Grade 5 Music Activities Lesson Notes

PERFORMING
Songs
Repertoire - This is a wide collection of songs. It varies in language, events
or occasions and activities relevant to the learners.

There are various categories of songs to be learnt in Grade 5

. They include

 Religious songs
 Patriotic songs
 Topical songs
 Popular songs

The criteria for choosing songs should include

 Simplicity in text and, rhythm and melody

 Stepwise movement of melodies
 Call and responsorial.
 Songs with catchy appealing melodies.
 Strophic infrastructure (songs with different verses which are sung to
the same music).
 Full appropriate activities / actions for the learners.

Types of songs
a. Patriotic songs – They are sung in praise of a county and its leaders.
They emphasize on patriotism and social cohesion eg Kenya, Kenya
Taifa Leo.
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 b. Topical songs – they are used to convey special message on pertinent
and contemporary issue. These include safety, personal hygiene, health
and nutrition, importance of education environmental conservation and
values. Corona Ni Atari, wash your hands.
c. Religious / sacred songs – They are imposed for religious purpose e.g.
Christianity, Islam and Hinduism use their sacred songs to worship
and praise a divine.
d. Popular songs – They have great appeal to listeners. Such songs cause
an audience to easily dance or sing along. The lyrics. Rhythm, melody
or genre can influence the popularity of the songs.

The East African Anthem

 It is also known as wimbo wa Jumuiya ya Africa Mashariki in Kiswahili
 It has three verses which are sung in Kiswahili
 It is also commonly or simply referred to as EACA (EAST AFRICAN
COMMUNITY ANTHEM)
 The anthem is sung among the east African community members states
namely: Kenya, Rwanda, South Sudan, Tanzania and Uganda.
 The music of EAC anthem is presented in two scores namely:
a. A choral music score written for Soprano, Alto ,Tenor and Bass
b. Brass band music score written for the western brass musical
instrument.
 In grade 5 it is limited to being sung in unison using Soprano melody.
 It is to be sung once the East African Communities has been hosted in all
government and public learning institutions in Kenya.

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 Both the Kenya National Anthem and the EACA should be performed at
public events with the aim of boosting the East African Community
integration and also as a symbol of unity among the East African
community member states.

Guidelines of Performing the EACA

a. During and the occasion of the performance, everyone present should
stand to show a sign of respect.
b. EACA citizens shall sing or play the anthem during the occasions or
regional significance.
c. Individuals playing or singing the EACA should ensure that the tune
and the lyrics (words) are sung with the dignity it deserves.
d. Either the instrumental or sung version will be performed.

Occasions during which the EACA is performed

 During all the EACA summit meeting and commemoration days.
 During any occasion of the community where the head of the state is
present, two verses of the anthem shall be sung or played
 Any other occasion

Skills and concepts to be developed in singing

Accuracy in pitch, rhythm and words should be observed while singing
the various types of songs.
Learners should observe the natural speech rhythm of the words of the
songs which define the rhythmic pattern of the songs

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 PART SINGING
There are indicators to show that learners are ready to sing in parts, they
include:
a. Singing in tune and unison without support of either the voice or
instrumental accompaniment.
b. Accurate imitation of melodic phrases and phrases and rhythmic
patterns.
c. Confidence while singing alone with others.

Questions
1. Name three types of songs?
2. Write occasions when patriotic songs are performed?
3. When should the East African Community Anthem should be sung in
Kenya?
4. Write the Kenya National Anthem verse 1 in Kiswahili?
5. Name any three voices in a three part song?

KENYA FOLK SONGS

 Singing is part and parcel of everyday life in any community. This
habitual practice is deeply embedded in every cultural activity within the
community.
 It plays and integral part in ritual and social event within a community.
 Folk songs are songs sung in particular community.
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 It originates among the people of particular are or locality.
 They are sung in the local dialect or language of the community they
originates from.
 The songs are handed down from singer to singe or from one generation
to another by oral tradition
 Folk song starts at welcoming of birth once new born baby takes the first
breath.
 As an individual, he or she celebrates rite of passage which introduce
them to adult responsibilities as captured in work songs, wedding songs,
initiations songs, praise songs and when an individual dies, dirges
(funeral songs)
 The circumstance/events/occasions within which the folk songs are
performed dictate the message, gender and aged of the participant.
 Folk songs tell stories, give a snippet of the past life and highlight various
areas of life shared across the cultures and shed life don similarities
between people.

Folk songs serve the following roles

a. Preserves community culture
b. Define cultural identity/helps to distinguish one community from the
other.
c. Used as a medium of communication
d. Enhance or strengthen unity or solidarity within the community.
e. Enhances conformity to social norms of the community.
f. Creates/provides a medium forum of emotional expression
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 ASPECT OF FOLK SONGS
1. OCCASIONS
life is punctuated by different events or occasions. The events are
influenced by community tradition, customs and history e.g ritual and
social occasions such as birth of baby, work, marriage, funerals initiations
and religious ceremonies. Each occasion has its own special song.

2. MESSAGES
–Folk songs play a communicative role. The various occasions dictate
that the song sung have messages that are appropriate to the ceremony or
event. The messages as communicated through text, dictate the mood of
the folk songs.
Folk songs are appropriate and uphold community values, virtues,
customs and norms

3. INSTRUMENTATION
Community diversity is also evident through the varied array of musical
instruments.
In most community, musical instruments are used to accompany folk
songs. Music instruments can either be melodic or rhythmic.
During the performance of folk songs, music instruments can be played
for the following reasons:
a. To support the melody/tune
b. To pitch the performance
c. Make the performance interesting /lively
d. To provide rhythmic support
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 e. To fill up the interludes during the performance
f. Help in keeping the steady beat
4. PARTICIPANTS
Folk songs are performed in groups or as solo. Participants vary in age
and gender. They include; soloist, singers and instrumentalist.
The occasions during which folk songs are performed influences the age
group and gender of participants e.g. boys and girls, men and women
African folk songs are largely responsorial in style also referred to as solo
choral response
A soloist can either be male or female. A good soloist should be confident
and audible.

Roles of a soloist in a folk song

 Pitching singers so that they sing without straining
 To cue singers on the change of melody or body movements
 Address the audience while commanding singers
 To coordinate the movements during the performance.
The choral groups/response sings the same tune/ melody throughout
the performance of folk song. This referred to as singing in unison
The vocal power of the choral response must match the vocal strength
of the soloist

PERFORMANCE ETIQUETTE DURING FOLK SONGS

 Dress appropriately
 Talking – this distracts the performance

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 Reactions to others - e.g. during a mistakes, it is wrong to stare, mock or
boo.
 Maintain enough space between the participant to avoid collision
 Always accept and acknowledge the applause from any audience.

Questions
1. The participant who leads a folk song is known as ………………..
2. A folk song belongs to ………….. of community
3. Name any other occasion when a folk song is performed.

KENYA INDIGENOUS MUSICAL INSTRUMENT

Wind instrument
 They are also called aero phones. They are played by blowing
These instruments have a permanent tuning which is acquired during
construct
 This is because upon constructions, wind instruments remain of fixed
length, have a fix number of holes and a fixed blowing hole.
 They vary in shape, size and material used to make them. They are
grouped in the following sub- classes”
a. Horns- made from animal horns or natural hollow or hollowed out
wooden tubes. Among some communities horns are joined to a
gourd. E.g.
o Oluika- luya
o Lalet-kalenjin
o Oporo/tung’-Luo
o Coro-kikuyu
o Kikundit-kipsigit
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 o Adet-turkana
o Aluti-Teso
b. Flutes-Are made from materials such as bamboo, swamp reeds,
twig or wooden tubes. Currently improvised using plastic tubes.

Flutes vary in length and number of finger / pitch holes from one
community to another.

Other features that can be used to distinguish or differentiate flutes are:

o -closed at both ends
o -Open at both ends
o -Open at one end and closed at another end
o -Notched at the blowing end (part of the end is v-shaped)
o -Round at the blowing end
o -End blown (also oblique)

-Side blown (also traversely blown-this means the blowing hole is at the side of
the flute.)

Indigenous flutes from the diverse Kenyan communities include:

End blown flutes (oblique)

o Muturiri-Gikuyu
o Auleru-Teso
o Asili/Odundu-Luo
o Ndererut-Kalenjin
o Ebune/Elamaru-Turkana

Traversely held flutes

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 o Chivoti-Digo, Rabai, Duruma
o Ekibiswi-Kuria
o Emborogo-Kuria
o Umwere-Kuria
o Mulele-Luhya

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4. Whistles – these wind instruments are made from hollow tubes or reeds which
are bound together. The different length makes it possible to produce different
varied pitches when the instrument is blown e.g. biringi of Agikuyu, vilingi of
the Akamba.
5. Reed instruments – double reed instruments have two reeds at the mouthpiece
which is made from reeds. The two reed instruments have a tip shield made out
of a coconut shell of metal coin
The lip shield- holds the reed in place and prevents air from escaping. The
reeds vibrate when air is blown into the instrument thus producing sound. The
Nzumari and the Bung’o played among some of the mijikenda community
such as Digo and Rabai.

Functions of parts of flutes

 Bamboo reed - this is the main framework of the instrument and it also
serves as the resonator

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  Blowing hole – it is a hole through which air is blown causing the
production of sound
 Pitch hole – are closed and opened with alternating finger movements
to produce varied pitch when playing the melody.
 Closed – end = this part direct the sounds towards the open end.

Abu

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FUNCTIONS OF THE PARTS OF REED INSTRUMENTS

 Hollow bamboo reed – this is the main body of the instrument which act as a
resonator
 Bell - it is used to make the sound louder or amplify the sound
 Neck - use to attach the double reeds and the lip shield
 Double reeds - when blown, they vibrate to produce sound
 Lip shield – this is where the lip rest when blowing

SKILLS OF PLAYING WIND INSTRUMENTS

 Some are held traversely while others are end blown

 Positioning of the lips – the lower lip is placed on the lower part of the
blowing hole
 Blowing- air should be blown across the blowing hole. The amount of air
being blown depends of the wind instrument.
 Tonguing - the tongue is used to put the accent on
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 Fingering – closing and opening of finger holes in an alternating manner assist
to produce varied pitch.
 Breath control – it’s also referred to as phrasing and should be done at
appropriate places when playing the wind instrument.

WESTERN MUSICAL INSTRUMENT

Descant recorder

Recorder fingering chart

Skills of playing the recorder

 Posture – correct poster will help in breathing deeply in order to get good
sound out of the recorder.

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 Breath control – enables them to achieve the good phrasing when playing the
descant recorder.
 Holding – should be held properly with both left handed and right handed
learners. The recorder is end blown.
 Embouchure - refers to the position and the use of the lips and teeth in playing
wind instrument. It includes shaping the lips to the mouthpiece of the musical
wind instrument
Embouchure is important because it affect the production of quality of sound
 Articulation – (preparing the tongue) air flow is critical to the production of
good tone or sound on the descant recorder. Blowing too much air will leard to
production of squeaking sound.
 Fingering – the left hand should be placed in the first three holes, while the
right hand should be placed in the rest of the holes. Holes should be covered
completely, failure to which will cause air to escape and a squeaking sound
will be produced.
When holes on the descant recorder are covered completely, small round
marks will be imprinted on the fingers

THE NOTES B, A AND G

They are played using the left hand and are organized logically with fingers
moving in a sequential order.

MUSIC STAFF NOTATION

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 THE STAFF- this is a set of five parallel line and four spaces on which music
is written.
The lines and spaces are named using the seven letters of the English alphabets
A,B,C,D,E,F, and G.
Naming is made possible using clef. The treble or G clef is used to establish
the pitches of the staff
Music for the descant recorder is written on the staff using the treble Or G clef.
Fingering notes is illustrated below

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 NEW NOTES C AND D
o They are fingered using the left hand as shown below
o The left hand thumb hole is left open when playing the note D

Kenyan Folk Dances

Dance - a form of art involving rhythmic movement’s f the body in
response to music
It is an expression of norms, values, belief, attitudes and customs of the
community.
In traditional African society dances are for specific groups of the
performance e.g. boys, girls, boys and girls, young women and men etc

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 Categories of participants
 Soloist – introduces dances, it is also known as Solo choral response
or call response singing.

Roles of a soloist
 Starting the dance
 Ending dance
 Help capture the message and the mood of the dance
 Pitching the dance songs
 Cuing dance on the change of melodies, movements and dance
formations.
 Dancers – perform dance movements, create formations

c. Dancers – perform dance movement. create formations

d. Lead dancers – remind dancers the next dance style and formation.
Guide other dancers in creating the varied dance styles/movement and
formations to ensure transitions to ensure transitions are smooth.
e. Singers - respond to the call of soloist. Make performance lively.
Communicate the message and the mood of the dance
f. Instrumentalist – make the dance performance lively.
Melodic instrument helps in pitching the performance.
Help in keeping the steady beat of the songs.
Assist to cue singers and dancers on the change of melodies, dance
styles and formations to ensure smooth transition.
Provide rhythmic and melodic support to the rhythms and melodies in
dance.
g. Audience and onlookers – make participants feel appreciated

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 Their participations bring the dance to life

Costumes
This involves styles of dress or clothes worn by the participants in dance
performance. Roles of costumes in dance performance include:
 To depict the cultural community it is drawn from.
 To adorn the participant
 To distinguish the different roles played by various participants of
the dance
 Influence the participant level of confidence
 Allow dancers or the wearers freedom of movement and formation
 Give information about certain role or characters due to elaborate
details of the costumes
 They give the participant of the dance aesthetic appeal
 Are associated with the costumes and habits of a group of people
 Gives the participant dignity
 Help the identify the community the song originates from
 Create uniformity among the participant

 In modern times dance performance use uniform costumes made of

sisal and banana leaves
 In each community there are items of value which the participants
use during dancing. These items are also known as artifacts which
includes shields, swords, skis and traditional tools.

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 BODY ADORNMENT

 It is an art which involved decorating the body, these vary across communities
and can be permanent or temporary
 Permanent body adornment is done by piercing, scarification or tattoos, both
are used to enhance beauty and also have social and ritual significance
 Some adorn using temporary designs using pain, ochre and henna to decorate
the skin. The decoration can symbolize a variety of meaning e.g. social,
economic or marital or even political status of the wearer.
 In some communities it is used to enhance the feminity or masculinity of an
individual.
 The most common method used nowadays is by water emulsion pain
 The type of body adornment used is influenced by the occasion /event or an
individual’s stage in life.

ORNAMENTS
Are accessories, articles or items used to add beauty or decorate the appearance
of the participants in dance.
In some communities’ beadwork is an integral part of making ornament, beads
used in making ornaments can vary in shape, size and colour. The ornaments
include.
 Earring
 Armlets/armbands
 Anklets
 Necklaces
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  Feathers

CREATING /COMPOSING

Is a succession of sound with long, short or equal duration. It is the pattern of the
music in a given time. It can exist without a rhythm.

The long and short the French rhythm names are used to create different rhythms
and represented by different matching symbol. These musical symbol are the
musical notes.

Words have their natural speeches style which dictates whether to be given either
along or a short beat. Syllables in words can be stressed while others are not.

The stressed syllables occurs as strong beats while the unstressed syllables as
week beats.

The beats are divided into groups of two beats, three beats or four beats

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 MELODY
Is a sequence of pleasant sounds that makes up musical phrase
It is a tune that sound nice or pleasant to the ears
An understanding of high and low sounds is essential in identifying
melodic variations within a song. Variation to simple melodies can be
created by
 Repetition
 Changing doh
 Changing rhythms
 Changing note
 Changing words

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HAND SIGNS

It is a good way of understanding and recognizing pitch. These are gestures used
to indicate pitch in sol –fa.

When using hand gestures to guide the pitch of the ‘’doh’ is movable (it is not
fixed)

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LISTENING, RESPONDING AND APPRECIATION
Element of music
The following are musical instruments
Pitch – the highness or lowness of sound. The combination of varied
pitches produces a melody e.g pitch pipe

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Melody – should be done keenly as it is difficult to correct once
mastered. Use melodies or songs familiar for the start.
Dynamics – relates to the volume of sound. This can either be loud or
soft. Dynamics influence the expressiveness in a performance.
Beat /Pulse – regular through of music. The following activity helps in
identifying beat.
 Clapping/tapping
 Chanting the words of familiar songs rhythmically
 Conducting learners

Tempo – refers to pace or sped of music.

Activities such as clapping, tapping, marching can be use when

teaching about tempo

Responses to tempo are communicated through by running, walking

jogging, or skipping.

Mood- this involves feeling about the songs, whether happy or sad

Form – is the structure or shape of piece of music, it is dictated by the

melody. The rhythms and repetition on the piece

It is always shown with letters such as //A// OT //B// or //AB//

Grade 5 focuses on //ab//. The part is always the stanza while the B part
represents the chorus.

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