Lesson video

Hi there everybody.

My name's Mr. Croughan and I am delighted to welcome you to our new Compose and Create Unit, High and Low Melodic Responses.

This lesson is called "Chants and Songs with a Call and Response Structure." There's plenty of singing and chanting.

Let's go.

By the end of this lesson, you'll be able to say, I can sing and identify call and response structures in chants and songs.

Let's begin by looking at today's keywords.

We begin with warm up.

A warm up is a sequence of exercises, and it's used to prepare our mind and our body and our voice for singing.

Call and response.

This is a question and answer musical structure.

And that word structure, the way that the music or the song is organised.

Looking at our lesson outline for today, we can see we begin with our warming up so that we're ready for music.

Then we'll be identifying call and response.

And lastly, we'll be singing a new song, Andeep's Shopping Song.

So let's begin by warming up.

We know how important it is to warm up our body and voice before every music lesson.

We want to make sure our muscles, even these tiny muscles in our throat, are ready to move and sing.

It's important they're safe, and if they're warm, it will keep our voices strong and healthy.

So we're going to start by warming up our body.

Sofia tells us when we warm up our body, we are connecting how we stand, to how we breathe, and to our voice.

So I would like you to join in with these warm ups.

Here they come.

Let's begin by warming up our bodies because we know how important it is to warm up before we start making music and singing.

We'll begin with a stretch.

Arms high into the air, onto our tiptoes.

Hold onto a monkey bar, and we are going to not let go of that monkey bar, but we are going to lower our heels to the ground.

So we're going to get taller.

Lowering to the count of four.

Here we go.

One, two, three, four.

Gosh, you're all super tall.

Drop your fingers and your wrists, and your elbows and your shoulders.

Relax your knees and go.

(imitating shivering) Very good.

Let's do that one more time.

Stretch up onto your tiptoes.

Hold onto the monkey bar, lowering our heels to a count of four.

Going one, two, three, four.

Gosh, you're so tall now.

Drop your fingers and your wrists, and your elbows and your shoulders.

Relax your knees and.

(imitating shivering) Very good.

Now let's take up as much space as we can.

Make a really, really big space.

Huge shapes.

And we are going to shrink down into a teeny, tiny shape.

Tiny, tiny, tiny, tiny, tiny, like a little seed.

And we are now going to grow back to a big shape, when you're ready.

One, two, three.

Go.

Grow, grow, grow, grow, grow, grow, grow.

And relax.

Feet slightly apart.

Arms by our sides.

Let's focus on our bodies now.

Wiggle your nose.

And your knees.

Fingers.

Toes.

Bottoms. Ears.

Back to nose.

(mumbling) And fingers and toes together.

And relax.

Really well done.

Oh, very good.

Okay, now we're ready to do some vocal exercises.

Andeep tells is when we do vocal exercises, we're warming up our voice to prevent it from becoming hurt.

I'd like you to now join in with Plasticine Person.

Here it comes.

Time to get out our imaginary plasticine.

Mine is kept behind my ear.

Take yours and squidge it into a ball, and make a nice shape.

Let's make a body with two legs, arms, a head, some lovely hair, and a smiley face.

And let's give our character a name.

What should we call them? Bob.

Right.

Now Bob works in the city and lives on the 38th floor of a high rise flat.

And Bob likes to sing when he finishes work and walks home.

Join in with me and Bob.

♪ Do do do do do ♪ ♪ Do do do do do ♪ ♪ Do do do do do ♪ And when he arrives, he needs to call the lift.

Lift.

And the lift arrives and the doors open.

(swooshing) And he steps in, reaches up to the 38th button.

Ding.

And copy me and Bob as he goes up in the lift.

Ready to join in? (vocalising) Ding.

(swooshing) And the door's open.

Out steps Bob.

(gasping) Oh no.

Someone's left a window open and a huge gust of wind blows plasticine Bob out of the window, and he goes.

(vocalising) Joining in.

(vocalising) Splat.

Let's make him again.

One more time.

Squidge.

Make a body.

Two legs, arms, head, beautiful hair, smiley face.

And let's give it another name.

Who should we have this time? Sue.

Good.

Right now Sue works in the city, but she lives over there on the 39th floor of a high rise flat, friends with Bob.

And she likes to sing as she walks home from work.

Join in with Sue here she goes.

♪ Do do do do do ♪ ♪ Do do do do do ♪ ♪ Do do do do do ♪ And she's gonna have to call the lift.

Lift.

And the lift arrives.

(swooshing) And she steps into the lift, and reaches even higher up to the 39th button.

Ding.

And join in as Sue goes up in the lift.

Here she goes.

(vocalising) Ding.

(swooshing) Door's open and, oh, they didn't close the window, and the gust of wind takes plasticine Sue out of the window as she goes sailing.

Join in.

(vocalising) Splat.

Well done.

And if we've warmed up our body and our voices, it's also important to warm up our minds and our ears so that we can concentrate and listen.

Listening and focusing, as Lucas tells us, are important parts of making music together.

So you're now going to play along with, "Don't Clap This One back." You'll hear me clapping different rhythms, like this one.

(clapping) And that rhythm is actually our secret rhythm that we are never going to clap, because that rhythm says, don't clap this one back.

So if you hear it, you do nothing.

Any other rhythm you hear, we all clap together.

Let's try a couple.

(clapping) (clapping) (clapping) Very, very good.

Now you're going to listen super carefully because if you hear, (clapping) we don't clap that rhythm back.

Okay, let's play.

(clapping) (clapping) (clapping) (clapping) Did I catch any of you out? Let's try one more time.

Here we go.

(clapping) (clapping) (clapping) (clapping) (clapping) Very well done.

Tongue twisters help our mouths and our tongues move so that we can sing and chant clearly.

They also help us control our breathing.

This one is called "Cooks Cook Cupcakes Quickly." Follow along.

My turn.

Your turn.

Cooks.

<v ->Cooks.

</v> <v ->Cook.

</v> <v ->Cook.

</v> <v ->Cupcakes.

</v> <v ->Cupcakes.

</v> <v ->Quickly.

</v> <v ->Quickly.

</v> <v ->Cooks cook.

</v> <v ->Cooks cook.

</v> <v ->Cupcakes quickly.

</v> <v ->Cupcakes quickly.

</v> <v ->Cooks cook cupcakes.

</v> <v ->Cooks cooks cupcakes.

</v> <v ->Cooks cook cupcakes.

</v> <v ->Cooks cook cupcakes.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Very good.

</v> We'll try it slowly and then we'll get a little bit faster.

Cooks cook cupcakes quickly.

<v ->Cooks cook cupcakes quickly.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Cooks cook cupcakes quickly.

</v> <v ->Very well done.

</v> Now we'll know if we're warmed up and ready to sing, because our body is feeling tall and relaxed, our chest is open, our mind is ready to concentrate, and our voice and our mouth feels warm and ready.

Here's a question.

Two people, Aisha and Sofia, who do you agree with? Aisha says, "Warming up for music is great fun.

You don't really need to do it." And Sofia says, "I know warming up for music's important because it keeps my singing voice safe." Who do you agree with, Aisha or Sofia? You can point to the right one, the one that you think is true, and I can tell you yes, I also agree with Sofia.

Warming up is important because we want to keep our singing voice safe.

Have a listen to this warmup song.

Cuckoo.

My turn.

Your turn.

♪ Cuckoo ♪ ♪ Cuckoo ♪ ♪ Who are you ♪ ♪ I'm a bird ♪ ♪ Do you sing ♪ ♪ Yes I do ♪ ♪ Sing then ♪ ♪ Cuckoo ♪ ♪ Cuckoo ♪ ♪ Cuckoo ♪ ♪ Who are you ♪ ♪ I'm a bird ♪ ♪ Do you sing ♪ ♪ Yes I do ♪ ♪ Sing then ♪ ♪ Cuckoo ♪ <v ->And now you're going to pause the video,</v> play that again and join in with the responses.

The responses are what Andeep is singing.

Off you go.

Well done, everyone.

This is great.

Are we all warmed up and are we ready to sing? If we have a quick check, we'll know because our body is feeling tall, yet relaxed.

If we're standing, our feet might be slightly apart.

Our face and our neck are relaxed.

Our chest is feeling open.

And we can take deep breaths.

Our voice feels warm, our lips and our mouths have had chance to move.

And our mind is focused.

We're ready to concentrate.

So now we are prepared, let's move on to our second learning cycle, identifying call and response.

We're going to learn a new singing game.

This is called "Who has the penny?" It begins with a question, who has the penny? I have the penny.

Who has the key? I have the key.

Who has the paperclip? I have the paperclip.

Let us see.

Here comes the video.

♪ Ready steady off you go ♪ ♪ Who has the penny ♪ ♪ I have the penny ♪ ♪ Who has the key ♪ ♪ I have the key ♪ ♪ Who has the paper clip ♪ ♪ I have the paper clip ♪ ♪ Let us see ♪ <v ->Right then pause the video here,</v> there's an audio track if you'd like to sing along, but practise and play, "Who has the penny," in your classroom.

Off you go.

Very well done.

You may have noticed that "Who has the penny" is a call and response song.

When we answer the question or the call, we are singing a response.

And Jacob explains it like this, "A response is like an answer to a call, a bit like a question followed by an answer." In music we call the way the song is put together, structure.

And the structure of a call and response song is a bit like a question and an answer.

We know another call and response song, It's "Cuckoo" from our warmups.

The leader sings the call, who are you? And then everyone sings the response, I'm a bird.

This is structure, the call followed by the response.

Now a quick check-in for you.

We are singing songs with a call and something structure.

Is it a call and question structure? Is it a call and response structure? Or is it a call and answer structure.

A, B, or C? Point to the one you think it is.

Very good.

I can tell you are all correct.

It is B, response.

A call and response structure.

Well done.

Call and response is a singing structure, and it's also a structure we can use in chants, and for instrumental music.

Lucas says to us, "Even instruments can have conversations with each other," which is great fun.

I'd like you to listen to this clip.

This is a piece of samba music using percussion.

See if you can hear the call and response, a bit like a question and answer.

Here it comes.

(cheerful samba music) Could you hear that? It sounded like those instruments were having a conversation with the call and the response each time.

We are now going to play a call and response chanting game, and this is called "Who Stole The Cookie From The Cookie Jar." We begin by deciding who has stolen the cookie first.

Who is our lead suspect? We've chosen Izzy.

So we all say, who stole the cookie from the cookie jar? Izzy stole the cookie from the cookie jar.

And then we go into our call and response section.

So Izzy says, who me? We all say yes, you.

Izzy says, couldn't have been.

And we all say, then who? And we do that to a steady beat.

♪ Who stole the cookie from the cookie jar ♪ ♪ Alex stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Lucas stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ You couldn't have been ♪ ♪ Then who ♪ ♪ Jacob stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ You couldn't have been ♪ ♪ Then who ♪ ♪ Andeep stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Izzy stole the cookie from ♪ <v ->See if you can chant that in a steady rhythm,</v> noticing the call and the response.

Off you go.

Now then, it's time for a quick check.

I've got Jun and Sofia here.

Jun is saying that the call and response structure can be found in lots of types of music, even instruments can have conversations.

And Sofia says, call and response is only found in singing because you have to sing the question and sing the answer.

Who do you agree with? Do you agree with Jun, or do you agree with Sofia? You can point to the one on the screen you think is correct.

I will tell you it is Jun.

We're right.

Even those instruments that we heard playing samba can have a conversation, and it follows that same structure, call and response.

We're now going to sing a call and response song that you might already know.

It's "A Keelie Makolay," a song from Ghana about friendship really, asking if Makolay would like to come and play.

We hear the call "A keelie Makolay, mo paco meeno sway." And the response to that call is, "Yeah, yeah, mo paco meeno sway." ♪ Ready steady off we go ♪ ♪ A Keelie Makolay ♪ ♪ Mo paco meeno sway ♪ ♪ Yeah yeah ♪ ♪ Mo paco meeno sway ♪ ♪ A Keelie Makolay ♪ ♪ Mo paco meeno sway ♪ ♪ Yeah yeah ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ O mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ O mo paco meeno sway ♪ ♪ A Keelie Makolay ♪ ♪ Mo paco meeno sway ♪ ♪ Yeah yeah ♪ ♪ Mo paco meeno sway ♪ ♪ A Keelie Makolay ♪ ♪ Mo paco meeno sway ♪ ♪ Yeah yeah ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ O mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ Mo paco meeno sway ♪ ♪ O mo paco meeno sway ♪ <v ->Lovely.

Now pause and sing that in your classroom.

</v> Call and response as a structure in music is used in lots of musical styles.

And there's a couple of songs that we can listen to that are on your screen now.

And what I'd like you to do is you're gonna pause the video, find those two pieces of music.

And when you hear the call, put your hand to your ear.

And when you hear a response, put your hand to your mouth.

Okay? So call and response.

Pause the video and see if you can all identify when you hear a call and when you hear a response.

Off you go.

Okay, we're now going to listen to four more call and response songs.

They are "Doggie, Doggie," "Rico's Pizza Restaurant," "Lemonade," and "Fox, Fox." Each time you hear a call, put your hand to your ear.

And each time you hear a response, put your hand to your mouth.

So you're going to pause the video now and you're going to play those where you are.

And each time make sure you are clearly noticing the call with your hand by your ear, and the response with your hand by your mouth.

Pause the video.

Off you go.

So how did we do? Let's find out, A with "Doggie Doggie," the call is ♪ Doggie doggie where's your bone ♪ with the response.

♪ Someone stole it from my home ♪ Lemonade next.

♪ Here I come ♪ Is our call.

♪ Where from ♪ Is the response.

In Rico's Pizza Restaurant ♪ What size ♪ is the call.

And ♪ Medium ♪ is our response.

And lastly in "Fox, Fox," are you my chickens? And our response to that is, yes, we're your chickens? Well done.

And now it's time for our final learning cycle, Andeep Shopping Song.

So Andeep is off to the greengrocers, and each time he sees some fruit that he likes, he adds it to his basket.

And all of the fruits in the greengrocers have a delicious description.

Here's what Andeep puts in his basket.

A big, green, sweet pear.

In it goes.

Juicy, round, green grapes.

They go in too.

A purple, tangy, small plump.

A round, pink, sharp grapefruit.

A ripe, sweet, yellow melon.

And a bright, shiny, red apple.

Delicious.

This call and response song that we're going to learn helps us remember which fruits Andeep has chosen, and it follows that call and response structure.

So the call, what has Andeep in his basket? And everyone sings, tell me, tell me.

Name a fruit that's in his basket.

And the response again, tell me, tell me.

Here comes the track.

Have a listen.

♪ Ready steady off we go ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ <v ->So what did we notice about our new song?</v> Aisha says, Sam sang and then a group sang something else back, like a question and answer.

And Alex says, just like the songs that we've been singing today.

And Lucas says, that's called call and response.

So now with our four lines of our song, let's match each phrase and decide if it is a call or a response.

So A is, what has Andeep in his basket? And B, name a fruit that's in his basket.

C says, tell me, tell me.

And D is tell me, tell me.

Which of those are calls and which are our responses.

I'll give you a moment.

So A, ♪ What has Andeep in his basket ♪ is a call.

B, ♪ Name a fruit ♪ ♪ That's in his basket ♪ is also a call.

And our ♪ Tell me tell me ♪ are both the responses.

Well done.

We're now going to listen to Andeep Shopping song.

And when you hear the call, put your hand to your ear.

And when you hear the response, put your hand to your mouth.

Here it comes.

♪ Ready steady off we go ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ <v ->Very good.

Well done.

</v> Okay, so your job now is to split into two groups.

One group is going to sing the call and the other group is going to sing the response.

So pause the video, you can use the audio track to help you, and I'll see you in a moment.

Off you go.

Wonderful.

You've got that call and response structure.

Great stuff.

Now we're going to sing Andeep's Shopping song, and we're going to chant a fruit at the end of each verse.

I'll put the track on in just a moment for you to join in, and when you do, you will hear the fruit chants are done twice.

So the first time you listen, and the second time you copy.

So you'll hear, big, sweet, green pear.

You copy big, sweet, green pear.

Okay, here comes the track.

Let's be ready.

♪ Ready steady off we go ♪ ♪ What has Andeep in his basket ♪ ♪ tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Big green sweet pear ♪ ♪ Big green sweet pear ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Juicy round green grapes ♪ ♪ Juicy round green grapes ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Purple tangy small plum ♪ ♪ Purple tangy small plum ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Round pink sharp grapefruit ♪ ♪ Round pink sharp grapefruit ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Ripe sweet yellow melon ♪ ♪ Ripe sweet yellow melon ♪ ♪ ♪ What has Andeep in his basket ♪ ♪ Tell me tell me ♪ ♪ Name a fruit that's in his basket ♪ ♪ Tell me tell me ♪ ♪ Bright shiny red apple ♪ ♪ Bright shiny red apple ♪ <v ->Really well done.

</v> You have followed the structure of that song with its call and response.

So let's see how successful were we when we tried? Aisha said, "I knew it when it was my turn to sing." So she must have known, was she singing the call or the response, or was the bit everyone was doing together chanting the phrases.

Jacob said, "I knew which line was the call and I knew which line was the response." And Andeep said he chanted the fruit descriptions in time.

So if you manage to achieve those things, really well done.

And that's all we have time for in today's lesson, so let's have a quick recap on what we've learned.

We always remember to warm up before singing.

That's so our bodies, minds and voices are ready for when we do sing.

Many of the songs and games we play have a call and response structure.

Call and response chants and songs are found all over the world.

And instrumental music can have a call and response structure too.

Call and response is a question and answer musical structure.

Really well done for joining in today.

I'll see you next time.

Bye.