURCE: Free Notes Public Domain

Materials and Visual Aids: