1 Page 18 Lesson Plan Exercises 67 73 Score Pages 186 197 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 Identify, define, and perform tempo, Andante, Allegro, and Moderato. Identify, define, and perform mezzo piano and mezzo forte. Identify, define, and perform accent. Identify Wales, Canada, and Russia on the world map on student page 47. Accurately perform rhythms, pitches, dynamics, tempo, articulations, and Rudiments with correct posture, fingerings, hand positions, intonation, and a characteristic tone quality. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 67. Warm-Up: Lullaby as a daily warm-up in addition to long tones. Use a full sound and steady air stream, making sure all players are slurring correctly. Have brass players perform the warm-ups on their mouthpieces while woodwind players and percussionists perform on their instruments. 67. Warm-up: Lullaby Introduction of tempo and Andante 1) Select a student to read the definitions of tempo and Andante from the top of the page. 2) Have students describe the characteristics of a lullaby and what they might do to achieve that sound in their performance. Have students focus on smooth slurs and supporting the piano dynamic by beginning with a big breath. 3) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Students should be singing the slurs and the dynamic as well. 4) Perform this example with the recorded accompaniment. 5) This melody is a Welsh folk song titled Suo Gan. Identify Wales on the 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 Wales, such as climate, geography, history, cuisine, art, and culture. 6) Help students explore the relationships between music and Welsh culture and geography by
2 using the Wales Worksheet available in the Tradition of Excellence Interactive Practice Studio. Distribute the pages to students as homework, or review by displaying them in class. 68. Ezekiel Saw the Wheel Duet Introduction of Allegro; introduction of cowbell [percussion] 1) Select a student to read the definition of Allegro from the top of the page. 2) Cowbell is used for the first time in this exercise. After reviewing proper technique, have a student perform this new color for the full band. 3) Have the band sizzle the A line, being sure to reflect the indicated dynamics. 4) Have the band sizzle the B line. 5) Divide the band into two groups. 6) Perform the duet with the recorded accompaniment. 7) Select a duet or small group to perform this exercise for the band with the recorded accompaniment. 8) Review the definition of American spiritual with students. 9) Explore the history of the song: Ezekiel Saw the Wheel is an African-American spiritual, a type of religious folk song from the 18th and 19th centuries. Spirituals developed among African- American slaves and combined aspects of European and African musical traditions. In the late 19th and early 20th centuries, the popularity of spirituals reached beyond the black communities, largely through the influence of touring choirs such as the Fisk Jubilee Singers. This choir, composed of African-American students of Fisk University, presented spirituals in arrangements that incorporated European-American harmonies and performance practices. Since their first tour in 1871, and continuing to the present day, this group has been widely acclaimed and successful, inspiring many other groups like it. The Fisk Jubilee Singers have made sound recordings of their repertoire over the years, including one of Ezekiel Saw the Wheel from the second half of the 1910s. In this recording, the refrain is sung by the entire choir. In the verses, a soloist sings the first and third lines, while the choir answers each time with way in the middle o the air. This style of alternation is called call and response singing and is very common in spirituals and other types of African- American song. Written by Mark C. Samples, American musicologist Ezekiel Saw the Wheel Refrain Ezek el saw the wheel, Way up in the middle o the air. Ezek el saw the wheel, The big wheel moved by faith,
3 The little wheel moved by the grace o God. A wheel in a wheel, Verse 1 Jes let me tell you what a hypocrite ll do, He ll talk about me an he ll talk about you, Verse 2 Watch out my brother how you walk on the cross, Yo foot might slip an yo soul get lost, 69. Rhythm Time Introduction of mezzo piano, accent, and Moderato 1) Select a student to read the definition of mezzo piano from the top of the page. Ask students: Is mp louder or softer than piano? Is it louder or softer than forte? 2) Select a student to read the definition of Moderato from the top of the page. Ask students: Is Moderato faster or slower than Allegro? Is it faster or slower than Andante? 3) Select a student to read the definition of accent from the top of the page. 4) Write in the counting for this exercise. 5) Have students clap together the rhythm of this exercise. Be sure students reflect the accents in their clapping. 6) Have students perform together on Concert C. Make sure the trumpet players are extending their 3rd valve slide and the trombone players are not distorting their embouchure by reaching to 6th position. Note: The correct written note is listed in each student book along with the concert pitch. If not previously addressed, consider teaching the concepts of transposition and concert pitch. This enrichment study can be found at the end of the lesson plan for page 7. 70. Sight-Reading Challenge: Streets of Laredo 1) As this exercise is considered a sight-reading challenge, use this opportunity to teach your sight-reading procedure. For suggestions on how to teach sight-reading, see Teaching Band With Excellence. 2) Once you have taken students through the study of the exercise, ask if there are any questions before the class reads the line together. 3) Perform this exercise together. 4) Open the floor for peer evaluation. Select a student or two to offer what they felt went well, what did not go well, and how it could be improved. 5) Perform this exercise a second time, though no longer sight-reading. 6) Streets of Laredo is an American folk song from the state of Texas. Identify the United States of America on the world map and have students follow along with the map located on page
4 47 of their books. Have the students point to where the state of Texas is located. Ask students to share information that they may know about the United States and Texas specifically, such as climate, geography, history, cuisine, art, and culture. 7) Help students explore the relationships between music and American and Texan culture and geography by using the United States Worksheet available in the Tradition of Excellence Interactive Teacher Studio. Distribute the pages to students as homework, or review by displaying them in class. 8) Enhance the lesson through singing. Have half of the students sing the lyrics while the other half plays, and then have everyone sing along to the recorded accompaniment. Lyrics are not printed in the student book, but may be copied or displayed for students. 9) Explore the history of the song: Streets of Laredo As I walked out in the streets of Laredo, As I walked out in Laredo one day, I spied a poor cowboy all wrapped in white linen, All wrapped in white linen as cold as the clay. Streets of Laredo, also called The Cowboy s Lament, is a well-loved folk song of Texas. It is a song portrait of life as a cowboy in the Old American West and tells of the hardships that lay therein. A cowboy lying on his deathbed tells his sad story and gives his last confession to a stranger who is passing by. The song also exemplifies the camaraderie among men of the saddle; the stranger is himself a cowboy, and in the end he pays the proper respects and forgiveness to his fallen friend: For we all loved our comrade, so brave, young, and handsome, / We all loved our comrade although he done wrong. Streets of Laredo is a traditional song, which means that its origins are unknown, and it was sung largely in the oral tradition (that is, without the aid of written music) before being written down. Imagine a group of cowboys, away from home for weeks at a time driving cattle, making camp at night and singing songs by the fire to pass the time. In this setting, the cowboys would sing from memory, and if they forgot a line it was not a problem they just made up one of their own. That is why traditional songs typically have many slightly different (or even very different) versions. Many of these traditional songs were based on preexisting melodies, however, and that was the case with Streets of Laredo as well. The melody comes from a British folk song written in the late 18th century called The Unfortunate Rake. Written by Mark C. Samples, American musicologist 71. Skill Builder: Donkey Riding Introduction of mezzo forte 1) Select a student to read the definition of mezzo forte from the top of the page. Ask students: Is mf louder or softer than piano? Is it louder or softer than forte?
5 Is mf louder or softer than mezzo piano? 2) Ask students to add brackets to show the phrases and place a breath mark between each phrase. 3) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Students should sing the accents as well as the dynamic. 4) Perform this exercise with the recorded accompaniment. 5) Identify Canada on the 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. 6) Help students explore the relationships between music and Canadian culture and geography by using the Canada Worksheet available in the Tradition of Excellence Interactive Teacher Studio. Distribute the pages to students as homework, or review by displaying them in class. 72. Theme From The Nutcracker Test 1) As this line is designed for assessment, it is suggested that the students learn how to perform this exercise on their own. 2) Listen to an orchestral recording of Dance of the Reed Flute from The Nutcracker and to the recorded accompaniment. Have students identify similarities and differences. What do they hear on the recordings that they can apply to their own performance? 3) Select a student to read the history box on Tchaikovsky. 4) Define for students: patron someone who provides support to an artist or group of artists, allowing them to pursue their craft 5) Have students compete the Tchaikovsky Worksheet available in the Tradition of Excellence Interactive Teacher Studio. 6) Peter Ilyich Tchaikovsky was born in Russia. Identify Russia on the 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 Russia, such as climate, geography, history, cuisine, art, and culture. 7) Help students explore the relationships between music and Russian culture and geography by using the Russia Worksheet available in the Tradition of Excellence Interactive Teacher Studio. Distribute the pages to students as homework, or review by displaying them in class. 8) Assign this exercise for a performance evaluation. Evaluation (Assessment) Use 72. Theme from The Nutcracker as an evaluation tool to assess the skills learned on student page 18. 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 Interactive Teacher Studio. 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 Interactive Practice Studio.
6 After completing student pages 18 21, assess student comprehension using the quiz from score page 225. The quiz and answer key can also be found in the Interactive Teacher Studio. Enrichment Studies Instrument Identification Take time each day to listen to the recorded accompaniments correlated with page 18. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Rhythmic Independence Reading and Notating Ask students to turn to page 46 in their books. Count and clap rhythms #54 58. After students have mastered the counting and clapping of each rhythm, have students count and clap two lines simultaneously. Add a third line, and then a fourth. Play the rhythms on a concert pitch of your choosing in the same manner by playing one line, then adding a second, third, and fourth line. Ear Training: Higher Or Lower? Listening On a keyboard, play a note, and then play another note. Have students identify on a sheet of paper if the second note is higher, lower, or the same as the first. Repeat with several note pairs. When finished, have students exchange papers to check each other s answers. Composing within Specific Guidelines Distribute manuscript paper to students. Above the staff, have students write the rhythms from #50 and #51 from student page 46. Have students select a key signature for their piece either Concert Bb or Concert Eb. Students should write that key signature after their clef sign and before the time signature. The first and last note of their composition must be the same note (the tonic) as the key they chose. Using the pitches they have learned, have students create a composition using the rhythm sketched above. Have students play their composition for the class. Writing Opportunity Have students respond, in writing, to the following prompt: Why is a good warm-up important before playing a musical instrument? Identify at least three other physical activities that should be preceded by a warm-up. Private Lessons Homogeneous Study These Private Lessons are written to address or reinforce technical challenges unique to each individual instrument. Because they are geared for homogeneous instruction, each has been linked to an instrument-specific Mastering Excellence exercise beginning on student page 38. 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
7 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 73. Private Lesson Flute and oboe: Technique exercise intervals. Clarinet and bass clarinet: Technique exercise intervals. Alto clarinet: Alternate B-natural fingering. Bassoon: Technique exercise intervals. Alto saxophone and baritone saxophone: Fingering patterns in F major. Tenor saxophone: Technique exercise intervals. F Horn: Fingering patterns and lip slurs in C Major. Trumpet, trombone, baritone/euphonium, and tuba: Technique study in Bb major. Electric bass: Technique study in Eb major. Mallets: Double stop technique. Snare drum: Flam Accent and eighth rest.