Cree-Dene songwriter and educator Sherryl Sewepagaham engages students (spanning grades 4-12) with rhythmic exploration and self-expression through music. This resource equips the educator to bolster student confidence and understanding of rhythm, instrument playing, singing, and composition through structured exercises and improvisation.

Activities include learning and performing an 8-beat ostinato pattern to Sherryl's Music Alive song, vocal improvisation to mimic nature sounds, and writing original rap songs to articulate personal experiences, ideas, and perspectives.

The traditional First Nations teachings and historical content contained in this document are representative of teachings obtained through various Cree elders, drum teachers, and family members. They do not represent all First Nations or Indigenous peoples throughout Canada. The teachings vary within families, communities, and nations, but share commonalities on a general level.

—Sherryl Sewepagaham

Objective(s): Students will learn an 8-beat ostinato pattern and transfer it to speech, body percussion, and non-pitched percussion to perform and sing together in a class-decided form. 

Materials: “Music Alive” score; speech and body percussion score; non-pitched percussion instruments: triangles/jingle bells, rhythm sticks/claves, hand drums, large drum/timpani with mallets, etc.

Step 1. Introduce the song “Music Alive” in preparation for the following music activities.

Step 2. Divide students into four groups.

A. Speech Ostinato

• Teach the speech ostinato.
• Assign each group an ostinato line and teach until each group is independent and can perform simultaneously with other group lines.

B. Body Percussion Ostinato

• Introduce each group’s body percussion line.
• Follow the same teaching pattern as the speech ostinato.

Step 3 (optional). Select one or two students from each group who demonstrated strong rhythmic accuracy in their group. Hand them each a percussion instrument assigned to their scored line and have them play the rhythms with their instrument.

Assign each student or pair of students an ostinato line and teach until each of them is independent and can perform simultaneously with other lines. 

Step 4. As a class, decide and determine the form of the finale performance, which includes the song. Write on the board for reference. An example: Body percussion – speech – non-pitched – song – simultaneous.

Target Grades: 4-12

Objective: Students will use their voices rhythmically and melodically to create and explore natural, environmental, or percussive sounds.

Materials: large cue cards or regular sheets of paper; markers; whiteboard; recording of vocal improvisation sounds

We are born with a natural melodic and percussive instrument – the voice. Our voice can make all kinds of interesting and wacky sounds using our lips, mouth, and tongue. By using our lips, mouth, and tongue together, we can mimic other environmental and natural sounds. We can buzz, pop, click, hum, or whatever we want to do. Just check out some videos of people who can beatbox! They can test the limits of their voices!

Our voices can sing, scream, howl, laugh, and make other funny, dark, and interesting sounds. We need to take care of our voices so that they can last a lifetime.

Environmental, natural, and familial

Step 1. Ask students to create the sound of an animal (a pet, in the wild, or in the zoo).

Step 2. Ask them how that sound would look if drawn. Have them draw it.

Step 3. Ask the students to think about and create the sound of the animal walking. Be imaginative! It can be made up. Draw it.

Step 4. Ask the students to create the sound of metal objects – saw, hammer, drill, or knife – then draw this sound.

Step 5. Ask the students to create the natural sound of water, wind, fire, trees swaying, leaves rustling, etc. and to draw their selected sound.

Step 6. Ask the students to mimic or create the sound of their siblings or family members. What do they sound like? Draw the sound.

Step 7. Ask the students to really think about what silence sounds like. Discuss and come up with a symbol or picture.

Step 8. Observe the drawn sounds, and select some examples to put on the chalk board or white board.

Step 9. Ask a student to be the conductor and point to the drawn shapes on the board while the students make the chosen sound all together.

Step 1. Have students stand in a circle and divide students into small groups of 2-4 for smaller groups, or 5-6 for larger groups.

Step 2. Assign easy, non-vocal parts by demonstrating and giving the sound away to each group when they can successfully follow your sound and rhythm. Write on cue cards or whiteboard to help remember assigned sounds if needed. If students volunteer percussive sounds, they can lead their group.

Examples could include (refer to the recording of Vocal Improvisation Sounds):

1. Zzzzzzzzzah! Zzzzzzzzah!
2. Shhhhhh-oop! Shoo shoo shoo!
3. Click, pop, click, pop, tsss…(using the tongue and mouth)

Step 3. Perform all sounds together, in rhythm, to create an interesting and unique composition (listen to the recording for inspiration). Percussive sounds can form the foundational ‘backbeat’ for the performance.

Introduction

The students will create a “wall of sound” together to block out external sounds outside the circle space and room. There needs to be complete trust with each other and absolute focus for this to be successful.

This activity can take anywhere from 5-10 minutes, or more depending on the group’s direction and focus. It is important that individuals avoid disrupting the activity to try to make others laugh as this will cause the group to lose focus and the activity to crumble (this will be challenging!).

Procedure

Step 1. Begin by standing in a circle facing each other. You can choose to focus on a spot on the floor if it allows you to focus and feel comfortable.

Step 2. You will begin by humming together on one note that is not too high or too low but somewhere in the middle. If you run out of breath, softly take a new breath and bring your voice back in as gently as you can.

Step 3. Once the sound is continuous for a few minutes, one or two volunteers can begin to slightly change or bend the notes lower or higher. Try not to follow another’s voice; create your own direction. This adds to the interesting sound.

Step 4. Everyone will then be silently directed to open their mouths and pick a vowel “oo,” “ee,” “oh,” “ay,” or “ah” without changing their note.

Step 5. New volunteers will bend the notes again in any direction they choose and changing their vowels as they choose. The group will be directed to sing louder or softer at any moment but they must do it together.

Step 6. More volunteers will be asked to change their vowels and sounds in any direction they choose. There is no correct or incorrect way to do this – go in any direction. It won’t sound pretty or melodic as it adds to the wall of sound, and that’s not the aim. Just listen to how the voices can blend or contrast.

Step 7. As the group approaches the climatic ending section, students who would like to contribute to more vocal additions can do so one by one. The idea is to explore the sound, create, and improvise.

Step 8. For the ending, the teacher can choose to end the group strongly and abruptly, or to gently fade out.

Target Grades: 9-12

Objective(s): Students will compose an original rap song to express their thoughts and feelings about a chosen topic to share with others.

Materials: hand drum; recording software and microphone (optional)

Rap music is said to have originated in the 1970s in New York’s Bronx neighbourhood, where lyrics were spoken in rhyme over a scratch turntable.

It’s a form of music that comes out of oppression, depression, and self-expression. First Nations youth have taken a huge interest in rap music, as the music and lyrics reflect the similar societal issues of poverty, oppression, violence, racism, racial and gender stereotypes, family, relationships, selfempowerment, politics, and social justice.

Writing rap songs is a creative way for songwriters to explore a new method of lyric writing and to express themselves, while exploring and extending the limits of rhythmic speech, rhymes, and organized form.

1. Does rap music belong to a group of people from a specific cultural background?
2. Why is rap music a popular genre of music for youth?
3. What topics interest you in particular rap songs?
4. What makes a good or a bad rap song?
5. Is rap music gender specific?

Step 1. Discuss subjects or topics that students may want to write about. Topics could be an important event in a student’s life; an event in history; identity; social justice; politics; friends or family; the environment; school life; funny topics; parent rules; teenage life; another topic that is meaningful to them; or something simply about themselves.

Encourage students to be honest about their topic as this is the easiest way to get their message across.

Step 2. A rap needs a “hook,” which is the chorus of the song centered on the topic. This is the easiest place to start. The hook can also be sung. Perhaps there are aspiring singers in the class!

Step 3. The rap outline is: intro, verse, chorus, verse, chorus, verse, bridge, chorus, outro. Basically it should have a beginning, middle, and an end. Try to fit in rhyming words at the ends of sentences to add to the flow. Not all ending words need to rhyme perfectly. Words can also have similar sounds such as “fave” and “stage.”

Some students may need help to begin their rap writing. Possible prompt sentences could include:

• Who are you and where are you from?
• What is the best thing about you and/or your family?

Step 4. Once the words are written out in the outline sections, have the students begin to practice speaking the words to get a sense of the rhythm to hear what fits and what needs editing. Encourage students to seek advice and suggestions from others too. Allow students sufficient writing time.

Step 5. Once students are satisfied with their finished work, have them begin to memorize the words and practice, practice, practice! The words will become more fluid.

Step 6 (optional). Explore ways to record student rap songs. There are many free programs. All you need is a microphone and a quiet space to record. Have fun!

Step 7. Close this activity with a group discussion: 

• How does rap music reflect one’s identity?
• Do you feel your rap song reflects your thoughts and feelings about your topic?
• Was the process difficult to complete? Were there factors that affected the process?
• Do you feel you could write more rap songs in the future?
• Now that you have written a rap song, what advice would you give to other beginner rap composers?

Step 1. Listen to the music of Canadian First Nations rap artists (pre-screen before showing to determine suitability of content, as this can vary from school to school):

• Drezus
• Shawn Bernard, aka FEENIX
• Eekwol
• LightningCloud
• Samian

United States Native American rap artists:

• Supaman
• Frank Waln

Step 2: Close this activity with a group discussion:

• What is the general theme of these rap songs?
• Do you feel the artists are able to capture the passion of their chosen theme in their songs?
• Have these artists changed your perspective on the many styles of First Nations music?

Target Grades: 4-6

Objective(s): Students will compose an original rap song to share with classmates.

Materials: hand drum; one or two pre-selected backbeats for student songwriting such as Flocabulary

Rap music is said to have originated in the 1970s in New York’s Bronx neighbourhood, where lyrics were spoken in rhyme over a scratch turntable. It’s a form of music that allows people to express themselves poetically and musically. First Nations youth often write music to express who they are and the things they struggle with. Writing rap songs is a creative way for songwriters to explore a new method of lyric writing and to express themselves, while exploring and extending the limits of rhythmic speech, rhymes, and organized form.

1. Does rap music belong to a group of people from a specific cultural background?
2. What topics interest you in particular rap songs?
3. What makes a good or a bad rap song?

Step 1. Discuss subjects or topics that students may want to write about.

Step 2. Rap is like writing a poem. Topics could be an important event in a student’s life; friends or family; the environment; school life; funny topics; parent rules; kid life; another topic that is meaningful to them; or something simply about themselves. 

Encourage students to be honest about their topic, as this is the easiest way to get their message across.

Step 3. A rap needs a “hook,” which is the chorus of the song centered on the topic. This is the easiest place to start. The hook can also be sung. Perhaps there are aspiring singers in the class!

Step 4. The rap outline is: intro, verse, chorus, verse, chorus, verse, bridge, chorus, outro. Basically it should have a beginning, middle, and an end. Note: Students struggling with the lengthy format can modify to a verse, chorus, and verse.

Step 5. Try to fit in rhyming words at the ends of sentences to add to the flow. Not all ending words need to rhyme perfectly. Words can also have similar sounds such as “fave” and “stage.”

Some students may need help to begin their rap writing. Possible prompt sentences could include:

• Who are you and where are you from?
• What is the best thing about you and/or your family?

Step 6. Once the words are written out in the outline sections, have the students begin to practice speaking the words to get a sense of the rhythm and to hear what fits and what needs editing. Encourage students to seek advice and suggestions from others, too. Allow students sufficient writing time.

Step 7. Once students are satisfied with their finished work, have them begin to memorize the words and practice, practice, practice! The words will become more fluid.

Step 8 (optional). Explore ways to record student rap songs. There are many free programs. All you need is a microphone and a quiet space to record. Have fun!

Step 9. Close this activity with a group discussion:

• Does your rap song reflect who you are and your feelings? How?
• Was the process difficult to complete? Why?
• Do you feel you could write more rap songs in the future?
• Now that you have written a rap song, what advice would you give to other beginner rap composers?