SAMPLE LESSON

• Identify the 3/4 time signature of the two songs.
• Explain the concept of anacrusis (upbeat) and locate it in both songs.
• Recognize the guitar chords A major, E major, E7, and B minor.
• Compare the two folk songs in terms of cultural origin (Butuanon vs. Hiligaynon).

PSYCHOMOTOR | Students will be able to:

• Sing Sakayan ni Banting Banting and Ang Bilong-bilong accurately in pitch, rhythm, and text.
• Conduct in 3/4 time while singing.
• Demonstrate the upbeat (anacrusis) correctly in performance.
• Play the chords A, E, E7, and Bm on the guitar as accompaniment.
• Shift smoothly between chords while maintaining tempo.
• Sing in parts by performing the two songs simultaneously as a partner-song.
• Perform in ensemble, coordinating conducting, part singing, and guitar accompaniment.

AFFECTIVE | Students will be able to:

• Show enjoyment and confidence while singing and playing.
• Cooperate with peers in part-singing and ensemble performance.

CULTURAL | Students will be able to:

• Connect the imagery in the songs Sakayan ni Banting Banting and Ang Bilong-bilong to real-life practices in Butuan (seafaring) and Negros Occidental (fishing and food culture).
• Demonstrate appreciation for Philippine cultural diversity and similarities through folk songs from different ethnolinguistic groups.
• Appreciate the role of folk songs in expressing the identity, traditions, and values of different Philippine communities.

PROCEDURE

MOTIVATION

• Teacher plays a short clip of a waltz or familiar 3/4 rhythm.
• Ask: “What makes this rhythm feel like a dance? Can you count it with me?”
• Lead students in performing a body ostinato with one strong beat and two weak beats (example: clap for the strong beat, tap the shoulders for two weak beats)
• While doing the body ostinato, count 1 on the strong beat and 2, 3 on the weak beats: ONE two three, ONE two three.
• Review how musicians show one strong beat and two weak beats through conducting.

SUGGESTED ACTIVITIES (These activities may be carried out in different lesson segments.)

1. Introduce the two folk songs as 3-meter songs—their origins and languages:
   • Hiligaynon (Ang Bilong-bilong) from Cauayan, Negros Occidental
   • Butuanon (Sakayan ni Banting Banting) from Butuan City, Agusan del Norte
   • Show these locations on a Philippine map.
2. Review 3/4-time signature and practice conducting pattern while singing the songs.
3. Introduce anacrusis (upbeat) and locate it in the songs.
   • Teacher Prompt (Song 1): “When we conduct Sakayan ni Banting Banting, do we begin singing on the strong first beat?
   • Students’ Observation: Students observe and infer that the song actually begins on a weak beat, the third beat of the measure.
   • Teacher Conclusion: “That’s right. When a song does not begin on the strong first beat but instead enters on a weak beat, we call this an upbeat, or in music terms, anacrusis. It comes from the Greek word meaning, “upbeat.”
   • Teacher Prompt (Song 2): “Now let’s check Ang Bilong-bilong. Does it also begin right on the strong first beat?”
   • Students’ Observation: Students notice that this song also begins on a weak beat—the second beat; hence, an upbeat.
   • Teacher Conclusion: “Both songs share the same feature: they begin with an anacrusis.”
   • Teacher Explanation: The teacher then shows how the anacrusis appears in the songs’ notation, pointing out that the first measure looks incomplete because it begins on a weak beat. This “missing” part is balanced or completed at the very end of the song, where the final measure provides the remaining beats to make a full measure.
4. Perform the Filipino versions of the songs.
5. Present the guitar chords (A, E, E7, Bm) as accompaniment. Students play the chords.
6. Part Singing: Half the class sings Sakayan ni Banting Banting, the other half sings Ang Bilong-bilong simultaneously (partner-song style).
7. Ensemble: Combine conducting, part singing, and accompaniment for a full group performance.
8. Cultural Connection:
   • Points of Discussion:
     • “What does Sakayan ni Banting Banting tell us about Butuanon life?”
     • “What does Ang Bilong-bilong tell us about life in Negros Occidental?”
     • “What Filipino values are reflected in the songs?”
   • These songs show how people’s everyday lives and culture are closely connected to the sea.
   • Sakayan ni Banting Banting speaks about Butuan’s seafaring life, showing the people’s creativity and resilience. Ang Bilong-bilong shows the fishing life of Negros Occidental, highlighting food, fun, and community joy. Both songs teach us about important Filipino values:
     • Adapting to uncertainty: Life at sea and fishing are not always easy, so people learn patience and endurance.
     • Finding joy in struggle: The playful tone of the songs shows how Filipinos face challenges with humor, creativity, and cheer.
     • Strength in togetherness: The songs remind us that families, fisherfolk, and communities support one another through work and celebration.
9.  Evaluation
   • Oral: Students identify the time signature and locate the upbeat in either song.
     •  Performance:
     • Individually: Play chords (A, E, E7, Bm) correctly on the guitar.
     • In pairs: Sing while conducting, putting more awareness on the anacrusis.
     • In groups: Perform the two songs together with part singing and guitar.
   • Assignment / Enrichment
     • Research a folk song from your own community. Identify its meter and whether it begins with an upbeat. Prepare to share next class.

VALUES INTEGRATION

• Emphasize cultural appreciation: Folk songs carry the traditions, identity, and values of different communities.
• Highlight unity in diversity: Even though the songs come from different places and languages, they can blend beautifully when sung together. This reflects the Filipino value of unity in diversity—many voices, one harmony.
• Encourage teamwork in part-singing and ensemble performance.