Page 18 Lesson Plan Exercises 87 92 Score Pages 226 239 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. Share information on Thomas Tallis. Locate England on a world map and share information about the country. Share information on Tielman Susato. Locate Belgium on a world map and share information about the country. Percussion: Demonstrate proper finger cymbal technique. Identify and perform dotted eighth/sixteenth note. Identify, define, and perform rallentando. Locate Germany on a world map and share information about the country. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 87. Warm-up: Canon (Round) 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 as well as ensemble balance and blend. 87. Warm-up: Canon (Round) 1) Sing this line on too or using solfège syllables in unison while using the correct fingerings, slide positions, or air sticking. 2) Play this exercise in unison with the recorded accompaniment. 3) Divide the class into four groups. Sing the exercise as a canon. 4) Play the exercise as a canon. Be sure students are using four-measure phrase lengths. 5) Have students complete the Thomas Tallis Worksheet available in the Interactive Teacher Studio (ITS).
2 6) Thomas Tallis was from England. 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. 7) 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. 8) Using the Interactive Practice Studio (IPS)/ITS, explore the nature of the canon: Canon comes from the Greek word for rule. A canon is a composition that uses a rule to create multiple parts from one line of music. For instance, a simple canon might instruct additional players to enter at specific time intervals after the first person begins. But the rules can also be much more creative. Examples include playing a melody backwards or upside down or doubling the length of each note for the second part. How is a canon different from a round? A round is a specific type of canon that is very popular in vocal music. With a round, singers sing the same melody at specific time intervals so that the melody produces its own harmony. The canon (rule) tells you what to do in order to make the message come across as the author/composer intended. See if you can figure out the canons to the following three sentences. 1..tfel ot thgir morf ecnetnes siht daer 2. Beginning the is end the. 3. Read this sentence upside down. Answers: 1. Read this sentence from right to left. 2. The end is the beginning. [Start reading at the end of the sentence and work backwards.] 3. Read this sentence upside down. Written by Mark C. Samples, American musicologist 88. Skill Builder: Theme from Renaissance Festival and Dances Introduction of finger cymbals [percussion] 1) Instruct the percussion section on proper finger cymbal playing position and technique. Use the video in the IPS/ITS for reference. Have a percussionist demonstrate this new tone color for the band. 2) Have woodwind and brass players sizzle the rhythm of the first eight measures (the first line) while percussionists clap their parts. Be sure the dynamics and articulations are reflected in the sizzling/clapping.
3 3) Have woodwind and brass players sizzle the rhythm of the of the second eight measures (the second line) while percussionists clap their parts. Be sure the dynamics and articulations are reflected in the sizzling/clapping. 4) Review the form of the piece. Have non-mallet percussionists play while other students sing this line on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. 5) Play this exercise together. Be sure students pay close attention to the style and dynamics to better portray the character of the piece. 6) Perform this exercise with the recorded accompaniment. 7) Have students complete the Tielman Susato Worksheet available in the ITS. 8) Tielman Susato was a Flemish (Belgian) composer. Identify Belgium 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 Belgium, such as climate, geography, history, cuisine, art, and culture. 9) Help students explore the relationships between music and Flemish culture and geography by using the Belgium Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class. 10) Using the IPS/ITS, review some information about Susato: This melody was written by Tielman Susato, the same composer who wrote Battle Pavane. Do you remember what three musical professions he had? Check your answer by rereading the history extra about Susato from 71. Battle Pavane. Written by Mark C. Samples, American musicologist 89. Rhythm Time Introduction of dotted eighth/sixteenth note 1) Have students write in the counting. 2) Divide the class into two groups. Have one group pat steady eighth notes on their laps. Have the other group sizzle the rhythm for 89. Rhythm Time. The sixteenth notes should be sizzled lightly for ease of tonguing. 3) Switch groups. 4) Have the full band sizzle the rhythm for 89. Rhythm Time together. 5) Play 89. Rhythm Time on a Concert Eb. Students should keep the tonguing of the sixteenth notes light and the air stream moving so they do not slow down. 6) Extend this lesson with RHYTHM STUDIES on page 45, #6, 12, 21, and 22 (score page 530). 90. O Tannenbaum Introduction of rallentando 1) Select a student to read the definition of rallentando from the top of the page. 2) Sizzle this exercise while using the correct fingerings, slide positions, or air sticking. Be sure that style, dynamics, and the tempo alteration are reflected in the sizzle. 3) Play this exercise as a full band. 4) O Tannenbaum is a German folk song. 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
4 information that they may know about Germany, such as climate, geography, history, cuisine, art, and culture. 5) 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. 6) Extend the lesson by introducing the lyrics: Lyrics wie grün sind deine Blätter! Du grünst nicht nur zur Sommerzeit, nein, auch im Winter, wenn es schneit. wie grün sind deine Blätter! du kannst mir sehr gefallen! Wie oft hat doch zur Weihnachtszeit, ein Baum von dir mich hoch erfreut: du kannst mir sehr gefallen! dein Kleid soll mich was lehren! Die Hoffnung und Beständigkeit, gibt Trost und Kraft zu jeder Zeit: dein Kleid soll mich was lehren! Translation by Hugh Keyte and Andrew Parrott With faithful leaves unchanging! Not only green in summer s heat, But in the winter s snow and sleet: With faithful leaves unchanging! Of all the trees most lovely! Each year you bring renewed delight, A-gleaming in the Christmas night: Of all the trees most lovely! Your leaves will surely teach me! That hope and love and faithfulness, Are precious things I can possess: Your leaves will surely teach me!
5 7) Using the IPS/ITS, explore the history of the piece: O Tannenbaum is a carol that celebrates the long tradition of decorating a Christmas tree. This carol, which comes from Germany and was probably written in the 16th or 17th century, is still popular in Germany and is perhaps the best-known German carol among English speakers. The carol s German lyrics have been translated into English numerous times with differing results. The song s opening has been translated variously as O Christmas tree, O Christmas pine, O tree of fir, and O pine-tree tall. Many versions retain the original German name Tannenbaum, which literally refers to the fir tree, or Tanne (TAHN-uh), that is decorated. Written by Mark C. Samples, American musicologist 91. Blow Away the Morning Dew 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) Blow Away the Morning Dew 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. 4) 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. 5) Using the IPS/ITS, explore the history of the piece: Ralph Vaughan Williams (1872 1958) was an English composer of orchestral works, songs, operas, choral music, and music for band. He was at the forefront of a group of composers who, in the early 20th century, brought English music to the forefront of international interest. This group, which also included Edward Elgar (1857 1934) and Gustav Holst (1874 1934), considered English folk music to be a wellspring of national character and frequently used it in orchestral arrangements. Vaughan Williams used the tune Blow Away the Morning Dew in the final movement of his English Folk Song Suite for military band. Vaughan Williams s compositions for military band especially the English Folk Song Suite are pillars of the classic repertoire for the ensemble, something that every member of a concert band should listen to and have a chance to play. The pieces demonstrate the musical sensitivity and expressive breadth that can be accomplished by a wind ensemble.
6 Did you know? Vaughan Williams s first name is pronounced Rafe (rhymes with safe ). Evaluation (Assessment) Written by Mark C. Samples, American musicologist Use 91. Blow Away the Morning Dew 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 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 18. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Rhythmic Dictation: Dotted Eighth/Sixteenth Notes Pass out a piece of manuscript paper to each student. Ask students to divide a staff into four equal measures. Add a time signature of ƒ. Perform each of the rhythmic examples from the following page on your primary instrument, the piano, or by clapping. Each example should be demonstrated a minimum of three times with ample time in between demos for students to write their responses. Instruct students to write the rhythm on the bottom space. The first example should be written in the first measure, the second in the second measure, and so forth.
7 After all four examples have been written down, have the class play all four measures on a Concert D. 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. Notation by Ear Pass out a piece of manuscript paper to the class. Instruct students to assign a ƒ time signature and to divide the first and second lines of the staff paper into four equal measures each. These lines will be used for rhythmic dictation. As a class, sing the folk song Frère Jacques. The original French version of the song is as follows: Frère Jacques, frère Jacques, Dormez-vous? Dormez-vous? Sonnez les matines, sonnez les matines, Din, dan, don, din, dan, don. The song is traditionally translated into English as: Are you sleeping? Are you sleeping? Brother John, Brother John, Morning bells are ringing, morning bells are ringing, Ding, dang, dong, ding, dang, dong.
8 Have the class clap the rhythm of only the first measure ( Frère Jacques ) and have students sketch the rhythm in the first space of the first measure. (Students should sketch four eighth notes, beamed two and two.) Once students have all sketched the first measure correctly, have them sketch the rhythm in each subsequent measure in the same manner. Pay close attention to the use of sixteenth notes in measure 5. Next, on the third and fourth lines of the staff paper, instruct students to draw their clef, write the key signature for Concert Eb major (e.g., trumpets will write the key signature for F major), and assign the time signature of ƒ. Beginning on Concert Eb, have students write the melody of the folk song for their instrument. This can be done at home, in class, individually, or in groups. In addition to pitch accuracy, check for note spacing, stem direction, and beaming. Ask students if they have ever sung this song as a canon. In which measure did the second group enter? The third? The fourth? In measure one, have students write a 1, for the second entry a 2, and so on. Use 87. Warm-up: Canon (Round) for a quick reference on this round/canon notation. Finally, have the band play Frère Jacques in unison and as a canon from their newly created manuscripts. 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 92. Private Lesson Flute: Play new notes D and Eb. Oboe: Perform Bb major finger patterns with an emphasis on o versus + F fingerings and half-hole technique. Clarinet and bass clarinet: Perform low F# and mid-range C# fingerings. Alto clarinet: Play F# using the alternate fingering. Bassoon: Play new notes D, Eb, and alternate Eb. Alto saxophone and baritone saxophone: Play Bb using the alternate fingering. Tenor saxophone: Perform Bb major finger patterns. Trumpet/cornet, baritone/euphonium, and tuba: Play new note Concert D. F horn: Identify and define enharmonics. Play new notes F# and G# in two octaves.
9 Eb horn: Play new notes G# and A#. Trombone: Play new notes D and alternate D. Electric bass: Play new notes B, C#, and D. Snare drum: Identify, define, and perform Seven Stroke Roll (Dotted Eighth Note Roll).