jelly beans - Jellybeans Music

jelly beansA N D O T H E R S U I T E S # 2

AUSTRALIAN TEACHERS HANDBOOK

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About The AuthorsSue Noonan

Sue Noonan (now Sue Lalor) holds a Bachelor of Education with music major, and has had a long and intense career as an educator in all sectors of music education.

As a music educator Sue has worked as a Primary Music Specialist, Early Childhood Teacher and was Lecturer of Primary Music Education for 5 years at the Edith Cowan University of Western Australia. She has also been a guest

lecturer and/or tutor in music education at UWA, Murdoch University, Notre Dame University and Curtin University, all in WA. She runs her own business as a music consultant in schools with students and teachers and has travelled the state in this capacity. She has worked on the WA Outcomes research committee and helped prepare material for outcomes based music education. She has written programs for the Curriculum Council of WA, Musica Viva in Schools and the WA Symphony Orchestra. She also works as a presenter and coordinator for the WASO music in schools project. She has written two books for teachers of music encompassing music education and the implementation of outcomes.

Andrew Robertson

Having graduated from NSW Conservatorium of Music (Sydney) in 1991 Andrew has followed a career as a professional musician, composer/arranger, publisher and educator. He’s performed with Michael Buble, James Morrison, Tom Burlinson, Hugh Jackman and major Broadway shows. He has also recorded many well-known jingles for television.

Andrew is Director of JozzBeat Music Publishing P/L, a company specializing in Primary Music Resources and Print

Music for Bands and Ensembles. JozzBeat also coordinates the “Jellybeans In-Schools Music Program” in Primary Schools. Andrew is in strong demand as an Arranger, writing for Australian Idol, Eurovision Song Contest, television ads and “Battle Of The Choirs” on Australian TV. He was Director of the NSW Dept. of Education Performing Arts Unit Jazz Orchestra and Jazz Ensemble 1997-2006 and conducts workshops and lectures throughout Australia and abroad in Primary Music teaching and Improvisation and Arranging.

Susan Sukkar

Susan Sukkar holds a Bachelor of Education and Master of Education with double music majors, and has had a long and intense career as an educator in all sectors of music education. As a performer, Susan has worked extensively as a baroque recorder specialist, working with such renowned ensembles as the Australian Opera and Ballet Orchestra, the Australian Chamber Orchestra and the Sydney Symphony Orchestra.In 1985 and 1986, Susan studied early music performance

practise in Den Haag and Amsterdam, Holland.

As a music educator Susan has worked as a Primary Music Specialist, Early Childhood Teacher, Secondary Music Teacher, and was Lecturer of Music Education at the University of Western Sydney-Nepean.

Susan is currently Regional Arts Coordinator-Sydney for the NSW Department of Education and Training and in this capacity coordinates the Festival of Instrumental Music at the Sydney Opera House, involving over 3000 primary and secondary students from across NSW. She is responsible for selecting, arranging and publishing music for the ensembles and subsequently conducting massed rehearsals across NSW, which culminate in the Opera House performances. In addition, Susan works part-time at the University of Technology in the faculty of teacher education.

Tracy Burjan

Tracy graduated from the Conservatorium High School in 1980 on the clarinet, piano and composition, which she studied with Ross Edwards. She continued her studies learning singing and jazz harmony. Tracy has played and sung with many bands including Reel Matilda, Kith and Kin (an Irish band) and Hey ba-ba-re-bop, a 9 piece swing band, which she lead with her husband Paul. More recently she has been singing with girl group Angel Cantata for which she does all the arrangements.

Working with people in a creative field is her forte and she has written, directed, appeared in and composed the music for 5 short films for Trop Fest. She is currently working on a family musical and has written a number of musicals for schools.

One of her works “The High Road” (recently published by JozzBeat) will be performed at the Opera House this year in conjunction with the Festival of Instrumental Music.

After the birth of her 3 children she became interested in children’s music education and has been enjoying writing music and teaching children in schools for the past 12 years.

Pru Borgert

Pru is a qualified Music and Generalist teacher, currently living in Victoria and promoting a smooth change over to the Victorian Essential Learning Standards (VELS) in The Arts. She has written e-texts for both Primary and Secondary Music which promote an integrated approach to learning and VELS, while also providing opportunities to put text books on a school intranet, saving paper and resources (www.stepbystep.com.au).

Prior to becoming a mother of two, Pru was Head of Music at Geelong Grammar School’s Toorak Campus. She is currently working on projects with 3MBS FM, Melbourne Symphony and JozzBeat Music, advocating excellence in teaching resources and high quality learning experiences in The Arts.

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Jelly Beans! And Other Suites 2 - Introduction GENERAL GUIDELINES Jelly Beans! And Other Suites 2 is about engaging students in and enjoying music making. Each piece of music can be approached in three consecutive stages.• Encourage them to LISTEN to the music and respond to the patterns and structure

within. • Encourage them to READ a simple score so they can follow and PLAY along with

the music, thereby learning some of the aspects of notation and keeping in time with others.

• Encourage them to use their imagination and expand on the music in order to demonstrate their understanding of what they have learnt and their ability to CREATE music.

Instrumentation is not prescribed. Students are encouraged to consider expressive elements of available percussion instruments when choosing the sounds that, in their opinions, best represents a particular piece. For example: in “Carmen” Section B, the Blue notes are actually heard on the recording as Triangles, so this would be an ideal choice for Blue. Students also accept the views of others as they all work together to create meaningful soundscapes to accompany the recorded music. Thus, a sense of community is nurtured as they achieve a common goal.

As with Jelly Beans! 1, the secret to making this kit user-friendly for both teacher and student is that the percussion scores DIRECTLY REFLECT what is happening on the audio CD play-along at any given time. Using your EAR FIRST is the simplest and most effective way of guiding your way through the score.

READING THE SCORE By exploring the written patterns that make up the score as if it is a puzzle or map to interpret, students will start to make sense of it. They will then be more likely to understand how to follow it rather than just remembering by rote. The purpose of score reading apart from being able to play along with the music, is to ultimately help them to be self sufficient in approaching music, so you need to give them tools to use in the future. Select appropriate activities listed below to get started on score reading. You are encouraging them to use their eyes to help them understand the structure of music.

KEY FOR LEARNING EXPERIENCES Here we have determined a set of Music Activities and Concepts of the most used terms from across all Australian state curricula. Although the terminology may not be exactly the same as your particular state version, all terms are similar enough to decipher the intended meaning. They are:

MUSIC ACTIVITIES: S – Sing P – Play L – Listen M – Move R – Read/Write C – Create

MUSIC CONCEPTS: R – Rhythm (Duration & Metre) P – Pitch & Melody H – Harmony & Texture F – Form/Structure TC – Tone Colour/Timbre E – Expressive Elements (Dynamics, Tempo & Articulation)

HOW TO READ THE SCORESEach colour represents an instrument which may be assigned by teacher and/or class. In all pieces there are coloured parts for four groups of instruments: red, blue, green and brown.

So the teacher could assign red - tambourines, blue - triangles, green - castanets and brown - drums.

Black notation indicates a tutti section - all instruments play together.

It is useful to explore assigning different colours to different groups of instruments to obtain the best effect. Children will enjoy negotiating this.

PREPARATORY ACTIVITIES By engaging students in some of the activities below, you will engender enjoyment and enthusiasm and familiarity with the piece. This will prepare them for successfully playing along with the score. You are encouraging them to use their ears to help them understand the structure of music.

Encourage students to: • listen for similarities and differences and discuss/indicate• identify where the changes occur• recognise the start and the end and discuss• respond to changes in tempo, dynamics & timbre • scat, hum or whistle melodic sections • create words or phrases to match interesting/tricky rhythms (say it and play it)• move to/draw the pitch patterns (high and low)• move to the beat , create own beat actions• move to any specific rhythmic sections• use body percussion to echo specific rhythmic passages• notice repetitions in the piece and how often they occur• draw what you imagine the music is suggesting, either with a picture, cartoon

sequence or patterns to reflect the music• draw a sound scape to show the sequence of the music• create a dance or drama to reflect the music• research/discuss the origins of the music/composer• write a story that reflects the music

Encourage students to:

• Look for similarities and differences, repetitions and patterns that occur.• Point out these changes on the score • Count the number of silent beats in the music• Discuss how to count the bars of music that are not played, and then practice doing it.• Follow the score and silently tap or indicate with hand each silent beat• Discuss the time signature and follow the score as you point and clap only the first

beat in the bar• Discuss any signs or notation values that are new to students• Clap one or two bars that make a pattern and have students echo and then find the

repetitions• Discuss the dynamic signs & demonstrate with clapping/scatting• Select the most often used section and body percussion, then move to instruments• Play this section with the recording and just listen to the other sections• Look for another section to add and gradually build up until all sections are being

played• Rearrange the instrument sections and discuss which arrangement of instruments

sound best (encourage students to state reasons for preference)

EXTENSION ACTIVITIESIf your students are enthusiastic about a piece and need more of a challenge, you can look at some of the ideas below to extend them. This would be particularly helpful if your students no longer need to do many of the activities above. You are encouraging them to use their imagination to help them understand the structure of the music and lead them into creating music themselves.

Encourage students to: • Experiment with different combinations of instruments as a class or in groups• Write own rhythm patterns for some of the sections and include them in performance• Create a dance to accompany the music and the “band” to perform for another group• Prepare information to present to an audience in conjunction with playing the piece

that explains the story or the composer or the history of the piece.• Use a rhythmic section of the music to create own tune to play separately.• Create own lyrics to a melodic section from the music.• Create an overture for the piece by taking a small melodic/rhythmic section of the

music and presenting it before performing the piece with backing music. Students could decide as a class or in groups how this could be done using instruments/voices/body percussion/movement.

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Jelly Beans! And Other Suites 2 - Introduction

CURRICULUM INFORMATION This edition of the “Jelly Beans! And Other Suites 2” Teachers Handbook is referenced to 5 state based Primary Music/Arts curricula from across Australia – NSW, QLD, VIC, SA and WA. In combining the most used and relevant outcomes, expectations and skills from these curricula, this handbook provides teachers across Australia with aids in student assessment in Music/Creative Arts that align with their curriculum requirements. SPECIFIC outcomes information for relevant state curricula is included on the www.MyJellybeansMusic.com.au website.

In formatting the handbook in this manner, JozzBeat Music Publishing’s intention is as a precursor to a much talked of National Curriculum in coming years.

Currently with Australia’s state Primary systems varying from K- 6, Prep - 6, 1 - 7 etc. writing a generic edition to cover outcomes for all has it’s own challenges. To overcome these in our Jelly Beans 2 Teachers Handbook we have defined the various Levels, Stages, Standards, Years etc. from around the country as the following:

• INFANTS - Students aged 5-6 School Years: Prep. (VIC, QLD, TAS) Reception (SA), Yr. 1 (WA), Kindergarten

(NSW, ACT), Transition (NT) Equivalent State Learning Levels: VELS Level 1 (VIC), Level 1 (QLD, WA), Standard 1 (SA, TAS), Early Stage 1 (NSW, ACT)

• LOWER PRIMARY - Students aged 7-8 School Years: Years 1-2 (VIC, QLD, TAS, NSW, SA, ACT), Years 2-3 (WA) Equivalent State Learning Levels: VELS Level 2 (VIC), Level 1 (WA), Level 1-2 (QLD), Standard 1 (SA), Standard 2 (TAS), Stage 1 (NSW, ACT)• MIDDLE PRIMARY - Students aged 9-10 School Years: Years 3-4 (VIC, QLD, TAS, NSW, SA, ACT), Years 4-5 (WA) Equivalent State Learning Levels: VELS Level 3 (VIC), Level 2 (WA), Level 2-3 (QLD), Standard 2 (SA), Standard 2-3 (TAS), Stage 2 (NSW, ACT)

• UPPER PRIMARY - Students aged 11 - 13 School Years: Years 5-6/7 (VIC, QLD, TAS, NSW, SA, ACT), Years 6-7 (WA) Equivalent State Learning Levels: VELS Level 4 (VIC), Level 3 (WA), Level 4 (QLD), Standard 3-4 (SA), Standard 3 (TAS), Stage 3 (NSW, ACT)

NB: This is a general sequence of learning using this material. Older students who are having their first experience in classroom music may well operate at a lower level than the ages specified here. They will however, usually progress at a faster pace through the outcome stages and will not need to do as many of the steps indicated here as they become familiar with the process.

EXPECTED OUTCOMESAnother major change that we have made in this handbook is the one set of statements for expected outcomes for ALL pieces in the resource. As all pieces are intended to address the same overall outcomes across the 4 respective levels in regard to knowledge and skills acquired, we have simplified things by including a single chart at the front of this handbook. This is intended to make fulfilment of curriculum requirements easier and more consistent for assessment purposes.

INFANTS (Students aged 5-7) • Explores ways of making different sounds on tuned and untuned percussion

instruments (Expressive Elements; Timbre/Tone Colour)• Responds to music through movement• Demonstrates an understanding of beat and rhythm by moving and playing

instruments in time• Rehearses and performs simple musical scores with percussion instruments• Learns and plays simple rhythm patterns to accompany a piece of music• Follows a percussion score observing simple rhythms (crotchet and crotchet rest)• Distinguishes simple expressive elements of music such as tempo and dynamics• Discusses how the music makes them feel• Develops awareness of music coming from different times or cultures• Demonstrates a willingness to work as part of a group to participate in music

experiences

LOWER PRIMARY (Students aged 7-8)• Explores a variety of ways of making different sounds on tuned and untuned

percussion instruments (Expressive Elements; Timbre/Tone Colour)• Responds to music through movement, reflecting the expression and form of the

music• Demonstrates an understanding of beat and rhythm by moving and playing

instruments in time to beat and specific rhythmic patterns• Learns and plays more complex rhythmic patterns (including syncopated) to

accompany a piece of music• Explores ways of varying music performance through use of expressive elements;

Dynamics - soft (p) and loud (f ) and Tempo• Follows a percussion score developing awareness of simple notation symbols: crotchet,

crotchet rest, minim, minim rest, whole bar rest, multiple bar rest and repeat signs• Develops awareness of metre: Common time (4/4) and Triple Time (3/4)• Develops awareness of dynamic symbols; p, mf, f, ff and simple expressions;

crescendo/decrescendo and accent• Explores Form in musical composition• Describes personal responses to the music they hear or perform using appropriate

vocabulary and/or musical terminology• Demonstrates ability to work successfully as part of a group to perform music

accurately; contributing own suggestions to the performance• Demonstrates awareness of music coming from different times or cultures

MIDDLE PRIMARY (Students aged 9-10)• Explores ways of varying music performance on tuned and untuned instruments

developing expressive elements; Timbre/Tone Colour, Dynamics (p - f, cresc./decresc.) and simple Articulation (accents, staccato)

• Responds to music through movement, demonstrating a constant beat, identifying form and rests

• Follows a percussion score demonstrating awareness of simple notation symbols: crotchet, crotchet rest, minim, minim rest, whole bar rest, multiple bar rest, repeat signs and dotted notation

• Demonstrates awareness of metre: simple and compound time• Demonstrates understanding of Form in musical composition by creating dance/

music to a suggested form

• Write a review of their own performance including own opinion and using correct musical terminology.

• Write music of their own using the same structure. This could be rhythmic or melodic.• Use sections from the music as a basis for creating their own music

• Rehearses and performs musical pieces accurately, interpreting conventional musical symbols

• Develops knowledge and skills in instrumental technique in a variety of percussion instruments and recorder

• Describes personal responses to the music they hear or perform using appropriate musical terminology

• Describes how various elements of music are combined to create different moods• Works cooperatively with peers to create, interpret and perform music independently

of the teacher• Identifies and researches distinguishing features of music from a range of cultural and

historical contexts

UPPER PRIMARY (Students aged 11-13)• Explores and develops music using instruments in unusual ways to reflect a particular

musical style or culture• Demonstrates knowledge and skills in instrumental technique in a variety of

percussion instruments and recorder• Uses specific performance skills and techniques. eg: follows the conductor, play

together in an ensemble, correctly counting silent bars (1234, 2234, 3234, 4234...)• Reflects and evaluates the group performance using appropriate musical terminology

and relating to the musical elements in the piece• Discusses distinguishing features and the role of music from a range of cultural and

historical contexts• Identifies music from specific cultures and can recognize their use in a variety of

music• Creates sounds to suggest specific instruments from other cultures and incorporates

in own music• Creates and performs own rhythmic patterns to accompany the score.• Researches instruments being performed on the backing CD. For example: Latin

Percussion instruments on “African Serenade”; instruments of the Orchestra in “Carmen”; instruments of the Jazz Ensemble in “Swing Beans”

• Researches and presents the background of a musical piece, including the composer, style and /or country of origin and referring to the musical elements that reflect that composer/style or country.

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Overture From “Carmen” Music Activites Learning Experiences Musical Concepts

S P L M R C R P H F TC E

Listen and discuss how you would move to the music (march) How does the music make you feel? Why? (energetic tempo)

March to the music, changing directions when the sections change (as indicated by the teacher)Can the students tell you why you changed direction at those points? Discuss the changes in the music.

Explain that this is an overture, ie: music to introduce a story (opera in this case) and helps give the audience an idea of the feeling of the story by using small sections of the music used in the story. What do you think this story might be about? What sort of a story might it be? Happy? Sad? Exciting? etc. What in the music tells you that? Tell the story of Carmen.(You could choose to explain opera to them and have them listen to one of the songs sampled in the overture in full eg: Toreador’s Song).

Listen to part A, tapping along to the beat. Decide on an action to the beat for part A. Now listen to the whole piece and do that activity every time you hear part A. How many times did you hear it? (4)

Decide contrasting actions for parts B and C. Listen to whole piece again and do the chosen beat actions. (Alternatively, students can create own movements for sections B and C)

Listen to part A. Scat sing along to it eg dudaada dudadda…… to consolidate recognition of the section of the music

Look at the score. Discuss time signature, accent and silent beats of section A. Notice the accent on the fourth followed by the first beat of the bar like and anacrusis or upbeat. Practice clapping the notated rhythm for part A. Discuss use of “f ” (forte).

Sections B and C contain the longer notes minim and semibreve and their rest equivalents. Draw them on the board and have students clap/sign them to understand length of note/restIf needed, have students write their own rhythm patterns using these notes as well as the crotchet. The pattern could be 4 bars of 4/4 time and need to include at least one of each note.Play the patterns to a partner or swap patterns with others to play. Which ones sound the best? Why? Can you play two patterns together to create harmony? Which combination of instruments will you use?

Clap section C as notated, then select an instrument for each notated colour and play along with music. (as well as playing section A), observing that more than one instrument is being played at a time (harmony)

Extend this procedure to section B. Look at all the road signs eg: the bar played three times, the repeats and the un-played bars and ensure students understand before proceeding to play along to the whole piece. (include understanding of the dynamic signs)

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BACKGROUNDFocus for this piece is the rondo form where the music keeps coming back to the first section with different sections in between. It’s like a huge club sandwich where the first section (A) is the bread and each of the other sections is a different filling: ABACA. The final section is a slight variation on A to give it an ending. Often as in this case, the first A is repeated. In this piece section C is heard 4 times before the final A section. (AABACCCCA). This is quite a common form for an overture as the intention with an overture is to play snippets of the music used in the main body of music as an introduction to the opera. The other main feature is that the music is a march throughout even though the sections vary in tempo. Any or all of these aspects of the music could be explored: march, opera, overture, and rondo form.

Composer: Georges Bizet (pronounced jorje beezay) French, 1838-1875.His childhood was filled with music with a father was a locally famous singing teacher and his mother was a pianist who taught him to play. He used to sit outside his father’s rooms and listen to the singing lessons and soon was an excellent singer himself. He also won many prizes for playing & composing.Music: Carmen is an opera set in Spain, which tells the story of Carmen, the gypsy girl. It is a fiery love story with two suitors, one a bull fighter and one a corporal in the army, who fight for her love.

EXTENSION ACTIVITIES• Learn more about the composer Georges Bizet• Listen to other pieces from the opera and learn some of the songs or play some of the

pieces.• Learn about the history and format of opera • Find other operas that have a similar theme. Discuss how the music adds to the

emotional atmosphere of the story• Write own overture for a story/theme, using known tunes. Discuss how much of a

song should be used and how it will flow onto the next song. Will there be repetition? How will it end?

• Create own music that reflects passion, joy, sadness etc. How did Bizet achieve that? How can you?

• Have an “opera day” in your classroom. Instead of speaking, sing all instructions and answers etc. What is the effect of this? How does music impact on the ordinary?

• Attend an opera in your city or view one on DVD and discuss use of costume, props, back drops.

• Compare a story told through opera with the usual movie format.• Discuss effect of music in a story eg movie

TEACHING TIPS!• Play through the A section with everyone clapping the Red and Black notes. Use

hand movements during the rests• Play through the A section with everyone clapping only the Black (Tutti) notes.

Count the rests (2,3,4, 1,2,3) giving students an understanding of rests in music and how to count them

• Play through the C section with everyone clapping the rhythm until confident • Divide the class in 2 with half clapping the Blue/Brown notes and half clapping the

Red/Green notes

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GLOSSARY TO TERMS USED IN SCOREAllegro con Spirito Fast and SpiritedABC Sections Differing Musical Material> Accent; Play the note with more strength1st, 2nd, 3rd and 4th time Bar: Repeat Letter C 4 times, playing the “1st,2nd,3rd “ bar the first three times through the repeat before moving onto the 4th time bar on the last time

Ooba Looba

Music Activites Learning Experiences Musical Concepts


Listen to Ooba Looba and discuss the changes in speed in the music. Does this make a difference to how the music makes you feel?

Listen again and tap the beat. Identify the 4 beats in a bar. Listen to how the 1st beat of the bar is accented.

How does the composer maintain interest in this piece? Can you name all the instruments you can hear? What instrument has the solo over the voices near the end?

What instrument plays the “plucking” sound at the beginning of the piece? This is called pizzicato. Can you imitate this? Now can you make up a dance move that imitates this sound?

Did you enjoy singing this fun piece with made-up words? Can you make up your own that fit the same rhythm? Remember you will need 7 syllables. Oo-ba Loo-ba Loo-ba Li.

Practise holding the percussion instruments in the correct way and practise the rhythm of Oo-ba Loo-ba Loo-ba li. Write this pattern up on the board.

Is there a difference in dynamics between the verse and the chorus? Does the use of different instruments (instrumentation) help to heighten this dynamic contrast?

Go through the song and first learn the words before attempting the percussion parts.

Try Ooba Looba with the score. Practise each rhythm separately before trying the whole piece.

Now add in the glockenspiel and recorder parts for a bigger challenge!

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Ooba Looba BACKGROUNDOoba Looba was written by contemporary Australian composers Tracy and Paul Burjan for the children’s musical “Rumble in the Rainforest” – published by JozzBeat Music Publishing. The script was written by Estelle Southall. The musical encapsulates all the current issues revolving around the problems with climate change in a fun and informative way.

The main characters are 6 orangutans who set out to educate the world on the problems in the rainforest. Ooba Looba is sung by the insects in the musical.The music leaves room for movement and some acting from the children in the verses to pretend they are insects from the rainforest.

Latin American MusicThe middle section of Ooba Looba has a Latin style. Latin American music is generally considered to be a mix of South American, Afro- American and European music. There are many different Latin styles such as the Samba (as in the middle section of Ooba Looba), Bossa Nova, Rumba, Cha Cha (as in Cha Cha Fruit Salad), Mambo and Tango.The difference in these styles usually depends on the emphasis of the bass drum and the tempo of the piece. For example a Samba is usually faster with a 16th feel and a Bossa Nova is a softer, medium paced style with an 8th feel. All these styles have a special dance that is associated with the music. Dancing and music go hand in hand in South America.More current forms of Latin derived music are “hip-hop” and “R & B”.The main language that is spoken in South America is Spanish other than in Brazil where they speak Portuguese.

Suggest 4 groups in different corners of the room • The verse suggests creeping and munching actions. Use this section to let the kids

display their own movements. They may like to start at the back of the room and slowly move forward.

• As the music starts to change tempo the insects become more animated. The chorus will need a choreographed section from the children.

• They may like to do some rap movements through the middle solo section.

EXTENSION ACTIVITIES• Learn some dances from South America such as the Samba or the Rumba. • Listen to the some music from South America such as “The Buena Vista Social Club”

or the songs of Antonio Carlos Jobim. This music is great to have on in the classroom whilst you are doing quiet work. The music is laid-back and the Spanish language soothing to the ear.

• Do some research on the rain forests of South America or Australia. Talk about the 4 levels in the rain forest Emergent, Canopy, Understory and Forest Floor.

• Pick your own animal of the rainforest do a research project. • Have a discussion on the problems of climate change and how the students might be

able to help in their own home.• Change the words Ooba Looba and put in your own “scat” words.

TEACHING TIPS!The rhythms at letter B may look tricky, however, as with everything in the Jelly Beans! programs, the rhythms on the percussion score reflect the music on the audio play-along CD. So, to learn the rhythms, try:• Learn and sing the words of the Ooba Looba chorus (Letter B)• Sing the words and clap the rhythms of the Ooba Looba chorus (Letter B) – “Say It

and Play It”• Divide the class in 2. Have half the group sing and clap “Ooba Looba” and the other

half sing and clap “Loo-ba-li”• Swap the groups around and then move towards performing with percussion

instruments• Learn and sing the words of the rap section in the Coda, then follow the above steps

towards performance on percussion instruments• If you find it difficult for students to perform the percussion music at Letter A, simply

let them sing the lyrics and begin performing on the instruments at Letter B whilst singing the words.

GLOSSARY TO TERMS USED IN SCOREMysterioso MysteriouslyBouyant Samba A bright Latin American feelAB Sections Differing Musical MaterialDS al Coda Repeat back to the sign then proceed to the Coda

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Hall Of The Mountain King

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Hall Of The Mountain King Music Activites Learning Experiences Musical Concepts


Listen and discuss changes in the music, including form (repetition)

Listen again and tap the beat. Identify the 16 beat phrase. How many times do you hear it? Play an instrument or move to the beat of one phrase, then listen for one, then play/move again for one and so on

How does the composer maintain interest? (crescendo)How does the music change at the end? Can you tell when the end is coming? How?

Can you clap the rhythm of the phrase? Can you move to the rhythm of the phrase?

Can you write the pattern?

Put the pattern on the board and have them all read and clap it, play it on a percussion instrument, sing it.

Write each bar of the phrase on a different piece of card and have the class decide the correct order. Have them clap /sing it to check it is correct

Experiment with how you sing it, varying the elements as in the music and discussing the effect

Imagine what might be happening in this part of the music – discuss ideas. Relate to the music and discuss which ideas match the music.Tell the story of Peer Gynt and what is happening at this point in the music. Can you imagine it?

Divide class into 4 groups each a corner of the room and move to the music in turn, freezing when another group is moving. See below.

Practice reading the score and playing the parts as shown, starting with one part and building to include others as and when ready.

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BACKGROUNDIn the Hall of the Mountain King is the last of 4 pieces of music in a piece written by Edvard Grieg called Peer Gynt Suite number 1.Grieg is probably Norway’s greatest composer, living from 1843-1907. In the suites number 1 and 2, the music tells the story of some of Peer Gynt’s adventures. Peer Gynt was a mischievous boy in Norwegian folklore who was too lazy to help his poor mother around the farm and preferred to day dream and tell tall tales. In this piece of music, Peer Gynt dreams he meets a troll dressed in green who introduces herself as a princess, so he pretends to be the son of Queen Ase. They keep bragging to each other until the troll takes him into the palace to meet her father who is king of all the trolls who live under the mountain. The king is surrounded by hideous looking trolls who want to kill Peer, but the king decides he could marry his daughter. The king deems that Peer will need to be turned into a troll, to which Peer agrees as he thinks he will become a wealthy king too. To do this, he must agree to shun daylight, eat troll food and wear a troll tail. He is happy with all of that, but when the king insists he have his eyes slit so he can see the way a troll sees, he refuses. The king orders his trolls to kill him and the music describes how the trolls creep up on him threatening him and you can feel Peer’s fear rise and his desperate attempt to flee the trolls as the music becomes faster and more menacing. Suddenly the sound of the bell makes the trolls flee in fear, the palace collapses and everything disappears. Peer awakes to find himself on the hillside. Was it a dream?

16 bar pattern repeated 22 times before twice-heard pattern with clashes and then a coda. Phrase of 4 bars is:

Discuss how to make movements that are creative and match the energy of the music.Suggest 4 groups in different corners of the room• Have no movement for the first phrase, all frozen on stage • Then, groups take turns to “creep” for the 16 bars and then freeze, creating interesting

shapes.• After all groups have had 5 turns, they all move for the last phrase and then divide

into two groups for the repeated dramatic phrase working as an echo and then all move again for the climax coda.

EXTENSION ACTIVITIES• Learn more about the composer Edvard Grieg• Listen to other pieces from the suite and imagine what their stories may be. Write or draw these

and then research the actual story.• Draw the shape of the melody of the 16 beat rhythm pattern that makes up this piece• Notate the melody, check it out by playing it on any tuned instrument.• Create your own melody to the set rhythm pattern, and then devise a satisfying conclusion• Create own rhythmic patterns using titi and taa.• Using the rhythm pattern, devise your own ways of changing it to maintain interest when

repeating it (start with looking at the ways Grieg maintained interest – can you do the same? Can you do something different?)

• Try writing other 16 beat rhythm patterns to play with the given one and create polyrhythmic music.

TEACHING TIPS!• Listen to the music and have children clap the pulse (crotchets) through A section.• Try the same exercise observing the very quiet (pp) and medium quiet (mp)• For the Brown and Red Note rhythms in Bars 9-12 of Letter A, teach the following “Say It,

Play It” phrase:

• Give students the words “Boom – Chuck” for the rhythm at Letter B. Have students listen

to the pizzicato Strings on the recording playing this rhythm on the CD. Practice saying this through this section and even the entire piece.

• Clap and say the “Boom – Chuck” rhythm at Letter B, then move to performing it on percussion instruments

• Give students the words “Moun-tain King” to say for the rhythm at Letter C. Practice saying and then clapping and then performing this rhythm on percussion instruments.

• Give students the words “Hall of Moun-tain King” to say for the rhythm at Letter D. Practice saying and then clapping and then performing this rhythm on percussion instruments.

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Cha Cha Fruit Salad

GLOSSARY TO TERMS USED IN SCOREcrescendo Gradually increasing in volumeABCD Sections Differing Musical Material Fermata; A pause



Listen to Cha Cha Fruit Salad and discuss repetition of the 8 bar phrases in this piece.

Listen again and tap the beat. Now listen to the piano part and see if you can clap the distinctively Latin rhythm.

Can you hear there are actually 2 songs in Cha Cha Fruit Salad? This is called partner songs. Can you create two movements that can be danced at the same time to this piece of music. Are they the same length?

Can you clap the rhythm of the words “pineapple, banana, paw paw, apricots” etc ? Think of some more fruits and make the words fit into the same rhythm? This is called an ostinato (a repeated pattern).

Can you write the pattern? Put the pattern on the board and have them all read and clap it, play it on a percussion instrument, sing it. Explain syncopation ( a short beat at the beginning of the bar followed by a longer beat)

Practise conducting 4 beats in the bar. Is this a slow, medium or fast paced song? Turn off the music. Can you still remember the speed at which to conduct the piece? Can you count this piece in? What about in Spanish....

Look at the 2 different melodies. One starts high, the other starts low. These notes are an octave apart (8 notes). Can you sing them?

Get the children to make up actions to go with each fruit and make their own ostinato pattern with movements.

Discuss the use of percussion instruments in this piece such as the shaker. Can you find an egg shaker and play this rhythm?

Practice reading the score and playing the parts as shown. When you are ready maybe you can add the recorder and glockenspiel parts.

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BACKGROUNDCha Cha Fruit Salad was written by contemporary Australian composers Tracy and Paul Burjan. They specialise in writing fun music for children that also has an educational purpose. Cha Cha Fruit Salad was written to encourage children to eat a healthy diet including fruit.

The Cha ChaThis dance was originally known as the Cha,Cha, Cha and came from a more common dance of the time called the Mambo. It became popular in the late 1940’s in Havana, Cuba. However it is often thought that the Cha, Cha and similar dances often originated in New York as South Americans migrated there and their dance styles became mixed with Afro-American jazz.The main characteristic of this dance is 2 slow steps followed 3 quick steps and a change of body weight. This scraping and shuffling of the feet gave the dance it’s name.Hence the “cha, cha,cha”. This step is called the “chatch” (pronounced chutch). The Cha Cha is often danced at about 120 beats per minute.The music of the Cha Cha often uses the percussion instrument the “guiro” which was made from a dried gourd rubbed with a serrated stick.Discuss how to make movements that are creative and match the energy of the music.

Suggest 4 groups in different corners of the room • Have one movement for the first phrase where the bass drum and shaker set up the

beat. • Then, another group creates a movement that matches the piano part. • Then they can use the steps they made up previously to match each fruit. You can also

use a Cha Cha step in this piece. (Forward R.F Back L.F Cha,Cha, Cha. Back L.F, Forward R.F Cha, Cha, Cha )

EXTENSION ACTIVITIES• Make your own fruit salad in the staffroom. Get each child to bring in a different

piece of fruit. • See if you can make your own type of gurio or South American percussion

instrument. What is the Australian form of a guiro? A Lagerphone? Can you make one of these?

• Learn to dance the Cha Cha.• Listen to other dance music from South America (see Ooba Looba information)• Be adventurous and add in the other recorder or marimba parts that can be

downloaded from the MyJellybeansMusic.com.au website

TEACHING TIPS!• Learn and sing the words of the verse (Letter A)• Sing the words and clap the rhythms of the verse (Letter A) – “Say It, Play It”. This is

the Blue and Brown rhythm in Letter A• Please Note: For less experienced or younger students the Red/Green rhythm of

Letter A is not necessary to play, simply perform the Blue/Brown rhythms• To teach the Red/Green note rhythm at Letter A by singing and clapping: “Clap, two,

three, Clap; Clap, two, three, Clap; etc.• Divide the class in 2. Have half the group sing and clap the verse lyrics and the other

half sing and clap the Red/Green note phrase• Swap the groups around and then perform with percussion instruments• Teach the rhythm at Letter B with the following phrase. Sing, Clap and play this

rhythm

• Learn and sing the words of the rap section at Letter C, then follow the above steps towards performance on percussion instruments

GLOSSARY TO TERMS USED IN SCOREABCD Sections Differing Musical Material^ Marcato; The note is played much louder or with a much harder attack than any surrounding unaccented notes.

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Can Can Country Music Activites Learning Experiences Musical Concepts


Play Can Can Country while students lie on the floor with closed eyes. OR ask students to draw on a blank A4 page while listening to Can Can Country for the first time. How does the music make you feel? Ask the class to come up with 5 musical points or observations about Can Can Country (eg. 4 beats per bar, drums, sounds like a dance, jumpy bass guitar part, lots of repetition, violin, banjo)

Lying on stomachs, in an inward-facing circle, listen again and tap the beat on the floor. Students will be able to see and feel everyone else’s beat.

Does the song sound familiar? Where have they heard the Can Can before? (Movies? TV ads?) In what style is this piece recorded? (Country)

Teach section A by imitation (without the music). Use this as a repeated ostinato for the whole piece. Can a volunteer write the rhythm on the board?

Practise doing rolls (as in the final bar of Can Can Country). First click as fast as you can ... then clap as fast as possible ... then patsch on your lap as fast as possible, with alternating hands ... then stamp quickly. Which body part is easiest to roll? (patsch)

Discuss the use of crossed arrowhead notes to represent notes of indeterminate pitch. How do they write minims (2 beat notes) on this type of score? (diamond shape)Do these body percussion sounds have a pitch pattern? (Yes. Stamp being lowest and Click being highest) Which body percussion is on the top line? (click) Which body percussion is on the bottom line? (stamp)

Show the score for the first time. Which body part does the roll in the last bar? (patsch). Point out that the Chorus is written once (first page) but played again on the second page. The teacher will point at the score while students play along with the CD track - but only do the red rhythms this time (patsch = pat your lap).

Teach B separately - it’s tricky! Start slow. First, ask students to copy the teacher. Then ask a student to lead. Finally, show section B on the score and practise it 4 more times. Count how many times B is played (8).

Divide the class into 4 groups - one for each colour. Play along with the CD track, but only play your colour. The teacher will point to each note on the score, as the conductor. Pause the CD before starting the second page, and swap over colour groups.

Practise reading and playing all four body percussion parts at once. Keep practising! Discuss the form of the piece - ABCAC+Coda. On the fourth run-through, the teacher will stop pointing at the score. Do you still finish together?

Ask for suggestions of dynamics that can be added to match the backing track. Experiment.

Explain the background of the Can Can (as used in Moulin Rouge and Folies Bergere). Show a YouTube version of Can Can. Divide the class into rows and learn the Can Can leg kick dance. Try dancing to Can Can Country.

In small groups, ask students to create a line dancing sequence to Can Can Country. (Grape Vine, Heel & Toe ...) One group can line dance while the rest of the class plays body percussion.

Write lyrics to match the Can Can opening theme.

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BACKGROUND: Originally, in Paris during the 1830’s, the Can Can was danced by partners. “Can Can” means “tittle-tattle” or “scandal” and it shocked many people in the mid-1800’s.

After touring the world and changing along the way (UK, USA) the Can Can returned to France in the 1890’s, the way we know it today - the French Can Can from Moulin Rouge and music halls. The Can Can was traditionally the last dance (the grand finale) at the Moulin Rouge. During an 8 minute dance, female dancers entertained the tourists with yelling and cartwheels, showed-off acrobatic strength and flexibility, and did lots of leg-kicking and knee-lifting in formation. They also had fun flicking their skirts around and the Can Can usually finished with ‘the splits’. French Can Can dancers had to be at least 1m 70 tall and wore outfits from the 1890’s - black stockings, long skirts and layered petticoats.

Many composers wrote Can Can music, but Offenbach’s “Can Can” is the most famous. Music critics (after Offenbach’s death in 1880) were very critical about his music, and predicted that it’s vulgar popularity would not last. They were wrong!

The French Can Can has inspired many artists over 100 years. Cole Porter wrote a 1954 musical play called “Can Can”. Many famous artists have painted Can Can girls, including Toulouse-Lautrec and Picasso. Baz Luhrmann directed a movie called “Moulin Rouge” which featured Nicole Kidman and Ewan McGregor in 2001. A Game Boy game even uses Offenbach’s Can Can for inspiration (Super Mario Land).

ABC Sing Book 2001 includes a song written to Offenbach’s Can Can theme. It starts with the words “I can can and you can can, so why should not we two can can?”

More information on Can Can and the Moulin Rouge can be found at www.moulinrouge.fr

Country Music was also evolving in the 1920’s, mixing traditional folk music, blues, gospel and humour. Country Music was featured in American Barn Dances. Elvis Presley sometimes sang ‘Country’.

Today, we usually refer to ‘Country and Western’ music, which includes the influence of Cowboy music. During the 1990’s, Country and Western music joined forces with Line Dancing, increasing its popularity in Australia. More information on Country Music can be found at http://en.wikipedia.org/wiki/Country_musicExamples of Line Dancing can be found at www.YouTube.com

EXTENSION ACTIVITIES: This arrangement features the following instruments: Violin, Piano, Electric Guitar, Banjo, Rhythm Guitar, Bass Guitar and Drums.Find pictures of each of these instruments (eg. Google Images).Import the MP3 file of Can Can Country from www.MyJellybeansMusic.com and use software such as GarageBand, Reaper, Audacity or Audition to remove instruments and/or rearrange the song! Learn to count to 10 in French: un deux trois quatre cinq six sept huit neuf dix Locate Paris, France on a map. Calculate what time it is in Paris at the moment. Draw a picture of a French Can Can girl, using Toulouse-Lautrec’s paintings for inspiration. Research the Banjo - where and when was it invented, how is it played, in what type of music does it feature ...

TEACHING TIPS!• Letter A is a simple pattern to begin with• Teach Letter B with the following “Say It, Play It” phrase:

• Letter C (the Chorus) can be taught in the following way:

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GLOSSARY TO TERMS USED IN SCORECODA The endABC Sections Differing Musical Material Fermata; A pause Trill;

Tomato Chutney Boogie



Listen to Tomato Chutney Boogie and discuss the form (repetition of the 16 bar phrase)

Listen again and tap or clap the beat. Identify the 16 beat phrase. Count out the bars. How many times do you hear it? Move in time with the music making a dance that accents the first beat of the bar.

Listen to the drums and the bass. How do they give the music a pulse and rhythm? Is this a slow, medium or fast paced piece?

Can you clap the rhythm of the melody? Can you hear the short beat at the start of the melody followed by the long beat? Discuss syncopation.

Can you write the pattern? Put the pattern on the board and have them all read and clap it, play it on a percussion instrument, sing it. Discuss the use of the 12 bar blues with a 4 bar coda at the end of each phrase. This piece is based around the chords of G, C and D.

Experiment with how you sing this piece, just sing the bass note or the tonic of each chord.

Imagine writing your own song based on your favourite food. Can you fit your own words to this song?

Analyse the structure of this song. Each 16 bar phrase is the same except there are verse’s, a rap section and a solo section.

Practice reading the score and playing the parts as shown. Add in the glockenspiel and recorder parts when they are feeling more confident.

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BACKGROUNDTomato Chutney Boogie was written by Australian contemporary composers Tracy and Paul Burjan. Tracy and Paul have been writing music for children, festivals and films for many years.

Boogie Woogie:Tomato Chutney Boogie is based on a Boogie Woogie style of piano playing first developed in the early 1930’s and 1940’s. It gets it’s roots from early blues music and is nearly always associated with dancing and having a good time. The left hand of the piano gets to do most of the work with an ostinato walking broken octave bass line always played in quavers. This bass line gives boogie woogie it’s distinctive style and “happy” feel. It is always in 4/4 time and is sometimes called “8 to a bar’ because there are 8 quavers in a bar. The chord structure is often based on a 12 bar blues. Tomato Chutney Boogie is also based on a 12 bar blues with an extension at the end of each verse. The term “boogie” was first used as early as 1917 by pianist Wilbur Sweatmans in the “Boogie Rag”.

EXTENSION ACTIVITIES• Listen to some other boogie woogie piano music by famous pianists such as Jelly Roll

Morton, Fats Waller or Winifred Atwell. • Get some of the pianists in your class to learn a boogie bass line. Maybe the other

children can play a chordal accompaniment on the marimbas. • Discuss what other instruments can also play a boogie bass line such as the guitar and

the double bass. • Can you make up your own words to Tomato Chutney Boogie using a different food.• Pick a piece of music form one of the pianists above and make up your own “boogie

woogie” dance. (would like to insert here the bass line used in TCB but not sure how to do that) Typical boogie woogie bassline:

TEACHING TIPS!• Learn the lyrics for the verses before beginning performing this piece – this will

consolidate many of the syncopated jazz style rhythms in the Boogie genre. Sing them along with the CD. Try singing them along with the “no vocals” track.

• Having learned the lyrics, the phrase at Letter A is best taught by singing and playing the phrase:

• As can be seen, the rest of the piece is really a rhythmic reflection of the lyrics, so having learned all the lyrics, the percussion performance will be much easier to put together. Singing the lyrics whilst playing should certainly be encouraged!

GLOSSARY TO TERMS USED IN SCOREABC Sections Differing Musical Material Tie; Connects one note to another, combining the duration of their two rhythms

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The Emperor Waltz



Have children listen to Emperor Waltz, then determine the metre as a quick ¾. Have children clap through and fall into 1 in a bar, with 2 and 3 spoken quietly in their head.

Clap on the first beat of each bar and discuss the concept of accent and metre. Notate these patterns:

Discuss the technique of 1st and 2nd time bars and trace this several times, at letter C.

Trace the Progression of Emperor Waltz several times from beginning to end with all repeats and have individuals try this too before playing with music. This is a tricky piece, so preparation time prior to introducing instruments is required.

Introduce variety of dynamic terms: mp,p,mf,f, and ff. Also introduce crescendo and decrescendo. Discuss which instruments are playing the soft sections. Which instruments does Strauss introduce to increase dynamics?

Look at the accent marks. Listen to the recording. Why has the arranger used accent marks at these places (they correspond with accented, louder sections from the orchestra)

Practice correct holding and playing technique for percussion instruments.

Explore the dynamic range of each instrument- make the softest sound to the loudest sound, while maintaining correct holding of instrument and safe use of instrument.

Practice until both conductor and children arrive at the conclusion of the piece at the same time!

Rotate instrumentation so that children play different instruments and differing parts.

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BACKGROUND: Johann Strauss II was a famous Austrian composer who lived and worked in Vienna in the early 1800’s. Strauss was responsible for the development of the waltz, an elegant dance in 3/4. He was known as the waltz king of Vienna. He wrote over 150 waltzes as well as 100’s of other dances.

The waltz became an extremely popular dance right across Europe and America. It was also the first dance that required couples to hold each other around the waist, and was therefore quite shocking for some people!

Johann Strauss composed anytime, anywhere. The Emperor Waltz was originally written in 1867 on the back of one of his shirts, because he couldn’t wait to get the ideas down and didn’t have any paper handy.

EXTENSION ACTIVITIES:Waltz is just one of the many styles of dance made popular through the film ‘Strictly Ballroom’ and popular TV series such as Dancing with the Stars. Learn about other forms of Ballroom dance such as the Jive, Salz, Tango, Rumba, Mambo, Cha Cha, Foxtrot and Swing

Ask an older person (perhaps a grandparent) to demonstrate and teach a waltz. Practise this elegant dance. Because the Emperor Waltz is fast, you may choose to move on just the first beat, without the 2,3 feet movements.

Where is Vienna located and on what famous river. What language is spoken in Austria?

Learn to count to 10 in German. Visit www.randomhouse.com/livinglanguage to learn some German.

The Sound of Music was a famous 1965 film musical set in the Austrian Alps. Learn some of the famous songs from this much loved classic and try to see the whole film. Many adults will be familiar with much of the music. ‘The Sound of Music, My Favourite Things, Climb every Mountain, Do-Re-Mi’

TEACHING TIPS!• This piece is very quick! It’s important to have the students get a feeling of the pulse

and speed of the bars. Before moving to percussion instruments, listen to the piece with students clapping on the first beat of every bar (this is the phrase at Letter A).

• The phrase at Letter B is the classic 3/4 waltz rhythm best described as “Oom – Pah – Pah”! Have the students learn the phrase as such:

• Letter C is the most difficult section of the piece. For older students you may wish to attract their ears to Flute and Clarinet that play this rhythm in the orchestral backing.

• The rhythms on the second page have either already been learned (Section D) or are tutti notes that reflect directly what is occurring on the orchestral backing.

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GLOSSARY TO TERMS USED IN SCOREABCD Sections Differing Musical Material Crescendo; Gradually getting louder

African Serenade



Have a listen to African Serenade and listen to the different sections and the changes of style within this piece.

Clap on the first beat of each bar and discuss the concept of accent and metre. Note that the quavers in this piece are swung as in the jazz style. How does this affect the way the piece sounds?

Discuss the use of two different main melodies and how this makes the piece more interesting. Can you sing the 1st melody?

Trace the progression of African Serenade several times from beginning to end with all repeats and bars rest. The form returns regularly to A & B, so preparation time is essential. Section A is 7 bars long. This is unusual as usually music is made up of an even number of bars such as 4, 8, 12 or 16.

Can you clap on the off-beat as the rhythm indicates in this piece?

This piece is in the key of G major (one sharp F). However the Interlude goes into E minor or the pentatonic scale based on E minor (the relative minor of G major). This pentatonic scale just uses the 5 notes, E,G,A,B and D. This is a great scale on the recorder, marimba or voice to practice some easy improvising.

There are two main dynamic contrasts in this piece, mf and ff (moderately loud and very loud). See if the children can perform these dynamic contrasts with and without the music.

Write the two main rhythms up on the board and practice with everyone playing or clapping. (The introduction and letter C).Can you play these two rhythms over the top of each other?

Can you conduct 4 beats in a bar for this piece? Can you hear how the speed does not change?

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BACKGROUND African Serenade was written by contemporary Australian composer Andrew Robertson. For more details about his career, see the front of this book. African musicians hand down their music aurally through the generations. It is not generally notated. African children learn to listen and then pass their traditional songs onto their children. Harmony plays a strong part in the vocal music of most African nations. A song will start off with the melody first (often sung solo by the cantor) and is then joined by another harmony part on the second time. There is often up to 4 harmony parts and all the people in the village join in. It is expected that everyone learns to sing as it is such a strong part of their culture. The origins of Reggae come from Jamaica in the early 1960’s. The original word “rege” means “ragged” or “ a quarrel “. We can recognise reggae music by the choppy sound (often played by the guitar) on the off-beat called “skank”. Most of us believe that the 2nd and 4th beats of the bar are accented but it is actually accenting the 3rd beat that gives Reggae it’s particular style. It is not generally a fast paced music and is always in 4/4. Bob Marley is considered the “Father of Reggae” as he developed this style. Bob Marley sent his views to the world on poverty and injustice through his music.

EXTENSION ACTIVITIES• Research some simple African Children’s songs such as Kye Kye Kule (a call and

response song) or Sansa Kroma. • African songs often have a game that goes with the song that involves sticks, stones

or hand clapping. Can you find out what some of these games are? • African songs are also often related to a special event such as a wedding or an African

Fable. Can you find an old African story? • Research the origins of Reggae music and the music of Bob Marley. Maybe you can

listen to some of his music. Bob Marley was a political activist and his songs always have a message.

• Create your own words to the melody at letter A. It is always fun to make up nonsense words.

TEACHING TIPS!

• The percussion parts in this piece are a direct reproduction of the instrumental parts on the CD backing. Having children listen through each section of the piece before practicing (either clapping or performing on instruments) will consolidate the majority of rhythms in the piece.

• There are two phrases that occur throughout the entire piece. By learning these two phrases, you have covered a great percentage of the piece.

1. 2.

• Letter C is also a replication of the rhythm of the melody played by the Trombones. Once again, listen to the CD first at this section and have students clap the rhythm. You may wish to compose some “Say It, Play It” word phrases to match this rhythm. Here is an example:

GLOSSARY TO TERMS USED IN SCOREReggae Style of music coming from JamaicaABC Sections Differing Musical Material^ Marcato; The note is played much louder or with a much harder attack than any surrounding unaccented notes.

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Mumba Kaloo Music Activites Learning Experiences Musical Concepts


Listen, describe the music and how it makes you feel. (steady beat, rocking feel, calm, repetitive, relaxing, putting you in a trance……) Discuss what in the music makes you feel this way. Discuss the name – where do you think it comes from?

Discuss elements of African music (see below), then listen for them as it is played again. Hand up when you hear any of these elements..

Identify the underlying syncopated rhythm (see dotted crotchet followed by the quaver shown in the first notated bar – first two brown notes). Listen and clap, click, tap or scat, this pattern. Explain how African music often has a leader whom the group follow. Take turns to be leader varying the body percussion used for this rhythmic pattern

In section A the words are: Mum-ba, mumba Kaloo-la. Listen and count how many times you hear them throughout the piece (12), then repeat and sing along.You could have a leader singing and doing a movement to two bars which are then echoed in voice and action by the class. This can be developed through the piece.

Look at the score and identify the syncopated rhythm and play where it occurs in the piece.

Section A has different rhythm patterns played against each other (polyrhythmic music)Practice the other pattern in the first part of section A, first by clapping, then with instruments (saying rest 2&3 rest will help clap correctly) Try playing these two rhythm patterns together.

Look in the score for another syncopated pattern. How many times does it occur? (6) – remember the repeats! Clap this and then add as a third rhythm against the other two (without the music). Select own combination of instruments. Can you hear them all?

Look through the whole score, explaining any signs or rhythms students are unsure of - eg the tied note in the second bar of section B where the first note is heard and then held onto for the duration of the second note. Look at dynamic signs and ensure understanding of the repeated bars shown with the /symbol. Try playing throughout. Discuss any problems, practice these and then try again.

Have a small section as “choir” and have them sing the words in section A and speak the words in section B as the rest play the score.

Discuss any additions or changes they would like to make and try them out.

Section B is 16 bars long. As a class and then in groups, have students improvise vocally a two bar pattern melodic or rhythmic for others to echo. Then try it as a call and response exercise where the echo changes to a response and so is different. (see comment below)

Look at the E minor pentatonic scale (easiest on tuned percussion) and explore the sounds until students can come up with an 8 beat pattern they like. Work with a partner and try more patterns with the partner echoing and later answering. Add these into the performance.

Students could notate their own call and response phrases and when ready, incorporate them into the whole piece. These can be vocal or instrumental or you can choose some from the support material available.

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BACKGROUND Mumba Kaloo was written by contemporary composer Andrew Robertson. For more details about his career, see the front of this book.

African Style:Singing, dancing and playing music are integral to the African culture. Everyone joins in. Sometimes one voice is used, sometimes a group of voices. Often two groups answer each other, or they echo the music just heard. The beat of African music is often fast, rhythmic and full of complex ever changing patterns, thus making what is called polyrhythmic music. Simple, mostly hand held instruments are used and are treasured possessions.This shifting of the normal accent of the music to create more complex and interesting rhythm patterns is called syncopation.

The overall feel of Mumba Kaloo is call and response and it’s birth in modern western music through the West African music coming to the USA during slavery. The words are not real words and are principally meant to purvey a strong sense of pulse. It’s based on the E Minor Pentatonic scale (E,G,A,B,D).

The middle section allows for some basic Call and Response improvisation activities vocally, or on tuned percussion or recorders.

EXTENSION ACTIVITIES• Research other contemporary composers.• Listen to other African pieces in this book and compare or look for other African

musicians eg Ladysmith Black Mombaza or the musical Umoja (www.umojatheshow.com)

• Research African instruments and/or the change in style when African slaves went to American and the blues and gospel styles emerged.

• Make African style instruments.• Create your own melody to the words in section B, and include them in your

performance• Create and perform your own music in African style using call and response or

polyrhythmic music

Experiment with polyrhythms by dividing the class in two and having one half clap a beat in groups of 4 against the other clapping in groups of 5. Students could stamp the accent (beat number 1) to help them feel the grouping. Start slowly and accelerate as you have success. Use other combinations eg 3 against 5 or 7 against 11 beats per group.

TEACHING TIPS!• There is one constant rhythm throughout the piece. It appears mainly in the Brown

Notes, however is sung and played by all. Begin by teaching, clapping and playing this rhythm:

To sing it in a true African style (and the way the composer intended it!), we emphasize the “ba!” syllable.• When trying to clap a new syncopated passage, it often helps by adding words to

emphasize the correct rhythm - the “Say It, Play It” idea. So, to learn the tutti phrase in the last bar of Letter A, say the following and you’ll pick it up easily!

• Learn and sing the lyrics of the B section before playing it. This will consolidate the rhythms. Play the whole of Letter B with all students performing the rhythms together. Once confident on these rhythms, divide the group into their coloured percussion parts.

• The Blue/Green rhythms in Letter C directly match the part played by the African log drums on the backing CD. Have the students listen to this and clap it before moving to the percussion instruments.

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GLOSSARY TO TERMS USED IN SCOREABC Sections Differing Musical Material

> Accent; Play the note with more strength



Open the score and play the CD track. At the end, ask students for 5-10 musical observations. (jazzy, energetic, lots of brass, swung, fast, 4 beats per bar, drum solos ...)

Listen and watch the score again, and try to join in singing the words. (eg. Swing Beans! ...) The teacher will need to point at each bar at this stage. Practise until everyone agrees on how the words and rhythms should sound.The final yell “Swing Beans!” will need the most practice, because it’s the last thing the audience will hear and remember.

Teach the rhythm of the red and green parts by first asking students to clap along with the trumpets on the CD. Then show what the score looks like, and practise clapping the red and green rhythms of A while counting a fast 1-2-3-4.

Count how many different colours there are on the score(5). How many instruments do we need? (4 + tutti) Analyse the form and talk about the repeats and DS al Coda.

Write the brown part on the board. Learn to clap it together. Everyone clap this part as an ostinato for the whole piece with CD. Listen to the CD again and figure out what instrument plays the brown rhythms. (piano)

Divide into 2 groups and clap the red and green parts with the CD. Suggest that the green is for Saxophones and the red is for Brass.

Teach the blue part last. Ask why it’s the hardest part. (it changes most often) Listen to the score and figure out what instrument plays the brown rhythms. (piano) Does it play chords or a single note melody? (chords)

Divide into brown, red and green groups. Clap the A sections to the CD.

Revise the concepts: DS al Coda, First time bar, Repeat and Multiple bar rest. Ask a student to trace the flow (or form) on the score.

Allocate students to the 4 different groups of instruments, and try the whole song. The teacher will eventually stop pointing to the score. Swap instrument groups and try again ... and again ...

Describe what happens musically in the last part of the song. (starts medium soft, then softer and suddenly yells “Swing Beans!”) What effect does that have on the mood? (builds excitement) How do they write accents on the score? (>) What do accents mean? (really punchy and loud) Try the whole song again, with the dynamics on the last line.

Remind students that the black bits are for everyone (tutti) - including the singing parts. Also remind the blue part to ‘crescendo poco a poco’ (= gradually get louder). List and explain all the other dynamics - p mp mf f ff. Try the whole song again.

Now that students are comfortable with their parts, encourage students to move and groove with the music as they sing and play their instruments.

Ask 2 students at a time to improvise with tuned and untuned percussion instruments, making up their own rhythms and music. Ask a third student to play with the drum solos (in the bars rest). The rest of the class can sing and play the score as written.

Choose a small group to be back-up singers and choreograph some moves. Do a full performance of “Swing Beans”, complete with back-up singers, drum solos, groovin’ percussion parts and energy! Who would make the perfect audience?

x x x x

Swing Beans!

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x x

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BACKGROUND: “Swing Beans!” was written by the author of Jelly Beans 2! as a treat for the end of the book.It is written in the Jive/Jazz style of Louis Prima and Louis Jordan and modern day groups such as the Cherry Poppin’ DaddiesJazz music started in New Orleans, USA in early 1900’s and has been around ever since, for both dancing and listening.Do some research and find 10 interesting points about Jazz music. Can you find 5 famous Australian Jazz musicians, starting with James Morrison?Listen to some Jazz music on CDs or on the radio.

EXTENSION: Cherry Poppin’ Daddies was an American band from 1990’s which was inspired by Dixieland Jazz and Swing. They helped to spark the Swing Dancing revival in the late 1990’s. For more information see their website www.daddies.comWatch some Swing Dancing videos and put some Swing moves to “Swing Beans”. You’ll need a partner to dance Swing.

Cherry Poppin’ Daddies also featured lots of Brass in their early music. Here is the Big Band instrumentation for “Swing Beans” - which instruments belong to the Brass family?• 5 Saxophones • 4 Trumpets • 4 Trombones • Piano • Guitar • Acoustic Bass • Drums

Syncopation is a feature of Jazz and modern music. You can tell that “Swing Beans” is syncopated just by looking at the score, with its quaver rests, dotted notes, accents and ties. Syncopation steals the emphasis from the usually strong 1st and 3rd beats, and puts emphasis anywhere else instead. Write your own definition of ‘Syncopation’.Critical Thinking questions to help talk about or write a review on “Swing Beans!”: 1. What patterns are in the music? 2. What features of the music do you like the most? 3. What emotions are suggested by ‘Swing Beans’? 4. Does the music inspire you to improvise or make up your own music? 5. Are there aspects of this music that you don’t like? 6. What’s the purpose of this music? Is it similar to anything you’ve heard before?

TEACHING TIPS!• This piece, being jazz, has a great deal of syncopation throughout it. It is best to

approach each syncopated rhythm in isolation before combining various rhythms together. Looking at the rhythm of the Brown notes at Letter A you will find the main rhythm for all the bass instruments in the playalong track. Listen to the bass and practice this rhythm with the whole group.

• The Red/Green notes in Letter A are the rhythms of the Muted Trumpets. Listen to them and practice this rhythm with the whole group.

• The Blue notes at Letter B are also the Brass instruments rhythms (Trumpets and Trombones). Listen carefully to these instruments and practice this rhythm with the whole group. Listening to the Brass parts here involves deeper listening as the Saxophone have the melody and the Brass instruments are providing the Counterpoint.

• Have all students learn and sing the lyrics and clap the rhythms at Letter C. This will greatly assist in performing the music at this point on instruments.

GLOSSARY TO TERMS USED IN SCOREABC Sections Differing Musical Material> Accent; Play the note with more strengthcrescendo poco a poco Increasing in volume bit by bitDS al Coda Repeat back to the sign then proceed to the Coda

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www.MyJellybeansMusic.com.au

OUR SUITE OF EXTRAS!For Jelly Beans! 2 we have added a suite of extras for teachers and students wishing to extend their experience of the kit past the initial Body/Hand Percussion activities. We have included the following for a number of pieces:

• Lyric Sheets• Recorder Parts (African Serenade comes in 5 parts!)• Glockenspiel Parts• The Red Jellybean Challenge

HOW DO YOU ACCESS THEM?1. WITH NO EXISTING LOG IN DETAILS• Once on the website, click on “Jellybean Teachers Enter Here”. • Click on “Download Jellybeans Teacher Handbooks”• Click On “Register For Teacher Handbook Here”. This will take you through the

registration process. Please allow up to 24 hrs for us to confirm your registration and forward your personalised login details.

2. WITH EXISTING LOG IN DETAILS• Enter your email and personalised login password and you will be taken into the Jelly

Beans 1 State Teachers Handbooks page. Here you will see a link to click through to the Jelly Beans 2 teaching tools.

• Click here and all files are available for you to download as pdf ’s

WHAT IS THE “RED JELLYBEAN CHALLENGE”?At JozzBeat Music Publishing we pride ourselves on listening to teachers in the classroom. Many have asked if we could offer some more challenging percussion rhythms for students once they had learned the ones in the kit. On most pieces in JB2 you will see a Red Jellybean. This correlates with a downloadable 8 or 16 bar section of music that we have written which is an extra rhythmic challenge to offer your students.

WHAT ELSE IS THERE ON MYJELLYBEANSMUSIC.COM.AU?With ICT such an important part of education in the 21st Century, we are continually adding new material to our site that is both musically educational and offers a safe internet environment for students to practice their computer skills.

• Music Games: We have a number of fun music games that teach skills such as note reading and duration

• Jellybeans Music In-Schools Program students have access to all mp3’s, sheet music and lyric sheets from the site

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