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Unit Curriculum Project Elizabeth Scott Dr. Ryan Hourigan MusEd 395: Band Literature Spring 2010

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Page 1: Unit Curriculum Project - The Teaching Portfolio of ...elizabethascott.weebly.com/uploads/1/0/4/8/10489937/unit_plan.pdfUnit Curriculum Project Elizabeth Scott ... Light Cavalry Overture

Unit Curriculum

Project

Elizabeth Scott

Dr. Ryan Hourigan

MusEd 395: Band Literature

Spring 2010

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MUSED 395 Lesson Plan – Piece & Style Introduction

Name: Ellie Scott Class: 7th

grade Band

Date: March 28 – April 2, 2010 Rehearsal in Sequence: Week 1

Objectives:

• Students will sight-read the new pieces of music handed out each day to the best

of their ability. (Standards 2 and 5)

• Students will describe the style in which they believe the music should be played

based on their initial read as well as recordings. (Standards 6, 8 and 9)

Procedure:

Warm-up: Play scales and rhythmic exercises that are also audiated; chorales for balance

• Each day, one new piece will be handed out (the class meets 5 days a week for 55

minutes).

o Monday: Gathering In the Glen (Sweeney) – fun piece made up of Irish

folk tunes

o Tuesday: Light Cavalry Overture (Von Suppe/ arr. Williams) – toughest

piece on the concert due to length and rhythms; will require the most work

o Wednesday: Crossings In Time (Sweeney) – chorale-like; focus on

dynamic expression

o Thursday: Train Heading West & Other Outdoor Scenes (Broege) – three

contrasting movements based on “Wild West”

o Friday: Storm Mountain Jubilee (Strommen) – short but fun piece with

hoe-down feel

• The students will be told that the goal for this concert is to learn about different

musical styles (including both musical styles, such as fast versus slow, and

predetermined styles, such as marches versus dances). To achieve this goal,

historical and geographical aspects must be considered, along with what

expressive elements will be used to portray the correct style.

• After receiving the music, students will look through the piece for 5 minutes for

clues as to the style of the piece (and movements if applicable) such as dynamics,

musical structure/form, written clues, tempo changes, etc. Following this, a

recording will be played while the students follow along with their music. Style

characteristics will be listened for again. These ideas will then be discussed as a

class.

• The teacher will provide a verbal biography about the composer along with the

composer’s ideas for and about each piece for the students. This will allow the

students to have a better understanding of what the composer was thinking while

writing the piece.

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MUSED 395 Lesson Plan – Piece & Style Introduction

• This new knowledge will then be combined with the ideas of the class to create a

class-approved idea of the style for each piece.

• The class will then slowly play through each piece, with the intent of playing

through the entire piece. If needed, the teacher can stop and regroup the students,

but must make sure to give the students some idea as to why there were

difficulties.

• After playing through each piece, the class will discuss how their idea of style fits

with the piece once having read it. Any changes they may feel are necessary will

be recorded.

• Potential problem spots will be identified for each section, as well as places where

the entire group will need to work due to a musical challenge (ex. maintaining

balance while growing to an impact).

• Students will keep the pieces in their folders until next week, with instructions to

practice the pieces at home and focusing on problem areas.

Assessment:

Formative Assessment:

Before leaving each day, each section will be asked what spots they believe will be the

most difficult, technically and musically, along with possible ways to practice these

areas. These sections will be marked in the music so the students know areas they will

need to practice the most.

Summative Assessment:

No summative assessment at this point, since the students have just received the new

music.

Feedback and ideas for next rehearsal:

Let the students know whether the run-through of each piece was stable or rough so they

have an idea of which pieces are going to need the most work. Next week, individual

parts of pieces will be focused on to help create style.

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MUSED 395 Lesson Plan – Piece Division into Sections

Name: Ellie Scott Class: 7th

grade Band

Date: April 5-9, 2010 Rehearsal in Sequence: Week 2

Objectives:

• Students will identify the individual sections in each piece of music. (Standards 5

and 6)

• Students will determine how each section is different, using clues from the

expressive elements such as dynamics and articulations, and use these elements to

create the difference in styles. (Standard 6)

Procedure:

Warm-up: Play scales and chorales using different expressive techniques, such as

changing the dynamics or articulations.

Each piece will be divided into sections based on context clues. The sections will then be

rehearsed individually, paying close attention to how the expressive elements create a

different feel for each section.

• Light Cavalry Overture

o Intro (m. 1-23):

! Fanfare section

! Moderate stately tempo

! Solo sections create contrast

! Broad notes with space between each note

! Thick texture

o Sec. 1 (m. 24-58):

! Faster; in 6/8 but eventually conducted in 2

! Much thinner texture at first but stronger at m. 34 when whole

band enters

! Bouncy feel, especially in accompaniment

! Broad separation like in Sec. 1 when notes are accented

! M. 42-50: dynamics rise and fall very rapidly, building to m. 50-58

where the biggest impact of the section is felt

o Sec 2 (m. 59-74):

! Slow, lyrical section; almost mysterious feel

! Again, texture starts out thin but builds after initial statement of

theme

! More legato/smooth feel to section – articulations very

important

! Short attacks if only playing on downbeat (accompaniment)

! Grow on fermata in m. 74; leads back to m. 24

o Coda:

! Back to fanfare feel

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MUSED 395 Lesson Plan – Piece Division into Sections

! Dynamics follow the line of the music

! Strong brass on low, accented notes

! Each of the last four notes will be cued and need to grow to large

sound for ending

o Watch for accidentals in each section

o Check balance in sections where texture is thin and melody exposed

• Gathering in the Glen

o Intro (m. 1-12):

! Walking tempo

! Light, flowing

! Flute starts melody in m. 2

! Start building sound in m. 9 with long notes

o Sec. 1 (m. 13-30):

! Trumpet plays initial melody, then replayed when whole band

enters

! Long notes m. 13-20 help build to impact point in m. 21 – dynamic

increase

! Dynamics build to a point, back down, and then rebuild

! Long but detached notes through entire section

! Slow down m. 29 to prepare for next section

o Sec. 2 (m. 31-47):

! Slower, sweetly (ballad section)

! Exposed flute and clarinet with melody

! Pay close attention to articulations to create difference in slurred

and tongued sections

! Constant dynamic growth

! Smooth trade-offs of melody

o Sec. 3 (m. 48-69):

! March section – starts in percussion m. 48

! Heavier weight on notes, still smooth articulations

! Loud during statement of melody

! Strong ending – start building from m. 60

o Piece is fun but flowing and smooth

• Crossings In Time

o Sec. 1 (m. 1-25):

! Initial statements of held out notes; addition of other instruments

fills the sound

! Full notes to create broad overall sound

! Build to m. 17, where tempo increases slightly, then continue

growing

! Decrease sound and tempo from m. 22-26

o Sec. 2 (m. 26-43):

! Faster melodic rhythms and tempo – creates new mental

image/picture

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MUSED 395 Lesson Plan – Piece Division into Sections

! Constantly growing to fortissimo impact in m. 40, with still a little

growth up through m. 44

o Sec. 3 (m. 44-68):

! Sudden drop off of sound

! Return to Sec. 1 sounds

! Constant dynamic growth and reduction leading up to end

o Constant ebb and flow of dynamics in this piece – must watch carefully

o Bring out shorter notes – points of interest

• Train Heading West

o Mvt. 1

! Native American feel – “long short short short” rhythms must be

carefully articulated

! Broad, legato notes with little separation

! Quick dynamic changes

! Match articulations in tutti sections

o Mvt. 2

! Flute and Clarinet 2 supposed to sound like rain

! Slower and sweeter

! Quieter dynamics; smaller growth in crescendos

! Build to m 19, then come back down to end

o Mvt. 3

! Train speeding up, then going off into distance

! Tempo changes

! Texture gets thicker while speeding up and then thinner while

heading off into distance

• Storm Mountain Jubilee

o Sec 1 (m. 1-48)

! Bouncy

! Quick tempo

! Separated notes

! “long short” on slurred notes

o Sec. 2 (m. 49-64)

! Smooth, connected notes

! Same tempo, but sounds slower due to longer and connected notes

o Sec. 3 (m. 65-80)

! Original theme comes back

! Build in last 4 measures to large impact on last note

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MUSED 395 Lesson Plan – Piece Division into Sections

Assessment:

Formative Assessment:

Listen to students while playing for their ability to create contrasting styles based on the

expressive elements.

Summative Assessment:

During this week, the students will be asked to write a two-paragraph essay on one of the

cultures relating to the pieces being played (Wild West, Ireland, etc). It will be due at the

end of the week at the beginning of Friday’s rehearsal.

Feedback and ideas for next rehearsal:

Review ways to create stylistic differences. Begin work on rhythmic and note accuracy

during the next week.

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MUSED 395 Lesson Plan – Piece Division into Sections

Writing Assignment: How Cultures Shape Music

Name:__________________________________

Date:______________________

Write a two-paragraph essay on the culture of one of the pieces from the next concert.

The essay should include basic information about the cultural group, as well as how the

differences in the culture could impact the way the culture’s music sounds or is played.

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MUSED 395 Lesson Plan – Rhythm/Note Accuracy

Name: Ellie Scott Class: 7th

grade Band

Date: April 12-16, 2010 Rehearsal in Sequence: Week 3

Objectives:

• Students will develop rhythmic and tonal security through singing and clapping

activities that will then carry over to playing. (Standards 1, 2 and 5)

• Students will evaluate their ability to transfer music that has been audiated to their

playing. (Standards 1, 2, and 7)

Procedure:

Warm-up: Sing and play scales; call and response rhythms were students repeat the

rhythm modeled by the teacher.

The teacher will determine sections of each piece where students may have rhythmic and

note accuracy issues. Each of these sections will be worked on throughout the week. The

instructor will model each of these learning techniques so the students have a

comparison.

• Clapping and counting aloud will be used for rhythmic areas; the students will be

told to clap their rhythms while counting, and then reverse the process by

clapping a steady beat and voicing their written rhythm.

• Students will sing their melodic line, after be given a starting pitch from the

teacher, making sure to watch out for accidentals that may cause issues.

Once the students are able to audiate the problems sections correctly, this will be carried

over to their instruments. After correctly playing these sections, the problem sections will

be incorporated back into larger sections so the students know how they fit within the

piece.

• Light Cavalry Overture: (piece with most focus this week)

o Rhythm

! Even 16th

-8th

rhythms in flute/oboe/clarinet in m. 17-22

! Feeling the 6/8 section in 2 (triplet figures)

! Sixteenth note pick-ups to melody figure started in m. 25

! Dotted eighth-sixteenth notes in melody line starting at m. 59

! Check flam and roll lengths for snare drum throughout piece

! Sixteenth-dotted eighths in m. 74

o Notes

! Accidentals in the melody line of starting m. 59

• Gathering in the Glen:

o Rhythm

! Syncopation in m. 5 in flute/oboe

! Check evenness of eighths in flute/oboe m. 64, 66

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MUSED 395 Lesson Plan – Rhythm/Note Accuracy

o Notes

! Key change in m. 31 to Eb major

! Key change back to Bb major in m. 52

• Crossings In Time:

o Rhythm

! Match entrances when entering on beat 3

! Check quarter note entrances and changes m. 16-18

! Even eighth notes in faster section

! Cued entrances at the end

o Notes

! Watch for accidentals in faster section due to key change from C

minor to C major

! Make students aware of lack of accidentals after m. 44 when

switches back to C minor

• Train Heading West:

o Rhythm

! Even eighth notes in Mvt. 1, despite articulations

! Match entrances on tutti sections (Mvt. 1, m. 18, 22)

! Steady tempo in flute and clarinet 2 when sounding like rain

! Syncopated rhythm at start of Mvt. 3

! Tempo changes in Mvt. 3 much be checked

! Mvt. 3, m. 13: Make students aware of trade-offs in eighth notes

and check entrances

! Group entrances in Mvt. 3, m. 23-28, 33-40

o Notes

! Check accidentals throughout piece for all instruments

(Note: In the score, all instruments are written in the key of C

major and accidentals are just written in when necessary for

transposing instruments. The implementation of this would depend

on if this is how the individual parts of written.)

• Storm Mountain Jubilee:

o Rhythm

! Entrances of accompanying instruments

! Rhythm in melody initially played in m. 10-11 feels like it should

be in the but is still in 4

! Perc 1 entrances m. 24-25

! Clapping rhythm m. 38-46

o Notes

! Check accidentals:

• M. 14 – saxes, horn, tuba

• M. 24 – oboe, bass clarinet, saxes, horn, tuba

• M. 55 – Horn

• M. 59-64 – bass clarinet, saxes, horn, trombone, tuba

• M. 76-80 – bass clarinet, saxes, trombone, tuba

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MUSED 395 Lesson Plan – Rhythm/Note Accuracy

Assessment:

Formative Assessment:

Check the rhythmic and tonal accuracy of students by having sections play through

difficult sections at the end of class after working on them in class.

Summative Assessment:

Students will complete a short self-evaluation of their performance while singing,

clapping, and playing as well as the transfer from singing/clapping to playing.

Feedback and ideas for next rehearsal:

Make sure students understand all rhythms that may cause issues and have the counts

written in their parts if needed. Dynamics will follow in the lessons next week.

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MUSED 395 Lesson Plan – Rhythm/Note Accuracy

Self-Evaluation: Rhythm and Note Accuracy

Name: _____________________________________________ Date:________________

Did the clapping and singing help you understand the rhythms of your music? Why or

why not?

Did singing your part in the music help? Why or why not?

Are there any pieces you feel very comfortable with in regards to the rhythms and your

part? Any you don’t feel comfortable with?

What areas did you do well in today (singing, clapping, etc.)? What are some areas you

may need to work on?

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MUSED 395 Lesson Plan – Dynamics

Name: Ellie Scott Class: 7th

grade Band

Date: April 19-23, 2010 Rehearsal in Sequence: Week 4

Objectives:

• Students will create expressive contrast while playing based on dynamics, both

written and shown by the director. (Standards 2, 5, and 6)

• Students will use dynamic contrast to create their own interpretations of the

melody lines of a chosen piece (Standards 3 and 4)

Procedure:

Warm-up: Using scale and chorale exercises, have the students change dynamic levels

and crescendo or decrescendo depending on the directions of the conductor.

The overall topic of this week will be creating dynamic contrast, which will then lead into

how the dynamics affect the style of a piece.

• The class will identify the dynamic range used in each piece.

• Using blanks sheets of paper, the students will draw the dynamic line used in each

section of the pieces. One continual line will be used to show the rise and fall of

the dynamics. The higher the line, the louder the piece; a lower area means softer

dynamics. After doing this, recordings of each piece will be played and the

students will compare their drawn lines to the lines played in the recordings.

• Ways to visually show dynamic contrast will be discussed.

• Students will audiate the dynamic changes on a given pitch while the conductor

directs.

• After accomplishing the changes on a given pitch, the director will run the

sections again, with students now singing their own lines.

• After successful audiation of their musical lines, the students will transfer the

dynamic contrast made with their voices to their instruments. Ways to create a

good tone while still creating contrast must be clarified at this point (faster air, do

not overblow, etc.).

This topic is crucial to all of the pieces on the concert. Due to the drastic contrasts that

occur through the entire piece, Crossings In Time will be piece worked on the most

during this week. However, this does not mean the other pieces will be ignored or given

less value in relation to this topic. Other places where dynamic contrast is incredibly

influential:

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MUSED 395 Lesson Plan – Dynamics

• Light Cavalry Overture:

o Balancing loud and soft when texture is thin

o Growing to impact points

o Decrescendos into smoother, chorale-like section

o Following the rise and fall of the musical line to determine dynamic range

• Gathering In the Glen:

o Building through the introduction to the first section

o Quick changes back and forth between forte and mezzo-forte m. 21-25

o Using decrescendos to aid in slowing tempos (m. 30)

o Building to impact points before and during the march

o Large group impact at the end

• Train Heading West:

o Mvt. 1 – quick changes between piano and forte levels

o Mvt. 2 – Maintaining good tone while using quieter dynamics, growing to

the impact point in m. 19, fading out at the end

o Mvt. 3 – terrace dynamics

• Storm Mountain Jubilee:

o Legato section m. 26-29

o Chorale section m. 49-64

Assessment:

Formative Assessment:

Check the drawn lines to see that the match the written or discussed dynamic levels.

Listen for dynamic changes while students are singing and playing; while doing this,

make sure the students are using quality tone and not overplaying.

Summative Assessment:

Playing test: Students will use an 8-measure section of a piece of their choice. First, they

will play the piece at the written dynamic levels. Next, they will change the dynamic

levels as they please to display improvisation skills.

Homework: Students will choose a different 8-measure section to write out and arrange

with their own dynamic levels.

Feedback and ideas for next rehearsal:

Check for dynamic and dynamic contrast understanding and playability. Next week will

be focused on articulations.

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MUSED 395 Lesson Plan - Articulation

Name: Ellie Scott Class: 7th

grade Band

Date: April 26-30, 2010 Rehearsal in Sequence: Week 5

Objectives:

• Students will enhance their knowledge of possible articulations as well as how to

produce these articulation types on their instrument. (Standards 2, 5, and 6)

• Students will discover and be able to verbalize how articulations help to create

musical styles, especially relating to the background culture of different pieces.

(Standards 6, 7 and 9)

Procedure:

Warm-up: The students will play scales and warm-up exercises using different

articulations as described by the director.

Different types of articulation, the proper way in which to produce these articulations on

different instruments, and the way in which articulations can impact and enhance musical

styles are the basis for rehearsals during the 5th

week of preparation for this concert. Each

day, one piece will be chosen and the articulations used in that particular piece will

determine the articulations that are discussed on that specific day.

• The teacher will model different articulations on their instrument and have the

students describe what they hear in terms of length, weight, etc. Following these,

the teacher will ask if any students know the correct musical terminology

associated with the played articulation.

• Following teacher model, the students will create the different embouchure

formations associated with the creation of different articulations. This will be

done for multiple articulation types, and will need to be repeated until the students

are able to create an acceptable sound.

• Students will play scales using articulation patterns, much as they did in the

warm-up. However, this time the students will focus on using the mouth

formation from the previous step; following this, students will evaluate their

playing. Repetitions of this exercise will be done until the teacher is comfortable

with the students’ creation of articulations.

• As with the dynamic lesson, the class will discuss ways the director can convey

specific articulations through their conducting.

• Students will again play the scales, this time watching the conductor for clues as

to which articulation to use.

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MUSED 395 Lesson Plan - Articulation

• Students will be asked to find sections in their music where the articulations being

studied that day are found, and identify them to the class as a section using correct

terminology.

• Sections of the piece will be rehearsed, with particular attention paid to the

production of accurate articulations based on the proper creation learned in the

previous exercises.

• The smaller sections of music will be rehearsed in bigger chunks, allowing the

students to feel transitions between different articulation styles.

• A review session will follow, during which articulation terminology is discussed

along with the way in which the different articulations affect the style of the

piece.

Specific sections used for articulation study:

• Light Cavalry Overture:

o Separation of accented notes

o Transitions between slurred, accented, staccato and legato tonguing

(especially in the upper woodwinds)

o The use of tonguing and syllable formation to create short attacks

o “Long short” patterns in slurred and tongued alterations (m. 54-5 upper

woodwinds)

• Gathering In the Glen:

o Difference between legato tonguing and slurs

o Accented sections should be long but detached

• Crossings In Time:

o Creating a smooth line, focusing a great deal of staggered breathing and

very smooth legato tonguing to produce the feeling of an extended line of

music

o Smooth initial attacks that do not “splat”

o Fading out of held-out notes rather than just cutting off air supply

• Train Heading West:

o Mvt. 1 – Smooth transition between slurred and staccato eighths

o Mvt. 2 – long but detached notes to create the rain effect; legato tonguing

o Mvt. 3 – Difference between tenuto and staccato notes; difference between

regular and accented staccato notes

• Storm Mountain Jubilee:

o Match length of note in moving bass line, especially for those coming in

on the off-beats

o Smooth connection in held-out notes (m. 26-29, 49-60)

o Check length of clapping – unison sound

o Match accent on final note

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MUSED 395 Lesson Plan - Articulation

Assessment:

Formative Assessment:

At the end of day, review the articulation style(s) discussed that day. When the week

comes to an end, perform a verbal review of all styles by asking the class to describe the

articulation the teacher announces.

Summative Assessment:

Students will be told about a playing test that will take place in the following week

through the use of SmartMusic.

Feedback and ideas for next rehearsal:

Review articulations and dynamics, as these two concepts will be combined in the

following week.

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MUSED 395 Lesson Plan – Combine Articulation and Dynamics

Name: Ellie Scott Class: 7th

grade Band

Date: May 3-7, 2010 Rehearsal in Sequence: Week 6

Objectives:

• Students will apply the skills regarding dynamics and articulations learned in the

previous two weeks to their pieces at the same time, rather than focusing on just

one. (Standard 2)

• Students will develop personal musical skills that can be used to determine how

dynamics and articulation affect the style of a piece of music. (Standard 6)

Procedure:

Warm-up: The students will play scales and warm-up exercises. First, different dynamics

will be used for run-throughs. This will be followed by the use of different articulations,

and finally the combination of both.

The students have spent two weeks working on the creation of dynamics, dynamic

contrast and various articulations. It is now time to combine these two skills. Since these

are younger students, it will take a large chunk of time for the students to succeed at this

goal, which is why an entire week is dedicated to this process.

• A review session of different articulations and dynamics will remind the students

of what they have learned in the past two weeks. The teacher will model the

different styles and ask the students to name what they did differently each time

(staccato notes, crescendo, etc). Asking for definitions of a term or the term that

accompanies a specific definition will also check their musical vocabulary.

• The students will then attempt to combine both areas of newly developed skills

into the playing of their pieces to enhance the musicality. This must be done in

small chunks at first to get students used to this process. The teacher will inform

the students that this was the underlying goal of their warm-ups.

• A small section (four to eight measures each) of each piece will be chosen by the

instructor. The articulations and dynamic changes will be rehearsed individually

at first and then combined. In an attempt to prevent student frustration, the

sections will be taken slowly at first and then sped up.

• Once the students are doing well with combining the expressive elements in the

smaller section, the size of the section will be increased. Again, this will start

slowly and be sped up as confidence increases.

• The above two steps will be repeated for other sections in the piece until the

students and teacher feel comfortable and confident in the students’ ability to play

expressively while still producing a good tone and note and rhythm accuracy.

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MUSED 395 Lesson Plan – Combine Articulation and Dynamics

• If certain sections are causing a great deal of problems for the group, they will be

broken down into the two separate concept areas once again to determine whether

is problem lies in the creation of dynamics or articulations. The problem area will

be rehearsed until the playing is more solid, at which point the other element will

be added back in.

By the end of the week, the band should be able to run each individual section of the

pieces with the proper expressive elements. The teacher should evaluate the performance

of each section at the end of the rehearsal to determine which, if any, sections will need

more work.

The goal for Thursday of this week is to have run each section solidly at least once. This

leaves the Friday rehearsal open to working on the sections with which the students are

having the greatest problems. If necessary, individual sections may be pulled to work on

certain sections.

Assessment:

Formative Assessment:

The teacher will observe students while playing in class to check their ability to produce

a good tone while adding the expressive elements into the pieces.

Summative Assessment:

Students will be pulled individually during the week to record themselves performing on

SmartMusic. The students will have been given a specific song from their method book

the previous week, so they will have had time to practice. The performance will be

graded on note and rhythmic accuracy, but also the student’s ability to create dynamic

contrast and different articulations.

Feedback and ideas for next rehearsal:

Check student understanding of how articulation and dynamics can impact style, which

leads into the re-establishment of the style of each piece in the following week.

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MUSED 395 Lesson Plan – Re-Establishment of Style

Name: Ellie Scott Class: 7th

grade Band

Date: May 10-14, 2010 Rehearsal in Sequence: Week 7

Objectives:

• Students will verbalize the stylistic differences of each piece based on the skills

developed during the past weeks of rehearsal. (Standard 6 and 7)

• Students will produce the stylistic differences through the application of their new

skills (dynamic contrast and various articulations). (Standards 2 and 5)

Procedure:

Warm-up: The director will run scales and scale exercises; the students will be expected

to change the way in which they perform the exercises based on visual cues from the

director.

Since this is the week before the concert, the class needs to start rehearsing the pieces as a

whole rather than chunks or sections. Since the overall concept for this concert is the

ability to use expressive musical elements to create different styles, the students will need

to identify the different styles used in each piece so they have a solid idea of the

expectations per piece.

• The teacher will quickly review articulation and dynamics with the students.

Following this, the teacher will lead a discussion of how these elements of

expression can affect or cause the style of music, particularly the pieces for the

upcoming concert.

• Each section of each piece will be run through completely. Following each run

through, the class will decide on a description of the style of the piece.

• Based on the class’ decision of style per section, a visual with be decided upon for

each section. Examples are children laughing, an open field, royalty being

presented to the public, or sleeping. This will give the students an image they can

think of while playing the music, which will helpful for all of the students but

especially the visual learners in the room. These images will be written on the

students’ music so they are able to review them before playing. If images do not

work for some students, feeling or descriptive adjectives can be used as well.

• The same process of picking an image or series of descriptive words to describe

sections will now be applied to each piece as a whole. By doing this activity, the

students are able to discover the overall meaning or feeling of the piece, but also

ways to remember how individual sections vary in style within the same piece.

• After writing down words to help them remember the stylistic differences of each

piece as well as the sections within the piece, the students must now make sure

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MUSED 395 Lesson Plan – Re-Establishment of Style

they are able to play each piece in a way that matches their style ideas for each

piece. This may take a few run-throughs of either the entire piece or just sections,

especially if there are many diverse sections as in Light Cavalry Overture.

• Once the style has been established for each piece, multiple run-throughs must

occur so the students feel completely comfortable with the way in which the piece

should be played for the concert.

The goal for this week is to have created a specific image of the style of each piece. This

allows the students to have a solid understanding of what they are trying to portray when

they play each section of the pieces, as well as an overview of each entire piece. By

creating the definite image the week before the concert, the students will have time to

practice and rehearse the pieces for a decent amount of time and will not be rushed to

change their general overview of each piece the week before the concert.

Assessment:

Formative Assessment:

Make sure students are participating in the discussions of the different styles, and are

working to produce these differences through observation of playing.

Summative Assessment:

Students will be asked to write a paragraph of their interpretation of the style of one piece

a day based on their thoughts and class discussions. One piece will be assigned each day;

the students will have 10 minutes at the end of the rehearsal to complete their paragraph.

By the end of the week, all pieces will be covered.

Feedback and ideas for next rehearsal:

Remind students of the concert next week, and inform them the next week will be for

detailed cleaning of their pieces in preparation for the concert.

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MUSED 395 Lesson Plan – Re-Establishment of Style

Writing Assignment: Style

Name:_______________________________________________________

Date:______________________

Name of Piece:___________________________________________________________

Write a paragraph describing the style of the piece of music assigned for the day. This

can be an image you think of while playing, words about how it makes you feel – how

you want to describe it is up to you!

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MUSED 395 Lesson Plan – Cleaning and Preparing for the Concert

Name: Ellie Scott Class: 7th

grade Band

Date: May 17-21, 2010 Rehearsal in Sequence: Week 8

Objectives:

• Students will demonstrate their knowledge of musical style through the

performance of the prepared pieces. (Standards 2, 5 and 6)

• Students will evaluate their individual and group performance based on their

musical knowledge and skills developed during the past rehearsals (Standard 7)

Procedure:

Warm-up: Each day, the director will cover scales related to the pieces being played so

students have an idea of the tonal center. Rhythmic and tonal exercises should also be

performed to prepare the students for the upcoming concert. The teacher may need to

create these exercises on their own to guarantee that an effective tie-in with the concert

pieces.

The concert performance of the pieces the students have been rehearsing for the past

seven weeks will be on Thursday, May 20, 2010. To guarantee a quality concert and that

the students are completely prepared, the pieces will need to be run through as

completely as possible, with stops only for critical errors that need to be corrected.

• After warming up the students, the teacher will announce daily goals at the start

of each rehearsal. This may be something such as playing all the way through all

of the pieces, getting through just one specific piece, or cleaning a specific

section. By doing this, the teacher is letting the students know how much they

need to accomplish in a certain amount of time.

• Each day should include a run through of at least one piece in entirety, and all

pieces must be rehearsed for at least 5 minutes so that none are neglecting while

cleaning others.

• If the teacher states that the group will be playing through an entire piece without

stopping, the teacher must stick to this goal as often as possible. If a piece starts

falling apart or a glaring mistake is made, the teacher made stop and clean that

section; however, small mistakes must be overlooked unless they are repeated

consistently.

• Cleaning should be primarily focused on during the first two days, while

completely playing through most if not all of the pieces should be the goal of the

last two days before the concert. When cleaning, make sure articulations and

dynamic changes are matching the style decided upon and practiced the week

before. As this has been the primary focus of this concert, it is imperative that the

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MUSED 395 Lesson Plan – Cleaning and Preparing for the Concert

students are able to maintain the expressive elements through every performance

of the piece.

• The conductor must make sure that getting and maintaining the attention of the

students, as well as how each piece will be started is practiced. This is essential to

a successful concert, for it is far more likely the students will do this if it has been

practiced rather out in advance than the day before the concert. The same can be

said for entering stage and bowing procedures.

As this is the week before the rehearsal, the students should not be learning anything too

drastically new. Cleaning is acceptable, but at this late stage in the rehearsal sequence,

the students will not have enough time to completely absorb new ideas, especially since

they are still young players. This makes it highly important for the concepts to be

solidified in the previous weeks, and that the teacher is constantly assessing the level of

understanding for each individual student. If all seems to be going smoothly during the

previous rehearsals, the concert should be a success for the teacher and the students.

Concert order:

• Light Cavalry Overture

• Gathering In The Glen

• Crossings In Time

• Train Heading West & Other Outdoor Scenes

• Storm Mountain Jubilee

Assessment:

Formative Assessment:

Check through observation that the students are prepared for the concert. Identify any

weak spots so they can be checked and cleaned.

Summative Assessment:

On Friday, the students will listen to a recording of the concert from the night before.

After listening, they will be asked to complete a self-evaluation critique based on their

personal playing as well as that of the group.

Feedback and ideas for next rehearsal:

On Friday, the teacher will give their personal opinion of the concert after self-

evaluations are completed. This is most likely the last performance for the group this

school year. If not, the students should be prepped for the next performance. Otherwise,

the teacher should start working on the final playing and written tests of the year by

assigning music for the playing test and reviewing the knowledge needed to complete the

written test.

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MUSED 395 Lesson Plan – Cleaning and Preparing for the Concert

Self Evaluation: May 20, 2010 Concert Critique

Name:_______________________________________________________

Date:______________________

Describe how you felt the concert went:

What were the greatest strengths of the group during the concert?

Did you notice any problems or issues from the group?

Describe your greatest strengths that were displayed in this concert:

What are some areas you can continue working on for the next concert/year?