WEEK 1 Scales Sight-read -Long tones/tuning exercises -Sight-read Long tones Listen to excerpt of 3 O Clock Mix 5/4 meter exercises Scales Read through A section -Review A section -Read through B section Review A-B sections Run-through, work bigpicture ideas Listen to recording, write about/discuss sounds -Introduce timbre -Improvisatory exercise exploring timbres (CMP 1.2) -Explain mixed instrumentation; reassign seats -Timbre exploration using sounds required for this piece (CMP 1.3) -Sight-read Intro and A theme (20) Review intro and A theme Exercises in 5/4 -Lead sheet w/ melody -Sight-read Intro and first section CMP 2.1: Student journals CMP 1.3: Listen to student exploration
WEEK 2 Long tones Articul. -Introduce new articulations -Put new articul. into context (CMP 2.3) Scales Articulation -Review articul. -Run first section Technique -A section -B to end Articul. -Run-through -Balance -Second section -Dynamic contrast -Listen to recording of original piece; students write adjectives; discuss historical significance -Review through A theme Lead sheet, focus on phrasing Review melody phrasing -B section, focusing on contrast from A section (20) -Introduce programmatic story -Apply story to music, more on contrast (20) -Review story -Balance Introduction CMP 2.1: Student journals CMP 1.2: Check for understanding of articulation CMP 2.3: Melody
WEEK 3 Shost. Fire lead sheet Articulation Long tones Chorale & intonation Scales A and A section Style and articulation (20) B section balance/blend Discuss compositional aspects (counterpoint) & work on entrances Listen/write: extended technique pieces (CMP 1.1) Phrasing and balance Contrast (dynamics & articulation) Balance: identify melody vs. accompaniment; students mark parts (20) -Listen to examples of legato tone; write in journals -Play familiar melodies in legato style -Revisit lead sheet with legato tone Identify major/minor chords in piece, mark in music Record run-through Intonation at cadences A section articulation B section articulation CMP 2.3: Students mark parts CMP 1.1: Listen & write: extended technique pieces CMP 2.2: Develop legato tone Style CMP 2.1: Intonation CMP 1.2: Check for understanding of articulation -Tempo consistency -Run-though
WEEK 4 Chorale Dynamics B section style, matching tone quality -Listen to recording; students assess -Rehearse studentidentified problems Balance and dynamic shaping Legato style & breath support Balance; rhythmic consistency A to end: articulation and phrasing (20) CMP 1.3: Students evaluate musical progress Scales Articulation Chorale A section style and phrasing Dynamic/style contrast between A and B A to end: contrast from first A section Articulation; entrances Revisit journals apply adjectives to further develop expressive performance (20) Attacks/releases Intonation (20) B section: phrasing Revisit programmatic story style CMP 2.3: Apply adjectives from listening activity and evaluate ensemble progress CMP 2.1: Music check
WEEK 5 Articulation Clarity of articulation (20) Scales -Entrances -Intonation Scales Chorales Rhythm Style contrast between A & B (20) Balance and intonation Dynamic shaping; balance between percussion/winds Dynamic shaping and contrast Review historical context and apply to style Articulation Articulation Phrasing Listen/write: extended technique pieces (CMP 1.1) Tempo consistency with and without conductor Balance/blend teacher will ask students for feedback Phrasing and breath support Tempo consistency CMP 1.1: Listen & write: extended technique pieces CMP 2.3 CMP 2.2
WEEK 6 Meter & rhythm exercises Scales B section Listen to recording; students assess Articul. Balance Rehearse based on student feedback Chorale -Style -Run-through Intonation Run-through and final Run-through and final comments comments Record run-through Revisit journals apply adjectives to further develop expressive performance (20) Vertical alignment Style Dynamics -A section style -Transitions -Intonation -B section -Run-through -Run-through Run-through and final Run-through and final comments comments CMP 2: Apply adjectives from listening activity and evaluate ensemble progress CMP 1.3: Students evaluate musical progress When developing my rehearsal cycle plan, it became very evident just how short six weeks really is. I found it difficult to balance my time equally among pieces, and I do not yet have an accurate idea of how long certain aspects of rehearsal will actually take with students. One of my priorities was to ensure that each piece was rehearsed at a similar pace, with approximately equal time on each piece per week. I also wanted to introduce musical concepts early on; even if students are still working on learning notes and rhythms, they can still be developing style and phrasing throughout the learning process. I have been in ensembles where the rehearsals mostly focus on notes and rhythms and the musicality isn t added until it is almost time for the concert. This is not the best way to teach students to be musicians, and so I tried to avoid this in my plan. To develop the macro-micro-macro aspect, I chose to spend the first and last weeks focusing on larger sections of music simply getting as many run-throughs as possible to get students comfortable with the music. During weeks 3 and 4, I planned to focus on smaller details or more complex musical concepts. I varied the warm-ups to avoid falling into a rut, and I selected warm-ups that would directly correlate to the focus of a portion of each rehearsal. In terms of the macro-micro-macro plan within each rehearsal, the warm-ups serve as the macro aspect. The plan for each piece is generally broad enough to be broken down to the micro level while still leaving time to expand out to the macro level at the conclusion. I did not designate time for transitions/announcements in my plan, but the time allotments for each piece generally leave enough room to allot some of that time for transitions. In addition to considering the development of each individual piece, I also evaluated the overall rehearsal each day to ensure that there was enough variety each day. I chose to incorporate writing and listening activities as well in order to help students develop musical concepts outside of the repertoire.