1. Description of preparation for MLK concert for parents. ( correspondence to

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1 Every Voice Choirs Sample Lesson Plans 1. Description of preparation for MLK concert for parents. ( correspondence to parents November, 2016). 2. Program notes on the process of writing the original song Lead the Way. January, Overview of lesson plans for 4-lesson unit for voice classes in the in-school program at Hunter Elementary School, and samples of students work: voice journals. 1. Description of preparation for MLK concert for parents. ( correspondence to parents November, 2016). Dear Families, For five years, EVC has performed its winter concert on the week of the birthday of Dr. Martin Luther King, Jr., honoring Dr. King and others who have worked for peace and justice. This year's concert will take place at Merkin Concert Hall on Saturday, January 21st at 7 pm, with rehearsals for all singers that afternoon. (Singers should be available from 3 pm on; the exact rehearsal schedule will be determined closer to the concert date.) Musically, this year's concert features songs from African American singing traditions, songs from Kenya and Nigeria, and other works that reflect on the themes of civil rights, justice, and peace. Teaching these songs is a big part of how we prepare the children for the concert, but simply singing does not necessarily lead the kids to connect these songs to celebrating Dr. King or to movements for civil rights. We do deliberate work in our rehearsals in order to help students make these connections. I am writing to describe some of this work. The Kids Choir, Youth Choir, and Concert Choir are singing traditional spirituals. As we have discussed the lyrics to Goin' Up with the Youth Choir, students have pointed out that for a person who was enslaved, life may have been difficult to the extent that going to heaven was something to look forward to. What we haven't yet discussed, and what will be an important point as we discuss Get on Board with the Kids Choir, is that spirituals were also used as coded songs, and "the promised land" could also refer to freedom awaited at the end of the Underground Railroad. In this and other ways, spirituals reflect resistance and empowerment of enslaved people. The prevalence of train imagery in spirituals is the basis of the medley of songs incorporated into Get on Board; we will be talking about this as we explore the lyrics with the kids. In addition to exploring the lyrics to our repertoire, we will be talking about Martin Luther King and connecting our conversation to the children's experience of social justice issues in both choirs. In Kids' Choir, we began this discussion by asking the children what they knew about Dr.King's life and his work. This conversation started on November 3. Children responded with information such as: -He was a civil rights activist (someone who worked for civil rights for everyone) -He wanted to change rules that were unfair

2 -He was a brave young leader. -He is famous for a speech in Washington [in which he said] his dream was that his children wouldn't be judged for their color; they would be judged for their actions. -He went to jail. -He led a boycott. We will continue this conversation in the coming week, providing the kids with more information about some key events in Dr. King's work in the civil rights movement. Next, we will ask the children what they would want Dr. King to know and what they would want to ask him if they could have a conversation with him today. From this, we expect to write a letter to Dr. King, which members of the Kids Choir will read during a song (U2's MLK) that will be sung by the Youth Choir. The Youth Choir, working with Carlton Taylor, has begun its annual composition project, working on a new original song for the concert. When we began this work two weeks ago, Carlton asked the kids to write on 3 prompts that had to do with navigating/celebrating difference, and we collected the kids' rich responses. Last week, the conversation led quickly to the results of the election, and we gave the kids the space to share their feelings without worrying about direct connections to the song. This week as we return to the project, we will hone in on main ideas and improvise musically on those ideas. Our goal is for the kids to collaborate in creating both the lyrics and the musical elements of the song. The Concert Choir has been focusing largely on repertoire for its December concert with Cantori New York, but our next big project, singing the new composition Garden Among the Flames, which Syrian composer Zaid Jabri told me this week is almost finished, will bring us to discussions about diversity and tolerance as well. EVC's concept of empowering voices includes helping kids find ways to use their voices to express themselves and to describe and create the world they want to live in. I hope this explanation is helpful for understanding how our concert ties together, and also what's going on during those stretches you may be hearing from the hallway without singing! Please let me know if you have any questions or feedback; we welcome your input. I will send another shortly with details on logistics for the concert. Warm regards, Nicole -- Dr. Nicole Becker Executive Director and Music Director Every Voice Choirs P.O. Box New York, NY nbecker@everyvoicechoirs.org

3 2. Program notes on the process of writing the original song Lead the Way. January, Notes on the Program For five years, Every Voice Choirs has presented an annual Peace Seekers concert during the week in which our nation celebrates Dr. Martin Luther King Jr. In our first Peace Seekers concert, we honored Dr. King and four fellow laureates of the Nobel Peace prize, reading portions of each honoree s acceptance speech. In our concert the following year, we presented the EVC Peace Seeker award to Ms. Leila Zerrougui, the United Nations Special Representative for Children in Armed Conflict. After that, we turned our focus to exploring and expressing what the children of EVC saw as their roles in working toward peace and its prerequisite, justice. In the two concerts that followed, we featured original songs by the Youth Choir, written in response to civil rights issues of the time. This year we have continued on that course. Not surprisingly, conversations this fall were shaped by the election. We talked about leadership, not only on a national scale, but in the myriad forms it takes in our students lives. The children spoke and wrote about the impact of the leaders in their own lives, identifying qualities that they admire in these strong leaders. Here are some of their words: Leadership means to me something that s like a small light in a world of darkness and the darkness is a strong feeling and the light softens the feeling. Leadership means being fair, just, and doing what s right and kind, not what s popular. Who will defend a group of people? Who people look up to - will do good - will make changes - will be open to change? Leadership in my mind means kindness, helping, being a role model, standing up for what s right, taking things seriously, believing. Having leadership is having the power to make a difference. Leadership means to me responsibility for a country or even a family. Not a dictatorship. You don t control them; you guide them to a better choice. Modeling what to do when you are in a struggle with other people. Finding ways to help your community and whoever is in need, taking action. A fair, selfless person that knows how to lead but not to boss. If you want to be a leader, then it is important to pay attention to people s beliefs. We should step up to show who we are and allow our beliefs to be heard.

4 Truth be told, at the time of this writing, our song is not finished, and we can t anticipate where questions of leadership will lead us in just the few weeks before we perform. Amidst today s uncertainty, I think we can find comfort in focusing on the voices of these young people. Let s empower them to seize the opportunity and accept the responsibility of modeling the leadership they envision. Nicole Becker, Artistic Director 3. Overview of lesson plans for 4-lesson unit for voice classes in the in-school program at Hunter Elementary School, and samples of students work: voice journals The following lesson plans are from four consecutive weeks of 5th-6th grade voice classes at Hunter Elementary School. Elements of lessons that are common throughout the unit are listed first, followed by specifics that change in each lesson. Three of the songs addressed in these plans, Dona Nobis Pacem, Twaingia, and We Are the Voices, were performed with the other EVC choirs (Kids Choir, Youth Choir, Concert Choir, and both Workshops) in the Peace Seekers concert in January These songs were taught in similar ways in Youth Choir and Concert Choir, as the students in these groups are similar ages. Hunter students created the Twaingia dance, but children in the other groups had the opportunity to lead by singing the call. With respect to differentiation for Kids Choir, whose students are younger (ages 7-10): We planned to teach the Kids Choir only Part I of Twaingia rather than have them sing in harmony, but the children were intrigued by the harmony and excited to make a recording in harmony as a model for the other choirs to practice with. Kids Choir only sang a portion of We Are the Voices, which they learned by ear while the other groups learned the entire song and used notated scores. Kids Choir was also not asked to self-assess in journals, as the older students were, and singing games were interspersed with work on repertoire. All lesson plans below include standards for both 5 th grade and 2 nd grade. Elements that are common throughout the unit of 4 lessons: Standards New York City Blueprint. 5 th Grade Music Making Benchmark: Students build and apply vocal and instrumental technique. Students will be able to refine basic vocal technique and posture. New York City Blueprint. 5 th grade music making benchmark: students become aware of themselves as musicians through performance, improvisation, and composition. Students will be able to sing songs in multiple languages with attention to the relationship between text and melody. New York City Blueprint: 2 nd Grade Music Making Benchmark: Students discover the singing voice and build technique sing and playing. Students will be able to develop physical awareness of vocal production.

5 New York City Blueprint: 2 nd Grade Music Making Benchmark: Students engage in activities to experience elements of music. Students will be able to sing songs from a variety of musical genres. Materials Students vocal journals (folders and paper), Dona Nobis Pacem and Twaingia posters with words and solfege, solfege ladder poster, Dona Nobis Pacem scores, We Are the Voices scores. Learning Objectives: Students will sing in head voice and chest voice and be able to differentiate between the two registers. (Remaining objectives are described in each lesson) Procedures Warm-up and Journal Questions: Mid range top-down: 5-1 [su i] Staccato: 55331[u]; or [u u o a], [u u i e] Head voice à chest voice: little [u] slide down, switch to [a] Upward: [ja ja ja jo ja]; or [wi a i] Mix: hum mi me ma mo mu; or hum how are you today. Allow students to make up their own words or answer the question in order to hear each student s voice and to give them an opportunity for improvised, spontaneous singing and self-expression. Journal Questions: o What is the highest note you got up to? o What is the lowest note you got down to? o Were you able to slide down smoothly from head voice to chest voice? Differentiation Students who master vocal techniques or music quickly may volunteer to demonstrate by singing alone. For solfege and learning songs, singing syllables, showing hand signs, and using a tone ladder accommodates different types of learners (i.e. visual, auditory, and kinesthetic). Metacognitive understanding of individual learning styles: students may reflect in their journals about what was easy and hard for them to sing, what they liked and thought could be better about how their voice felt and sounded when singing the warm-ups and repertoire, how the group sounded, and what they would like to do more or less of in the future. This is for all students to notice and articulate what ways of learning and vocal strategies are helpful for them. Assessments Observation: Are students able to sing the whole range of the warm-up exercises? Are students able to sing in both their head voice and chest voice or do they have trouble with one of the registers? Are students able to transition between head voice and chest voice smoothly and easily or do their voices crack or get stuck? Student comments and journals: Do students have self-awareness of their current vocal abilities (including range, registration, transitions)?

6 Lesson Plan 1 (For elements that are common for all lessons, see pages 4-5. Standards, Objectives, Procedures, Assessments, etc. listed here are only those specific to this lesson.) Standards New York City Blueprint. 5 th Grade Music Literacy Benchmark: Students identify music. Students will be able to critique performance in writing and discussion: make corrections in vocal production (breath, articulation, phrasing, tone); use vocabulary (tempo, dynamics, pitch). New York City Blueprint. 2 nd Grade Music Making Benchmark: Students engage in activities to experience elements of music. Students will be able to perform music with repetitive or contrasting patterns. Learning Objectives Students will be able to sing the beginning of Oseh Shalom smoothly by self-assessing and problem solving for their individual voices. Students will demonstrate understanding of moveable do solfege. Students will be able to sing Dona Nobis Pacem up to mm. 13 on solfege and the text. Students will be able to sing melody and harmony for Twaingia Procedures Warm-up and Journal Questions Oseh Shalom problem solving singing the opening phrase o Teacher demonstrates three ways of singing the ascending interval in the opening phrase. Students describe each example and discuss which sounds the best Students discuss why they think legato with head/mix voice is correct. Connect to text which best expresses a prayerfulness and peace? o Brainstorm ideas for how to smooth the transition at the beginning as a class. o Working in pairs, students will help each other determine which way they are initially singing the phrase and work on improving it using strategies the class brainstormed. Journal questions: Which way did you start? What strategies did you try? What strategies did and did not help? Solfege warm-up o Sing and show short patterns for students to echo, then point to patterns on tone ladder for students to sight sing. o Student volunteers take turns leading the activity, improvising patterns for the class to sing. Dona Nobis Pacem o Learn beginning melody on solfege, up to mm. 13 using poster with solfege. o Introduce the text, dona nobis pacem. The meaning is grant us peace. Have students heard the phrase in other settings? Connection to Oseh Shalom? Twaingia o Learn aurally by call and response with movement on the beat. Assessments

7 Observation and journals: Did students have ideas of how to work on the vocal challenges at the beginning of Oseh Shalom? Were students able to identify when they or someone else were singing the phrase smoothly vs. with a bump vs. sliding? Were students able to identify strategies that helped them? Observation: Are students able to sing the solfege patterns? Do students volunteer to lead the exercise? Observation: Are students able to learn the beginning of Dona Nobis Pacem on solfege or do they struggle with the solfege? Observation: Can students accurately sing Twaingia, or are there inaccurate notes, rhythms, and/or words? Lesson Plan 2 (For elements that are common for all lessons, see pages 4-5. Standards, Objectives, Procedures, Assessments, etc. listed here are only those specific to this lesson.) Standards New York City Blueprint. 5 th Grade Music Making Benchmark: Students identify music in the following areas: Elements, Notation, and Vocabulary. Students will be able to apply understanding of notation. New York City Blueprint. 2 nd Grade music literacy benchmark: Students explore music. Students will be able to make improvements in use of head voice and diction. Identify melodic contour through singing and movement. Learning Objectives Students will be able to describe what humming feels like in their own voices. Students will be able to sing part I of Dona Nobis Pacem using both solfege and the words up to mm. 28. Students will be able to sing Tawingia. Students will create and learn a dance for Twaingia. Procedure Warm-up and Journal Questions o Discussion: What do you feel in your face/mask while humming? Does that mean the sound is forward or back? Dona Nobis Pacem o Review up to mm. 13. o Learn mm , first using solfege and then the score with text. o Sing part I mm This is the same as the beginning of the song: are students able to figure that out by following the score? Twaingia o Review by call and response. o Create dance.

8 Watch videos of examples of singing and dancing in Kenya. Describe patterns of movement observed (stepping and clapping). Students propose ideas for gestures for a dance that relate to the translation of the Swahili words of the song and as a class create the dance. Assessments Observation: Can students accurately sing the melody and harmony of Twaingia using healthy but not overly heady, non-legato singing? Observation: In what ways do students participate in the dance activity? Are students able to collaborate effectively in creating a dance, listening to each others ideas and collectively choreographing? Lesson Plan 3 (For elements that are common for all lessons, see pages 4-5. Standards, Objectives, Procedures, Assessments, etc. listed here are only those specific to this lesson.) Standards New York City Blueprint. 5 th Grade Music Making Benchmark: Students identify music in the following areas: Elements, Notation, and Vocabulary. Students will be able to apply understanding of notation. New York City Blueprint: 2 nd Grade Music Literacy Benchmark: Students explore music. Students will be able to make improvements in use of head voice and diction. Identify melodic contour through singing and movement. Learning Objectives Students will be able to describe what staccato vs. legato singing and what humming feel like in their own voices. Students will be able to sing Dona Nobis Pacem part I and II together up to mm. 28. Students will be able to sing the first phrase of Oseh Shalom legato and in head voice. Students will be able to sing and perform the dance to Twaingia. Procedure Warm-up and Journal Questions o Discussion: Compare/contrast singing the bottom notes in the upward warm-up staccato vs. legato. Does one feel and/or sound lighter or heavier than the other? Is it easier to get up to the higher notes one way or the other? o Additional Journal Question: Describe what humming feels like (physically)? Dona Nobis Pacem

9 o Review part I up to mm. 28. o Learn part II mm on solfege, and then sing parts I and II together mm Oseh Shalom o Review the three ways of singing the ascending 5 th at the beginning. Review strategies to help sing it the correct way. o Students practice on their own for one minute. They may look in their journal to help them remember what worked for them last week. o Everyone sings it together and evaluates if the transition was smooth. Individual volunteers may sing for the class. o Demonstrate two ways of singing bimromav, one pushing up chest voice and squeezing and one starting headier; which is the correct way? Work on starting bimromav in head voice instead of pushing up chest voice to reach the note: students give ideas and the class tries all ideas. o Demonstrate singing the rest of the phrase legato and not legato, and then work on getting it legato. Why are we using legato singing (connect to text, prayer for peace)? o Focus on producing tall vowels instead of spreading [i], [e], and [a]. Twaingia o Review dance. After initial review, give individuals and/or small groups of students the opportunity to lead by singing the call. All students who want to lead will have a turn. Assessments Student comments and journals: Are students able to describe what humming felt like in their voices? Observation: Can students sing part I and part II together on Dona Nobis Pacem or do they lose their part when they hear the other? Observation: Can students sing the opening phrase of Oseh Shalom legato and in head voice? Observation: Can students accurately sing the melody and harmony of Twaingia, or are there inaccurate notes, rhythms, and/or words? Are students able to sing and perform the dance at the same time? Lesson Plan 4 (For elements that are common for all lessons, see pages 4-5. Standards, Objectives, Procedures, Assessments, etc. listed here are only those specific to this lesson.) Standards New York City Blueprint. 5 th Grade Music Making Benchmark: Students identify music in the following areas. Students will be able to follow a vocal score of a piece they are rehearsing.

10 New York City Blueprint: 2 nd Grade Music Literacy Benchmark: Students explore music. Students will be able to distinguish and describe music of different vocal styles and languages. Learning Objectives Students will be able to compare/contrast staccato vs. legato singing. Students will be able to sing Dona Nobis Pacem, part I and II together up to mm. 28. Students will be able to sing mm of Dona Nobis Pacem legato. Students will be able to sing and perform the dance to Twaingia. Students will be able to sing mm of We Are the Voices and be able to self-assess which register(s) they are singing in and if/where they are flipping from chest voice to head voice. Procedure Warm-up and Journal Questions o Additional Journal Question: When we did [wi a i], how did it feel different on staccato compared to legato? Which way was easier to get up to the higher notes? Why do you think that way was easier? Dona Nobis Pacem o Review part I and part II, and then sing parts I and II together with the score. o Learn mm with the score and work on singing legato in mm Ask students for suggestions for how to sing more legato and try their ideas as a class. Why are we singing legato? Connect expressivity to Oseh Shalom both songs are prayers for peace. Twaingia o Review music and dance together with students singing the call. Give individuals and/or small groups of students the opportunity to lead by singing the call. All students who want to lead will have a turn. We Are the Voices o Learn Soprano II part mm with the score. o Ask students if they are singing in head voice, chest voice, or both? Are they flipping anywhere? o Continue sight-reading We Are the Voices. Assessments Student comments and journals: Are students able to identify whether staccato or legato singing is easier for them and propose ideas for why? Observation: Are students able to sing Dona Nobis Pacem legato or are they not singing legato? Observation: Are students able to accurately sing Twaingia and perform the dance at the same time? Do students volunteer to lead by singing the call? Observation and student comments: Can students tell when they are singing in head voice and chest voice and when they are flipping in We Are the Voices?

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