Elementary Unit:

Call and Response

Ms. Rose Bentley

November 5, 2019
Table of Contents:

Introduction .………………………………… 2
Unit Outline ……………………….………… 6
Prepare …………………………………. 6
Present …………………………………. 7
Practice …………………………………. 7
Lesson Plans …………………………………. 9
Prepare Lesson 1 ……………………………. 10
Prepare Lesson 2 ……………………………. 13
Prepare Lesson 3 ……………………………. 16
Present Lesson 1 ……………………………. 19
Practice Lesson 1 ……………………………. 23
Practice Lesson 2 ……………………………. 26
Practice Lesson 3 ……………………………. 29
Practice Lesson 4 ……………………………. 32
Practice Lesson 5 …………………………….. 36
Practice Lesson 6 …………………………….. 39

1
 Unit Introduction
The focus of this unit is call and response in the second-grade classroom. Students will
have already learned about AB form as well as ABA form and by teaching students about call
and response we are helping students build on their knowledge of musical form. Not only will
students learn about call and response during their second-grade year, they will also be learning
about rondo form as well as different notations such as Coda, Fine, D. C. al Fine, etc. Each
student will have experience in reading and performing music that is in call and response form
through the use of singing, hand-drums, and body percussion.
Not only will students be learning about the different forms of music, they will also be
building upon their knowledge of other musical concepts. Some other concepts we will go over
in this unit includes phrasing and how the musical phrases fit into the form. For example, in call
and response there is one phrase that makes up the call and one phrase that makes up the
response. Unlike AB form where 1 musical idea generally makes up a section, 2 phrases make up
one section of call and response. By being able to identify phrasing, students will have an easier
time identifying call and response. Students will also be able to build on their musical expression
throughout this unit. In order to effectively perform call and response, the students will have to
apply musical expression to make it clear to the audience that the musical phrases correlate with
each other whether it be rhythmically or melodically.
This unit has cross-curricular connections with History and Language Arts. Each piece in
this unit includes a background that supports the music. By learning about the background of a
piece students will be able to grasp a better understanding of the music that they are performing.
There are also pieces that help us understand music from different cultures as well. Not only will
learning about the background of each piece help students but learning about sentence structure
will help students learn the phrasing of each piece. By teaching students about sentence structure
and the role that punctuation plays, students will be able to perform each piece with more
musical expression.

Pre-Assessment

Before learning a new form of music, it is important that students understand what form is and
how phrasing is used in music. They should already know what ABA and AB looks like so I will
have students listen to a song and tell me if the form is AB or ABA with assistance. After
reviewing the different forms that they already know, I will give students laminated note cards,
one that says ABA and the other that says AB. After listening to the song, I will have them hold
up a note card of what they think the form of the song is. This is how I will be able to assess my
students’ understanding of form. I will record the number of students that labeled each song
correct or incorrectly with the chart below. The songs that I will have students listen to that are
AB form include Jim Along, Josie, and Little Bunny Foo Foo. The songs that I will have students
listen to that are ABA form include This Train, and Old King Cole.

2
AB Form Pieces:

3
ABA Form Pieces:

Assessment Chart:

Number of Correct Answers Number of Incorrect Answers

Jim Along, Josie

This Train
Little Bunny Foo Foo
Old King Cole

4
Post-Assessment (Summative):
At the end of the unit I plan on assessing my students through reading and listening. It is
important that students are able to identify call and response on paper as well as identify call and
response aurally. To assess my students with reading, I will present them with a piece of music
and have them sing through it. After singing through Who Has the Penny, I will have students
figure out where the phrases are by singing the line and having the students raise their hands
when they think that I have reached the end of a phrase. After breaking down the song, I will
have students draw arcs over the phrases. After students have figured out the phrasing I will sing
two phrases and have students determine whether or not the song is in AB form or Call and
Response form. From there I will have student hold up a laminated piece of paper that either says
AB Form or Call and Response. I will then have the students label the calls and responses in
their music if they thought it was a call and response or label the A section and the B section if
they thought that the song was in AB form.

# of Students for Call and Response # of Students for AB Form

# of Correct Answers # of Incorrect Answers

Phrase 1
Phrase 2
Phrase 3
Phrase 4
Phrase 5
Phrase 6
Phrase 7
Phrase 8

5
 Unit Outline
Prepare:

The prepare stage is the first time that the students are introduced to the new concept.
Students aren’t provided with any notation with the new concept or even aware that they are
being taught a new concept. In this stage students will be performing songs and activities that
will provide them with experience with call and response.

1. Bye, Bye, Baby

a. Historical Context: Bye, Bye, Baby is an English Folk Song that was used as a
traditional lullaby in the Appalachians. Cecil James Sharp (1859-1924), who
recorded Bye, Bye, Baby, was a musician from England that gathered tunes from
England and the Southern Appalachians and compiled them into books. This
lullaby is about the original singer Mrs. Thomas. Mrs. Thomas was 85 years old
and lived by herself. She sang this lullaby to her grandniece that was two months
old. From there, CJ Sharp wrote the lullaby down and included it in his collection
of Appalachian Folk Songs.
b. Purpose: The purpose of this song is to introduce call and response in a way that
is not question and answer. This will allow students to sing a melody that is
simple and to start creating their own call and response improvisations without
them being aware of the actual form.
2. I Got a Letter
a. Historical Context: I Got a Letter is a spiritual from St. Helena. Nicholas G.J.
Ballanta (1893–1962) who composed this song was an educator who conducted
field research of the music of West Africa in the early 20th century. His works
consist of elements from both European and African musical techniques. Due to
Nicholas G.J. Ballanta traveling all over the world for his research he composed
the song I Got a Letter which has been used as a spiritual throughout both
American and African history.
b. Purpose: This spiritual is an engaging song that can be used for various activities.
In this unit I will not only be giving students more experience with call and
response but I will also be giving students an opportunity to become more
independent as musicians. By creating engaging activities students will feel safe
and comfortable in singing the solo lines. The students will perform solo lines
which will allow me to assess them individually and figure out ways to help each
individual student.
3. Won’t You Let the Birdie Out?
a. Historical Context: Won’t You Let the Birdie Out was written and adapted by
Bessie Jones and Bess Lomax Hawes. This song came from African-American
heritage. Bessie Jones grew up in rural south and was a huge influence in creating
music for those of African-American heritage. She also created games to go along
with the songs for entertainment. The songs that were used in the book Step It
Down which was where Won’t You Let the Birdie Out is made up of a collection

6
 of songs that were used during slavery. Songs such as Won’t You Let the Birdie
Out were used not only as entertainment but to make statements about slavery.
b. Purpose: This song introduces call and response in a way that is entertaining and
holds lots of historical meaning. Not only will this song keep students engaged, it
will also help students gain their own musical independence with various solo
lines.

Present:

The present stage is when the students are able to label the concept that they have been
using throughout the prepare stage. During this stage students will be able to identify call and
response form.

1. Won’t You Let the Birdie Out?

a. Historical Context: See Above
b. Purpose: Provide students with a song that they recognize and can put call and
response into context. Not only is this song one that students are familiar with and
find engaging but it is also one where the form is easy to dissect. Since the song
alternates between solo and group lines it is easier for students to identify what is
the call and what is the response. This means that students should become more
secure in passing off musical lines to fit the form.
Practice:

The practice stage is when the students get to apply the new concept after it is presented
to them. This is when students will get to read, write, improvise, and create using call and
response. Students will gain a better grasp of the concept through practice in identifying and
performing pieces that are in call and response form.

1. My Paddle
a. Historical Context: My Paddle is known to be a campfire song that was written by
Margaret Embers McGee who was from Canada. It is said that the song was
created to honor the Nation’s first people and their love for waterways and their
beauty. Not only is this song used as a campfire song it is also used as an activity.
This is a song that can be performed in a round and is used for midrange voices.
The song is included in the book 150 Rounds for Singing and Teaching by
Edward Bolkovac and Judith Johnson contains 150 classic rounds.
b. Purpose: This song is one that is more challenging when it comes to figuring out
what form it is. I want to use this song to help students figure out the form of this
piece through an activity. I also want to show students that they can identify form
in this piece by the musical line not only by the text.
2. Wall Flowers
a. Historical Context: Wall Flowers is a traditional Irish song that was originally
performed by The Clancy Children. Known for bringing Irish Folk Songs into
America, The Clancy Children became a successful band in the 70’s and 80’s.
People have tried to decipher the meaning of Wall Flowers but it is believed that
they lyrics that make up the song are nonsense.

7
 b. Purpose: This song is able to be performed as a game and will be challenging for
students to identify due to the sentence structure. Through singing and performing
I want to provide students with another tool in identifying musical form.
3. El Gato y el Raton
a. Historical Context: El Gato y el Raton is folk song from Puerto Rico. This song
was performed by children in school yards and used as a “song-game.” The song
has traveled all over the world and is one that is commonly used as a game. This
tradition holds lots of meaning to Puerto Rico and its traditions. Translated the
song means: “Here come the cat and the mouse to give battle to the shark. Mouse,
I will catch you, and I caught you behind the sesame plant. Poor cat of mine, he
shall not eat.”
b. Purpose: Not only is this song great for teaching students about call and response,
it is also a good way to bring different cultures into the music classroom. That
being said, I want to have one lesson for this song dedicated to learning about the
song and its cultural background as well as a lesson were students are actively
participating in the Puerto Rican traditions.

8
Lesson Plans

9
 Prepare Lesson Plan #1:
Bye, Bye, Baby – Part 1

Objective:

1. Students will perform the song, “Bye, Bye, Baby,” with accurate phrasing and expression
based on the context of the song.

2. Students will improvise 8 measures in 2/4 with the correct phrase lengths.

Standards:

Re.2.8.a - Compare how the elements of music and expressive qualities relate to the structure
within programs of music
Cr.1.2.a – Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
Pr.4.2.a - Apply established criteria to judge the accuracy, expressiveness, and effectiveness of
performances.

Materials:

- Sheet music for Bye, Bye, Baby from http://kodaly.hnu.edu/

- Hand drum

Bye, Bye, Baby

Informant/Performer: Source:
Mrs. Sarah Ann Elizabeth Thomas Cecil J. Sharp
Dooley, VA 1918 English Folk Songs from
the Southern Appalachians
London: Oxford Univ. Press, 1932

2
4
Bye, bye, ba by, ba by, bye;

My lit tle ba by, ba by, bye.

Background Information
Mrs. Thomas, the singer, who was 85 years old, lived by herself in a small log cabin in the woods.
When we came upon her she was singing to sleep her grand-niece, a little baby of 2 months old.
It made a lovely picture, and the crooning song, though very simple, sounded very beautiful.

10
Sequence:
WARM-UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Learn Bye, Bye, Baby.

1. Teacher greets students on their way into classroom, “Today we are going to be learning
a new song!”
2. Teacher has students listen to song and answer the following questions:
a. Who was I singing bye to?
b. Was the baby big or little?
3. Teacher provides background to Bye, Bye, Baby and how it was about a Grandmother
singing to her grandchild of 2 months old.
4. Teach students the song
a. Teacher: Repeat after me!
b. T: “Bye, bye, baby”
c. S: “Bye, bye, baby”
d. T: “Baby bye”
e. S: “Baby bye”
f. Teacher: Now let’s sing those two lines together!
g. T: “Bye, bye, baby. Baby bye.”
h. S: “Bye, bye, baby. Baby bye.”
i. T: “My little baby”
j. S: “My little baby”
k. T: “Baby mine.”
l. S: “Baby mine.”
m. T: “My little baby, baby mine.”
n. S: “My little baby, baby mine.”
o. T: “Bye, bye, baby. Baby bye. My little baby, baby mine.”
p. S: “Bye, bye, baby. Baby bye. My little baby, baby mine.”
5. Teacher will have students sing the song by themselves to ensure that they understand
the two phrases of call and response put together.

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Activity 2: Teach percussion to go along with Bye, Bye, Baby.
1. Teacher has every student grab a hand drum.
2. Teacher teaches them Sequence 1:

3. Teacher teaches them Sequence 2:

4. Once students have played both sequences have them sing with both of sequences.
5. Divide students up into groups of two and then have Group 1 play sequence 1 while
Group 2 plays sequence 2 while singing Bye, Bye, Baby.
Activity 3: Have students improvise the call and response.
1. Teacher will improvise a phrase and ask students what they did differently?
a. Students: You made it up!
2. Teacher will have a volunteer come up and respond to her improvisation with the correct
amount of beats.
3. Teacher will have students pair up and do their own call and responses together.

Assessment: Students will perform their improvisations as a class to show their understanding of
the form and phrase lengths as teacher observes.

Song Analysis Table:

Tone Set Do, Re, Mi, Sol

Range P5 (Do-Sol)
Rhythm Set

Form Question and Answer

A Song’s Pedagogical Use Table:

Melody Review: Re
Rhythm Review: Eighth notes and half notes
Other Song Background

12
 Prepare Lesson Plan #2:
I Got a Letter – Part 1

Objective:

1. Students will perform “I Got a Letter” with the correct timing when transitioning from
phrases that are solos to phrases that are for the group.

2. Students will perform “I Got a Letter” with expression that fits the context of the song.

Standards:

Pr.4.2.a - Apply established criteria to judge the accuracy, expressiveness, and effectiveness of
performances.
Re.3.2 - Demonstrate knowledge of music concepts and how they support creators'/performers'
expressive intent.

Materials:
- Sheet music for I Got a Letter from http://kodaly.hnu.edu/
- Letters for students to write and pass around
- Slips of paper with students’ names for students to draw from

I Got a Letter
Source:
Nicholas G.J. Ballanta-Taylor
St. Helena Island Spirituals
Boston, Mass.: G. Schirmer, 1925
Solo
2
Group
4
I got a let ter this morn in', Oh, yes,

Solo
Group

I got a let ter this morn in', Oh, yes.

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Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Students will pull names from a hat and write a positive letter to the person who’s
name they drew. While they do this activity, I will play “I Got a Letter” on piano so they can
start hearing the song in their heads.
1. Teacher will provide students with a piece of paper and an envelope for students to write
on. Teacher will then have students draw names out of a hat which will be who they write
about.
2. Teacher: “With your piece of paper, I want you to write down 1 positive quality of the
person whose name you drew.”
3. Give students about 5-10 minutes to write their letters. As they are writing their letters
play the melody to “I Got a Letter” on the piano to get the song in their heads.
4. After students are done writing their letters, have them sit in a circle and hum the melody.
Activity 2: Students will learn the song “I Got a Letter” as a class with their letter that they wrote
sitting in front of them.
1. T: “Repeat after me”
a. T: I got a letter this mornin’
b. S: I got a letter this mornin’
c. T: Oh, yes
d. S: Oh, yes
e. T: I got a letter this mornin’, oh, yes.
f. S: I got a letter this mornin’, oh, yes.
g. T: I got a letter this mornin’
h. S: I got a letter this mornin’
i. T: Oh, yes
j. S: Oh, yes
k. T: I got a letter this mornin’, oh, yes.
l. S: I got a letter this mornin’, oh, yes.
m. T: I got a letter this mornin’, oh, yes. I got a letter this mornin’, oh, yes.
n. S: I got a letter this mornin’, oh, yes. I got a letter this mornin’, oh, yes.

14
 2. Have students group up into groups of 2 and have one group sing the solo while the other
sings the group section.
3. Have the groups switch off.
Activity 3: Students will sing solo line when their letter is given to them (same concept as Secret
Santa) as the rest of the class sings the group line.
1. Teacher gives instructions on how to hand off letters.
a. Choose the first student to hand off their letter.
b. Once a student receives their letter, they will sing the solo line as the class will
sing the responding line.
c. After the student is done singing, they will hand off their letter to the next student.
This will continue on until every student has received their letter.

Assessment: Teacher will observe the activities to ensure that students understand the song and
know the transition from call to response.

Song Analysis Table:

Tone Set La, Ti, Do, Re, Mi

Range P5
Rhythm Set

Form Call and Response

A Song’s Pedagogical Use Table:

Melody Review: Do, Ti, La

Rhythm Review: Sixteenth note with eighth note

Other Spiritual

15
 Prepare Lesson Plan #3:
Won’t You Let the Birdie Out – Part 1

Objectives:

1. Students will perform “Won’t You Let the Birdie Out?” with correct timing and phase
lengths.

2. Students will perform song “Won’t You Let the Birdie Out?” with correct use of
expression for the question and answer.

Standards:

Pr.5.2.a - Perform music for a specific purpose with expression and technical accuracy.
Pr.4.2.a - Apply established criteria to judge the accuracy, expressiveness, and effectiveness of
performances.

Materials:
- Sheet music for Won’t You Let the Birdie Out? from http://kodaly.hnu.edu/

Won't You Let the Birdie Out?

Informant/Performer: Source:
Bessie Jones Bessie Jones and Bess Lomax Hawes
Step It Down
New York: Harper & Row, 1972
q = 176

4
Solo Group Solo Group (etc.)

4
Is this door locked?_ No, child, no! Is this door locked?_ No, child, no.

Won't you let the bird ie out? No, child, no. Won't you let your bird ie out?_ No, child, no.

I'll give you a piece of sweet bread, No, child, no. I'll give you a piece of bis cuit, No, child, no.

Won't you let the bird ie out? No, child, no. Won't you let your bird ie out?_ No, child, no.

Game Directions
Formation: A ring of children stand holding hands tightly, with one (the "birdie") in the center

Action: The Birdie sings the call while going around the circle, testing the grip of each pair of hands, then
trying to break through the hands on the downbeat of each question.
All in the circle sing response.
The lead should be sung vigorously and ad lib, with any phrases or questions that come to mind,
throughout the whole game; the answering chant is crisp.
When the birdie finds a weak spot, he just breaks out.

16
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Student will learn the song “Won’t You Let the Birdie Out?”
1. Teacher: “Are all of you ready to learn a new song? Today we are going to pretend that
we are birds!”
2. Have students listen to you sing the song first.
3. Teacher: Repeat after me!
a. T: Is this door locked? No child, no! Is this door locked? No child, no!
b. S: Is this door locked? No child, no! Is this door locked? No child, no!
c. T: Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no!
d. S: Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no!
e. T: Is this door locked? No child, no! Is this door locked? No child, no! Won’t you
let this birdie out? No child, no! Won’t you let this birdie out? No child, no!
f. S: Is this door locked? No child, no! Is this door locked? No child, no! Won’t you
let this birdie out? No child, no! Won’t you let this birdie out? No child, no!
g. T: I’ll give you this piece of bread. No child, no! I’ll give you a piece of biscuit.
No child, no!
h. S: I’ll give you this piece of bread. No child, no! I’ll give you a piece of biscuit.
No child, no!
i. T: Won’t you let the birdie out? No child, no! Won’t you let your birdie out? Yes
child, yes!
j. S: Won’t you let the birdie out? No child, no! Won’t you let your birdie out? Yes
child, yes!
k. T: I’ll give you this piece of bread. No child, no! I’ll give you a piece of biscuit.
No child, no! Won’t you let the birdie out? No child, no! Won’t you let your
birdie out? Yes child, yes!

17
 l. S: I’ll give you this piece of bread. No child, no! I’ll give you a piece of biscuit.
No child, no! Won’t you let the birdie out? No child, no! Won’t you let your
birdie out? Yes child, yes!
4. Teacher will ask students if they remember and figure out which lines the students are
having a hard time remembering.
5. Have students perform the entire song together.
Activity 2: Students will perform the song in groups.
1. Teacher will group students off into groups of 2. Group 1 will sing the questions while
Group 2 will sing the answers.
2. Have groups switch so that Group 2 is now singing the questions while Group 1 will sing
the answers.
3. If students are having a hard time knowing where to rest, have them clap the rest.
Activity 3: Each student will get to sing the solo line as they participate in the game. By having
students alternate between the solo lines and the group lines they are showing an understanding
of how the transition between the call and response work.
1. Teacher will have students stand in a circle and hold hands as one student stands in the
middle as the birdy (there could even be 2 birdies for an extra level of comfort).
2. The birdy or birdies will sing the solo lines and walk around the circle as they are
singing. The students making the circle will sing the group lines.
3. Once the song ends with, “Yes child, yes!” The birdy or birdies will stop in front of
another person and the person that they stopped in front of is now the new birdy.
4. This will repeat until every student has gotten a chance to be the birdy.

Assessment: Students will perform solo lines in the middle to show that they understand their
role in the question and answer and that they understand how their phrase fits into the song.

Song Analysis Table:

Tone Set Sol, La, Do, Mi

Range M6 (Do-La)
Rhythm Set

Form Call and Response

A Song’s Pedagogical Use Table:

Melody Review: La
Rhythm Review: Rests
Other Can be performed as a game

18
 Present Lesson Plan:
Won’t You Let the Birdie Out – Part 2

Objectives:

1.) Students identify Call and Response aurally.

- After singing Won’t You Let the Birdie Out? students will aurally distinguish what
the call is and what the response is discovering that for every question there is an
answer.
2.) Students identify the concept visually with symbols.
- Given a strip of paper that represents a staff as well as ½ strips with either one or two
arcs on them, students will distinguish the difference between AB form and Call and
Response.
3.) Students identify the concept visually with standard notation.
- The music will be projected for the students and they will be able to identify the call
and response in the notation by putting arcs over the calls in one color and arcs over
the responses in a different color.

Standards:

Pr.2.2.b – When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.
Pr.3.2 – Demonstrate understanding of expressive qualities (such as musical form) and how
creators use them to convey expressive intent.

Materials:

- Sheet music for Won’t You Let the Birdie Out from http://kodaly.hnu.edu/
- Laminated Papers
o Colored strips of paper
o Paper with one big arc to represent AB form that makes up ½ of the strip of paper
o Paper with two arcs together to represent Call and Response that makes up ½ of
the strip of paper (you can even make one with four arcs)
o Paper with question mark on it
- Projector
- Whiteboard

19
 Won't You Let the Birdie Out?
Informant/Performer: Source:
Bessie Jones Bessie Jones and Bess Lomax Hawes
Step It Down
New York: Harper & Row, 1972
q = 176

4
Solo Group Solo Group (etc.)

4
Is this door locked?_ No, child, no! Is this door locked?_ No, child, no.

Won't you let the bird ie out? No, child, no. Won't you let your bird ie out?_ No, child, no.

I'll give you a piece of sweet bread, No, child, no. I'll give you a piece of bis cuit, No, child, no.

Won't you let the bird ie out? No, child, no. Won't you let your bird ie out?_ No, child, no.

Game Directions
Formation: A ring of children stand holding hands tightly, with one (the "birdie") in the center

Action: The Birdie sings the call while going around the circle, testing the grip of each pair of hands, then
trying to break through the hands on the downbeat of each question.
All in the circle sing response.
The lead should be sung vigorously and ad lib, with any phrases or questions that come to mind,
throughout the whole game; the answering chant is crisp.
When the birdie finds a weak spot, he just breaks out.

Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

http://kodaly.hnu.edu

Activity 1: Review “Won’t You Let the Birdie Out?”

1. Teacher: “Do you remember the last song that we learned? Won’t You Let the Birdie
Out? Do you think you can remember it?
2. Teacher will go through “Won’t You Let the Birdy Out” with the students and then break
the song into 2 parts to get students familiar with the song again.
a. Teacher: Repeat after me.

20
 b. Teacher: Is this door locked? No child, no! Is this door locked? No child, no!
Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no!
c. Students: Is this door locked? No child, no! Is this door locked? No child, no!
Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no!
d. Teacher: I’ll give you this piece of bread. No child, no! I’ll give you a piece of
biscuit. No child, no! Won’t you let the birdie out? No child, no! Won’t you let
your birdie out? Yes child, yes!
e. Students: I’ll give you this piece of bread. No child, no! I’ll give you a piece of
biscuit. No child, no! Won’t you let the birdie out? No child, no! Won’t you let
your birdie out? Yes child, yes!
f. Teacher: Are you ready for the whole song now?
g. Teacher: Is this door locked? No child, no! Is this door locked? No child, no!
Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no! I’ll give you this piece of bread. No child, no! I’ll give you a piece of
biscuit. No child, no! Won’t you let the birdie out? No child, no! Won’t you let
your birdie out? Yes child, yes!
h. Students: Is this door locked? No child, no! Is this door locked? No child, no!
Won’t you let this birdie out? No child, no! Won’t you let this birdie out? No
child, no! I’ll give you this piece of bread. No child, no! I’ll give you a piece of
biscuit. No child, no! Won’t you let the birdie out? No child, no! Won’t you let
your birdie out? Yes child, yes!
3. Teacher tells students what a great job they did in remembering the song.
Activity 2: Teacher will bring the concept Call and Response to the students’ attention.
1. Teacher: This time when we perform the song, I am going to sing the solo and have you
all sing the group lines. But I only want us to do the first part of the song so just the first
solo line and the first group line together.
a. Teacher: Is this door locked?
b. Students: No child, no!
c. Teacher: Now let’s think about the words of the song. What was my line again?
d. Students: Is this door locked?
e. Teacher: And what was your line again?
f. Students: No child, no!
g. Teacher: So what am I going?
h. Students: Asking us a question!
i. Teacher: That’s right! And what are you guys doing that supports my question?
j. Students: Answering/responding to your question!
k. Teacher: That’s right! Now, is that the only time in this song that I ask a question?
l. Students: No
m. Teacher: I am going to sing the entire song and I want you to count how many
times I ask a question.
2. Teacher will sing through song and have students count how many times there is a
question being asked. The song will also be up on the projector.
a. Teacher: How many questions did I ask?
b. Students: 6

21
 c. Teacher: That’s right! And what happened after every question?
d. Students: There was an answer/response!
e. Teacher: Was there ever a time were there wasn’t a question asked but there was
still an answer/response?
f. Students: Yes! When it says, “I’ll give you a piece of sweet bread,” and, “I’ll give
you a piece of biscuit.”
g. Teacher: Great job! This is what we call a call and response!
Activity 3: Have students visualize the call and response form.
1. Teacher: Do you remember when we went over AB form? With your strips of paper in
front of you, can you show me what AB form looks like?
a. After students put the two pieces of paper with 1 big arc on their strip of paper
hold yours up to make sure that students got it correct.
2. Teacher: Great! You all remembered what AB form looks like! Now, can I have you take
the 2 pieces of paper that have two arcs on them and put them on your strip of paper.
a. After students have put this on their strip of paper, ask them what they think it
represents.
b. If they can’t remember, give them hints by using the song, “Won’t You Let the
Birdie Out?”
c. Students: Call and Response!
3. Teacher: Do you think we can figure out all of the call and responses in “Won’t You Let
the Birdie Out?
a. Have song on smartboard. Have volunteers go up and put arcs over all of the
questions/calls in one color and then put arcs over all of the answers/responses in
a different color to not only keep students engaged but also provide them with a
visual.

Assessment: Students will show that they understand call and response by going up to the board
and putting arcs over the calls/questions and responses/answers on the piece, “Won’t You Let the
Birdie Out?”

Song Analysis Table:

Tone Set Sol, La, Do, Mi

Range M6 (Do-La)
Rhythm Set

Form Call and Response

A Song’s Pedagogical Use Table:

Melody Review: La
Rhythm Review: Rests
Other Can be performed as a game

22
 Practice Lesson Plan #1:
I Got a Letter – Part 2

Objectives:

1. Students will identify that “I Got a Letter” is call and response after reading the song in
standard notation.

2. Students will aurally identify that “I Got a Letter” is call and response after breaking
down the song.

Standards:

Cr.1.2.b - Generate musical patterns and ideas within the context of a given form (such as call
and response).
Pr.2.2.b - When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.

Materials:
- Sheet music for I Got a Letter from http://kodaly.hnu.edu/
- Square pieces of paper with letters on them that make up, “CALL AND RESPONSE”

I Got a Letter
Source:
Nicholas G.J. Ballanta-Taylor
St. Helena Island Spirituals
Boston, Mass.: G. Schirmer, 1925
Solo
2
Group
4
I got a let ter this morn in', Oh, yes,

Solo
Group

I got a let ter this morn in', Oh, yes.

23
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Review “I Got a Letter” and go over the historical background of the piece.
1. Teacher: “Who here remembers “I Got a Letter” and how to play the game? Who needs a
refresher?
2. Teacher has students sing through “I Got a Letter” and goes over spots that students might
not have remembered.
3. Since we already know how to sing “I Got a Letter” I think that it is important that we
learn about where this song comes from.
a. Teacher: The person that wrote this song was a traveler who studied music. Can
anyone tell me any clues in this song that tells you that the composer was a traveler?
b. Student: Because it is called “I Got a Letter” which is how people used to
communicate with each other a long time ago.
c. Teacher: So people can communicate by writing letters? Is it just a one-way
conversation or can people send letters back and forth to each other?
d. Students: People can send letters back and forth to each other!
e. Teacher: Interesting! Is there a form of music that is similar? That represents a
conversation just like we are having now?
f. Students: Call and Response!
Activity 2: Make students aware of the form of “I Got a Letter.”
1. Teacher will have students sing the song in 2 different groups.
2. Have students play the game where there is one individual in the middle and have them
hand off a letter (this time it is going to be a piece of paper with a letter on it) until all
letters are handed out. Letters should make up the words CALL AND RESPONSE.
3. Before revealing to students what the letters spell out, have them sing the song one last
time.
a. Teacher: Did you guys hear that?
b. Students: What?
c. Teacher: While ________ sang their line, what did we do afterwards?
d. Students: “We responded to them!”

24
 e. Teacher: “Exactly! Which means they did what so that we could respond to
them?”
f. Students: “They made a call.”
Activity 3: Have students analyze “I Got a Letter” in standard notation and show that they know
how to identify call and response.
1. Teacher will put up music for “I Got a Letter” on the projector. Before dissecting the
music, students will sing the song once while reading it in standard notation.
2. After singing through the song, teacher will have volunteers come up and put arcs over
the different phrases.
3. After arcs are drawn on music, teacher will ask, “How do we know that this is call and
response now?” Students should respond with the fact that there are 2 arcs that make up
one section of the music instead of just 1.
4. Teacher will have students work together to solve what the letters mean
a. Teacher: “Great job! Now, do you all want to know what your letters spell out?”
b. Teacher: “That’s right! Call and Response!”

Assessment: Teacher will be actively paying attention to those that are participating in the aural
section and the volunteers that show that they physically understand the form to show that the
students understand call and response.

Song Analysis Table:

Tone Set La, Ti, Do, Re, Mi

Range P5
Rhythm Set

Form Call and Response

A Song’s Pedagogical Use Table:

Melody Review: D – T – L
Rhythm Review: Sixteenth note with eighth note
Other Spiritual

25
 Practice Lesson Plan #2:
Bye, Bye, Baby - Part 2

Objectives:

1. Students will aurally be able to identify the form of “Bye, Bye, Baby.”

2. Students will perform and create their own call and responses through improvisation and
show that they understand the phrasing.

Standards:

Cr.1.2.a - Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
Pr.2.2.b - When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.
Re.2.2 - Describe how specific music concepts are used to support a specific purpose in music.

Materials:
- Sheet music for Bye, Bye, Baby from http://kodaly.hnu.edu/
- Hand drum

Bye, Bye, Baby

Informant/Performer: Source:
Mrs. Sarah Ann Elizabeth Thomas Cecil J. Sharp
Dooley, VA 1918 English Folk Songs from
the Southern Appalachians
London: Oxford Univ. Press, 1932

2
4
Bye, bye, ba by, ba by, bye;

My lit tle ba by, ba by, bye.

Background Information
Mrs. Thomas, the singer, who was 85 years old, lived by herself in a small log cabin in the woods.
When we came upon her she was singing to sleep her grand-niece, a little baby of 2 months old.
It made a lovely picture, and the crooning song, though very simple, sounded very beautiful.

26
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Review the song “Bye, Bye, Baby” and help students identify the form of the piece.
1. Teacher will review “Bye, Bye, Baby.”
2. Teacher will engage in conversation with students about the song.
a. Teacher: I am going to sing the first phrase by itself and then the second phrase by
itself. Can you tell me what is different between the two?
b. Students: The words!
c. Teacher: Which words are different?
d. Students: The first two! Bye, bye is my little in the second phrase.
e. Teacher: Now, listen closely, there is something musically that is different in the
second phrase. Can you tell me what it is?
f. Students: The first phrase ends higher while the second phrase ends lower.
g. Teacher: That’s right! But everything else sounds the same right, except the last 2
notes? Since we are repeating the same melody except the very end do you think
that the two lines are supposed to go together? Would you say they are considered
a part of the same conversation?
h. Teacher will continue the discussion over how the two phrases go together.
3. Teacher will compare the melodic line to actual sentences.
a. Teacher: Let’s pretend like these musical lines are sentences. Do these two
sentences make sense? I like books. That’s a pretty butterfly.
b. Students: No!
c. Teacher: What about this? I like books. I like books too!
d. Students: Yes!
e. Teacher: Now I am going to have a conversation with ______. I like cats.
f. Students: I don’t like cats.
g. Teacher: What did _______ do in this conversation?
h. Students: She responded to you!
i. Teacher: Which means that I did what?
j. Students: You started the conversation/made a call!
k. Teacher: So are you saying that the song is call and response? Why?
l. Students: Because the musical lines are similar and go together.
m. Teacher: What is the call? And what is the response?

27
 n. Students: The call is, “Bye, bye baby, baby bye.” The response is. “My little baby,
baby mine.”
Activity 2: Students will review the percussion with students.
1. Teacher has every student grab a hand drum.
2. Teacher teaches them Sequence 1:

3. Teacher teaches them Sequence 2:

4. Once students have played both sequences have them sing with both of sequences.
5. Divide students up into groups of two and then have Group 1 play sequence 1 while
Group 2 plays sequence 2 while singing Bye, Bye, Baby.
Activity 3: Students will perform their call and responses individually to show their
understanding of call and response.
1. Teacher: “Do you remember when we made up our own rhythms? Do you think that we
can do that again but this time we will have you and your partner perform your call and
responses to the whole class?”
2. Teacher will have students pair up and work altogether as a group for a couple times.
Then, students will softly play Sequence 1 or Sequence 2 as the pair that is performing
their improvisation plays louder.

Assessment: Teacher will observe as students perform their improvisations to show that they
aurally understand how call and response works.

Song Analysis Table:

Tone Set Sol, La, Do, Mi

Range M6 (Do-La)
Rhythm Set

Form Call and Response

A Song’s Pedagogical Use Table:

Melody Review: La
Rhythm Review: Rests
Other Can be performed as a game

28
 Present Lesson Plan #3:
My Paddle

Objectives:

1. Students will identify through standard notation that “My Paddle” is call and response
without hearing the song beforehand.

2. Students will perform “My Paddle” as a canon as well as maintain the correct expression
throughout the different musical lines.

Standards:

Pr.5.2.a - Perform music for a specific purpose with expression and technical accuracy.
Re.3.2 - Demonstrate knowledge of music concepts and how they support creators'/performers'
expressive intent.

Materials:
- Sheet music for My Paddle from http://kodaly.hnu.edu/
- Paddles (enough for everyone – could even be drumsticks)

My Paddle
Words and music: Source:
Margaret Embers McGee, 1918 Edward Bolkovac and Judith Johnson
150 Rounds for Singing and Teaching
New York: Boosey and Hawkes, 1996

2
4
My pad dle's keen and bright, flash ing with sil ver,

Fol low the wild goose flight, dip, dip, and swing.

2. Dip, dip, and swing her back, flashing with silver,

Follow the wild goose track, dip, dip, and swing.

Verse 2 from Peter Blood, Rise Up Singing

Can be sung as a canon after 2 measures.

29
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Show students the song “My Paddle” and have them identify the form of the piece.
1. Teacher: “Are you ready to learn a new song! I need help figuring something about this
song before we start singing it though…”
2. Teacher will put “My Paddle” up on the projector.
a. Teacher: Can you tell me what form this is? I just can’t figure it out!
b. Students: It is call and response!
c. Teacher: Wow! You guys are so smart! Can you show me why it is call and
response?
3. Students will go up to board and draw arcs over phrases to show that the form is call and
response.
a. Teacher: What is happening her musically that tells us that this song is call and
response?
b. Students: The notes start out the same at the beginning of each phrase!
c. Teacher: So the two lines work together as if they are a conversation?
d. Students: Yeah!
Activity 2: Students will learn how to sing “My Paddle.”
1. Teacher will teach the students “My Paddle.”
a. Teacher: Repeat after me!
b. T: My paddle’s keen and bright
c. S: My paddle’s keen and bright
d. T: Flashing with silver
e. S: Flashing with silver
f. T: My paddle’s keen and bright, flashing with silver.
g. S: My paddle’s keen and bright, flashing with silver.
h. T: Follow the wild goose flight
i. S: Follow the wild goose fight
j. T: Dip, dip, and swing!
k. S: Dip, dip, and swing!
l. T: Follow the wild goose flight, dip, dip, and swing!

30
 m. S: Follow the wild goose flight, dip, dip, and swing!
n. T: My paddle’s keen and bright, flashing with silver. Follow the wild goose flight,
dip, dip, and swing!
o. S: My paddle’s keen and bright, flashing with silver. Follow the wild goose flight,
dip, dip, and swing!
2. Teacher will ask questions about song to make sure that students understand.
a. T: What is keen and bright?
b. S: My paddle!
c. T: And who are we supposed to follow?
d. S: The wild goose!
Activity 3: Students will perform “My Paddle” as a 2-part canon.
1. Teacher will have students in 2 different groups and have one group as boaters with
paddles and the other as geese.
2. Have students sing through the song together
3. Have the geese sing and then have the group that has the boaters join in when the geese
start singing, “Flashing with silver.”
4. Once students are able to sing the 2 parts together, have the geese fly around the room
together and have the group with paddles follow the group of geese as they paddle as they
sing the song.
5. Have the groups switch.

Assessment: Teacher will observe and listen as the students as they perform “My Paddle” with
correct form and expression even with different melodic lines occurring at the same time.

Song Analysis Table:

Tone Set M, L, DRM, L

Range P11
Rhythm Set

Form Question and Answer

A Song’s Pedagogical Use Table:

Melody Review: Mi
Rhythm Review: Syncopation
Other Can be sung in a 4-part canon

31
 Practice Lesson Plan #4:
Wall Flowers

Objectives:

1. Students will perform Wall Flowers with correct phrasing and identify the form of the piece
aurally.

2. Students will identify the form of Wall Flowers by identifying each phrase and how the
phrases are similar rhythmically and melodically.

Standards:

Cr.1.2.b - Generate musical patterns and ideas within the context of a given form (such as call
and response).
Re.3.2 - Demonstrate knowledge of music concepts and how they support creators'/performers'
expressive intent.
Pr.4.2.a - Apply established criteria to judge the accuracy, expressiveness, and effectiveness of
performances.

Materials:
- Sheet Music for Wall Flowers from http://kodaly.hnu.edu/
- Projector
- Video of Wall Flowers: https://youtu.be/7zWt81ZjFgA

Wall Flowers
Informant/Performer: Source:
The Clancy children So Early In the Morning
Carrick-on-Sur, Tipperary, Ireland, 1980s Tradition Records TR 1034
Collected by Diane Hamilton

2
4
Wall flo wers, wall flo wers, grow ing up so high,

May had the mea sles and ne ver, ne ver died.

3
4
Call to Jean nie But ler's house, she has no re la tions,
[student's name] [he]

2
4
She may tick and tack and turn her back and kiss the con gre ga tion.
[He] [wave to]

Game Directions
Children move in a circle, holding hands. Each player is "named" in succession. The named player drops
hands and turns outward in circle and takes hands again, and so on until all are turned outward.

32
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Students are introduced to the song Wall Flower where they will listen to the song and
then perform the song.
1. Teacher will discuss with students what a wall flower is.
a. Teacher: Can anyone tell me what a Wall Flower is?
b. Teacher will give student time to think about the question and answer.
c. Teacher: You guys have lots of great ideas about what a wall flower is! By
definition a wall flower is either a southern European plant of the cabbage family,
with fragrant yellow, orange-red, dark red, or brown flowers, cultivated for its early
spring blooming OR it is a person who has no one to dance with who feels shy,
awkward, or excluded at a party.
d. Teacher: We are going to listen to a song that is about wall flowers and I want you
to decide what definition fits the song best!
2. Teacher will have students listen to wall flowers.
a. Teacher: So what do you think that wall flowers are in this song?
b. With assistance, the teacher will guide students onto the path of understanding that
wall flowers in this song represent people that feel excluded.
Activity 2: Teacher will have students perform the song Wall Flowers with the game.
1. Teacher will teach students the song and have them break down the phrases.
a. Teacher: Repeat after me!
b. T: Wall flowers, wall flowers, growing up so high.
c. S: Wall flowers, wall flowers, growing up so high.
d. T: May had the measles and never, never died.
e. S: May had the measles and never, never died.
f. T: Wall flowers, wall flowers, growing up so high. May had the measles and
never, never died.
g. S: Wall flowers, wall flowers, growing up so high. May had the measles and
never, never died
h. T: Call to Jeannie Butler’s house, she has no relations.
i. S: Call to Jeannie Butler’s house, she has no relations.
k. T: She may tic and tac and turn her back and kiss the congregation.

33
 l. S: She may tic and tac and turn her back and kiss the congregation.
m. T: Call to Jeannie Butler’s house, she has no relations. She may tic and tac and
turn her back and kiss the congregation.
n. S: Call to Jeannie Butler’s house, she has no relations. She may tic and tac and
turn her back and kiss the congregation.
o. Teacher: Are you ready to perform the whole song now?
2. Teacher will have students perform the song with the game.
a. Teacher: We are going to sing Wall Flowers again. Can everyone gather around
in a circle with everyone facing the middle of the circle?
b. Teacher: When we sing this time, I am going to sing someone’s name in this
classroom instead of Suzie’s name. If I sing your name I want you to turn around
and face the outside of the circle.
c. The class will perform the song 4 times and after they have performed the song
4 times the teacher will ask the students that were facing the outside of the circle
how they felt.
d. Teacher: Would those of you that were facing the outside of the circle say that
you felt like a wall flower?
Activity 3: Teacher will have students identify the form of the piece with guidance.
1. Teacher: I am going to sing the song and when you think that I am at the end of
a phrase I want you to raise your hands.
a. Teacher: Wall flowers, wall flowers, growing up so high.
b. Students should raise their hand.
c. Teacher will then mark the phrase on the music as it is projected on the screen.
d. Teacher: May had the measles and never, never died.
e. Students should raise their hand.
f. Teacher will then mark the phrase on the music as it is projected on the screen.
g. Teacher: Call to Jeannie Butler’s house, she has no relations.
h. Students should raise their hand.
i. Teacher will then mark the phrase on the music as it is projected on the screen.
j. Teacher: She may tic and tac and turn her back and kiss the
congregation.
k. Students should raise their hand.
l. Teacher will then mark the phrase on the music as it is projected on the screen.
2. Teacher will have students look at the phrase markings and decide what form the
piece is in.
a. Teacher: Let’s look at these phrases a little closer. What is the first sentence? Or
where do we find the first period?
b. Students: Right after the word died!
c. Teacher: Great job! Now, how many commas are use in this sentence?
d. Students: 4
e. Teacher: Yes! Is there a phrase that ends with a comma?
f. Students: Yes! After high and before may.
g. Teacher: Good! What do you think the first part of the sentence is?
h: Students: It is the call!
i. Teacher: What that make the last part of the sentence?
j. Students: The response.

34
 k. Teacher: Yes! Now, what would the second sentence be? And there is only 1
comma in this sentence, right? Does this comma happen when a phrase ends?
l. Students: Yes!
m. Teacher: Does that mean that this is a call and response too?
n. Students: Yes!
3. Teacher will have students identify that the form matches up.
a. Teacher: Can I have someone draw the call and response form on the board?
b. Teacher: Can I have another volunteer come up and draw the form of this piece
on the board?
c. The two drawings should look alike.
d. Teacher: So you are saying that with these 4 phrases we have 2 sets of call and
response going on?
e. Students: Yes!

Assessment: Students will raise their hand when the teacher reaches the end of each phrase to
show that they understand the phrasing. I will document the number of students that correctly rose
their hand at the end of a phrase. I will also have an open discussion with the class showing that
they understand the form of call and response and how Wall Flowers fits the form as well as draw
the form on the board.

# of Correct Answers # of Incorrect Answers

Phrase 1
Phrase 2
Phrase 3
Phrase 4

Song Analysis Table:

Tone Set Do (Pentatonic Scale)

Range M6 (Do-La)
Rhythm Set

Form Question and Answer

A Song’s Pedagogical Use Table:

Melody Review: Re
Rhythm Review: Half notes and dotted-eighth sixteenth notes
Other Can be performed as a game

35
 Practice Lesson #5:
El Gato y el Raton – Part 1

Objectives:

1. Students will learn a song that is from a different culture and embrace the music with an
open-mind.

2. Students will identify that El Gato y el Raton is call and response based on the musical
contour of the piece through listening.

Standards:

Re.2.2 - Describe how specific music concepts are used to support a specific purpose in music.
Pr.3.2 – Demonstrate understanding of expressive qualities (such as musical form) and how
creators use them to convey expressive intent.

Materials:
- Video of Facts About Puerto Rico: https://youtu.be/iOGJpZxNaN4
- Video of Traditional Dance: https://www.youtube.com/watch?v=p6gdh8MVd0g
- Sheet Music for El Gato y el Raton from http://kodaly.hnu.edu/

El Gato y el Ratón
Source:
Monserrate Deliz.
Renadío del Cantar Folklórico
de Puerto Rico
San Juan, P.R.: Instituto de
Cultura Puertorriqueña, 1985
Andante q = 76
2
4
Ahí vie nen el ga to y_el ra tón, a dar le com ba te_al ti bu rón.

If the cat catches the mouse:

Ra tón, que te co jo, que te co gí, de trás de la ma ta de_a jon jo lí.

* If the cat doesn't catch the mouse:

Po bre ci to, mi ga ti to, ya no co me rá.

* Created by Arwen Lawrence with children of Melrose Leadership Academy (dual immersion school), Oakland, CA

Spanish Text English Translation

Ahí vienen el gato y el ratón, Here come the cat and the mouse
a darle combate a un tiburón. to give battle to the shark.

If the cat catches the mouse

Ratón que te cojo que te cogí, Mouse, I will catch you, and I caught you
detrás de la mata de ajonjolí. behind the sesame plant.

If the cat doesn't catch the mouse

Pobrecito, mi gatito, ya no comerá. Poor cat of mine, he shall not eat.

Game Instructions
The cat chases the mouse, entering and exiting the circle. The circle contracts and expands,
favoring the mouse, keeping the cat from catching the mouse.

Alternate game instructions: 36

Form a circle, holding hands, with the mouse inside the "house" and the cat outside.
At the end of the verse, the hands lift up, the mouse exits one "window," which remains open as the others are
lowered. The cat chases the mouse around the circle; the mouse must enter through the open "window."
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Teacher will present different traditions from Puerto Rican culture to the students and
will teach students about how to embrace different cultures inside the music classroom.
1. Teacher will have students sitting in assigned seats and prepared to learn a new topic.
a. Teacher: How many of you have heard of Puerto Rico?
b. Teacher: Now what do we need to remember when we are learning about
different cultures?
c. Students: That we need to respect different cultures and that every song has a
purpose and means something to someone.
d. Teacher: Great!
2. Teacher will present students with a video of different facts about Puerto Rico.
a. https://youtu.be/iOGJpZxNaN4
b. Teacher: What are some things that you took away from this video?
3. Teacher will have students watch a video of a traditional Puerto Rican Dance:
https://www.youtube.com/watch?v=p6gdh8MVd0g
a. Teacher: What are some things that you heard in this video?
b. Teacher: Was the music fast or was it slow?
c. Teacher: What kind of instruments did you hear?
4. Teacher will have students dance along to video to show how they interoperate the music.
a. Teacher: How did you feel dancing along to this music? Was it fun? There is lots
of energy used to perform music from Puerto Rico!
b. Teacher: What kind of moves did you feel reflected the music?
Activity 2: Teacher will present the song to the students.
1. Teacher will teach the song to students by rote.
2. Teacher: Repeat after me! We are going to slow down this song to help you pronounce
the words in a different language. (Because they are learning a song that is in a different
language I will have the words up on the board).
a. Teacher: Ahí viene el gato y el ratón
b. Students: Ahí viene el gato y el ratón
c. Teacher: a darle combate al tiburón.
d. Students: a darle combate al tiburón.

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 e. Teacher: Ratón, que te cojo, que te cojí
f. Students: Ratón, que te cojo, que te cojí
g. Teacher: detrás de la mata de ajonjolí.
h. Teacher: detrás de la mata de ajonjolí.
3. Students will listen to the song and then sing along with the track to help them remember
the song.
Activity 3: Teacher will break down the song into phrases and have students figure out the form
of the piece by listening to the phrases.
1. Teacher will sing the song and have students raise their hand when they think the teacher
has reached the end of the phrase.
a. Teacher: “Ahi yiene el gato y el raton…”
b. Students should raise their hands at the end of raton.
c. Teacher: Great job! Now the next phrase!
d. Teacher: “… a darle combate al tiburon.”
e. Students should raise their hands at the end of tiburon.
2. Teacher will sing the two phrases together on a dah syllable and have the students listen
to the phrases together.
a. Teacher: Listen closely and tell me what you hear.
b. Students: The notes are the same except the last one!
c. Teacher: Good! So does that mean that the two phrases fit together?
d. Students: Yes!
e. Teacher: And what does that mean again when two phrases are identical to each
other and go together?
f. Students: It’s a call and response!
g. Teacher: Great job! Next class we will go more in depth in the song and even play
a game with it!
Assessment: Teacher will assess students through discussion to ensure that students understand
that the piece is call and response because of the musical lines and how they connect. The
teacher will also assess that students are being respectful of the culture by listening and
observing students as they learn more about the Puerto Rican traditions.

Song Analysis Table:

Tone Set Do (Major Scale)

Range P8 (Do-Do)
Rhythm Set

Form Question and Answer

A Song’s Pedagogical Use Table:

Melody Review: Ti
Rhythm Review: Sixteenth note rhythms
Other Background: Folk Song from Puerto Rico

38
 Practice Lesson Plan #6:
El Gato y el Raton – Part 2

Objectives:

1. Students will perform El Gato y el Raton with the correct phrasing and musical
expression to show that they understand the form of the song.

2. Students will create their own call and response based on what they know about the form
of the piece and how the text should fit the form.

Standards:

Cr2.1.2a – Demonstrate and explain personal reasons for selecting patterns and ideas for music
that represent expressive intent.
Cr3.2.2a – Convey expressive intent for a specific purpose by presenting a final version of
personal musical ideas to peers or informal audience.
Pr4.2.2a – Demonstrate knowledge of music concepts (such as tonality and meter) in music from
a variety of cultures selected for performance.

Materials:
- Sheet Music for El Gato y el Raton from http://kodaly.hnu.edu/
- Call and Response Worksheet from https://yellowbrickroadblog.com/2016/06/wont-you-
let-birdie-out.html

El Gato y el Ratón
Source:
Monserrate Deliz.
Renadío del Cantar Folklórico
de Puerto Rico
San Juan, P.R.: Instituto de
Cultura Puertorriqueña, 1985
Andante q = 76
2
4
Ahí vie nen el ga to y_el ra tón, a dar le com ba te_al ti bu rón.

If the cat catches the mouse:

Ra tón, que te co jo, que te co gí, de trás de la ma ta de_a jon jo lí.

* If the cat doesn't catch the mouse:

Po bre ci to, mi ga ti to, ya no co me rá.

* Created by Arwen Lawrence with children of Melrose Leadership Academy (dual immersion school), Oakland, CA

Spanish Text English Translation

Ahí vienen el gato y el ratón, Here come the cat and the mouse
a darle combate a un tiburón. to give battle to the shark.

If the cat catches the mouse

Ratón que te cojo que te cogí, Mouse, I will catch you, and I caught you
detrás de la mata de ajonjolí. behind the sesame plant.

If the cat doesn't catch the mouse

Pobrecito, mi gatito, ya no comerá. Poor cat of mine, he shall not eat.

Game Instructions
The cat chases the mouse, entering and exiting the circle. The circle contracts and expands,
favoring the mouse, keeping the cat from catching the mouse.

Alternate game instructions: 39

Form a circle, holding hands, with the mouse inside the "house" and the cat outside.
At the end of the verse, the hands lift up, the mouse exits one "window," which remains open as the others are
lowered. The cat chases the mouse around the circle; the mouse must enter through the open "window."
Sequence:
WARM UP: The purpose of this warm-up is to get students familiar with call and response.
Overtime I want the students to make smooth transitions between the call and the response.
Throughout the unit they should become more confident with the warm-up and can even change
up the responses after a few classes.

Activity 1: Review El Gato y el Raton.

1. Teacher will review the song and have the words up on the board since the song is in a
different language.
a. Teacher: Do we remember how El Gato y el Raton goes?
b. Teacher will guide students to remembering El Gato y el Raton

40
 c. Teacher: Do we remember what form this song is in?
d. Students: It is call and response!
e. Teacher: How do we know it’s call and response?
f. Students: Because the notes in each phrase are similar and go together.
Activity 2: Have students play game that goes with the song.
1. Teacher will have students gather around in a circle and hold hands.
a. Teacher: Can I get 2 volunteers?
b. Teacher: I need one person to be the cat and the other person to be the mouse.
c. The mouse will be in the house which is the circle while the cat is on the
outside of the circle. We are going to sing the song together but when we get to
the end of the song we are going to lift our arms and let the mouse out of the
house. Whichever window the mouse goes through those two people will be the
next mouse and cat. Once the mouse is out the cat has to chase the mouse until the
mouse reaches the empty window.
d. Teacher: Do you think we can play this game and be respectful to each other at
the same time?
2. Class will perform the song until all students have had the chance to be the cat or the
mouse. The song will also be playing in the background to help students remember the
song.
3. Teacher will tie in the activity with Puerto Rico.
a. Teacher: Do we remember where this song comes from?
b. Students: Puerto Rico!
c. Teacher: Yes! This is a game that kids just like you play in Puerto Rico. Can
you think of a game that we play that is similar to this?
d. Students: It is like duck, duck, goose!
e. Teacher: Yes! So just like we have music and games that we like to play, they
have their own music and games that they like to play.
Activity 3: Teacher will translate the words from the song into English and then have students
create their own call and response.
1. Teacher will provide the students with the lyrics in English.
a. Teacher: Are you ready to figure out what these words mean in English?
b. Teacher will put the Spanish text and the English text side by side while they
go through the translations.
c. Teacher: “Ahí viene el gato y el ratón,” means, “Here come the cat and mouse.”
d. Teacher: “a darle combate al tiburón,” means, “To give battle to the shark.”
e. Teacher: “Ratón, que te cojo, que te cojí,” means, “Mouse, I will catch you, and
I caught you.”
f. Teacher: “detrás de la mata de ajonjolí,” means, “behind the seasame plant.”
2. Teacher ties in the English text with call and response.
a. Teacher: What form is this piece in again?
b. Students: Call and response!
c. Teacher: Do the words work as call and response? What is the call and what is t
he response?
d. Students: The call is, “Here come the cat and mouse, to give battle to the
shark.” The response is, “Mouse, I will catch you, and I caught you behind the
sesame plant.”

41
 e. Teacher: Do you think that you can create your own call and response?
3. Students will fill out the call and response worksheet.
a. Teacher: When making a call and response, we have to make sure that the text
makes sense together, right? So I want you to pick a topic about something that
you like and create a made up conversation with you and a friend.
b. From there students will create their own call and response.

Assessment: I will observe students as they perform the song El Gato y el Raton and have
students create their own call and response by filling out the call and response worksheet that I
will have them turn in.

Song Analysis Table:

Tone Set Do (Major Scale)

Range P8 (Do-Do)
Rhythm Set

Form Question and Answer

A Song’s Pedagogical Use Table:

Melody Review: Ti
Rhythm Review: Sixteenth note rhythms
Other Background: Folk Song from Puerto Rico

42