Jazz and blues for kids Contents:
Jazz and blues for kids By Susie Davies-splitter and Phil Splitter Contents: 1. Wet Day Blues 2. Five Four Groove 3. Umbalayo 4. Synco-copation 5. Seven 6. Swing Those Blues Away 7. Bossa Beat 8. Calypso 9. Backyard Blues 2 9 18 21 30 34 37 42 50 Themes & Variations Box 25109 Deer Park PO, Red Deer, Alberta, T4R 2M2 Email: [email protected] Toll Free Phone or Fax: 1-888-K6 Choir (1-888-562-4647) Web Site: www.musicplay.ca Printed in Canada Copyright ©2007 by Themes & Variations ISBN Number: 1-897099-27-4 Editing by Craig Cassils, Leanne Holloway, Denise Gagne, Stacy Mildenberger, and Priscilla Wong Reproducible Rights: The original purchaser of this book may photocopy the songs in this collection for the use of students or choir members in one institution only. 1. Wet Day Blues (CD 1-2) Teaching Purpose/Suggestions: This song is in the form of the 12-bar blues. The students will have the opportunity to make music in this style by singing the song, playing instruments, and improvising. Teach the song by rote. Playing Suggestions: Teach the instrumental parts by having the students speech echo the sounds the instruments make, or teach the patterns by rote. In the early stages of learning the song, have the students play some of the main rhythms on untuned percussion instruments. Adapt the extras you do with this song to the particular grade level. Have the students play the xylophone parts as written. Add in the untuned percussion parts as written. Have the students play the chords on a piano or guitar, the bass part on a bass guitar or piano, and the melody lines on recorder or any other appropriate melodic instrument. Use notes from the C blues scale to improvise. Adapt the extras you do with this song to the grade level that you teach. Musical Features: Harmonic progression - 12 bar repeated progression: I |I |I |I | IV | IV | I |I |V | IV | I |I :|| Form - 12 bar blues. A series of 12 bars following a set chord sequence (see above) that is repeated several times. The blues are in three lines of four bars each, the second line exactly or nearly repeating the first line. The lyrics are usually about things that make you ʻblueʼ. Melodic Elements - ʻBlues notesʼ are used, which are notes from the major scale that are flattened (especially the third and the seventh) to sound ʻblueʼ or sad. Melodic Improvisation - Use notes from the C blues scale. Movement Suggestions: Make up a simple, repetitive dance using the actions in the chorus. Have students play repetitive notes as seen below to accompany the movements. Words: All soaked through Splish splish splash Shake shake shake Drip drip drip Actions: Clap rhythm Twisting action with feet together moving side to side Arms in front outstretched, shake them up and down Grab hold of your shirt/top and shake clothing Notes to Play: CCC CCC CCC FFF GGG Listening Suggestions: Explain what the blues scale is and suggest that the students listen for the blues notes. Listen to the blues band playing in this song. What instruments do you hear? (piano, bass, guitar, drums, horns and baritone saxaphone solo) Use this opportunity to listen to other recorded examples of the blues. Encourage students to research the roots of the blues. 1. Blues Wet Day Blues 1. Wet Day - Percussion/Vocal Introduction Swing q q = q Alto Xyl. Bass Xyl. &c œ e 3 œ &c œ Œ Verse & Chorus AX BX &Œ &œ L H H/C &¿ ss Sh/D/ Wb &Œ #œ ‰ œ Œ œ œœ Œ œœ L œ R œ L œ R L R ¿. ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ œœ œ œ R ss ¿ ss ss ∑ ch Œ ss ss ¿ Œ œœ Œ ch Œ œ ss ¿ ss ss ∑ ch Œ j œ œ œ œ Œ œœ œ œ œ œ œ œ Ó ‰ jÓ œ ‰ j‰ j œ œ bœ L R L j ¿ ¿ ‰ ¿ Ó ‰ jÓ œ œ œ L L R ch ch ch ch œœ œ œ ss ss ¿ j ¿ ¿ ‰ ¿ Ó ch ‰ jÓ œ j ¿ ¿ ‰ ¿ Ó j ¿ ¿ ‰ ¿ Ó ss œ œ œ ss ss œ j ¿ ¿ ‰ ¿ Ó ss ss j ¿ ¿ ‰ ¿ Ó ch ch ss Sh/D/ Wb S D/G & &Œ ¿. ¿ ¿ ss ¿ ch ss ss ∑ ¿ ¿. ¿ ¿ ss ss ss ss ss ∑ ¿ Œ ¿ ch Œ ¿ ch Œ ch pl om ‰ j‰ j œ œ bœ j ¿ ¿ ‰ ¿ Ó œ œ ss ¿ C ¿ œ ot œ -N œ y &¿ œ œ ‰ jÓ œ nl H H/C œ œ eO &œ Œ œœ pl BX Œ œœ m &Œ Sa AX et e S D/G & Œ œ Susie Davies-Splitter and Phil Splitter œ œ œ œ j ¿ ¿ ‰ ¿ Ó ch ch ch ss ss j ¿ ¿ ‰ ¿ Ó ch ch © 2006 Themes & Variations ‰ jÓ œ j ¿ ¿ ‰ ¿ Ó ss ss ‰ jÓ œ j ¿ ¿ ‰ ¿ Ó ss ss j ¿ ¿ ‰ ¿ Ó ch q q= q 3 e Storm - y old Sniff - in' and G7 ?c Wet Day œ œ œ Blues. œ I'm rain, of - ten, Œ b œœ œ œ œ o - ver from my head to my drip - ping all Get - ting in - to trou - ble slip - ping in G7 Œ œ œ œ through, j & œœœ œœœ ‰ œœœ Ó in the too I'm Œ œœ œ j œœœ œœœ ‰ œœœ Ó Wet Day œ ‰ j Œ œ Blues. j œœœ œœœ ‰ œœœ Ó œ œ œ Sa Œ œœœœ œ œ ‰ j œœ œ I'm œ feel Now C7 pl C7 ? Œ œœ œ œœœ caught all œœœ om pl œ œ & œ œ ‰ œj Ó all soaked I'm œ œ nl œ rain, of - ten, œ œ œ œ œ œ œ œ ‰ j Œ ‰ œj œ œ œ œ b œ œ œ œ œ œ œ œ œ œ bœ eO 13 œ Œ œœœ b œœœ Œ ot j & œœœ œœœ ‰ œœœ Ó C7 ? in the too œ œ Wet Day through, Œ F7 -N & œ œ ‰ œj Ó all soaked caught all Storm - y old Sun - day sniff - in' and cough - in' I'm j œœœ œœœ ‰ œœœ Ó œ œ œ Blues. m 9 œ Œ œœœ C through, j & œœœ œœœ ‰ œœœ Ó ? Sun - day cough - in' œ œ œ b œ œœ ‰ œj . ‰œ œ œ œœœœœœ . œ œ œ œ œ œ ‰ j Œ ‰ œj œ œ œ b œ ‰ œj œ œ œ b œ œœ ‰ œj œ œ œ œ œ œ #œ œ 5 & œ œ ‰ œj Ó all soaked j .. œ œ œ ‰ œ bœ œ ∑ œ œ œ œ œ œ œ . C7 ‰ . Œ œ œ #œ &c œ C Susie Davies-Splitter and Phil Splitter F7 œœœœ e ∑ et »¡£• y &c Swing q Wet Day- Blues 1. Wet1.Day Blues Piano/Vocal œ © 2006 Themes & Variations œ œ I've œœ œ ‰ œj toes, pud - dles, I'm Œ b œœœ Œ œœ œ œ œ œ œ ing made œ it bœ œ œ œ sor - ry home, 'cause Œ œœœ Œ œœœ œ œ œ œ I 2. Five Four Groove 2. Five Four Groove-Vocal Introduction j œ œ 5 œ œ œ ‰ & 4 œœ œœ œœ œœœ # œœ œœ Am D7 j œœ œœ ‰ œœ œœ # œœœ œœœ œ œ œ œ Am j œœ œœ ‰ œœ œœ # œœœ œœœ œ œ œ œ D7 Am D7 Ó œ œ œ œ œ œ œ Susie Davies-Splitter E sus4 E j œœ œœ ‰ œœ œœ œœ # œœ œ œ œ œ œ œ Verse 1 ˙. œ œ œ œ œ Sax -o - phones are jam - ming all day, œ œ œ &œ œ œ œ œ œ œ œ trum- pets, trom- bones, clar - i- nets. sound. &œ œ œ œ œ œ œ œ 17 ˙. œ Shoo be doo ar wee bop all 'round œ œ œ œ œ œ ˙ Ó ˙. town. œ œ œ œ œ œœ œ ˙. Ó Scat - ting up a storm of syl - la - bles. & œœœœ 25 eO five four rhy - thm, syn - co - pa - ta groove. j œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ Five four, five four rhy -thm, Five four, pl Five four, nl y -N j j j œœ ‰ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ Œ œœ œœ ‰ œœ œœ œœ œœ ‰ œœj œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ j œœ ‰ œœ œœ œœ œœ œœ m & œœœœ Sa Chorus 21 ot C Pia - no players are jam - ming all night, string bass, drums and vo - cals too. Ó dette. e Im - pro - vis - ing with a jaz - zy town. Doo - dle dee - dle chi - cka doo - dle œ œ œ œ œ œ œ Ó ˙. 'round œ œ œ œ œ œ œ œ œ œœ ˙ Verse 2 13 œ Shoo be doo ar wee bop all et & œœ œ 9 sound. pl Im - pro - vis - ing with a jaz - zy Ó ˙. om &œ œ œ œ œ œ œ œ 5 œœ Œ œœ syn - co - pa - ta feel. œœ œœ five four rhy -thm, it makes you want to move. j œœ ‰ œœ œœ œœ œœ ‰ œœj œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Five four, five four rhy -thm, # œœœ Œ œ 1st time go on 2nd time to m. 45 œœœ œ œœœ # œœœ Œ œ œ it's real - ly quite un - real. 2. Five Four Groove 2. Five Four Groove-Piano/Vocal j Dœ7 œ œœ œœ ‰ œœ œœ # œœ œœ œœ œ œ Am sound. Am Am D7 & œœ œ œ œ œ œ œ œ # œœ œœ j œ ‰ œ œ Shoo be doo ar wee bop all 'round D7 ˙œœ. œœ ‰ œœ œœ Ó˙˙ J #˙ j œ ‰œ œ œ œ ˙ & œ œ œ œ œ œ œ œ 9 œ œ œ œ & ˙. 12 Sa ‰ j œ œ Ó dette. E sus4 E & ˙œœ. œœ ‰ œœ œœ # ˙˙Ó J ? ‰ œj œ œ œ œ ˙ ‰ œj œ y œ œ ˙ trum - pets, trom - bones, clar - i - nets. F Maj7 pl G m œ œ nl day, & œœ œ œ œ œ œ œ œ œœ œ ? D7 œ œ œ œ œ œ œ œ # œœ œœœ eO Sax - o - phones are jam - ming all F Maj7 Am ot ? œ e Im - pro - vis - ing with a jaz - zy ‰ œj œ ˙ œ œ œ œ œ œ œ œ Ó ˙. œ j œœ œœ ‰ œœ œœ œœ # œœ œœ œ œœ œ et F & œ œ œ œ œ œ œ œ 5 ‰ œj œ œ œ ‰ œ œ œ Verse 2 œ œ œ œ œ œ œ œ ˙. Im - pro - vis - ing with a jaz - zy sound. Am Am D7 œ œœ œ œ œ œ œ # œœ œœœ j œ ‰ œ œ ˙ ˙œœ. œœ ‰ œœ J j œ ‰œ œ œ Ó ˙. town. E sus4 E Ó . ˙ ‰ œœ œœ œœ œœ # ˙˙ J j œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ F Maj7 œ œ ˙˙˙ j œ œ ˙ ‰ j œ œ Doo - dle dee - dle chi - cka doo - dle G œœ œ œ œ Susie Davies-Splitter Phil Splitter E E sus4 pl œ om ‰ œj œ ˙ j Dœ7 œ œœ œœ ‰ œœ œœ # œœ œœ œœ œ œ Am C Verse 1 j Dœ7 œ ‰ œœœ œœœ # œœ œœ -N q»¡¢• Am & 45 œœœ œœœ F ? 45 œ G ‰ j œ œ œ Ó ˙ œ œ œ œ œ œ œ œ Shoo be doo ar wee bop all 'round œ œ œ œ œ œ œ œ # œœ œœœ D7 Am œ œ œ œ Ó œœ # ˙˙˙ D7 ‰ œj œ ˙ Umbalayo 3. Umbalayo - Vocal Ostinato 1A # & # c .. œœœ ... Doong # & # .. œœœ ... doong œœœ ‰ œœj nœ œœœ œœœ doong œœœ œœœ ‰ Doong doong doong Can be used as an alternative to Ostinato 1A œœœ œœœ .. . doong doong Doong j œœœ œœœ œœœ .. . doong doong ÷ ## ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œœœ ‰ œj œ doong œœœ doong œœ œ .. œœ œ .. ¿ ¿ .. doong doong doong doong Chi ka chi ka chi ka chi ka chik chik haa e ÷ # # .. ¿ doong ‰ œœj nœ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .. Doong duk a duk duk a doong duk a duk a duk a ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿. ¿ ¿ ¿ pa pa pa Pa pa pa pa pa pa ti ti ti .. Ostinato 5 Triangle Sa m Pa pa ti pa Dampen top of triangle on the "ti's" ¿. y ¿ nl ¿ ¿ eO ÷ # # .. ¿ . pl Ostinato 4 African Shaker Hit palm of hand, knees -N ot C Doong duk a duk duk a doong duk a duk a duk a ¿ om Ostinato 3 œœœ œœœ œœœ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Chi ka chi ka chi ka chi ka chi ka chi ka chik Djembe, Conga or Bongo doong Doong Ostinato 2 Spoken or guiro œœœ et Ostinato 1B Vocal or Tuned Instrument (Pentatonic scale) œœœ pl Vocal or Tuned Instrument (Mixolydian mode heard on recording) Susie Davies-Splitter & Phil Splitter ÷ # # .. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .. Ti ka ti ka ti ti ka ti ka ti ka ti ti ka ti ka ti ka ti ka ti ti ka Ti ka ti ka ti © 2006 Themes & Variations 4. Synco-copation - Vocal Synco-copation Introduction Ostinato 1 AG or Vocal & 44 Ba F & .. œ C Sing G F Œ œ sing Ba j œ œ ‰ œ œ syn - co - Ba C œ œ co - pa - tion, F Œ Sing sing ba shoo ba j œ œ ‰ œ œ - œ co - pa - tion. .. ˙˙ ˙ mo - C Œ ny ˙˙˙ ˙˙ .. ˙. F ˙˙ ˙ G Har - mo - .. Œ ny .. Ó sh sh Œ j ‰ ¿ ¿ ¿ ¿ sh Don't think it Œ y ¿ ¿ ¿ Œ Ó Ó nl Œ eO ¿ sh sh pl .. Œ m Egg Shaker or Vocal ¿ ¿ Œ Sa Ostinato 4 -N ot - G et e syn - co pl ˙˙ .. ˙. F Har Ba G Œ œ om C C & .. ˙˙˙ G ba shoo ba ba ba shoo Ostinato 3 AM or Vocal œœ œœ œ Œ .. œ œ F œœ œœ œ œœ œœ œœ œ ba shoo ba G Œ C œœ œœ œ Œ œ œ ba shoo ba ba ba shoo Ostinato 2 BX or Vocal Susie Davies-Splitter .. œ œ œ œ œ œœ œœ œœ œ C sync it. ¿ sh Œ ¿ sh Œ j ‰ ¿ ¿ ¿ Don't think it ¿ sh Œ ¿ ¿ Œ sync it. ¿ ¿ .. sh Ó sh .. 23. Synco-copation 4. Synco-copation - Piano/Vocal & œ Œ Sing sing C F & ˙ Œ œœ œ. 13 & œ Œ ˙ Œ Œ Sing sing C F j œ œ j œ œ j œ œ j œ œœ œ G œœ Œ j œ œ j œ œ. j œ œ j œ œ j œ œ j œ œœ œ j œ œ & ˙ ˙ œ œ Œ œ Œ œ ? j œ. j œ. œ œ. œ j œ œ Œ C F œ ˙ Œ j œ œ Œ syn - co j œ œœ œ œœ Sing sing C F ˙ Œ œœ œ. œ Œ sing C F œ. œœ ˙ Œ j œ œ. j œ œ j œ œ j œ œ j œ œœ œ j œ œ G œœ j œ œ. œ œ co - pa - tion. œœœ œ œ syn - co - co - pa - tion. ˙ Œ Sing ˙ Œ Œ œ j œ œ j œ œ j œ œ. j œ. œ Œ - G e œœ œ œ œœ œ œ om œœ œ syn - co - co - pa - tion, G œ sing œ. œ œ j œ œ Sing ˙ Œ œ j œ œ. et œœ œ syn - co - co - pa - tion, j œ œ. œ j œ œ. Œ C œœ j œ. œ œ j œ œ œ syn - co - co - pa - tion, G œœ œœ. œ G j œ œ. ot œ. j œ œœ œ œ Susie Davies-Splitter and Phil Splitter œœ œ œœ œœ œœ œ œœ F œ. -N œœ ˙ Œ j œ œ œ y F j œ œ œœ C Œ nl C Œ eO sing 9 ? œ Sing & ˙ Œ ? Œ pl & œ m f G Sa 5 F pl œœ œœ œ œœ œœ œœ œ œœ œœ œ œœ. &c f ?c jœ j œ. j œ. œ œ œ. œ C Œ j œ œ. j œ œ j œ œ j œ œ syn - co œœ j œ œœ œ G j œ œ. - œœœ œ œ co - pa - tion. j œ œ j œ œ œœœ œ 5. Seven (CD 9-10) Teaching Purpose/Suggestions: Seven refers to the uneven 7/8 metre in this song. It is similar to a lot of Greek or Macedonian pieces with an uneven metre. In working with this song, students will be using ostinati, canon, instruments, improvisation, and movement. To introduce the concept of 7/8 metre, listen to the recorded music and accompany with simple body percussion ostinatos such as: Pat 4x alternating hands then clap 3x, etc. Try two or three different ostinatis. Move around the room to the ʻsevensʼ broken up into groups of three steps (1-2, 1-2, 1-2-3) during the vocal parts, and do a body percussion ostinato during the instrumental parts. Teach the song by rote. Divide into two groups. One group begins section A with the actions only. The second group begins section A when the first group is at section B and so on. Playing Suggestions: Transfer the actions above to appropriate untuned percussion instruments. Instruments: Section A Seven tap the sticks Seven ring the bells Seven guiro scrapes now nl y -N ot C om pl et e Movement Suggestions: Words to Verse 2: Suggested Actions: Section A Section A Seven Clap hands twice tap your knees Tap knees (3x) alternating L, R, L quickly Seven Clap hands twice shake your hands Shake hands (3x) alternating L, R, L quickly Seven Clap hands twice swing your hips Swing hips (3x) alternating L, R, L quickly now Stamp feet alternating L, R, L Play drum twice Tap sticks (3x) quickly Play drum twice Ring bells (3x) quickly Play drum twice Scrape guiro (3x) quickly Play different drum (3x) Section B Tap your knees and shake your hands and swing your hips right Now Section B Tap knees (3x) Shake hands (3x) Swing your hips (3x) Stamp feet (3x) Section B Tap the sticks and ring the bells and scrape the guiro now Tap knees (3x) Shake hands (3x) Swing your hips (3x) Stamp feet (3x) Tap sticks (3x) Ring bells (3x) Scrape guiro (3x) Play drum (3x) Sa m pl eO Clap hands twice Tap knees (3x) alternating L, R, L quickly Clap hands twice Shake hands (3x) alternating L, R, L quickly Clap hands twice Swing hips (3x) alternating L, R, L quickly Stamp feet (3x) alternating L, R, L 6. Swing Those Blues Away (CD 11-12) Teaching Purpose/Suggestions: This song is a great reminder to focus on the positive and good things in your life and to go with the flow of life, rather than trying to fight it. In other words, donʼt sweat the small stuff. Donʼt look at whatʼs wrong around you, find the good things. Be grateful. Move and groove to the music to help lift your spirits and energy levels. Teach the song by rote. et e Movement Suggestions: Bars 1-2 Step forwards, click, step forwards, click and repeat Bars 3-4 Step on spot, clap left, step on spot, clap right and repeat Bars 5-6 Step backwards, click, step backwards, click and repeat Bars 7-8 Step on spot, clap left, step on spot, clap right and repeat Bars 9-10 Make a huge arc in the air with both arms up above head and out to the sides Bar 11 Lift left arm up above head and out to side Bar 12 Lift right arm up above head and out to side C om pl Playing Suggestions: Teach the bass xylophone/marimba part. Play the melody on the recorder, or other instruments, with accompaniment on a piano or guitar. eO nl y -N ot Creative Suggestions: Improvise on tuned instruments such as chime bars, xylophone or glockenspiel. Set up the ʻE lahʼ pentatonic scale and take off the bars/notes that are not needed. Have a leader vocally improvise a melody in solfa or scat over one bar and the group echo, or the leader improvises a melody and group answers with a different melody. On the recorder have individuals or the whole group improvise over the 8 bars. Sa m pl Related Suggestions: 1. Have the students make a ʻgratitudeʼ list of all the things they can be grateful for. Share and discuss the results. 2. Role-play a conflict situation that is beyond their control. What happens if you allow the situation to affect you? What difference does it make if you accept the situation and move on? 3. Have students think about how they react to things when something doesnʼt go their way. Share and discuss these findings. 4. Think about how music makes them feel. Can music lift your spirits and help you feel good? Listening Suggestions: Have the students relax by laying on the floor and listening to the recording. Discuss with them what the music sounded like. Was it happy/sad, soft/loud, fast/slow, etc. What is a round? What is a choir? Did you hear a recorder and guitar? Listen to the voices singing the round in five parts. Listen to other Latin/Bossa Nova styles of music and the instrumentation. Swing Blues-Away 6. Swing ThoseThose Blues Away Piano/Vocal 3 qq=q e # œ œ œ & c œ œ # . œ œ œ . get 13 & œ set œ œ œ # œ Come œ on # EŒm œ & œœ ?# œ œ œ now œ œ œ œ œ œ bœ nœ œ œ œ œ œ œ y D6 œœœœ œ bœ œ œ œ move your œ œ œ nl eve- ry - bod - y, j ‰ œœ Œ œ œ œ œ œ œ œ Œ ‰ œ œ œ # . EŒm œ ‰ œj Œ & . œœ œœ ? # .. œ et œ Form Note: Vocals (2x) Piano Solo (2x) Vocals (1x) Improvised Scat (2x) Recorder/Flute Solo (2x) Vocals (1x) Let's œ œ pl œ eO & œ ‰ œ. # œœœ .. . 3 œ œ œ œ ‰ œj œ œ ‰ œj œ œ ‰ œj œ œ œ œ œ w C maj7 D6 B 7(# 5) Em j j œœ .. . œ œ j œ . . . ‰ œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ . . . . œ œœ .. œœ Œ œœœ Œ œ œ œ. # œœ .. œ œ ‰ j œ œ bœ œ œ pl 9 œ œ œ œ ‰ œœ j œj œœ .. œ œ œ. Em om ?# ‰ œœ .. œœ .. B7 e # E‰m œœ j œœ & œ œ œ J ‰ œœj Œ œ C maj7 m & # œ ‰ œœ .. œœ .. Sa 5 œ œ œ D6 C ?# c ‰ œœj Œ œ ot # c Em & ˙˙ ˙ Susie Davies-Splitter & Phil Splitter 3 œ œ œ œ ‰ œj œ œ ‰ œj œ œ ‰ œj œ œ œ œ œ w -N q = 140 Swing Recorder we're gon - na j œœœœ ‰ œœœœ Œ œ œ œ œ Œ Œ bod - y, œ those C maj7 œ bœ œ œ left and Œ j œœœœ ‰ œœœœ Œ œ œ œ D6 swing œ bœ œ Œ œœœ œ œ œ œ right œ your œ blues œ œ away. () Œ œ # œœ B7 #5 œ œ #œ hips can sway. œ œ œ Œ () Œ œœœ # œœœ œ œ œ C maj7 B7 #5 œ œ ˙. Œ j Œ œœ ‰ œœ Œ œ œ Em œ œ œ ˙. œ œ Œ j Œ œœ ‰ œœ Œ œ œ Em œ œ œ œœ 7. Bossa BeatBeat - Vocal Bossa Form Note: *Whole song in unison *16 beat improvisation over A lah pentatonic scale *Vocal Canon - Second group begins after group one completes part one - Continue to add a group every 8 bars until group one has completed all five parts *Ending - Repeat part one in unison - it's Part 2 œ Am & œ part - ner, Clap your Am & œ Hold - ing Am & œ Up œ œ œ we œ go now and wave () œ œ œ ˙ E 7 #9 side to et œ Move your feet. Feel () ˙ side. Am œ F E 7 #9 œ. it's sa Am () œ Œ Am œ turn a - round. F - E 7 #9 stamp your Œ e Bos ˙ œ œ Shim - my () j œ œ Œ E 7 #9 F sa beat G hips. œ œ œ œ let's œ œ œ F œ œ hands on F hands and Part 3 œ hands œ œ Œ œ () œ Œ E 7 #9 eO your œ m Face œ œ Œ Sa & œ F - F ˙ so neat, pl Am () j œ œ Œ œ. sa beat Bos E 7 #9 F Œ so neat, pl Bos it's œ. œ. so neat, G Am so neat. it's œ œ Œ F œ œ bod - y, do G Am œ the œ down œ œ Bos - sa œ œ right () œ Œ E 7 #9 the ˙ twist. G Am Ó beat. F œ œ œ down, () ˙ E 7 #9 to the ground. ‰ œ œ œ œ œ œ œ G Am You can - not beat the Bos - sa beat. F Ó œ. œ œ. . beat om j œ œ Am & œ. sa beat j œ œ C - œ. Am ot Bos Œ E 7 #9 -N & c œ. () j œ œ Œ F y j œ œ Am nl Part 1 Susie Davies-Splitter & Phil Splitter ˙ G Am Ó 8. Calypso (CD 15-16) Teaching Purpose/Suggestions: This song teaches the calypso style, which originated with the West Africans who came to the Caribbean (Jamaica and West Indies) in the mid 1800s. The music emphasises the off beats. This very syncopated style is an important part of Latin American music. In the 1960s, Bob Marley made reggae music popular in Jamaica. Reggae is a mix of ethnic and pop music, similar to Calypso, but slower. Teach the song by rote. Teach the ostinato parts. Teach the simple dance, or the advanced dance, depending on the grade level. Musical Features: Ostinatos - Five ostinato parts. Canon - This piece can be sung and danced in 2 parts. Harmonic progression - 8 bar repeated progression - I |IV |I |V |I |IV |I V |I || Form - Verse and chorus, each 8 bars. Melodic Improvisation - Use notes from the G major scale. For every verse and chorus, begin and end on G. See music for notation. Words Oh, oh, Calypso Oh, oh, Calypso Oh, oh, Calypso Calypso, oh, oh Sa Chorus Bar No. Bar 1 & 2 Bar 3 & 4 Bar 5 & 6 Bar 7 & 8 m pl eO nl y -N ot C om pl et e Movement Suggestions: 1. Simple Dance Formation Children are in lines, scattered formation, a circle or with partners. Verse Actions & Movements Words Bar No. Swing arms to the left twice Calypso left Bar 1 Swing arms to the right twice Calypso right Bar 2 Hammer hands twice Calypso party Bar 3 Roll hands around each other Into the night Bar 4 Swing arms up twice Calypso up Bar 5 Swing arms down twice Calypso down Bar 6 Turn around Calypso turn Bar 7 Around Bar 8 Actions & Movements Take 2 steps forward and bob down on Calypso Take 2 steps back and bob down on Calypso Stamp twice on the spot and bob down on Calypso Turn around 2. Advanced Dance Formation Children are in circle dance formation - outer and inner circle facing a partner. Verse - Section A Calypso left clap, clap, clap partnerʼs left (2x) (or both arms out to the left) Calypso right clap, clap, clap partnerʼs right (2x) (or both arms out to the right) Calypso party clap, clap, clap both partnerʼs hands (2x) Into the night roll hands around each other Calypso up clap, clap, both arms up twice 8. Calypso - Piano/Vocal # & 44 Œ G œœ œœ ? # 44 œ œ œœ œœ Œ œœ Œ Œ ∑ Œ œ Œ Œ œœ œœ Œ Œ œœ Œ œ œ œœ œœ Œ œœ Œ Œ œ G Œ D Œ œœ œœ Œ œ œ œœ Œ œ nl so right, Sa œœ œœ ? # .. œ œ & # ?# Œ ca - lyp - so par ‰ j œ œœ œ up, ca - lyp - so down, ‰ œj ‰ j œ œœ œ œœ œ œ œœ œœ œ œ œœ C œ œœ - ty in - ‰ j œ œ œœ œ œ œ œœœ œ œœ œ œœ œ ‰ œj ‰ j œ œ œ œ œ œ œœ G Œ Œ ‰ j œ œ œ œ œ œ œ G 3rd time continue vocals lyp - so G œœ eO - pl ca - lyp m left, C # .G & . œ œ œ œœ œ ‰ œj ‰ œj œ œ & Œ œ Ó om pl et e C 3rd time instrumental # Œ œœ Ca - lyp - so 13 Œ œœ œœ œ ∑ *use lower notes unless too low # . & . œ œ œ œ œ ‰ œœj ‰ œj œ ‰ œj œ œ œ œ œ œ œ œ 9 Œ œœ œ ∑ Susie Davies-Splitter D Œ œœ œœ C œ œ Œ ot # GŒ & ?# Œ œ # Œ œœ -N & Œ G y 5 Œ C ‰ j œ œ œœ œ œ œ ca - lyp - so turn G D œ ‰ j œ œ œ œœ œ œœ œœ to the night. œ ‰ œj Ca - D œ œœ œœœ œœœ ‰ œj œœ œ œœ œ œ œ w a - round. œ œœ œœœ œ œœ G ww w œ œ œ œ 9. Backyard Blues (CD 17-18) Teaching Purpose/Suggestions: This song is in a blues/rock style. Traditionally, blues is a type of slow, mournful music that became widely known around the beginning of the 20th century. When combined with the popular rock music of the 50s and 60s, it results in a catchy, up tempo style of music. Teach about how this is an example of a song using chords I, IV, V. Teach the song by rote. Musical Features: Verse - 12 bar blues Melodic Improvisation - Use notes from the D Blues scale over the verses only. This includes the flattened 3rd, 5th and 7th notes of the major scale. See music for notation. eO nl y -N ot C om pl et e Try any or all the following ideas for teaching about the three chord progression: 1. Listen to the song and say the chord numbers (I, IV, or V) on the first beat of every new bar. 2. Do a different body percussion pattern for each chord change. For example, stamp on I, pat on IV, and clap on V. 3. Divide into three groups Iʼs, IVʼs, and Vʼs. Have the students play different untuned percussion instruments with short sounds on the beat for each of the three chords. For example, use skins for I, wooden instruments for IV, and metal instruments for V. Each group can stand up when itʼs their turn to play. 4. Divide into three groups Iʼs - D, IVʼs - G, and Vʼs - A. Play a different instrument on the beat for each of the three chords. For example, use bass xylophone - D, alto xylophone - G, and glockenspiel - A. Chime bars are also good for this exercise. 5. In three groups play the first note of each chord D, G, and A on the first and third beat of each bar. Play the melody line. Use the kazoo to improvise over the blues scale. m pl Movement Suggestions: Make up actions to go along with the words in the song. Sa Creative Suggestions: For improvisation, use notes from the D blues scale over the verses only. This includes the flattened 3rd, 5th and 7th notes of the major scale. See music for notation. Role-play the different characters in the story, including the narrator, the cat who scats, the dog who improvises on a kazoo, three ducks who get down, one boppinʼ budgie, one waltzing spider, one crazy caterpillar, and a farmyard troupe. Backyard Blues 9. Backyard Blues - Vocal Introduction Swing q q = q 3 e b B b7 œ A +7 œ œ œ Œ œ œ œ j œ œ œ ‰œ ‰ j Ó ‰ œ œ œ j & b c ‰ œ œœœœ œ œ œ œ œ œ œ œ Ó Dm C 3 B 7 A +7 Verse 1, 3 & 5 &b Dm œ œœœ œ œ œ œ œ sto - ry to tell and it won't take ‰ œj long. Dm C I œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ If it's all the same to you, et om pl Dm I was came a -long, ‰ j œ œ œ œ œ œœ 3 it must have been a stray. ‰ œj œ This C the oth -er day when a cat do it in a song. e j ‰ j 3 œ ‰ œj œ œ ‰ j b ‰ & œ œ œ œ œ œ œ œ œ œ œ œœ I'll got a œ œ œ 3 G hang -ing out the wash - ing just Susie Davies-Splitter & Phil Splitter j 3 œ œ œ œ œ œ œ ‰œ œ œœ œœ œ œ j j & b œ œ œ œ œ œ œ œ œ ‰ œ œ‰œ œ D9 A7 ot G7 leg. I nl cat start - ed cud - dling up a - gainst my y -N A eO Verse 2, 4, 6, 7 & 8 Sa m & b ‰ œj œ œ œ œ œ œ you see I'm bus- y, I've got ‰ j œ œœ œ œ chores to do. j &b œ œ œ œ œ Œ œ œ œœ œ ‰ œ (Stops V. 2, 7 & 8) A7 &b œ œ œ œ next thing you know Chorus œ The (G7) (Scat & Kazoo V. 4 & 6) not a king or queen (D7) Dm (G7) Dm pl (D7) (Scat & Kazoo V. 4 & 6) D m (Stops V. 2, 7 & 8) G stopped what I was do-ing and this is what I said: Œ ‰ œj ¿ ¿ ¿ ¿ ¿ œ œ œ œ œ œ 3 clothes need a hang - in' and I'm cook - ing up a stew. (D7) Dm œ ‰ œj œ œ œ œ ¿ œ œ œ œœ sit -ting on a throne. There's mice you should be chas - ing won't you leave me a -lone. j œ ¿ œ œ œ œ œœ œ ‰œ œœ œ œ œ œ œ G7 you'll be G7 &b œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ scin - til - lat - ing, dev - as - tat - ing, 3 sit - tin' in D7 I said, "Can't my lap. œœ œ œ œ œ œ œ œ œ 3 mo - ti - vat - ing jive, I'm I'm ‰ œj œ The D7 A7 on - ly gon - na tell you this once cat 'SCAT'!" It was œ œ ¿ œ œ A œœ ‰ j œ œœ # œ n œœ œœ œœ œœ œœ œœ œœ a funk - y kind of sound that made you
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