Page 2 Lesson Plan Exercises 1 7 Score Pages 24 38 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. Percussion: Identify, define, and perform multiple bounce stroke. Oboe: Play right hand F (+) with the correct fingering, posture, hand position, intonation, and a characteristic tone quality. Share information about Johannes Brahms. Locate Germany on a world map and share information about the country. All except clarinet, bass clarinet, and Eb tuba: Play Concert A and Bb with the correct fingering, posture, hand position, intonation, and a characteristic tone quality. Identify and define orchestration. Orchestrate existing music for full band. Locate Argentina on a world map and share information about the country. Identify, define, and perform whole step, major scale, and arpeggio. Identify, define, and perform tonic, subdominant, and dominant seventh chords. Perform the Concert Bb major scale. Percussion: Identify, define, and perform dampening. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 1. Warm-up: Chop Builder 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 slurring. Have brass players perform the warm-up on their mouthpieces while woodwind players and percussionists perform on their instruments.
2 1. Warm-up: Chop Builder Introduction of multiple bounce stroke [percussion] 1) The upper left exercise of facing pages in the student books will always be a warm-up. Regardless of the starting point of your lesson, using the warm-up included on the same facing pages will avoid unnecessary student page turning. 2) Use 1. Warm-Up: Chop Builder as a daily warm-up in addition to any long tones, scales, or exercises from GREAT WARM-UPS (beginning on student page 42, score page 507). 3) Percussionists are re-introduced to the multiple bounce stroke at this time. As they experiment with the technique, students should strive for a sustained buzzzz sound consisting of many bounces that gradually decrease in intensity. Students should use the video lesson found in the Tradition of Excellence Interactive Practice Studio (IPS) for further study. 4) Have students sing the exercise on ah, focusing not only on the pitches but also on having an open throat. 5) Have students use a full sound and steady air stream, making sure all players are slurring. 6) Have brass players perform the warm-up on their mouthpieces while woodwind players and percussionists perform on their instruments. 7) Gradually challenge students on this exercise by asking them to use four measure phrases in lieu of the indicated two measure phrases. 2. Academic Festival March Duet Introduction of right hand (+) F fingering [oboe] 1) Have oboists perform new note right hand F (+) with the correct fingering, intonation, posture, hand position, and a characteristic tone quality. Explain the difference between the forked (o) and right hand (+) F fingerings, and describe how students should decide which fingering to use based on the notes preceding and following the F. 2) Sing line A using solfège syllables or the syllable too. 3) Sing line A again, this time while using the correct fingerings, slide positions, or air sticking. 4) Play line A. 5) Sing line B using solfège syllables or the syllable too. 6) Sing line B again, this time while using the correct fingerings, slide positions, or air sticking. 7) Play line B. 8) Divide the class into two groups, then sing the duet using solfège (or too ) while using the correct fingerings, slide positions, or air sticking. 9) Play the duet. 10) Select a small ensemble of volunteers to perform the duet with the recorded accompaniment. 11) Select a student to read the history text box on Brahms. 12) Have students complete the Johannes Brahms Worksheet available in the Tradition of Excellence Interactive Teacher Studio (ITS). 13) Johannes Brahms was from Germany. Identify Germany 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 Germany, such as climate, geography, history, cuisine, art, and culture. 14) Help students explore the relationships between music and German culture and geography by using the Germany Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class.
3 15) Use Excellence in Theory Book 1 and/or Book 2, pages 50 51 for a preliminary study of the Romantic Period. 16) Using the IPS/ITS, explore the history of the piece: Johannes Brahms (1833-1897) wrote music in many genres that had a long history in Germany and Austria, including symphonies, chamber works, piano music, choral pieces, and more. This overture was written for and dedicated to the University of Breslau, which awarded Brahms an honorary doctorate. Breslau, now called Wroclaw, is in modern-day western Poland. This march is one of several melodies that Brahms used in his Academic Festival Overture. For this piece, he didn t make up his melodies from scratch. Instead, he used popular tunes, weaving them into his composition one after the other. Composing a new piece by putting two existing melodies together is something you can try yourself. Brahms even used melodies in this overture that were composed by students! It s never too early to compose excellent music. Written by Mark C. Samples, American musicologist 3. Split Decision Introduction of Concert A and Bb [all except flute, clarinet, bass clarinet, and Eb tuba] 1) Have students inspect the music. If there are new notes indicated in their part (all except flute, clarinet, bass clarinet, and Eb tuba), have students consult the fingering chart at the top of the page. 2) Check each section to evaluate the fingerings of the new notes. 3) Sing only the first two measures of this exercise on the syllable too while using the correct fingerings, slide positions, or air sticking. 4) For brass players, it is important to approach these new pitches slowly and stepwise just as the exercise is written. It is recommended not to refer to these pitches as high, as this concept may lead to tension and pinching in the brass players embouchures as they squeeze the notes out. 5) Have the woodwinds and percussion play the first two measures as the brass sing on the syllable too while using the correct fingerings or slide positions. Address any fingering, sticking, or rhythmic concerns. 6) Have the brass and percussion play while the woodwinds sing and finger along. Address any brass issues with regard to the new notes. Double check posture and use of pressure in brass players. 7) Play the first four measures together as a full band. 8) Sing the entire exercise, starting at measure 1 on the syllable too while using the correct fingerings, slide positions, or air sticking. (Do not begin this exercise at measure 5, as it is not a good starting place for the brass players.) 9) Perform the exercise with the recorded accompaniment.
4 4. Arroró Mi Niño Introduction of orchestration 1) Sizzle this exercise while using the correct fingerings, slide positions, or air sticking. Be sure that articulations and dynamics are reflected in the sizzle. 2) Sing on the syllable too, and strive for the four-bar phrase while singing. 3) Perform the exercise as a full band. 4) Review the terms soli and tutti. 5) Select a student to read the definition of orchestration from the top of the page. 6) Ask students to describe what factors they consider when orchestrating a piece of music. These may include such factors as the best timbre (tone color) for the piece, dynamics, desire for contrasting sections, and so forth. 7) Have students orchestrate the existing music by writing which instruments should play the soli the first time (1st x) and the second time (2nd x) in the spaces provided. 8) Select student orchestrations for the full band to perform. Record a variety of orchestrations. Play the recordings back to the full band. Have students listen to and analyze the recordings to determine the orchestration performed. Have students evaluate by writing praise and constructive criticism of the recorded performance. 9) Arroró Mi Niño is an Argentinian folk song. Identify Argentina 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 Argentina, such as climate, geography, history, cuisine, art, and culture. 10) Help students explore the relationships between music and Argentinian culture and geography by using the Argentina Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class. 11) Using the IPS/ITS, explore the history of the piece: Arroró Mi Niño is a folk song from Argentina, where the official language is Spanish. Argentina is the second largest country in South America, stretching from the center of the continent all the way down to its southern tip near Antarctica. The climate of the country ranges widely, from humid and very hot in the northern summers (called subtropical ) to very cold with heavy snowfall during winters in the south (called subpolar ). This folk song is a lullaby. Like other lullabies from around the world, the lyrics are simple, repetitive, and soothing. In its original setting, this song most likely would be sung with no accompaniment. Here are the first four lines of the Spanish lyrics to this lullaby. Can you match them up with the notes? Try singing the melody and words together. Singing all four lines of the lyrics will take you through the exercise two times. Written by Mark C. Samples, American musicologist
5 Lyrics Arroró mi niño, arroró mi sol. Arroró, pedazo de mi corazón. Duérmete mi niño, duérmete mi amor. Duérmete, pedazo de mi corazón. Translation Hush now my child, hush now my sun. Hush now, little piece of my heart. Go to sleep my child, go to sleep my love. Go to sleep, little piece of my heart. 5. Concert Bb Major Scale, Arpeggio, and Chords Introduction of whole step, major scale, and arpeggio; introduction of tonic, subdominant, and dominant chords; introduction of Concert A and Bb [flute] 1) Have flute players consult the fingering chart for new notes A and Bb. 2) With the flute section alone, sustain the pitches starting on measure 2, count 2 one note at a time (F, G, A, Bb). 3) Review the concept of concert pitch with students. 4) Project a piano keyboard on a screen. Review the definitions of whole and half step. Refer students to the top of the page for the definition and construction of a major scale. Walk them through the scale step by step. 5) Play the scale together (only measures 1 5) one pitch at a time, then in tempo. 6) Define arpeggio and play measures 6 7. 7) Review the following information with students: tonic first note of a scale; chord built on first note of a scale subdominant fourth note of a scale; chord built on fourth note of a scale dominant fifth note of a scale; chord built on fifth note of a scale 8) Play the chords (measures 8 9). Use this opportunity to review the principles of balance in the concert band. (Consult Teaching Band With Excellence for more information on tuning, balance, and blend.) 9) Play the entire exercise. Consider adding this scale to the end of your daily warm-ups. 6. Skill Builder Test Introduction of dampening [percussion] 1) As this line is designed for assessment, it is suggested that students learn how to perform this exercise on their own. 2) Select a percussionist to read the definition of dampening from the top of the page. 3) With the percussion section, inspect the triangle line for situations where dampening is needed. Demonstrate, or select a student to demonstrate, appropriate dampening technique.
6 Consult Teaching Band with Excellence and the triangle video lesson in the IPS for more information on dampening. 4) Assign this exercise for a performance evaluation. Evaluation (Assessment) Use 6. Skill Builder as an evaluation tool to assess the skills learned on student page 2. 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 2. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Translation: Songwriting Opportunity Sing 4. Arroró Mi Niño with the Spanish lyrics along with the recorded accompaniment. Project or distribute a copy of the English translation from this lesson plan, the ITS, or the score. Students will notice the English words will not match the rhythm of the folk song. Individually, or in small groups, have students create a translation that captures the sentiment and emotion of the folk song and fits the melody with only slight rhythmic alterations. Using a piece of manuscript paper, have students write out the melody with no slurs or dynamics. Going two measures at a time, have students create a lyric that matches the melody. If altering the rhythm of the melody is necessary (e.g. making two eighth notes into a quarter note or vice versa), this change will need to be reflected on the manuscript paper. If a word or syllable is to be sung over two pitches, a slur must be added to the music. Lastly, add dynamics that support the newly created vocal line. Once completed, select a translation to be performed for the class. Consider programming some of the translations on the concert with a small ensemble and the recorded accompaniment. Ear Training: Dictation Assessment Pass out manuscript paper to the class. On a single pitch, play or sing the rhythms on the following page. Provide students with the time signature of the example before you begin. Perform each twomeasure excerpt three times with a pause in between. Have students correctly notate the twomeasure rhythm on the staff paper. After completing the fourth example, collect the papers for assessment.
7 Scale Construction (Part 1) 1) Duplicate and distribute a copy of the keyboard layout included on the last page of this lesson plan. Project the keyboard on the board or interactive whiteboard as well. Pass out a piece of manuscript paper. 2) Review the following definitions with students: interval distance between two pitches octave interval between a note and the next higher or lower note with the same name half step smallest interval used in Western music; on a piano keyboard, it is the distance from one key to the very next key white or black whole step interval consisting of two half steps 3) Demonstrate what these intervals look like on the keyboard. Demonstrate these concepts aurally for students using a piano. 4) Project the image below or draw it on the board for students.
8 5) Address the pattern of whole and half steps as a formula or recipe for making a major scale. Use the C major scale as an example. Be sure to have students touch the intervals on their keyboards as they are discussed. 6) On the manuscript paper, construct the Bb major scale as a class. Have everyone start on a Bb (no transposing). Use a blank staff on the board to construct the scale with the class. 7) On the manuscript paper, have students construct the G major scale on their own. Be sure everyone starts on a G (no transposing). Select a student to write the answer on the board. 8) Use Excellence in Theory Books 1 and 2 to supplement this exercise. Ear Training: Half or Whole? On a keyboard, play a note and then play another note either a half or whole step away from the first note. Have students identify on a sheet of paper if the interval was a half or whole step. Explain to students the difference between a minor second (half step) and a major second (whole step). Play two notes on the piano at the same time. Have students identify on a sheet of paper if the chord was a minor or major second. 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 7. Private Lesson Flute and oboe: Perform Bb major finger patterns while keeping fingers close to the keys. Clarinet and bass clarinet: Play B using the alternate fingering. Alto clarinet: Play new note E. Alto saxophone and baritone saxophone: Play F# using the alternate fingering. Tenor saxophone: Perform C major finger patterns while keeping fingers close to the keys. Bassoon: Perform Bb major finger patterns while keeping fingers close to the keys. Trumpet/cornet, trombone, baritone/euphonium, and tuba: Perform lip slurs and Concert Bb major finger patterns. F horn and Eb horn: Perform lip slurs and written C major finger patterns. Electric bass: Perform finger patterns in Bb major. Mallets: Perform double stroke sticking patterns and double stops. Suspended cymbal: Identify and perform roll technique. Snare drum: Identify and perform eighth/sixteenth note combinations.
9