Level 1. Lesson 21. Crotchet rest [za]
Woodblock
Difficulty: 
Prior learning: None
Prepare: Present: Crotchet rest [za] Practice:
Students will explore the concept of a rest in music and learn to identify za as a time name.
Lyrics
Pumpkin, pumpkin, round and fat.
Turn into a jack o' lantern just like that.
- Lead the class in singing Pumpkin Pumpkin. Ensure they are confident with the melody and lyrics before proceeding.
- Ask students to sing the first line again while clapping the beat. Pause and discuss what happens on the last beat. Introduce the concept of silence on that beat.
- Explain that this silent beat is called a rest. In solfa, it is named za.
- Have students sing the second line of the song while clapping the beat. Ask them to identify the silent beat at the end.
- Invite students to sing the entire song using time names instead of the lyrics. Teach them to include the rest as za.
- Repeat the activity, ensuring all students can confidently sing and clap while recognising the rest.
Success Criteria
- I can sing the song while clapping the beat.
- I can identify the silent beat (rest) in the song.
- I can use the solfa name "za" to represent the silent beat while singing with time names.
Questions
- What happens on the last beat of the line?
- What is the name we give to this silent beat?
- In this song, where is the silent beat?
Students discover barlines and their role in organising music into measures.
- Teach students that musicians use special lines called barlines to divide music into sections.
- These lines replace the crosses used in the previous lesson. Explain that these lines go in front of every strong beat.
- Show the time names of Rain Rain with crosses and replace them with barlines. Demonstrate the change visually on the board or in a handout. Project the graphics as a visual aid.
- Explain that barlines are placed before every strong beat to help musicians group the beats into sections.
- Tell students that a barline is placed at the end of the music to stop musicians from getting lost!
- As the number 2 already tells us the first beat is strong, we remove the barline next to it and place it at the end, making a double barline.
- Reassure students that this information will be revisited in upcoming lessons, giving them plenty of opportunities to understand and practise.
Success Criteria
- I can identify where barlines are placed in music.
- I can explain the purpose of barlines and double barlines.
- I understand that the first beat of a bar is strong and how barlines help musicians keep track.
Questions
- What is a barline, and where is it placed in music?
- Why is a double barline used, and where do we place it?
- How do barlines help musicians when reading music?
Students will develop inner hearing by practising humming a familiar song and internalising the lyrics.
Lyrics
Bow wow wow! Who's got a cow?
Little Tommy Tucker's dog. Bow wow wow!
Questions
- Did you recognise the song when it was hummed?
- Were you able to imagine the words in your head while humming?
- How does it feel to "hear" the song in your mind without singing it aloud?
- Begin with the students seated and attentive.
- Hum the melody of Bow Wow Wow softly and ask the class to guess the name of the song.
- If no one identifies the song, hum it again, emphasizing key phrases. Repeat until the correct answer is given.
- Once the class identifies the song, invite everyone to hum it together to match the pitch and rhythm.
- Guide the students to hum the song again, but ask them to imagine the words in their heads as they hum.
- Repeat the activity to strengthen their ability to "hear" the lyrics internally while focusing on the melody.
- Conclude by asking the class how it felt to sing the song silently in their minds while humming the melody.
Success Criteria
- I can identify a familiar song when I hear it hummed.
- I can hum the song accurately with the class.
- I can "hear" the words in my head while humming the melody.
Students will develop rhythmic coordination and ensemble skills by performing a two-beat ostinato over a contrasting rhythm.
Success Criteria
- I can clap and maintain a two-beat ostinato pattern.
- I can layer the ostinato rhythm over another rhythm.
- I can stay in rhythm while performing with the class.
Questions
- Which pattern did your group clap?
- How did you keep your pattern steady while the other group clapped theirs?
- Did the two patterns sound good together?
- Begin by teaching the class a simple two-beat ostinato pattern (e.g., "clap-clap rest-rest") and practising it until it is secure.
- Once confident, introduce a contrasting clapped rhythm (e.g., "clap-rest clap-rest") for the second group and practice it separately.
- Divide the class into two groups. Assign one group the ostinato pattern and the other the contrasting rhythm.
- Have each group clap their rhythm simultaneously, encouraging them to stay in time.
- After a few repetitions, swap the groups so everyone experiences both parts.
- Discuss how the two rhythms fit together and how focus and listening helped them stay in rhythm.
Students will explore rhythm and movement coordination through imitation and active participation.
Lyrics
Hey *Johnny* [Student name], do you think that you're right?
I’ll meet you round the corner, on a Saturday night.
You can wiggle, you can waddle, you can do the twist.
But I bet ya, I bet ya, you can’t do this!
[Note: Dr James Cuskelly uses a slightly different lyric in the video]
Questions
- Did you correctly clap or stomp the rhythm with me?
- Can you show me the dance moves we just learned?
- Did you have fun copying the patterns?
- Introduce the song and its movements to the class,
- The primary objective is for students to learn and imitate the rhythm patterns.
- Begin by selecting a student and playfully asking if they believe they can execute the movements correctly while pointing at them.
- Proceed by gesturing over your shoulder, indicating a meeting point on a Saturday night.
- Demonstrate a dance sequence that involves wiggling, waddling, and twisting.
- After completing the dance sequence, present a simple rhythmic pattern using hands and feet. This pattern is essential for students to mimic, encouraging active participation and reinforcing their understanding of rhythm.
- Repeat the entire process, choosing a different student each time and incorporating unique rhythmic sequences to maintain interest and challenge the students' ability to adapt to new patterns.
Success Criteria
- I can imitate the rhythm patterns presented by the teacher.
- I can perform the dance movements with coordination and fluidity.
- I can stay engaged and adapt to new rhythmic patterns.
Students will practice writing rhythmic patterns by notating the first four beats of familiar songs.
- Prepare for the activity by singing and clapping the rhythm of Snail Snail and Kangaroo with the class. Ensure they are confident with the rhythms before moving on.
- Depending on the resources available, project the graphic, distribute printed copies, or reference page 18 of My First Music Book.
- Explain that students will write the first four beats of each song using rhythm syllables.
- Emphasise neatness and accuracy in their notation.
- Give students time to write the rhythms, assisting as needed.
- Once students have completed the task, collect their work for review.
Success Criteria
- I can clap and sing the rhythm of the songs.
- I can write the first four beats of the songs accurately.
- I can complete the exercise neatly and hand in my work.
ASSESSMENT QUESTIONS
- The student can identify a beat of silence named za.
- The student can correctly notate 4- beat rhythms.
- The student can clap a rhythmic ostinato.
Suggested lessons
Y1. Beat II
Y1. Beat III
Y1. Beat IV