1 Page 17 Lesson Plan Exercises 61 66 Score Pages 179 184 Goal Students will progress in developing comprehensive musicianship through a standards-based curriculum, including singing, performing, improvising, composing and arranging, reading and notating, listening and analyzing, evaluating, interdisciplinary relationships, and historical and cultural relationships. Objectives for Student Learning Identify and perform. Identify and define dot and dotted half note. Identify, define, and perform dynamics, forte, and piano. Apply the key signatures of Concert Eb major and Concert Bb major. Define waltz. Identify the United States of America, Australia, and Italy on the world map on student page 47. Compose and improvise variations on an Italian folk song. Procedure (Activities) Warm-up Use 56. Warm-Up: Chorale Duet 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. Alternate parts as desired. Have brass players perform the warm-ups on their mouthpieces while woodwind players and percussionists perform on their instruments. 61. Rhythm Time Introduction of, dot, dotted half note 1) Define. Use the Rhythm Counting grid to help establish a solid understanding of rhythm relationships and counting systems. Use this opportunity to reinforce your chosen counting system. 2) Select a student to read the definition for dot from the top of the page. 3) Use this definition to show the value of a dotted half note. 4) Use measures 2 and 4 as contextual visual representations when teaching dotted half note. 5) Write in the counting for this exercise.
2 6) Have students clap together the rhythm of this exercise. Consider foot tapping to this exercise. Have students tap their foot on the downbeats and lift it on the upbeats (the &s of the beats). Give a count-off such as Down-up, read-y, clap-and. 7) Have students perform together on Concert Eb. 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. 62. Encounter in Three 1) Have students circle the notes changed by the key signature. 2) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Be sure students are singing the slurs correctly ( too-oo ). 3) Have some students clap and count 61. Rhythm Time while others perform 62. Encounter in Three. After the performance, select a clapper to offer praise and constructive criticism on the performance. 4) Have students play the exercise together with the recorded accompaniment. 63. Skill Builder: A Simple Waltz Introduction of dynamics, piano 1) Define for students: waltz popular dance in 2) Select a student to read the definition of dynamics from the top of the page. 3) Select a student to read the definition of piano from the top of the page. 4) Explain to students that because the first note has a dynamic marking, all the music is played with this dynamic until another dynamic is indicated. 5) Clap the rhythm of the exercise. Students should clap the dynamic as well. Alert students to the presence of the pick-up note. 6) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. 7) Perform this exercise at a piano dynamic. Breath support is very important to maintain a solid piano dynamic. Many times, students will perform this with very little air. Encourage students to take a big breath as if they were going to play loudly, but then focus the air stream so that the sound comes out softly. Tone quality should not be altered by the dynamic. 8) Perform this exercise with the recorded accompaniment. 64. Sight-Reading Challenge: Theme from Cambridge Overture Introduction of forte 1) Select a student to read the definition of forte from the top of the page. 2) Clap the rhythm of the exercise. Students should clap the dynamic as well. 3) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. 4) Perform this exercise at a forte dynamic. Remind students that tone quality should not be altered by the dynamic. 5) Perform this exercise with the recorded accompaniment. 6) Select a student to read the history text about composer Anne McGinty.
3 7) Learn more about McGinty by completing the Anne McGinty Worksheet available in the Tradition of Excellence Interactive Teacher Studio. 8) Define for students: 20th Century historical and music period that saw great changes to music due, in part, to developments in technology; new styles developed, such as Impressionism, 12-tone music, and chance music 9) Anne McGinty is an American composer. Identify the United States on the world map and have students follow along with the map located on page 47 of their books. 10) Have students complete the United States Worksheet available in the Tradition of Excellence Interactive Teacher Studio. 65. I ve Just Come from Sydney Test 1) As this line is designed for assessment, it is suggested that students learn how to perform this exercise on their own. 2) I ve Just Come From Sydney is an Australian folk song. Identify Australia 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 Australia such as climate, geography, history, cuisine, art, and culture. 3) Help students explore the relationships between music and Australian culture and geography by using the Australia Worksheet available in the Tradition of Excellence Interactive Teacher Studio. Distribute the pages to students as homework, or review by displaying them in class. 4) Assign this exercise for a performance evaluation. 66. Excellence in Composition: Carnival of Venice 1) Play the theme (the written music) together. 2) By adding eighth notes to the quarter notes, have students compose a variation on the melody. Refer to 59. Bingo Variations for an example. Snare drum: compose a snare drum accompaniment. 3) Select students to perform their variation. Use the recorded accompaniment. 4) With the recorded accompaniment, select students to improvise a variation. Have the whole band play the first time through with the accompaniment and a soloist the second. 5) Provide students with staff paper and have students compose a second variation on the same melody, this time incorporating one or two altered pitches along with altered rhythms. Have students perform their composed variation for the band. 6) Perhaps one of the most well known theme and variations on the song Carnival of Venice was composed by Jean-Baptiste Arban and made famous by the cornet virtuoso Herbert L. Clark. If it is available, play a recording for your students of this famous work. 7) Carnival of Venice is an Italian folk song. Identify Italy 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 Italy such as climate, geography, history, cuisine, art, and culture. 8) Help students explore the relationships between music and Italian culture and geography by using the Italy Worksheet available in the Tradition of Excellence Interactive Teacher Studio. Distribute the pages to students as homework, or review by displaying them in class.
4 9) Consider adding this piece to a concert. Have the full band play the theme, a soloist play their composed variation, the full band play the theme, another soloist play their composed variation, and so forth. Evaluation (Assessment) Use 65. I ve Just Come From Sydney as an evaluation tool to assess the skills learned on student page 17. 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. After completing student pages 14 17, assess student comprehension using the quiz from score page 185. The quiz and answer key can also be found in the Interactive Teacher Studio. Enrichment Studies Conducting Lesson The conducting pattern for can be found in the blue box at the top of student page 17 (score page 179). Project this image on an interactive whiteboard from the ITS or the IPS and zoom in on the pattern. Alternatively, you can draw the pattern on the board for students to see. Have students trace along the pattern at the top of the page with their right hand. Turn on a metronome as part of this lesson to keep all students together. Slowly have students magnify the pattern from tracing on the page to a more moderately sized gesture. Select a student to conduct the band! Rhythmic Independence Reading and Notating Ask students to turn to page 46 in their books. Count and clap rhythms #49 53. After students have mastered the counting and clapping of each rhythm, have students count and clap two lines simultaneously. Add the third line, then the fourth. Play the rhythms on a concert pitch of your choosing in the same manner by playing one line, then adding the second, third, and fourth lines. Musical Styles Have students listen to waltzes in various styles, for example, Strauss s The Blue Danube Waltz, Bill Evans s Waltz for Debby, Billy Joel s Piano Man, and Kelly Clarkson s Cry. Have students identify the musical similarities and differences by filling out the chart on the following page.
5 Time signature/feel Blue Danube Waltz for Debby Piano Man Cry Tempo Style and mood Dynamics Instruments used The waltz is a partner dance in that probably evolved from the German landler. During the 1800s it was the most popular social dance in Europe as well as a formal part of many operas, operettas, and ballets. The waltz is danced by partners in gliding steps and smooth, swift turns. Consider finding a video example online of this dance style. Ask students to find popular music they listen to that has a waltz feel. Have them bring in a recording to share with the class. It is suggested to preview all recordings of any unknown songs before playing them for the class.