1 Page 8 Lesson Plan Exercises 14 21 Score Pages 81 94 Goal Students will progress in developing comprehensive musicianship through a standards-based curriculum, including singing, performing, improvising, reading and notating, listening and analyzing, evaluating, interdisciplinary relationships, and historical and cultural relationships. Objectives for Student Learning Identify and perform quarter notes and quarter rests. Perform Concert Bb and C with the correct fingering/slide position, posture, hand position, and a characteristic tone quality. Accurately play alternating pitches on quarter notes. Accurately perform a quarter rest on count one. Accurately draw clef, notes, and rests. Identify England and the United States of America on the world map on student page 47. Woodwinds and brass: Employ correct tonguing while only breathing during rests or at breath marks. Woodwinds and brass: Change fingerings and articulate simultaneously. Trumpet: Extend the 3rd valve slide on the written pitch D. Percussion: Accurately perform alternating sequential Single Paradiddles and accents. Percussion: Perform the multiple bounce stroke with appropriate technique. Procedure (Activities) Warm-up Use 15. Rising Rhythms as a daily warm-up in addition to long tones. Use a full sound and steady air stream. Have brass players perform the warm-ups on their mouthpieces while woodwind players and percussionists perform on their instruments. 14. Rhythm Time Introduction of quarter note, quarter rest, tonguing 1) Rhythm Time exercises are designed to focus students attention directly on rhythmic or stylistic components of the music. Each Rhythm Time exercise is linked to more rhythm studies in the back of the book for further study. 2) 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 3) Have the students clap 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, down-up, read-y, clap-and. 4) If not already addressed, this exercise allows for an excellent opportunity to teach tonguing. Have students whisper the exercise on too to practice tonguing technique. Emphasize to students that the chin and jaw must not move when tonguing and the air pressure must remain behind the teeth. For more information on tonguing see Teaching Band With Excellence (page 34). 5) Have students perform the exercise together on Concert D. 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. 15. Rising Rhythms 1) Have students clap the rhythm of this exercise. Many will quickly notice the rhythm is identical to the previous exercise. 2) Have students sing the exercise on too or using solfège. 3) Remind students, they are only to breathe in the rests, but not necessarily in every rest. Keep a steady air stream, separating the quarter notes with the tongue. 4) Divide the class in half. Have half the class clap 14. Rhythm Time while the other half performs 15. Rising Rhythms on their instruments. Select a clapper to offer feedback to the performers. Switch groups. 5) Perform this exercise together with the recorded accompaniment. 16. Stepping Stones 1) Have students sizzle the rhythm. 2) Have students sing the exercise on too or using solfège. 3) Perform the exercise together. 4) Isolate individual woodwind and brass sections to check tonguing. Remind students that their fingers and tongues must move together to change notes accurately. Select students to evaluate their peers performance. 5) Perform the exercise together with the recorded accompaniment. 17. Rain, Rain Introduction of quarter rest on the downbeat; introduction of triangle [percussion] 1) Review the definition of Traditional as a byline: The right corner above the first line of a song is generally reserved for the composer s name. However, if the song has existed for hundreds of years and the composer is unknown, you may see the word Traditional. 2) Triangle is used for the first time in this exercise. After reviewing proper technique, have a student perform the triangle sound for the full band. This new color will be used periodically to enhance the band sound. 3) Have students clap the rhythm. 4) Have students sing the exercise on too or using solfège.
3 5) Be sure the students correctly interpret the quarter rest on the downbeat. 6) Percussion: Reinforce the importance of the accent on the Single Paradiddle Rudiment. 7) Perform the exercise together. 8) Ask students to look at the melodic motion of the notes in each measure and explain the correlation between the direction of the motion and the title Rain, Rain. 9) Have the students circle the skips and underline the steps in their music. 10) Perform the exercise together with the recorded accompaniment. 18. In a Minor Mood Introduction of Concert C 1) Introduce the new pitch, Concert C, to all instruments. Play and hold this new pitch. 2) Clap the rhythm of this exercise. 3) Sing the exercise on the syllable too or using solfège. Have students use the correct fingerings, slide positions, or air sticking while singing. 4) Perform this exercise together. 5) Check the hand position of the flutes and oboes. Instruct students to keep their fingers close to the keys when alternating between D and C. 6) Carefully watch the trombone players. While reaching for 6th position, they may turn their head to the left, negatively affecting their embouchure. Encourage them to keep their head straight as they extend their slide, even if they do not fully make it to 6th position. 7) Instruct trumpet players to extend their 3rd valve slides on written D. 8) Play this exercise together with the recorded accompaniment. 19. Hot Cross Buns Introduction of Concert Bb 1) Introduce the new pitch, Concert Bb, to all instruments. Play and hold this new pitch. 2) Clap the rhythm of this exercise. 3) Sing the exercise on the syllable too or using solfège. Have students use the correct fingerings, slide positions, or air sticking while singing. 4) Perform this exercise together. 5) Identify England 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 England, such as climate, geography, history, cuisine, art, and culture. 6) Help students explore the relationships between music and English culture and geography by using the England Worksheet available in the Tradition of Excellence Interactive Practice Studio. Distribute the pages to students as homework, or review by displaying them in class. 7) Enhance the lesson through singing. Have half the students sing the lyrics while the other half plays, and then have everyone sing. Lyrics are not printed in the student book, but may be copied or displayed for students. Hot Cross Buns Hot cross buns! Hot cross buns! One a penny, Two a penny, Hot cross buns!
4 8) Explore the history of this song: Hot cross buns are small buns made of a sweet dough, sometimes with pieces of candied fruit inside. They are called cross buns because they have a cross on the top, which was once just created by running a knife along the top. Now, the cross is usually drawn on in a much tastier way: by using frosting. Hot cross buns are originally an English tradition and were eaten on the Friday before Easter, called Good Friday. The cross on top is a Christian symbol closely associated with the holiday. This song was originally used as a street cry. Street cries have been used for hundreds of years to sell goods in outdoor markets. The sellers would carry their buns in a covered basket and sing Hot Cross Buns to let everyone around them know what they were selling and how much it cost: One a penny, two a penny. Food is now usually advertised through more modern methods like television commercials. However, you can still hear street cries today, such as at a baseball game where the vendor walks through the stands and cries out: Peanuts! Get your peanuts here! Although the tradition probably stretches farther back, Hot Cross Buns was first mentioned in print in 1733 in Poor Robin s Almanack and first published as a song in 1797. It has become a popular nursery rhyme, included in numerous children s books since then. Written by Mark C. Samples, American musicologist 20. Go Tell Aunt Rhodie 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) Go Tell Aunt Rhodie is an American folk song. Identify the United States of America 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 the United States, such as climate, geography, history, cuisine, art, and culture. How do they think students in England would describe the climate, cuisine, art, and culture in the United States? 3) Help students explore the relationships between music and American 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. 4) Assign this exercise for a performance evaluation. Evaluation (Assessment) Use 20. Go Tell Aunt Rhodie as an evaluation tool to assess the skills learned on student page 8. 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
5 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. Enrichment Studies Conducting Lesson The conducting pattern for can be found in the blue box at the top of student page 8 (score page 81). 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. Review this conducting pattern by having the 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 magnify the pattern from tracing on the page to a moderately sized gesture. As students conduct, ask them if they can feel the length of the quarter note. Have the students place a tick on each quarter note. Consider defining this tick as an ictus. As they conduct, remind them to fill in the space of each quarter note, just like when they play. As the students continue conducting, ask them if they can feel the length of the half note. Have the students only place the tick on the half notes (counts one and three.) As they conduct, remind them to fill in the space of each half note, just like when they play. Switch students back to conducting each quarter note. Ask them to imagine how they are supposed to tongue each quarter note. On the syllable too, have the students whisper the quarter notes as they conduct with the tick on each beat. Select a student to conduct the band! Rhythmic Independence Ask the students to turn to page 44 in their books. Count and clap rhythms #5 17. 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 Concert D in the same manner by playing one line, then adding the second, and so on. Improvisation and Echo Using only the 5 pitches they know, select a student to improvise a two-measure melody using only quarter notes, half notes, and whole notes. Have the rest of the class echo back the student-created melody. You may wish to create the first few melodies yourself before asking the first student to be the leader.
6 Extend this lesson by adding a notation component. Using manuscript paper, students can notate the rhythm only or rhythm and pitches of the improvised melody. If you choose to have students notate the pitches as well as the rhythm, it is suggested that each melody start on Concert D. It is important to keep the improvised melodies at a two-measure maximum length. Major or Minor: Ear Training Play the recorded accompaniment for 17. Rain, Rain, and then play the recorded accompaniment for 18. In a Minor Mood. Have students describe the differences in the way the two pieces of music sound. Collect their list of adjectives on the board. Help to guide the discussion to focus more on differences that include pitch, sound, or feeling and less on tempo, rhythm, and style. Play the accompaniment recording for 20. Go Tell Aunt Rhodie and then play the recording again for 18. In a Minor Mood. Continue collecting students thoughts. Explain to students that music written in minor often carries the sound similar to 18. In a Minor Mood, while music written in major often carries the sound similar to 17. Rain, Rain or 20. Go Tell Aunt Rhodie. Choosing between major or minor is only one of the many ways composers can choose how to communicate their expression. Play a few minor chords on the piano. Then play a few major chords. Ask the students if they can hear a difference. To see individual responses, have the students give a thumbs up for major chords and a thumbs down for minor chords. Writing Opportunity Ask students to explain in their own words how posture, instrument position, embouchure, and air support (grip and stroke for percussionists) work together to allow a performer to sound the way he or she does. Private Lessons Homogeneous Study 21. Private Lesson is a homogeneous lesson opportunity for small group instruction. Woodwinds, brass, and mallets: Draw a bass or treble clef, notes, and rests. Snare Drum: Learn multiple bounce stroke.