Submitted by Gretchen Taylor, Illinois

Idea posted April 7, 2003

I'm wrapping up my African American unit with all of my classes this week and have prepared some neat lessons for my 6th-8ths that tie into Ragtime, Blues, and Rap music styles. These are quickie lessons that are designed to cover two 45 minute sessions. I'm using STM 2000, Get America Singing Vol. 2, Rockin' Rhythm Raps, and Rap Builders as resources. I have structured my plans to cycle from 6th-8th grades, each year building on the other.

In the month of January, the unit was African American Musical influences. Each class's focus was a little different and was designed to culminate into the final contemporary leg of the plan.

6th: Focus on Spirituals/Plantation songs that use obvious syncopation

Michael Row (GAS 1)

Now Let Me Fly (STM)

Somebody's Knockin' At My Door (Folk Songs & Spirituals piano/vocal collection)

Swing Low (GAS 1)

We used these songs to ID ti ta ti patterns. We also created rhythmic ostinatos, movement patterns, learned about call/response style, and ID'd various solfège patterns. This culminated into a short Ragtime lesson as follows:

Warm-up review of Michael Row, Now Let Me Fly, and Somebody's Knockin' At My Door. Refreshed syncopation as defined in notes.

SQUILT: Entertainer (Scott Joplin CD)
  • answering SQUILT questions, such as "Do you hear a st. beat? Do you hear rhythmic patterns? How does this music make you want to move?" etc.
    • Intro: Ragtime (brief overview from info found in "Meet The Great Composers" book 1 (Alfred). They also have this info in handout form.
    Ragtime 2 step dance pattern: I just jumped in with no explanation and taught a simple dance pattern that will accompany "Alexander's Ragtime Band" song.
  • cha cha cha step L, then R
  • L step up R up L back R back
  • repeat each above
  • 4 corner pivot turns around
  • repeat first 2 patterns
    • Intro: Alexander's Ragtime Band song (STM)
  • Listen to song and dance the pattern with hands on lap during interlude
  • Teach song and sing through
  • Sing again and dance on interlude
    • Intro: Scott Joplin (from handout mentioned above). During discussion, I will play excerpts from Maple Leaf Rag and others. I also own SJ's complete ragtime collection for piano which I will show. We'll do the puzzle that accompanies the handout as time allows.
7th Grade focus: Freedom songs and spirituals primarily with a minor tonality:

Oh Sinner Man (STM)

Go Down Moses (STM)

Follow The Drinking Gourd (STM)

Free At Last (STM)

We used these songs to ID minor solfège patterns and la as home tone, call/response style, and code elements. From here, we culminated in a focus on the Blues.

Warm-up review of Oh Sinner Man, Go Down Moses, and Follow The Drinking Gourd.

Intro: Blues (brief discussion with some note taking)
Intro: "Monday Morning Blues" (piano sheet solo from Faber & Faber - VERY cute!)
  • read through words. What's it about?
  • discuss the fact that it is intended to be a humorous reaction to trouble (mentioned in intro)
  • Listen to song. Music fit the words? Teach and sing along.
    • SQUILT: Goodmorning Blues, by Huddie Ledbetter (STM)
  • answer specific SQUILT questions in folders
  • discuss responses
    • Intro: Leadbelly (STM) and sing through Goodnight Irene and Mid-night Special from GAS 2.
    Constructing a Blues Scale:
  • begin with C Major scale (notate in folder)
  • number the degrees 1-8
  • define "scale"
  • play and sing in solfège, then by note name, then by degree #
  • create a "blues" scale by lowering 3rd, 5th, and 7th degrees, bending these pitches
  • play blues scale, sing degrees saying "lower" for the bent ones
  • return to Monday Morning Blues song. Sing through to refresh. ID the "blues" notes in the score. Ask how these notes are lowered (with a flat/nat. sign in the score).
    • 12 Bar Blues Pattern (in C):
  • intro and create a 12 bar blues pattern using boomtubes.
  • Play the Blues in D selection on recorders from Do It Recorders.
  • Teach and sing Goodmorning Blues
  • In folders, create own blues song title and lyrics as able to put to a 12 bar blues.
8th grade focus: General spirituals/plantation songs that utilize spoken ostinato patterns and 16th notes

Yonder Come Day (STM)

Joshua Fit De Battle (STM)

Ezekiel Saw De Wheel (STM)

We used these songs to work on ostinato patterns, realize 16th note patterns, create a dance for Ezekiel Saw De Wheel, as well as discussing GA Sea Island slaves and Biblical stories for spirituals. This culminated into our rap workshop:

Warm-up review: Yonder Come Day, Joshua Fit. (drawing attention to the spoken parts esp.) Discussed how rhythm is primarily derived from speech patterns.

Intro: Rap Music
SQUILT: T-Bone "Still Preachin" (this is a christian Rap artist, but you could use a different selection as appropriate). A lyric sheet was provided, and some specific lyrics were defined. We discussed the message of this rap.
Recorded Lesson: interview with Malcom Jamal Warner (STM)
RAP: History/defined/how it compares with spirituals
  • a style of music developed in the '70s within the growing Hip-Hop youth subculture. Involves spoken rhymes usually heard against a background of recorded music. Generally, the tone of the lyrics are an expression of anger, rebellion, taking on a sense of hopelessness.
  • Spirituals express the slaves' hope for freedom and escape drawing attention away from their oppression and encouraging them to focus on their coming eternal freedom in heaven. Rap draws attention to the people's current situation often encouraging violence, sex, drugs, and suicide as a way of escape.
    • Elements of rap defined:
  • MC - lead rapper
  • shell background accompaniment
  • Hook-bridge or refrain to hook the verses together often containing some melodic structure.
    • Nursery Raps: Handouts of various nursery rhymes
  • Listen to shell (Rockin' Rhythm Raps tr 29).
  • ID # of beats for rap.
  • Demo a rhyme with the shell
  • Break into groups of three. Choose a rhyme to fit the shell. Experiment with different rhythms to fill the shell. Agree on one style, rehearse the rap, and enhance it with movement and inflection as desired.
  • allow all to quietly rehearse once with the shell recording
  • perform each rap in front of class
    • SQUILT: Jump, by Kriss Kross (STM)
  • listen and ID elements from notes. Notice mention several times of performer's name.
    • BIO RAP: a rap expressing one's name, identity, characteristics/info about self.
  • Listen and follow shell map transparency (Music K-8 Rap Builders: Root Beer Ice tr 1)
  • Divide into groups of three. Each will rap at m. 9 til m. 13. A hook must fill up m. 13-16 for whole group. These measures repeat 3x for each rapper to rap.
  • pass out shell copies.
  • Each Bio rap is to be written down on the shell, including the hook.
  • Allow remaining classtime for rehearsal. Begin performances as time allows and continue next time.
  • videotape performances.

That's it. Each plan could stretch across two sessions. The 8th grade maybe three. By the way, I did not limit my use of STM to just one grade level. I drew from several, you'll have to check the index. Much though from 6th grade book.