CMP Teaching Plan

Name: Emaleah Matke

TITLE- Peep Squirrel
Composer- Unknown, originally sung by Celina Lewis
Publisher – None
Grade/length- Kindergarten/ 1 minute
Broad Description
● Traditional American South Folk Song
Composer Biography
● No composer is known for this folk song. However, John A. Lomax traveled to the
American South to document and study folk songs, and he met Celina Lewis. She was
recorded singing the song, and this was recorded in 1939, making it the earliest
known documented version of the song.
Background Information
● No particular meaning is known for this folk song, but a common theme among
research sources is that this was commonly used to accompany a game for children.
Other verses are also said to have existed involving “Walk squirrel, Run Squirrel,
Skip Squirrel”, etc., with other verbs being improvised at times. Some sources state
that this was often a song used for a chasing game, where children would act out
peeping, walking, digging, and then when running was sung, the “squirrel” would try
to tag another child who would become the “squirrel”. Another version involves
children simply using cloth to “peep” from behind while singing the song. When
asked about the context of the song, Celina Lewis shared that they were near to her
heart, but that she’d rather document more spiritual songs. This indicates that these
types of game songs were a positive memory in her childhood.

Elements of Music *See Folk Song Analysis

Measure Meter Form Melody Rhythm Harmony Timbre Texture Expression
and
Tempo

Form - The phrasal structure of this song can be described as A A’. This makes the folk
song’s form simple binary, as its first phrasal material doesn’t not repeat exactly, but the
sections are very similar. The form is reinforced harmonically with I (G major) in measures
1 and 3, and I, V, I, V motion in measure 2. V here will be D major. Measure 4 will however
differ from measure 2 in that it will have I, V, I, I motion. This can be interpreted as actually
showing the different movements that are said to have gone along with the game for “Peep
Squirrel”. The I being played higher than the V chord almost creates a feeling of “down, up”
that can be associated with peeping. Similarly, the beginning of the A sections acts to
literally show a skip, but can also be seen as alluding to the skipping that can be associated
with playing this game. The I and V chord motion that supports this form also alludes to the
joyful feelings associated with playing a game with others.

Rhythm - The rhythm of “Peep Squirrel” allows for the syncopated type of rhythm often
associated with peeping, skipping, running, chasing, etc., which are often part of the game
for this folk song. The Ti-Ta rhythm is yet again reminiscent of a child quickly peeping
around a corner, and the Ti-Ti-Tiri-Ti rhythm offers the feeling of a skipped step of sped up
motion that could relate to the “squirrel” tagging another student.

Melody - The A phrase acts to depict the “up, down” peep motion of the lyrics within the
first measure, with the second measure’s rising and falling seconds displaying potentially
moving back and forth as a student is trying to tag another. It could also showcase the side
to side motion associated with running, skipping, or walking. The A’ phrase acts in a very
similar way, but the last measure acts as a sort of resolution to a round of the game. The end
on the tonic may signify that the “squirrel” didn’t tag anyone, or that a new “squirrel” has
been chosen.

Harmony - The harmony of this song is primarily the I chord, but it alternates between the
V and I chord in measures 2 and 4. This can be seen as a sort of tension and release, as even
though both chords are major, we are conditioned to hear the I chord after the V. Through
this, the tension and release of the chasing game can be captured by the harmony.

Timbre - The timbre in this song is unison voice. Since this is a song commonly associated
with a game, it would likely involve all children singing along and participating.

Texture - The texture of this folk song is monophonic. It would likely feature many singers
though, as the fact that it is commonly a game song would indicate that the children sing the
song as the game is played.

Expression - An opportunity for expression and musicality within this folk song would be
implementing crescendos and decrescendos that follow the melodic line. For example,
starting at a louder dynamic on the first eighth note, and getting a bit softer on the dotted
eighth, and so on, would allow for students to explore how the contour of the melody and
the natural dynamics often associated with rising and falling pitch.

Additional Considerations/Reasons to Perform this Piece - “Peep Squirrel” is a fantastic

opportunity for many elements to be prepared, such as syncopation, the Ti-Ri-Ti rhythm,
and even melodic contour. This can all be done in a “change of pace” type setting, while still
setting students up to gain familiarity with elements they likely have yet to be exposed to.
Also, as it relates to the original singer that recorded the song for documentation, it can
serve as a reminder of the joy of music. There would also be opportunity to explore what
makes the song seem joyous and lighthearted, as well as how this is conveyed in music.

The Heart Statement

 ● The heart of “Peep Squirrel” is its syncopated rhythm that allows for the feeling of
playing a game involving running, skipping, hopping, etc., to be felt musically. This is
furthered by the sort of tension and release that is depicted by the V to I motion in
the harmony, as this musically describes the feelings associated with playing a game
involving movement and chasing. The joyous sounding major chords that support
the tune allow for the lighthearted and cheerful mood associated with a game song.

Introducing the Piece

● T: “I will be singing a song about a squirrel. We see squirrels doing lots of different
motions. Show me with your bodies something a squirrel might do.” This song will
likely work best if introduced to the lyrics first, as the students can benefit from
relating the melodic contour of the piece to the words in the song.

Affective Outcome: Students will be able to describe ways that

respect for others can be shown while playing a game.

Strategies
1. Once the game is described to students (we will hop, walk, dig, etc., but once “run” is
sung, the “squirrel” will try to tag another student. If a student is tagged by the end
of the song, they will become the new “squirrel”), ask students, “How can we respect
each other’s space during this game?
2. Ask students if they can remember a time when they got hurt during a fun game, as
well as how this can be avoided in our class.
3. Have students identify ways that they can show they respect their classmates during
this game and during other class activities.
4. Give students examples of things that could happen during class (students running
into each other, hopping on someone else, etc.) Ask if these should be seen during
the game.
5. Have students practice putting their arms out to their sides. Describe that if they can
touch each other's hands, they are too close to one another, and the only time they
should touch is when a person is tagged by the “squirrel”.

Assessment
1. Class discussions, especially relating to respect for others and how this can be
shown.
2. Exit ticket: Describe one way you will show you respect your classmates when we
play this game next class.
3. Students will create a scenario that could happen during the game, and identify how
it may be avoided.
Skill Outcome: Students will be able to recognize, perform, and
audiate the melodic contour of “Peep Squirrel”.

Strategies
1. Have students, without having seen the notation for the song, draw on a piece of
paper what the melody looks like of “Peep Squirrel”. (Guide with, “is it a straight line
or does it rise and fall?”)
2. Have students describe what happens to dynamics as the melody rises and falls.
(Guide with, “does it get quieter or louder when we sing higher?”)
3. Ask students to show with their bodies what is happening with the melody as it
changes notes. Describe that if it gets lower, crouch down, and if it gets higher, start
to rise up.
4. Give students a set of melodic icon cards associated with each measure of the song.
Have them put the cards in order to show the melody of “Peep Squirrel”.
5. Have students sing “Peep Squirrel” while singing at different dynamics to show the
melodic contour of the song.

Assessment
1. Teacher will check for melodic contour accuracy throughout the performances of
“Peep Squirrel” during the unit.
2. Teacher will be able to informally assess student’s ability to recognize melodic
contour during activities showing the contour with body movement in class.
3. Teacher can assess the ability to audiate and recognize melodic contour through
analysis of student drawings of the contour of “Peep Squirrel”.

Knowledge Outcome: Students will be able to perform the

melody of “Peep Squirrel” with solfege syllables and body signs.

Strategies
1. Students will be asked to show with their bodies the three different pitches present
in the song. The lowest pitch will be a patsch, the next highest a clap, and the highest
a snap.
2. Students will use knowledge of solfege syllables to decode the melody of “Peep
Squirrel” using these body motions. The knowledge that the lowest note is “do” will
be given.
3. Students will translate the body motions to their body solfege. (Do is hands in fists at
hips, re is hands slanted upward at middle of body, and mi is one hand on top of the
other forming a straight line).
4. Students will sing “Peep Squirrel” using body solfege signs and solfege syllables.
5. Teacher will ask how these solfege syllables relate to the game for the song.

Assessment
1. Teacher will informally assess student’s ability to perform solfege body signs by
watching students during performance of “Peep Squirrel”.
 2. Exit ticket: Describe how the solfege of “Peep Squirrel” relates to its melodic contour.
3. Teacher will be able to informally assess student’s ability to sing “Peep Squirrel”
with solfege by listening for appropriate solfege throughout the song.

Recommended Recordings
https://www.youtube.com/shorts/icxxtTMoYZk (version used for transcription)
https://www.youtube.com/watch?v=EURqZrilnTc

References
https://folkways.si.edu/peggy-seeger/peep-squirrel/childrens/music/track/smithsonian
https://kodaly.hnu.edu/song.cfm?id=1016
https://sites.google.com/view/carolynbennett/primary-sources/songs-games-and-dances
/peep-squirrel