Vacations Are Like Moving Sidewalks

School started on Monday; kids came on Wednesday. I started craving vodka on Friday.

Actually, some of the classes weren't too bad.  I finally got to teach my second grade class again.  I hadn't taught them since October because the onsite music teacher wanted them to learn 12 minutes of music for a 36 minute play about an out of tune Christmas bell.  (In my part of the county, you can have all the Christmas you want, so all you whiny birds that hate Christmas having to be called winter holiday, have no fear.  Christmas is definitely here in my neck of the woods.  Big time.  And for the students that are Muslim, Jehova's Witnesses or another group that does not celebrate Christmas, nyah nyah on you.  I'm sure those kids feel really included at this time of year, much the same way I was in elementary school, a Jewish kid forced to sing Christ the Savior is bo-rrrrnnn along with the zillion other carols and one Dreydl song-- I think there is only one-- for good measure.) Anyway, I lost about 8 weeks of curriculum for a musical that was A. stupid B. had silly, inane music and C. was really, really stupid.  I know the parents thought it was cute and loved seeing their little ones on stage, some staring at the ceiling lights, others engaged in finger play,  and a few reciting lines in a monotone whisper.  But to me, cute isn't as important as what they could have been learning from the curriculum.  Oh well.  When in Rome.

I sat down with each class and reviewed the rules and expectations.  I am a firm believer that it is better to give up a few minutes of curriculum to reinforce rules and expectations.  Two years ago a wonderful teacher was late to my class because he was marching his kids up and down the hall  They were excited to come to my class and had made a beeline to my room.( I was lucky that he was able to use my class as an incentive.) He made them come back and walk to my room several times.  If he hadn't done that, it would've taken me a while to calm them down.  Even though they were 10 minutes late, we sailed through the lesson because he had helped them to become focused and primed to learn. Thanks Mr. Monroe if you ever read this blog.

On Friday I have the most difficult class--fifth grade, last class of the day.  They have been without a teacher since October because she was fired.  The last time I saw this class a girl threw a chair across the room because, well, just because. I'm guessing she was angry at something/someone?  No sub will stay longer than a week.  As sub number 35 walked them to my door today,  I recognized her.  She's a retired teacher and had subbed for me previously and was pretty good with the kids.  I asked her if she was going to be a long term sub.  She said, and I am paraphrasing a bit, that she would rather have her face pulled off by a falcon then stay with this group.

I asked the students to come in quietly and they actually did.  I talked to them for awhile and let them air their concerns and grievances and they were actually saying some meaningful things. One girl said, rather articulately, that she was worried about passing the end of the year test.  Most of them said that it didn't feel good to have everyone say they were awful. Some kids are really difficult to like.  I can't say that I love them all, but I will say I love some more than others and this class makes me work overtime.  I have to remind myself that deep inside almost every kid, no matter how rough around the edges, is a tiny core of kid-dom.  This core fades as time goes on, but in elementary school it's still there.  You just have to dig to find it.  I'm not always successful at it, but this belief keeps me showing up to work every day.  Yes, I blog about how tough it is.  That's my release valve.  And there are days I think I don't want to go back.  But I always do, although I am a practitioner of take a mental health holiday when need be.  I just wish the adults would not share this with the children. It does hurt and it does do long-term damage.

 The class really wanted to play musical chairs for reasons I can not fathom. To me it's like human bumper cars hopped up on meth, with each little car trying to commit heinous acts of road rage.   Instead of saying what I thought, i.e. Are you F**N KIDDING ME, NO F**N WAY! I decided to negotiate and we struck a bargain.  If I could get through my lesson, we would stop  a few minutes early and play musical chairs.  I am a firm believer in rigor and all that razzmatazz, but sometimes you have to let go a little and be flexible.  Remember, this class has had dozens of subs waltz through this year and their teacher, who said she would never leave them, left.   I don't want the students to be my friends,  but I do want them to trust me and like me....not because I need to be liked, but children want to please adults and they really want to please adults who show them that they are cared about.  That doesn't mean I have to placate them or do things that they want to do.  As a matter of fact, a student came in one day and asked me if I was going to do rap music.  I said, "Don't you already know how to do that?"  He said, "Yes."  I said, "Well, do you want to be a better rapper?"  "Un hunh," he replied.  I said, "I don't need to teach you what you already know.  I am going to expand your tool box so that you can be a better rapper, or, even better than that, maybe  develop a new and different style of music, something all your own."  I don't know if that convinced him, but he did stop asking me.

Back to body bumper cars.   I know these kids well enough to predict that the musical chairs game would end up in a fiasco, but I struck a bargain with them and I wanted to show them I would keep my word.  I also wanted something else.  We got through the lesson (which I will share below because it was pretty successful. )  The game began.  Predictably, the pushing and shoving started with the first musical pause.  As the game progressed, the craziness increased until I saw plumes of flames emanating from some of them.   I sat them down and  asked them what had happened, with one rule--no one's name could be mentioned, as in "But XYZ said this and PGH said that."

And this is the something else I had wanted: They were able to understand that it was not a great game at all, and that in the future they would allow me to choose a game that did not require them to become human canon balls or scream until their lungs fell out on the floor. The promise of a fun activity, (albeit with my ulterior motive) forced them to work as a group to get what they wanted, allowed them to have a small say in what went on in their music class. and most importantly, now they trusted me because I kept my word.  Maybe this doesn't sound like a big deal, but believe me, when you work with difficult kids, trust is a BIG deal. Come to think of it, trust is a big deal for all kids.

And that's why vacations are like moving sidewalks.  Walking on the moving sidewalk feels really good and relaxing, but as soon as you hit the stationary floor, the relaxed feeling abruptly ends and your feet experience a sudden jolt as they resume their less relaxed walk on the hard surface.  Welcome back from vacation. 

Here's the lesson
Pease porridge
I did this lesson with grades 2-5 with modifications and adaptations.  I will include all the things to watch out for.
Focus: improvisation, tone color, form (ABA)*
Process:

1. Standing in a circle, I ask the students to watch me THEN copy what I do.  I have to reinforce this.  Several always try to do it with me.  (Then I have to stop them from correcting each other, but that's another topic) 
2. I step the beat for each phrase and touch my shoulders on the rest. (I always teach rests that way.  I hate saying "shh."  If you vocalize the rest, it's not a rest)
3. I talk a bit about the poem, where it came from, what porridge is, how spelling and languages are not static, and whatever else I can think of until they start staring at the ceiling)
4. After I get through both verses I step the rhythm of the words.  We talk about the difference between beat and rhythm, an ongoing concept for their entire elementary school career, unfortunately.  
5. I ask them to figure out where the rests are and then I add a snap on the rests and in the upper grades I will talk a little bit (remember, my kids will stare at the ceiling very quickly) about complementary rhythms.  
6. I send my class helpers (I pick 3-4 every month based on lots of things (if you're interested, I've blogged about how I pick helpers, but I will say it's the best incentive I know) to the glocks or triangles if melody instruments are not available and transfer that part.
7. In the upper grades I teach them a simple pat, clap, partner clap, clap pattern and I turn to my neighbor and demonstrate.  They quickly catch on and copy me.
8. Now I add a B section.  I will pat the rhythm to : How do you like your porridge?  (How do you is an eighth and two sixteenths, otherwise you will end up with 2 eight notes on the last beat and sometimes that's makes the question harder to answer because there is no space at the end of the question) I will swing the rhythm a little because my kids don't love straight eighths and quarters.  Sometimes I don't either.  
9. I demonstrate some answers to my question, like: I like it hot rest; I like it mushy; I like it in my car--whatever I think and then I will go around the circle and invite them to give me an answer individually if they want to.  
10. Now I ask the group to whisper---I have to R E I N F O R C E whisper or they will shout.  Believe me.  They will shout and I don't want to hear any kids shouting, "I like it in my butt," which is an answer I got today.  If they want to say something stupid,  this way I don't have to hear it.  The next time I ask them to think their stupid answers.  I don't say stupid, though.
11. I will do the question/answer section 4 times.
12. With the younger kids I will have them partner up and change partners on the B section, stepping the beat to find the new partner.  I ALWAYS have to reinforce partner rules--no one can say no or they march off to rudeville (a desk facing a corner), always use walking feet to the beat, etc.  For the ones that balk at, GASP, touching another human's palms, I say, "I did not ask anyone to run off into the sunset and get married.  Just touch someone's palms for less than .02 seconds." If I can't humor them into it, I let it go.  There are bigger battles to fight.  
13. With grades 2-3 I stop the lesson here and transfer to instruments the following week.  Grades 4-5 can transfer to instruments the same day.
14. If drums are available, they do the B question and answer session.  If not, the instruments can perform. In once class the xylophones did the questions and the metallophones answered, then the glocks did the questions (poor glocks.  they usually just play on the snap parts, so why not give them something else for a change?).  If no orff instruments, then use whatever classroom instruments you have and play the melody on a recorder, piano, harmonica, jews harp, whatever.  Oh--the melody--I use so and mi and on the second verse I end on do.  You might think your fifth graders will scoff at the simple melody, but when the instruments are playing, they sing along.  And I do swing the rhythm a little so it's not so white bread-y.
15. It is performed ABA.  * When I told the class we were going to perform it in ABA, several of the students looked for the B bars I had taken off the instruments and were putting it back on.  That was a rather blatant clue that they had no idea what ABA form was.  (I'm not to blame.  I'm itinerant and have not worked with any of these kids before)
16. I have different arrangements for different classes.  Some classes can only handle a steady beat bordun and the glock part.  Others can do a crossover bordun, along with a soprano and alto part.  Before I add parts I always ask them if they are ready for a challenge.  Unless the kids are drooling dolts, they all like to be challenged.  This way they are primed to succeed. Sometimes I stack the deck by putting better players on instruments that will have the trickier parts.  But I've been surprised enough times by kids whom I thought couldn't keep a steady beat with a metronome tied to their heads, do some amazing things, so now I am a little less controlling....unless I'm being evaluated.  Then I stack the deck.

Another great lesson to pass on.

I did this lesson with grades 3-5.  It's based on a lesson from the third grade GAMEPLAN  that focuses on improvisation. Every class enjoyed it, and one of the classes who had previously been fed a heavy diet of Quaver said, "This is so much better than Quaver because we get to make music."

A little context for that comment. After the ten day count, I was switched to other schools.  The creative scheduling genie decided that it would be a great idea to give me the classes that the on site teacher had been teaching.  That same creative genie gave me six classes and the onsite teacher 4 because my job is to give her a lot of planning periods.  The onsite teacher uses Quaver a LOT and swears that the kids love it.  My personal feelings about Quaver notwithstanding, is that general music in elementary school should focus on making music.  The about part is not as important.  As John Feierabend wisely says, "Our job is make the students tuneful, beatful and artful."  I don't think Quaver does that at all and it leads to passive teaching.  I've walked by classes using Quaver and I see many of the students off task and disengaged from the lesson.  It's not as successful as the  teachers think it is.

Anyway, the fifth grade class that I had inherited from the onsite teacher wanted to know if I used Quaver. I said I didn't and about half the class looked like I had just eaten their first born.  Also, I don't use chairs for several reasons, but this year it's because I have small rooms and I need the space. The following week was like teaching the figures at Stonehenge.  The next week they rolled their terrible eyes and gnashed their terrible teeth, but then at the end of class a few kids came up and said they didn't hate music all that much anymore.  The week I did the Virginia Reel everyone participated and I couldn't detect any visible eye rolling.  Last week after this lesson, the entire class decided that this activity was much more fun that Quaver and.....they apologized for the way they had treated me.  

By the by, before I pass on a lesson idea, I have tried it out for a week and fine tuned it.  I also add the little problems that come up so you will be prepared.  I always want to apologize to my Monday classes because that's where I am fine tuning and dealing with unanticipated issues and questions. By mid week the lesson is humming along nicely.

Process:

1. I start each class with the game poison.  It's a game that the students love and it's the only way I can get the older ones to sing.  I have the students echo all the patterns I sing, except the poison one of the day.  I isolate a small melodic passage in the song I'll be teaching and use that pattern.  Kids get a point if they don't echo me; I get a point if they don't,  I have to make sure they understand that if someone makes a mistake that it's ok and if they call out the ones who make the mistake, I automatically win.
2. Rhythm reading.  I also isolate the rhythms we're working on that day.  This one included iterations of quarters, rests and eighth notes.  I ask the students if they can tell me how many beats in each one and caution them not to count the notes.  Some get it right, most don't, so we talk, once again, about beat and rhythm.
3. I ask the students to clap 4 steady beats.  Then I have them change one of the beats to eighths.  Then I have them change another and then I add rests to the mix until I get bored or they start acting antsy, which generally occurs at the same time.
4. I tell them we're going to learn a song from Jamaica and ask if there are students with family members from there and lots of hands shoot up.  We talk about the Jamaican accent and that although they speak English, they have some different expressions and sentence structure.  
5. I sing the song Hill and Gully Rider and ask them to find the grammatical error. (Be prepared that many won't know what that means).  
6. They isolate the phrase: and a nigh time come a tumblin down. I tell them that often I overhear people on their cell phones say, "Where you at?" and ask the students how to say that correctly.  Then we discuss when it's ok to use that type of speech.  I ask them if they can name another song we've done in class and they can--Ain't Gonna Rain No More.  
7. The song has four beats of rest after each phrase with just four steady beat that are patted with alternating hands.  I have to stress that they not echo me and join in the patting when they figure out the pattern.  I sing the song twice.  I changed the ending the second time so it ends on the do  and not mi, so it sounds like it actually ends.  
8. I play the accompaniment (( syncopa rest) on the drum and stress that they should not copy my rhythm because it's MY rhythm that I bought at the rhythm store and I don't want to share it.
9. Transfer the patting to the instruments.  After playing once or twice I ask them to try and create a small motif and not just hit any old bars.  I give them a minute or two to work it out.
10. For grades 4-5 I extend the playing to change one of the beats to eights, just like in the rhythm warm ups. 

Another extension from the book is to change the words to :Everybody play now.  Then each instrument family separately, eg. Xylophones will play now.  At this point they all are looking over their instruments to read the names on the other side so I stop and hold up the bars and review that wooden bars are on the xylophones, etc.  But even after that, one or two will still look over to see what they are playing.  Sigh.

here's the song.  It's a call and response song, but instead of the response,  there  is the four beat space for improvising.

A wonderful lesson

I learned this lesson from Alice Pratt and recently trotted it out again because I had to hold off on my curriculum until after the 10 day count.  Itinerants are assigned schools based on  projected enrollment and reassigned if enrollments change.  The 10 day count unwisely falls before Labor Day when lots of parents decide that it's time to send their kids to school.  It's a mess.  Since I never know what the new physical set up will be, I try to do a few lessons that don't require that much space or materials. This lesson can be done with grades 2-5.  

Poem
Oh the kids around the block are like an ice cream store.
There's chocolate and vanilla and there's maple and there's more.
There's butterscotch and almond and flavors by the score.
Oh the kids around the block are like an ice cream store.
Process
1.  Read the poem out loud and ask the students why the children are compared to an ice cream store.  Grades 4-5 will have studied similes so they should be able to identify it.  To avoid your concrete thinkers from telling you that children are sweet or drippy or like to eat cream,  you might want to guide them away from those answer and have them think about the colors of those flavors otherwise you'll spend half the class talking about what flavors of ice cream they want and why vanilla is better than strawberry and they're hungry now and when is lunch?
2.  Add the body percussion parts one at a time while saying the poem. Kids=snap  block=clap ice cream store=pounding fist into palm of other hand   flavors=patting rhythms with alternating pats
3. After all the body percussion parts have been added, whisper the poem with bp and then think the     poem and do only bp
4.  Transfer the body percussion to unpitched rhythm instruments.  I use a vibraslap for the snap part, but anything on hand is fine.
5. Perform the piece in whatever form strikes your fancy-reciting just the poem, poem and bp, just instruments, poem, bp and instruments, etc
Extension: transfer to barred instruments.  
    

More lesson ideas

More Ideas for Lessons:

1.      Tempo:   On the Trail by Grofe – have students turn their chairs around and “ride” them like burros while showing the following youtube video: https://www.youtube.com/watch?v=6_7DA1G6tVs

After going over some tempo terminology, listen to different selections for examples.  Some choices might be: Camille Saint-Saens “Carnival of Animals” – “Elephants”, “The Swan”, “The Aquarium”; Mozart’s Piano Concerto Number 21 – Andante; Tchaikovsky’s “1812 Overture”; Rossini’s “William Tell Overture” (this is another good “horseback riding” selection!). Student volunteers can lead the class in appropriate movements for each. If you have students who are a little shy or do not want to participate, they can hold up signs with the appropriate tempo markings. Make some signs with the musical term on one side and the tempo on the other for students who need a little more support. For example:  LARGO and SLOW.

2.      Famous Composers:  Compile worksheets and have students complete them as center activities. Have students listen to selections in a whole group setting first, and then divide into smaller groups to complete worksheets. You could either rotate each group through every center or bring the whole class back together for each group to present their information. You could create centers based on famous composers, grouping them by different styles (for example, Still, Scott Joplin, Duke Ellington, Huddie Ledbetter are all famous African – American musicians and composers but are known for producing different styles of music ), by different eras (for example, Handel, Mozart, Tchaikovsky, Saint – Saens),  by instrument (for example, all piano or all orchestral selections) or even by musical concept (for example, form, dynamics, tempo, etc.).  Denise Gagne has a series called, “Listening Resource Kits” that are very good. 

3.      Opera vs. Musical: Ask students if they can name a famous musical. Discuss their answers. Ask if they know what an opera is. Again, discuss their answers. Have an “opera only” day (or portion of the class) where everything is sung. Sing the following with any melody you like:

Everything’s sung in an o – per – a (O - per – a)

Everything they do on stage (On the stage)

Everything’s sung in an o – per – a (O - per – a)

And it was once all the rage (All the rage!)!

Hold up signs with the phrases in parentheses for students to repeat after you. Make signs with the following vocabulary words (you can make them so you can post them on the word wall, if you’d like): Recitative; Aria; Overture; Intermission; Finale.

Sing each of the vocabulary words in a dramatic voice; have students repeat each one. Play excerpts of “Porgy and Bess” for the students, including the song, “Summertime”.

Some information about “Porgy and Bess” – it premiered on Broadway in 1935, and it featured an African – American cast of classically – trained singers, which was never done at that time. It was based on Porgy by the famous poet, DuBose Heyward. It was written by George Gershwin and DuBose Heyward, with some of the lyrics written by Ira Gershwin. The music was influenced by jazz and blues. It is considered one of the most important musical works of the 20^th century.  

4.      The Science of Sound: This is an excellent center idea for 4^th grade in particular, since it is usually included in the science portion of the 4^th grade CRCT.  Please see attached center activities.

5.      Legato vs. Staccato: Listen to “Le Danse Macabre” by Camille Saint – Saens. There is an excellent version in the Silver – Burdett music series. Divide class into two groups – one to dance as skeletons on the staccato section, the other to wave scarves around in time to the legato section. Ask for volunteers for each group (differentiation); if you find too many want to participate in one group over the other, you can repeat the activity so students can switch parts.

6.      Choreographed Locomotor Movement: “Shoo, Fly” – girls all dance first together and then boys dance. The boys will usually beg to participate after they see the cool “inside out” circle the girls make! On line formation dances, try working “backwards” – teach a simple song game such as “Here Comes Valerie”, then find some Motown music for a “Soul Train Line”, then show videos of “The Stroll” and learn how to do that. Finally, the students can watch a video of “The Virginia Reel” and learn that dance. The students will have already gotten more comfortable with dancing in front of each other, and they will more than likely be more willing to learn the older dances. This method also lends itself very well to discussing the way the dances have evolved and changed while maintaining many similar traits. The students may even be able to come up with some current line dances.

7.      Centers for Instruction: There are quite a few areas that lend themselves to the center concept. The students enjoy working in centers because it is in their comfort zone. If you want to create centers, make sure that you include worksheets, research, or some type of memorization activity for the majority of them, with only one or two playing centers.

For example, after teaching about the letter names of pitches and where they are found on the staff, I taught my 4^th and 5^th grade students about Major vs. minor scales and keys, and assessed their knowledge of scales, keys, and note names in 3 weeks. I also included information about an important American composer, and exposed the students to two famous songs.

 After we discussed, sang, read, and played the Major scale in the keys of C, F, and G, I talked about sharps and flats in relation to the keyboard. I then introduced the minor scale. We sang and read both scales using the solfege syllables in the key of C for simplicity. After that, I showed youtube videos of “Johnny Has Gone for a Soldier” (there is a beautiful rendition by James Taylor), and “Sometimes I Feel Like a Motherless Child” as sung by Paul Robison. We completed a Vinn diagram on the two selections as a group, with student volunteers manning the markers (you could use a smartboard for interactive use of technology). The next week, the class divided into 4 groups –

Center 1 – reading about William Grant Still and completing worksheets about what they read. They were allowed to work together in any way they chose, but they each had to complete their own worksheet. I didn’t have a listening station with headphones, but if I had one, they could have used it.

Center 2 – flashcards with pitches on the treble staff, musical terms the students had learned so far, and instructions to memorize them as a group. I allowed them to choose how they would work on the flashcards, and then I came around and quizzed them.

Center 3 – playing the Major and minor scales in the key of C by reading them on the staff. I had both scales printed out (and each pitch labeled if they needed). There were resonator bells for the students to use. Again, each group determined how they would accomplish the task. I found the resonator bells to be effective for this activity, but you could use hand bells, too. Either instrument requires the students to work together and is easily played by everyone. If the group is smaller, each student can play more than one pitch.

Center 4 – writing two melodies of their own, one in Major, one in minor. Again, encourage groups to accomplish the task in their own way. I gave them staff paper and required them to choose a time signature, write at least 4 measures, and asked that they include rhythm. Some students wrote their own melodies; others worked in pairs or small groups. I played their selections at the end of the period.

The centers took about half of the class time to complete, so we rotated once. The third week, we were able to rotate two more times until all students visited all four centers. It was a little noisy and busy, and I had to bounce around the classroom quite a bit, but it was effective. I was also able to document individual results of informal assessments, and I had written artifacts (as per TKES).      

Erlking lesson

Lesson plan for Erlking grades 3-5

Length of Lesson: One Week	Materials Needed: computer, projector, whiteboard	Concepts Covered: Tempo
Standards:	Opening Activity: tell students they’re taking a trip to the Grand Canyon – where is it? Students tell	Video Links:

Procedure: 1.      After watching the Jesse Norman video and discussing the students’ ideas about the music, briefly introduce Jesse Norman (famous opera star) and Franz Schubert. 2.      Show the Prezi about Franz Schubert and pause to discuss him as a composer. Be sure to talk about the time in which he lived. Finish the Prezi with the rendition of “Die Erlkonig” included. 3.      Have students volunteer to read the 4 parts in the song to the class. If more students are interested, you may repeat the process. 4.      Hold up the flash cards, one at a time, and have students guess the English translation for each. You may either show the English translations or tell them for each word. 5.      Talk about the piano motif throughout the piece. How did it reflect the mood? What other themes (TV, movies) can the students think of that create a spooky mood?

Culminating Activity: Discuss the concept of how music helps us learn about history. Discuss how superstitions and a lack of medical knowledge impacted society during Schubert’s time. Ask for volunteers to further research Franz Schubert. You may also ask for volunteers to create their own spooky music, in groups or by themselves, to perform for the class the following week.

Differentiation: Students have an opportunity to create their own music, do research on the composer, read for the class, or simply listen and learn from others. The students benefit from visual and aural learning opportunities.

TKES: Research – based Delivery of Instruction: transfer knowledge; analyzation; create

English Translation:

NARRATOR:

Who rides through the stormy night? It is a father with his child;

He has the boy clasped in his arms, He holds him tight and keeps him warm.

FATHER:

 “My son, why are you so frightened?”

CHILD:

 “Father, don’t you see the Erl - King, The Erl – King with his crown and staff?”

FATHER:

 “My son, that is only a ribbon of fog.”

ERL – KING:

 “Fine boy, come go with me. We’ll play exciting games together;

Bright – colored flowers grow on the shore, And my mother has many gowns of gold.”

CHILD:

 “My father, my father, don’t you hear? Don’t you hear what the Erl – King promised me?”

FATHER:

 “Be calm, be calm my child. That was only dry leaves rustling in the wind.”

ERL – KING:

“Boy, will you come away with me? My daughters have been waiting long.

They want to sing and dance for you!”

CHILD:

“My father, my father! Don’t you see the Erl – King’s daughters In that murky place?”

FATHER:

“My son, my son! The tall, gray willow trees are all I see.”

ERL – KING:

“You are a very handsome boy. Come willingly, or I will take you off by force!”

CHILD:

“My father, my father! Hold me close! The Erl – King has hurt me! He tears me away!”

NARRATOR:

The father is horrified – faster he rides, Holding his sick child in his arms.

He reaches his home struck with terror; The child in his arms is dead!

English Tranlsation by J. Lawrence Wilhide

Words for Flash Cards:

(Write the German words on one side, the English translations on the other)

German:                                                                                                            English:

1.      Arm/Armmen                                                                                       Arm/Arms

2.      Warm                                                                                                    Warm

3.      Komm/Kommen                                                                                 Come(s)

4.      Wind                                                                                                     Wind

5.      Und                                                                                                       And

6.      Vater                                                                                                    Father

7.      Tochter                                                                                                Daughter

8.      Mutter                                                                                                 Mother

9.      Sohn                                                                                                     Son

10.  Kind/Kinder                                                                                         Child(ren)

11.  Siehest                                                                                                  See

12.  Mein                                                                                                      My (Mine)

13.  Dein                                                                                                       His

14.  Reitet                                                                                                    Ride

15.  Gulden                                                                                                  Golden

16.  Kron’ und Schweif                                                                              Crown and Staff

17.  Nicht                                                                                                     Not

18.  Nacht                                                                                                    Night

19.  Geh/Gehen                                                                                          Go

20.  Strand                                                                                                   Shore

21.  Blumen                                                                                                 Flowers

22.  Hof/Haus                                                                                              House

23.  Liebe/Liebes                                                                                        Dear(s)/Love(s)

24.  Tanzen und Singen                                                                             Dance and Sing

25.  Gehschwind                                                                                         Goes Like the Wind

26.  Todt                                                                                                        Dead