Page 28 Lesson Plan Exercises Score Pages

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1 Page 28 Lesson Plan Exercises Score Pages Goal Students will progress in developing comprehensive musicianship through a standards-based curriculum, including singing, performing, composing and arranging, reading and notating, listening and analyzing, evaluating, interdisciplinary relationships, and historical and cultural relationships. Objectives for Student Learning Accurately perform tempo, rhythms, pitches, dynamics, articulations, and Rudiments with correct posture, embouchure, hand position, fingerings/slide positions, sticking, intonation, and a characteristic tone quality. Identify, define, and perform Adagio. Identify, define, and perform pianissimo. Percussion: Play new note Concert F (on timpani). Locate Japan on a world map and share information about the country. Identify, define, and perform. Locate Canada on a world map and share information about the country. Locate England on a world map and share information about the country. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 122. The Sea Duet as a daily warm-up in addition to any long tones, scales, or GREAT WARM-UPS (beginning on student page 42, score page 507). Have students use a full sound and steady air stream, making sure all players are performing with a very legato style. Use the warm-up to continue to develop a characteristic concert band tone quality, refine intonation, and improve ensemble balance and blend The Sea Duet Introduction of Adagio and pianissimo; introduction of Concert F [timpani] 1) Select a student to read the definition of Adagio from the top of the page. 2) Select a student to read the definition of pianissimo. Remind students that maintaining a characteristic tone quality while decreasing the volume should be the primary goal. Students must use considerable air to support these soft sounds. 3) Divide the band (top and bottom) and sustain the first pitch. 4) Play this pitch mf, mp, p, and finally pp. Ask students to take a breath as if they were going to play fortissimo and then play pianissimo instead. It is important that students approach these

2 2 pitches with that much support. Play and sustain the first pitch again at a pianissimo dynamic. 5) Sing this exercise on too or using solfège syllables (or sizzle) while using the correct fingerings, slide positions, or air sticking. Be sure that style and dynamics are reflected in the sizzle. 6) Play this exercise as a duet. Make sure that there is a noticeable and gradual dynamic change for each of the crescendi and decrescendi. 7) Play this exercise with the recorded accompaniment. 8) The Sea is a Japanese folk song. Identify Japan on a world map and have students follow along with the map located on page 47 of their books. Ask students to share information that they may know about Japan, such as climate, geography, history, cuisine, art, and culture. 9) Help students explore the relationships between music and Japanese culture and geography by using the Japan Worksheet available in the Interactive Teacher Studio (ITS). Distribute the pages to students as homework, or review by displaying them in class Rhythm Time Introduction of 1) Refer students to the counting and conducting box at the top of the page. Students will notice the similarities between and the recently learned meter of. Have students write in any alternate counting system as desired. 2) Direct students attention to 123. Rhythm Time. Ask students to write in the counting. 3) Clap the rhythm and count out loud. 4) Play the rhythm on a Concert Eb. 5) Repeat the exercise several times, gradually increasing the speed until students feel two beats per measure. 6) Extend this lesson with RHYTHM STUDIES on page 46, #41 48 (score page 531) I se the B y that Builds the Boat 1) Sizzle this exercise while using the correct fingerings, slide positions, or air sticking. Be sure that style and dynamics are reflected in the sizzle. 2) If necessary, begin sizzling this rhythm in six and gradually increase the tempo to feel in two. If students are comfortable playing in two upon completion of 123. Rhythm Time, you may wish to just begin the sizzling practice in two. 3) Play this exercise with the recorded accompaniment. 4) I se the B y that Builds the Boat is a Canadian folk song. Identify Canada on a world map and have students follow along with the map located on page 47 of their books. Ask students to share information that they may know about Canada, such as climate, geography, history, cuisine, art, and culture. 5) Help students explore the relationships between music and Canadian culture and geography by using the Canada Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class. 6) Enhance this lesson by introducing the lyrics:

3 3 Lyrics I se the b y that builds the boat, And I se the b y that sails her, I se the b y that catches the fish, And brings them home to Liza [pronounced Lizer ]. Chorus: Hip yer partner, Sally Tibbo, Hip yer partner, Sally Brown, Fogo, Twillingate, Moreton s Harbour, All around the circle! Sods and rinds to cover your flake, Cake and tea for supper, Codfish in the spring o the year, Fried in maggoty butter. Chorus I don t want your maggoty fish, They re no good for winter, I could buy as good as that, Down in Bonavista. Chorus I took Liza to a dance, As fast as she could travel, And every step that she did take, Was up to her knees in gravel. Chorus Susan White, she s out of sight, Her petticoat wants a border, Old Sam Oliver in the dark, He kissed her in the corner. Chorus 7) Using the Interactive Practice Studio (IPS)/ITS, explore the history of the piece: I se the B y that Builds the Boat is a lively traditional dance tune from Newfoundland, an island off the northeastern coast of Canada. The lyrics reflect the prevalent fishing culture on the island. A long-time favorite, the song gained

4 4 wider popularity in the early 20th century when Gerald S. Doyle published it in one of his books of traditional Newfoundland songs. The books were widely distributed because they were free; they were free because Doyle was using them to advertise for his medicine business. Nevertheless, his collection of songs became a very important record of Newfoundland traditional music. I se the B y is in a dialect called Newfoundland English and translates to I m the boy. In Newfoundland, b y is one of the most common ways to address another person and can refer to women as well as men. A colloquial English equivalent might be somewhere between I m the guy and I m the dude. In 2005, I se the B y was inducted into the Canadian Songwriters Hall of Fame for its historical significance to Canadian traditional music and culture. Written by Mark C. Samples, American musicologist 125. Skill Builder 1) Have students inspect the music for any enharmonics or alternate fingering needs. If there are any questions on fingerings, be sure students take a moment to consult their fingering chart and/or their peers. 2) Beginning slowly, in six, have students sizzle this exercise while using the correct fingerings, slide positions, or air sticking. Be sure that the dynamics are reflected in the sizzle. 3) Gradually increase the tempo until students are more comfortable with these chromatic finger patterns at a faster tempo. 4) Have brass players and percussionists play while woodwind players finger along. Correct any incorrect pitches, fingerings, or stickings. 5) Have woodwind players play while brass players and percussionists finger, slide, or air stick along. Correct any incorrect pitches or fingerings. 6) Play this exercise as a full band with the recorded accompaniment Lisbon Bay Test 1) As this line is designed for assessment, it is suggested that students learn how to perform this exercise on their own. 2) Assign this exercise for a performance evaluation. 3) Select a student to read the history text box and allow students to respond. 4) Lisbon Bay is an English folk song. Identify England on a world map and have students follow along with the map located on page 47 of their books. Ask students to share information that they may know about England, such as climate, geography, history, cuisine, art, and culture. 5) Help students explore the relationships between music and English culture and geography by using the England Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class. 6) Using the IPS/ITS, explore the history of the piece: Percy Grainger ( ) was a pianist, composer, ethnomusicologist, and music professor. Though he spent the first and last years of his life in Australia

5 5 (and is generally considered an Australian composer), Grainger inhabited and visited many places in the world, including Germany, England, America, and Scandinavia. He even became an American citizen in 1918, and he was a bandsman in the United States Army during World War I. His Lincolnshire Posy, which uses the tune of Lisbon Bay, is an arrangement of English folk songs for wind band. Composed when Grainger was in his late fifties, the piece has become one of the classic and beloved pieces in the wind band repertoire. Grainger knew English folk songs well, and not just from looking at history books. He spent a significant amount of time collecting folk songs first-hand in Lincolnshire, England. In a technique that was still new to ethnomusicologists of the day, Grainger used a wax cylinder phonograph to record performances of the songs. Evaluation (Assessment) Written by Mark C. Samples, American musicologist Use 126. Lisbon Bay as an evaluation tool to assess the skills learned on student page 28. Consult Teaching Band with Excellence (pages 53 62) for recommended assessment styles and rubrics for this performance evaluation. These evaluation tools are also readily available in the ITS. Tradition of Excellence is available on SmartMusic for computer-based assessment. Have students conduct a self-evaluation. A Test Reflection form is available on this exercise in the IPS. Enrichment Studies Instrument Identification Take time each day to listen to the recorded accompaniments correlated with page 28. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Conducting Lesson: The conducting pattern for can be found in the blue box at the top of student page 28. Project this image on an interactive whiteboard or screen from the IPS/ITS and zoom in on the pattern. Alternatively, you can draw the pattern on the board for students to see. Instruct students to place their right hand index finger at the top point of the pattern in their books. Dropping vertically, trace the line down to the first beat, or the down beat. Repeat this action a few times with students tracing the pattern in the book with their index finger. Next, starting on the number 1, trace the pattern over to beat 2. As you demonstrate on the board, students should trace the pattern in their books. Combine beats 1 and 2 in a single fluid motion.

6 6 Starting on the number 2, have students trace the pattern over to number 3. Combine beats 1 through 3 into a single fluid motion before proceeding. Starting on the number 3, trace the pattern to number 4. Combine beats 1 through 4 into a single fluid motion before proceeding. Starting on the number 4, trace the pattern to number 5. Combine beats 1 through 5 into a single fluid motion before proceeding. Finally, starting on the number 5, trace the pattern to number 6. Notice that the ictus of beat 6 occurs in the middle of the final gesture. Combine beats 1 through 6 into a single fluid motion. Turn a metronome to 80 bpm. Along with the metronome, have students count out loud and (right hand only) conduct a fluid 6-beat pattern, slowly magnifying their pattern size. Eventually, have students add their left hand to mirror their right. It is important that students feel the connection between the beats as they conduct. When playing, their air needs to connect the beats just as their gestures do when conducting the basic pattern. Rhythmic Dictation: Pass out a piece of manuscript paper to each student. Ask students to divide the first two staves into four equal measures each. Add a time signature of. Perform each of the following rhythmic examples on your primary instrument, the piano, or by clapping. Each example should be demonstrated a minimum of three times with ample time between demos for students to write their responses. It is suggested that these examples be played in two (not in six). Instruct students to write the rhythms on the bottom space. The first example should be written in the first two measures, the second in the next two measures, and so forth.

7 7 After all four examples have been written down, have the class play all eight measures on a Concert F. Extend this lesson by allowing students to compose a melody in a key of their choice using the rhythm they just transcribed. Have students perform their compositions for the class. In case you missed it The Modern Concert Band: Instrumentation and Listening The following enrichment study first appeared in Book 1, student page 32. A comprehensive music education includes an introduction to music-related careers. One career opportunity for a musician is that of a conductor. Share information with students about this career. Also share with students: The concert band has developed over centuries to what has become a standard instrumentation. Many of these instruments are included in the band here at school, and there are still more that will become available as you continue your musical studies. The instruments are listed in what is called score order. Score order organizes the instruments by families and by pitch, with the highest instrument of the family first and the lowest instrument last. Each score a conductor reads is printed in the same order so the conductor can always easily find specific instruments parts. Each instrument and family provides a different tone color. Composers use these colors in a variety of ways when they create band music. Woodwinds Piccolo Flute 1 & 2 (Alto Flute) Oboe 1 & 2 (English Horn) Bassoon 1 & 2 Eb Clarinet Bb Clarinet 1, 2, & 3 Alto Clarinet Bass Clarinet (Contra-alto Clarinet) (Contrabass Clarinet) (Soprano Saxophone) Alto Saxophone 1 & 2 Tenor Saxophone Baritone Saxophone (Bass Saxophone) Standard Instrumentation Brass Trumpet/Cornet 1, 2, & 3 (Flugelhorn) Horns 1, 2, 3, & 4 Trombone 1, 2, & 3 (Bass Trombone) Euphonium/Baritone Tuba Strings String Bass Percussion Pitched Percussion Timpani Glockenspiel (Bells) Xylophone Marimba Chimes Vibraphone Crotales Non-pitched Percussion Snare Drum Bass Drum Tom-Toms Bongos Congas Temple Blocks Claves Cymbals and Gongs Triangle Tambourine And many more

8 8 Be prepared to present pictures or audio examples of some of the more unusual instruments. This lesson can be used to encourage/inspire instrument switches to deepen your instrumentation. Display a page of your score so students can see what a conductor reads while leading a band. Private Lessons Homogeneous Study These Private Lessons are written to address technical challenges unique to each individual instrument. Because they are geared for homogeneous instruction, many of the lessons have been linked to instrument-specific Mastering Excellence exercises beginning on student page 40. These Mastering Excellence exercises are written to engage students at different skill levels. Each Mastering Excellence has a basic and an advanced preparatory exercise to be accomplished before attempting the cumulative exercise. The combination of the Private Lesson and the Mastering Excellence exercises is designed to maximize the use of instructional time in the small group setting. Goals for 127. Private Lesson Flute: Play new note C. Oboe: Play new note C; play Eb using the left hand fingering. Clarinet and bass clarinet: Perform finger patterns using right hand E and B fingerings and left hand F# and C# fingerings. Alto clarinet: Play F and C using the alternate fingerings. Bassoon: Play new note F. Alto saxophone and baritone saxophone: Play Bb using the alternate bis key fingering. Tenor saxophone: Perform finger patterns using alternate F# and C fingerings. Trumpet/cornet, F horn, Eb horn, trombone, baritone/euphonium, and tuba: Perform a one-octave chromatic scale. Electric bass: Perform finger patterns with eighth and sixteenth note rhythms. Mallets: Perform ascending and descending slurs; perform music that requires the right and left hands to function independently. Snare drum: Perform a Drag and a Single Drag Tap. Timpani: Identify, define, and perform slur; perform ascending and descending slurs; perform staccato strokes with accurate dampening.