Good, Better, Best

Good, Better, Best

A Rhythm and Movement Lesson for Grades 4-6

Download a printable version of Michael Chandler’s lesson here.


  • Working with beat and divided beat through movement, body percussion, and instruments.
  • Choreographing simple movement to elemental forms.
  • Rhythmic and melodic improvisation and composition with elemental forms.
  • Arranging and orchestrating a performance piece.


  • Unpitched percussion instruments including drums and temple blocks.
  • Mallet instruments 

Day One

  • Students are scattered throughout the class space as the teacher plays steady quarter notes or eighth notes on the temple blocks or a drum. Students listen, react, and move through shared space to the rhythms played by the teacher, speaking the words walk or tip-toe and coordinating their steps to match the rhythms they hear played.
  • Students find a partner and create a 4-beat clapping pattern consisting of quarter and eighth notes. Partners can use knee patting, clapping, or snapping, but at some point they must connect through a partner clap with one or both hands. Once the pattern is secure, it should be performed twice in a row for a total of 8 beats.
  • Partners then create a separate movement sequence of 8 beats. They may move apart and come back together, trade places in some way, or go around one another returning to their original spot. The sequence will likely follow a 4+4 structure to make 8 beats, and it may include any other unique additions that make it look more interesting.
  • Students perform the previous clapping pattern twice (8 beats) and then follow it with the 8-beat traveling sequence for a total of 16 beats. Practice until secure, and ask each half of the class to perform for the other half. Students select ideas from among everyone’s to create a single partner dance for the entire class to perform together in pairs.
  • Through echo imitation, teach the poem Good, Better, Best. The text may be spoken in unison or in a 2-beat canon after two beats.
Good Better Best 1
  • Combine the class-created dance with the text. The phrases of the text mirror the phrases of the class dance (4+4+8).


Day Two

  • Present the students with five rhythmic building blocks using model words that demonstrate positive characteristics.
GBB key words

  • After imitating each word through rhythmic speech, students combine them in pairs at first and then improvising word chains of four to create an 8-beat phrase. One word should be repeated in each word chain, but two may be repeated for forms like aabb or abab. Avoid through-composed chains (no abcd).
  • Students organize into three groups, and each group composes an 8-beat word chain that illustrates an elemental form. Once the form and the rhythm are decided, it should be performed twice for a total of 16 beats. Each group transfers its rhythm to unpitched percussion or hand drums and choreographs it with simple movement.
  • Review and perform the poem Good, Better, Best through rhythmic speech. Teach the two accompanying speech ostinati separately (see below) and combine all three parts, allowing each group to experience each part of the texture. Assign a part to each group and perform the piece as a rondo with the poem and speech ostinati as the A section and each group’s unpitched percussion composition as an episode.

Good Better Best 2

Day Three

  • Students begin at mallet instruments and choose a pentatonic scale (do-based or any other pentatonic mode such as re– or la-based). Decide on whether to use the authentic range (tonic to tonic with 5th in the middle) or the plagal range (5th to 5th with tonic in the middle). This will depend on the scale chosen and which note is the tonic. Try to use a range comfortable for singing.
  • Students play the scale up and down and end on the tonic to hear its characteristic sound. Teacher claps a series of simple 4-beat rhythmic patterns for students to explore playing on the bars. Ask them to use specific areas of the scale such as the tonic to the 5th or the 5th to the tonic. If using the do– or la-based scale, use re only as a passing tone or as an upper or lower neighbor.
  • Students review the text to Good, Better, Best and play it lightly with alternating hands on the tonic pitch of the scale selected by the class.
  • Working one phrase at a time, allow students to improvise and share individual ideas that lead to a class-composed melody for the entire text. Make note of the class’ final version so it can be notated later with notation software.
  • Using primarily the tonic and 5th, ask students to work with a partner to improvise a 4-beat ostinato accompaniment pattern that can accompany the class melody. See examples in Music for Children Volume I, pages 82–83 and pages 86–87.
  • Review both speech ostinati and transfer them to contrasting unpitched percussion parts (such as triangle and woodblock). Add these two parts to the texture of the final arrangement.
  • Invite half of the class to perform the arrangement as created by the class while students in the other half find partners to perform the dance created earlier. To extend the form, the class can sing the melody once and then repeat it with the melody played on instruments only. Depending on the melody’s range, it could be played on recorder (do Pentatonic on G in the plagal range, is great for recorder).
  • Notate the final class arrangement with notation software, and give each child a copy. A copy of each class’ arrangement can also be displayed for parents for open house.


  • Using the previous arrangement as an A section in a rondo, students can use a rhythmic text, such as the one below, for improvised melodic solos. This text works well for melodic question and answer improvisation (8-beat question and 8-beat answer).
Good Better Best 3


About Michael Chandler

Michael Chandler

Michael Chandler taught music and movement in Texas public schools for 16 years, most of them in the Lewisville Independent School District, where he was named Teacher of the Year at two elementary campuses. In 2005, 2007, and 2013 his student ensembles were featured performers at the TMEA Clinic and Convention in San Antonio. Michael presents workshops and sessions at the local, state, and national level including for TMEA, TCDA, and AOSA. He has taught in Orff Schulwerk certification courses at Southern Methodist University in Dallas, the University of Central Arkansas in Conway, the Hartt School in Connecticut, Oregon State University, and the University of St. Thomas in Minnesota. He has served as President of the North Texas Chapter of the American Orff-Schulwerk Association (AOSA) and as a Regional Representative on the AOSA National Board of Trustees. He is also an accompanist with the Children’s Chorus of Greater Dallas (CCGD) and the organist and pianist at Round Grove United Church (UCC) in Lewisville. Michael is the author of Everyday Recorder, Recorder Everyday, an Orff Schulwerk approach to integrating recorder into the music classroom. Michael earned the Bachelor of Music degree in music education from Union University in Jackson, Tennessee; the Master of Music degree in piano performance from the University of Arkansas in Fayetteville; and the Master of Arts degree in music education from the University of St. Thomas in Minnesota. He is currently working toward the PhD degree in music education at the University of North Texas in Denton.


Clarissa Ward

Beautiful lesson! Love how parts can stand alone (and utilized in different ways for future lessons) but the whole is wonderful also! Many great ideas. Thank you!

Kevin Gunther

This message is something that I am going to work on with my students this year. It’s so important that our students persevere and experiment with different ideas and outcomes before settling on the first thing that comes to their minds. I am really looking forward to trying this next month. Thanks for sharing!

Kathleen Wassum-Hamel

I love this! Especially this year at the beginning when we are talking about persevering and “Full Steam Ahead: Destination Learning” Thank you so much for your teaching suggestions and for keeping the spirit of Orff going in all of your lessons. I am an old teacher learning many new things and I appreciate your many useful ideas!

Francesca Veglia

Thanks for this lesson! My school is working on a new socialization and behavior component this year, and I think this works with it beautifully. It also gives them a creative manner in which to remember these elements that they need to work on. We also use Julie Hebert’s rhythm of the rules and I can mix it up adding those rhythms to yours.

Katherine Crockett

This is an awesome lesson for the first month of 5th grade…and 4th! Thank you Michael!

Susanne Zoch

Michael! Thanks so much! We used this phrase a lot last year at school. I am excited to start it this year with my 5th and 6th graders! Way to motivate!

Robin Herman

Thanks so much for this group of lessons! I am inspired and can’t wait to try this at the beginning of the school year with my 4th and 5th graders!

Bobby Magee

I like the concept of this lesson. I teach K-2, but I plan to use this lesson with some possible modifications for my younger students. I’m sure my kids will love this activity. Thanks so much for sharing this idea Mr. Chandler.

Jason Levy

When I first looked at it I wasn’t sure but kids like it and it is neat to see what they create on day 1 of school. Just started the day 2 part of the lesson this week and it is fun too. To start the year with middle schoolers excited about music class is great!

Teaching With Orff

Jason – thank you for sharing your video with us! We loved seeing Michael’s lesson in action. – Your friends at Teaching With Orff


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