Using melody icons to introduce a song enables students to have a visual score that provides a framework
for multi-sensory engagement with music. Students can visually follow the song in real time (when listening
to a recording, or take a slower tempo as needed when singing or playing), point/gesture to the melodic contour (embodying the pitch and duration), listen, and sing alone or with others. For younger children or
those new to melody icons, the song phrases should be introduced in the correct order. Once students are familiar with the song, the phrases for each card can be mixed up for a more challenging musical problem
to solve. This can be a intriguing closing activity once the song is learned. Older students often enjoying learning a new song with mixed up melody cards from the start, although this requires a level of prior experience with this process.
The melody cards (also called puzzle cards or musical maps) are a useful scaffold for playing the song
on an instrument. Note: this should be attempted when the learner has internalized the song and can sing
it confidently or otherwise demonstrates musical understanding needed for learning to play the song.
When given the starting note (a pitch number, for example "1" for the tonic OR a pitch letter name) students can figure out the note numbers or letter names for the entire melody. This is best accomplished first with
the whole class so that the teacher can scaffold the process. When students are accomplished with this sort
of musical problem, they can do this step with a partner. Singing the number or note names with the correct pitches will enable student success with this process. A pitch ladder, visible to all, is helpful: sing through the pitches together (in the same key as the song) before adding numbers or pitch names to the melody.
for multi-sensory engagement with music. Students can visually follow the song in real time (when listening
to a recording, or take a slower tempo as needed when singing or playing), point/gesture to the melodic contour (embodying the pitch and duration), listen, and sing alone or with others. For younger children or
those new to melody icons, the song phrases should be introduced in the correct order. Once students are familiar with the song, the phrases for each card can be mixed up for a more challenging musical problem
to solve. This can be a intriguing closing activity once the song is learned. Older students often enjoying learning a new song with mixed up melody cards from the start, although this requires a level of prior experience with this process.
The melody cards (also called puzzle cards or musical maps) are a useful scaffold for playing the song
on an instrument. Note: this should be attempted when the learner has internalized the song and can sing
it confidently or otherwise demonstrates musical understanding needed for learning to play the song.
When given the starting note (a pitch number, for example "1" for the tonic OR a pitch letter name) students can figure out the note numbers or letter names for the entire melody. This is best accomplished first with
the whole class so that the teacher can scaffold the process. When students are accomplished with this sort
of musical problem, they can do this step with a partner. Singing the number or note names with the correct pitches will enable student success with this process. A pitch ladder, visible to all, is helpful: sing through the pitches together (in the same key as the song) before adding numbers or pitch names to the melody.
Students can then move to areas around the classroom to work with peers (partners or small groups) to figure out how to play the song on an instrument (acoustic or digital/app). Their ability to sing the song, matching eye to ear to hand will enable success when given enough time to work together.
Below are free downloadable Musical Maps for the songs in the "Songs for You and Me" iBook series.
When teaching elementary music, I typically used musical maps without the lyrics in the icons in order to focus on the
musical aspects of the song. However, for students who struggle with language or reading text (or learning a song in
another language), having the lyrics in the icons may be helpful. I used icons that were the same colors for note values
(for example: yellow for eighth notes, red for quarter notes, etc.). For learners with visual challenges, you may experiment with various ways to color code icons. If you use the Basic Beat one octave resonator bells, you may find that color coding icons to correspond with the color of each resonator bell will enable success for some learners, particularly students on the autism spectrum.
A good musical problem for Shalom is to lay out the phrases and figure out how to align them appropriately for the round (if sung in two parts or four parts). Pointing to the melody while singing in a round is helpful for young singers as they learn to hold their part. Shalom works as a round harmonically because it is just one chord (the tonic; here: C-Eb-G). This offers many options and is a great opportunity for young musicians to play the chord throughout, create their own ostinato, collaborate with peers in small groups to create an introduction, bridge, and coda, and ultimately to make their own classroom or small group arrangement. Students can make all the musical choices regarding who will play or sing or improvise, how many times to sing the melody and/or sing in a round, how to incorporate instrumental accompaniment or sections, etc. Sharing their arrangements in class and possibly performing them at a future event or concert is a wonderfully empowering musical experience.
BOOK TWO:
I Bought Me a Cat - you can find teaching ideas HERE
Kaeru no Uta is a Japanese children's song about the song of the frog.
Translation: "The song of the frog I can hear: gwa, gwa, gwa, gwa, gero gero gero gero, gwa, gwa, gwa.
The stepwise melodic contour and four short phrases allows very young children to be successful with the icons and after some experience with the song, to mix up the phrases and put them back in order while singing the song. Once learners can sing the song, they will more easily be able to play it on a musical instrument, possibly using the icons as a graphic score to guide their practice and performance as needed. Finding other instruments for the "Gwa" sound is also a fun way to explore timbres; for example: woodblocks, temple blocks, or other instruments as available.
Cheki Morena - Vivian Ellsworth, a K-12 music educator, shared this song with me and my students at Oakland University. She is a master teacher formerly from Michigan now teaching in Nevada.
Translation: "Morena" means "little brown girl." It is a term of endearment in Central and South America.
Shake it, little brown girl,
Shake it, little one, Hey!
Where is the merengue rhythm?
Take a little step forward, take a little step back.
Turn around, turn around, who is the one left? (Who is it?) Hey!
From Vivian:
I teach this piece to 3rd grade music students; however, with a little adaptation, it can work for students grades K - 5. I have had the 3rd graders learn the song and game and then teach it to younger students.
We begin by talking a little bit about the culture and beauty of Puerto Rico, where children learn this song as a dance game and where "morena" is a term of endearment.
I print cards that have the melody and rhythm of the piece written out in icons, with the Spanish words written above each melodic/rhythmic icon. I play a recording of the song (or play it on the piano and sing it myself) and display the melody cards out of order on the board. The students, who have worked extensively with iconic notation, try to put the cards back in order. Because the Spanish words are above the icons, the students are also learning the simple Spanish text of the piece.
When we discuss what the students noticed on the cards, someone always mentions the rhythmic pattern and syncopation that falls on the words, "Cheki, morena, cheki!" Students are able to identify aurally and visually where these rhythms repeat throughout the piece, and to match the text with the rhythm.
Early on in the lesson (after students have put the iconic notation cards in order), I introduce the students to the dance game that accompanies this song:
1. All the students stand in a circle.
2. One student is chosen to be in the center of the circle, and they choose a shaking percussion instrument to play.
3. Students sing the song, everyone shaking and dancing in their place. The student in the middle plays their instrument and dances.
4. On the text, "un pasito alante, otto para atras," (a little step forward, a little step back) everyone in the circle steps forward and then back.
5. When we sing "dando la vuelta," the student in the middle turns around and around in a circle.
6. On the final shout of "Jue!" in the piece, the student in the middle stops turning and points to the student in front of them.
7. That student picks an instrument to shake, moves to the center, and we begin the song again.
Additional Lesson ideas:
Students love "conducting" this piece by pointing with an index finger to the icons as we sing. Students can take turns pointing to the icons for the class. Sometimes after a student has a turn to be "It" inside the circle, she becomes the "Pointer" at the board, following along with the icon cards that we previously put in order.
When teaching elementary music, I typically used musical maps without the lyrics in the icons in order to focus on the
musical aspects of the song. However, for students who struggle with language or reading text (or learning a song in
another language), having the lyrics in the icons may be helpful. I used icons that were the same colors for note values
(for example: yellow for eighth notes, red for quarter notes, etc.). For learners with visual challenges, you may experiment with various ways to color code icons. If you use the Basic Beat one octave resonator bells, you may find that color coding icons to correspond with the color of each resonator bell will enable success for some learners, particularly students on the autism spectrum.
A good musical problem for Shalom is to lay out the phrases and figure out how to align them appropriately for the round (if sung in two parts or four parts). Pointing to the melody while singing in a round is helpful for young singers as they learn to hold their part. Shalom works as a round harmonically because it is just one chord (the tonic; here: C-Eb-G). This offers many options and is a great opportunity for young musicians to play the chord throughout, create their own ostinato, collaborate with peers in small groups to create an introduction, bridge, and coda, and ultimately to make their own classroom or small group arrangement. Students can make all the musical choices regarding who will play or sing or improvise, how many times to sing the melody and/or sing in a round, how to incorporate instrumental accompaniment or sections, etc. Sharing their arrangements in class and possibly performing them at a future event or concert is a wonderfully empowering musical experience.
BOOK TWO:
I Bought Me a Cat - you can find teaching ideas HERE
Kaeru no Uta is a Japanese children's song about the song of the frog.
Translation: "The song of the frog I can hear: gwa, gwa, gwa, gwa, gero gero gero gero, gwa, gwa, gwa.
The stepwise melodic contour and four short phrases allows very young children to be successful with the icons and after some experience with the song, to mix up the phrases and put them back in order while singing the song. Once learners can sing the song, they will more easily be able to play it on a musical instrument, possibly using the icons as a graphic score to guide their practice and performance as needed. Finding other instruments for the "Gwa" sound is also a fun way to explore timbres; for example: woodblocks, temple blocks, or other instruments as available.
Cheki Morena - Vivian Ellsworth, a K-12 music educator, shared this song with me and my students at Oakland University. She is a master teacher formerly from Michigan now teaching in Nevada.
Translation: "Morena" means "little brown girl." It is a term of endearment in Central and South America.
Shake it, little brown girl,
Shake it, little one, Hey!
Where is the merengue rhythm?
Take a little step forward, take a little step back.
Turn around, turn around, who is the one left? (Who is it?) Hey!
From Vivian:
I teach this piece to 3rd grade music students; however, with a little adaptation, it can work for students grades K - 5. I have had the 3rd graders learn the song and game and then teach it to younger students.
We begin by talking a little bit about the culture and beauty of Puerto Rico, where children learn this song as a dance game and where "morena" is a term of endearment.
I print cards that have the melody and rhythm of the piece written out in icons, with the Spanish words written above each melodic/rhythmic icon. I play a recording of the song (or play it on the piano and sing it myself) and display the melody cards out of order on the board. The students, who have worked extensively with iconic notation, try to put the cards back in order. Because the Spanish words are above the icons, the students are also learning the simple Spanish text of the piece.
When we discuss what the students noticed on the cards, someone always mentions the rhythmic pattern and syncopation that falls on the words, "Cheki, morena, cheki!" Students are able to identify aurally and visually where these rhythms repeat throughout the piece, and to match the text with the rhythm.
Early on in the lesson (after students have put the iconic notation cards in order), I introduce the students to the dance game that accompanies this song:
1. All the students stand in a circle.
2. One student is chosen to be in the center of the circle, and they choose a shaking percussion instrument to play.
3. Students sing the song, everyone shaking and dancing in their place. The student in the middle plays their instrument and dances.
4. On the text, "un pasito alante, otto para atras," (a little step forward, a little step back) everyone in the circle steps forward and then back.
5. When we sing "dando la vuelta," the student in the middle turns around and around in a circle.
6. On the final shout of "Jue!" in the piece, the student in the middle stops turning and points to the student in front of them.
7. That student picks an instrument to shake, moves to the center, and we begin the song again.
Additional Lesson ideas:
Students love "conducting" this piece by pointing with an index finger to the icons as we sing. Students can take turns pointing to the icons for the class. Sometimes after a student has a turn to be "It" inside the circle, she becomes the "Pointer" at the board, following along with the icon cards that we previously put in order.
BOOK THREE:
Sakura: teaching ideas for this song appear in a jointly published Music Educator's Journal article by Deborah Blair and Shinko Kondo.
BOOK THREE:
Sakura: teaching ideas for this song appear in a jointly published Music Educator's Journal article by Deborah Blair and Shinko Kondo.
blair_kondo_mej_2008.pdf | |
File Size: | 673 kb |
File Type: |
Bluebird: this song has a charming children's game which can be played once the children have learned to sing the song successfully using the icons as they appear or in mixed up puzzle cards put in the correct order (then sing and all children to take turns pointing
to the icons until singing confidently). To play the game, children stand in a circle, holding hands but with held hands raised in the
air to make "windows." One child walks in and out of the circle through the "windows" while everyone sings the song. When the song ends, the "bluebird" chooses a nearby friend, who becomes the leader of the bluebirds -- now two children are weaving in and out of the windows. Play continues with a growing line of bluebirds until everyone gets a turn. If the path of bluebirds becomes cumbersome, you can shorten the line and make the circle bigger again. Children can also change the name "Johnny" to the name of the child who is the current bluebird leader.
to the icons until singing confidently). To play the game, children stand in a circle, holding hands but with held hands raised in the
air to make "windows." One child walks in and out of the circle through the "windows" while everyone sings the song. When the song ends, the "bluebird" chooses a nearby friend, who becomes the leader of the bluebirds -- now two children are weaving in and out of the windows. Play continues with a growing line of bluebirds until everyone gets a turn. If the path of bluebirds becomes cumbersome, you can shorten the line and make the circle bigger again. Children can also change the name "Johnny" to the name of the child who is the current bluebird leader.
MELODY ICONS FOR BOOK ONE
all_the_pretty_little_horses_words.pdf | |
File Size: | 105 kb |
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all_the_pretty_little_horses_no_words.pdf | |
File Size: | 78 kb |
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pretty_little_horses_color.pdf | |
File Size: | 80 kb |
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great_big_stars_words.pdf | |
File Size: | 139 kb |
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great_big_stars_color.pdf | |
File Size: | 57 kb |
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great_big_stars_no_words.pdf | |
File Size: | 52 kb |
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shalom_words_and_no_words.pdf | |
File Size: | 71 kb |
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shalom_color.pdf | |
File Size: | 47 kb |
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shalom_word_and_no_words_yellow.pdf | |
File Size: | 65 kb |
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MELODY ICONS FOR BOOK TWO
bought_me_a_cat.pdf | |
File Size: | 43 kb |
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frog_song_color.pdf | |
File Size: | 36 kb |
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kaeru_no_uta_frog_song_with_and_without_words.pdf | |
File Size: | 79 kb |
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cheki_morena_with_and_without_words.pdf | |
File Size: | 163 kb |
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cheki_morena_color.pdf | |
File Size: | 84 kb |
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MELODY ICONS FOR BOOK THREE
sakura_no_words_and_with_words.pdf | |
File Size: | 167 kb |
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sakura_japanese.pdf | |
File Size: | 65 kb |
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sakura_color.pdf | |
File Size: | 78 kb |
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bluebird__words_and_no_words.pdf | |
File Size: | 130 kb |
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bluebird_color.pdf | |
File Size: | 37 kb |
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seashell_song_icons_for_teachers.pdf | |
File Size: | 74 kb |
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