MENC: The National Association for Music Education

Keyboards Launch Students into Music

Author(s): Patricia M. Bissell
Source: Music Educators Journal, Vol. 82, No. 1 (Jul., 1995), pp. 29-31
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for
Music Education
Stable URL: https://www.jstor.org/stable/3398882
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 KEYBOARDS LAUNCH
STUDENTS INTO MUSIC
Patricia M. Bissell explains how using keyboards in the elementary music classroom
develops students' creativity and encourages them to explore other instruments.
roup keyboard instruction
provides a positive and
motivating environment for
elementary school students.
Each student has the oppor-
tunity to explore the keyboard and to
discover his or her musical talent, as
well as to be part of a team that suc-
ceeds in meeting class goals. By pro-
viding opportunities for both individ-
ual and class practice and achieve-
ment, the teacher can encourage stu-
dents to cooperate with and to help
their peers. The teacher can also nur-
ture self-esteem by helping each stu-
dent succeed at his or her own level of
ability and interest.
Ear training for rhythm and pitch
is very effective with small keyboards
in a group setting (battery-powered
keyboards that have a two and one-
half octave range are adequate). Stu-
dents can play in ensembles, combine
melody with chords, sing while play-
ing, take listening tests, and listen to
each other as they create. During a
program that includes eight-to-twelve
keyboard lessons each year, elementary
students can explore the properties of
sound, scales, intervals, chords, and
composition, and can learn to play
Patricia M. Bissell is a music teacher for the
kindergarten through fifth grades at the Martin
Luther King and Lincoln Bassett Elementary
Schools in New Haven, Connecticut.
JULY 1995
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pitches to add sound effects to a story.
For example, they improvise high
pitches for a bird and low ones for a
shark. They explore length, volume,
and timbre in the same manner. Stu-
dents also learn to ascend and descend
the C major and A minor scales and to
The most important create their own music using these
scales. They learn to play the black-
aspect of the keyboard
key pentatonic scale and to improvise
curriculum is creativity. music by using a sustaining timbre,
such as a vibraphone.
In the spring, the students review
musical elements that were presented
in the fall. They learn to play the C
major chord with one or two hands
small-range melodies from music and an F and C ostinato to accompa-
notation. These students can also ny a song learned in class. This song is
share a sense of accomplishmentthenin transferred to Orff barred instru-
performing and recording their ownments and timpani. If time permits,
songs and accompaniments. The key-students learn a simple three-note
board lessons become a positive addi-
melody to be played with the right
hand.
tion to the elementary general music
program.
Upper Elementary
Lower Elementary The teacher gives four keyboard
The teacher can begin by giving
lessons in the fall and spring to stu-
several short lessons in both the fall dents in the third and fourth grades.
and spring to students in the first and The lessons are presented during one
second grades. Each keyboard lesson of the two half-hour music periods
lasts for about ten minutes at the end each week. The sequence of the course
of a half-hour music period. In the content over a two-year period is as
fall, the students learn fingerings, follows:
respect for the instrument, and how to I. C, D, and E pitches; whole, half,
play with the rest of the class. They and quarter notes; C chord (fall, third
learn to find high and low pitches on grade).
the keyboard and to use different II. F, G, and A pitches; dotted half
29
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notes; F chord (spring, third grade).
III. G, A, and B pitches; eighth
Figure 1. A portion of a core melody, shown on a chart
notes; G chord (fall, fourth grade).
IV. Review of all pitch groups;
transposition (spring, fourth grade).
Each course includes a review of
previously learned musical elements.
This allows slower and new students to 0

B B B B J B
participate effectively and builds a A_A A_A A^_A ? 0 0 A A A
1 2 3 4 1 -G G G G G A A- 1234
strong foundation in basic musical con- A_
_A_ A_ 3 4
3 4 1 & 2 &
cepts over a two-year period. Each set
of lessons follows a similar sequence:
becoming familiar with the keyboard,
experiencing the properties of sound,
learning scale and chord concepts, and
ing questions and answers. The teacher ed, students do creative keybo
playing three three-note melodies.
can play the students' melodies on a cises demonstrating the conce
With the first melody, the teacher
full-size keyboard with different chords have learned. They improvis
has the students learn the three pitch
names, direction, interval, and note and rhythms, and students can des- certain parameters and wr
cribe the similarities and differences of their improvisations usin
length by rote. The second melody,
each example. names. An important goal, if
the core melody of each course, uses
Students play melodies or chords mits, is to have students nota
the same three pitches as in the first
an octave apart as often as possible. original melodies.
melody and includes all the note val-
Students also perform the keyboard As students use the keyboar
ues taught in a particular course. For
melodies with Orff pitched and non- internalize musical elements with
example, in Course III (which covers
pitched instruments. The teacher greater understanding. As students
the G, A, and B pitches), the core
assigns workbook pages and gives learn to play, they feel more connected
melody contains whole, half, quarter,
quizzes to reinforce the music theory
with the sound that is being produced.
and eighth notes.
that is being taught. The procedures
With this type of experience, students
Figure 1 shows an example of a for each class include five minutes at
can become genuinely involved in the
portion of a core melody. Students
learn the first and last sections of the the beginning and end of a half-hour process of making music.
lesson for creativity and exploration. With the help of the elements
melody by seeing up, down, and
During the initial free time, each stu- they've learned in the keyboard cur-
repeated pitch motion without a staff.
dent's hand position and finger move- riculum, small groups of students can
The instructions and graphics are ment are checked. Students then read
learn to combine computer and key-
shown on a newsprint sheet-a large
the lesson from newsprint charts. The board skills using a five-octave key-
sheet of white lined paper, two feet
class first practices the particular board to make sequences with com-
high by three feet wide-which is
melody or musical element together. puter software. Students of all musical
tacked up on a bulletin board or wall
Next, they practice separately, and the levels and abilities have expressed great
in front of the class (an overhead pro-
teacher assesses their individual prob- delight in using a variety of sounds to
jector could be an alternative). In the
lems and progress. Finally, the class create and change their original com-
next lesson, students practice playing
practices in ensemble several times. positions.
and singing the same melody from
staff notation. Finally, a chord is Melodies
Creativity
played as accompaniment by the stu-
dents to the more difficult middle sec- The most important aspect of the The four courses taught to third
keyboard curriculum is creativity. and fourth graders use melodies with a
tion of the song.
After each musical element is present- three-note range of do, re, and mi in
The third melody is composed by
the class, which uses the core melody
as the model. For example, the class
practices writing the three notes G, A, Figure 2. A "question" and "answer" created by a class
and B in any order, ending on B for
the "question." The pitch group is

,e Jc _ J J I ; J - I
repeated with an ending on G for the
"answer." Figure 2 shows an example
of a "question" and "answer" created
by a class.
Although short phrases are used for
class practice, individual students will
create longer and often very interest-

30 MUSIC EDUCATORS JOURNAL

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their A sections. Three notes require a
minimum of dexterity for beginning
students playing in a group. Different
note values and time signatures are
gradually introduced over a two-year
period.
Identifying suitable melodies has
been one of the most critical aspects of
developing a successful curriculum.
Melodies should be selected for their
compositional elements, such as repet-
itive pitch and rhythm patterns. It is
often difficult to find three-note
melodies that consist of two phrases or
one phrase with a first and second
ending. Generally, the A section of
melodies is used. The middle, or B
Students or all musical levels and abilities can benetit trom group keyboard instruction.
section, which is usually outside of the
three-note range, is sung and accom-
panied by a chord. Melodies that the melody first and then add chord small keyboard is its gentle sound.
sound good on the keyboard and have and bass notes. Students may then The volume of twenty-five keyboards
easy finger movements, such as "Hot switch instruments. does not penetrate into the next class-
Cross Buns," generally work best. In the winter, if it can be sched- room at a level that is disturbing or
Along with technical and composi- uled, a special four-lesson unit on the disruptive. For example, in one
basic blues chord progression is taught
tional considerations, it is important school, the keyboard class has been
to choose melodies that seem worth in the key of C in third grade and in taught on cafeteria tables in a central
the effort to learn. Each third- and the key of G in fourth grade. Selected area surrounded by classrooms and the
students add percussion and bass
fourth-grade class receives a limited school office.
number of hours of group keyboard accompaniments to the blues chord There are some disadvantages to
progression using xylophones and
instruction each year, so every piece of the current models of the two and
music should challenge students andelectronic drums. one-half octave keyboard. A model
motivate them to learn. Good stu- that has only volume control and a
dents will generally do well regardless variety of timbres would be more use-
Keyboards as Springboards
of the specific curriculum; the real ful in the classroom than keyboards
Another aspect of group keyboard
challenge is reaching and teaching all with automatic demo and chord
instruction is that by successfully play-
the students in the class. capacities, which can be distracting. In
ing on one instrument, students are
addition, the soft sound of small key-
motivated to try others. The basic
Harmony musical skills students learn on the boards, while good for the classroom
Students in each course learn how setting, is barely audible in a perfor-
small keyboard provide a foundation
to build a chord on the white keys by
for the recorder, band instruments,mance. It is, therefore, necessary to
starting on a root and "skipping" keys. add other instruments to reinforce
and other keyboards, such as the
This helps them to become familiar their sound. It would be helpful if
with additional letter names and let- piano or synthesizer. These instru-
these keyboards could be plugged into
ter-name combinations. Students ments also combine nicely with Orff
an inexpensive amplifying system for
pitched and nonpitched instruments,
learn fingerings for the chords, but a performances, but currently they can-
number of students will use their ownsequences for synthesizers, and the
not. Group keyboard classes can be
teacher's keyboard accompaniment to
fingerings anyway. It is more impor- conducted very effectively without the
tant that students "feel" and "hear" make a complete ensemble.
use of earphones, but it would be use-
the chords rather than finger them ful if earphones could be plugged into
properly. Other Considerations these small keyboards for private prac-
Each course emphasizes a particular The small size, light weight, andtice sessions.
chord. Students improvise this chord low cost of these instruments have Each year brings new challenges
in broken and block styles. They use made it feasible to provide group key- and endless possibilities for keyboard
the chord to introduce, end, or accom- board instruction. Twenty-five key-instruction. Some goals are achieved
pany a melody or other songs they boards can be carried on a small cart, and some are not, but what a joy in
have learned in class or as part of an and students can play them on theirthe adventure! Every teacher should
Orff instrumental ensemble. For exam- laps or on a desk. Batteries for theseconsider adding keyboard instruction
ple, groups of students are assigned to keyboards require changing only twice to his or her elementary music cur-
different instruments. They practice a year. An important feature of thericulum. ?

JULY 1995 31

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