1 Page 16 Lesson Plan Exercises 56 60 Score Pages 167 178 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 Perform Concert Ab with the correct fingering/slide position, posture, hand position, intonation, and a characteristic tone quality. Identify and perform a pick-up note. Define theme and variation. Identify, define, and apply a key signature. Circle the notes altered by the key signature. Bb instruments: Identify and define interval, half step, accidental, and flat sign. Eb instruments: Identify and define natural. Bassoon: Roll to the half hole position for Ab. Identify the United States of America on the world map on student page 47. See Private Lessons Homogeneous Study for individualized objectives. 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. 56. Warm-Up: Chorale Duet Introduction of Concert Ab; introduction of interval, half step, accidental, and flat sign [Bb instruments]; introduction of natural [Eb instruments] 1) Select a student to read the definition of flat from the top of their page. (This concept is new to Bb instruments and is introduced to Eb instruments in their private lesson.) 2) Select other students to define interval, half step, and accidental (only Bb instruments have these concepts at this time).
2 3) Select a student to read the definition of natural from the top of the page. (Only Eb instruments have this concept at this time.) 4) Assign all players to line A, and have each section display the new fingering or slide position for Concert Ab. 5) Slowly take the students through the first six pitches, allowing them to step up to and down from the new pitch. 6) Point out to students that, though the flat or natural sign is not next to every concert Ab, the flat or natural carries through the measure. Once the concept of the new pitch, Concert Ab, is established, perform all of line A together. 7) Perform line B together. Be sure that all students are performing the slurs correctly. 8) Divide the band into parts. 9) Perform this duet with the recorded accompaniment. 57. Rhythm Time Introduction of pick-up (anacrusis) 1) Ask students to examine the last measure of this exercise. Ask a student to answer the following questions: - How many beats are in this measure? - How many beats are supposed to be in this measure? - Where is the other beat? 2) Select a student to read the definition for pick-up (anacrusis) from the top of the page. 3) Write in the counting for this exercise. 4) 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). 5) Play 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. 58. Skill Builder: Boil the Cabbage Down Duet Introduction of Concert Eb major key signature 1) Have students clap the rhythm to line A. Many will immediately recognize the rhythm is the same as 57. Rhythm Time. 2) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. 3) Have students play line A. 4) Have students inspect the new key signature used in line B. 5) Select a student to, in his or her own words, define key signature. 6) Have students circle the notes changed by the key signature. (Note: Eb instruments are asked to circle the F-naturals.) 7) Have the students perform line B together. 8) Many students will notice that the line is exactly the same as line A. The only difference is the use of the key signature. Use this opportunity to allow students to draw conclusions
3 about the concept of key signature as well as connections between accidentals and key signatures. 9) Feel free to play this as a duet with the accompaniment recording for fun; however, at this point the students will realize the duet is really unison. 10) Boil the Cabbage Down 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. 11) 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. 12) Explore the history of the song: Boil the Cabbage Down is an American folk song with several alternate titles: Bile them Cabbage Down ( bile is boil with a Southern accent) and Bake them Hoecakes Brown. Many historians have tried to discover the origin of this tune. One said it was an adaptation of an old English dance tune, Smiling Polly, from 1765. Another thought it was adapted from Oh Susanna, the popular song by American songwriter Stephen Foster (1826 1864). 20th century ethnomusicologist Alan Lomax, who studied American music of the South, claimed that the song was originally an African-American reel (dance tune). (Ethnomusicologists study music from around the world, focusing especially on connections between music, dance, society, and culture.) Whatever its origin, Boil the Cabbage Down has become widely known and loved among bluegrass, old-timey, and square-dance musicians. Most fiddlers learn it early on, and in recent years it has become popular as a children s song. Written by Mark C. Samples, American musicologist 59. Bingo Variations Test Introduction of theme and variation 1) As this line is designed for assessment, it is suggested that students learn how to perform this exercise using both the black and grey note heads on their own. 2) Select a student to read the definition of theme and variation from the top of the page. 3) Ask students to raise their hands if they know the song Bingo. Lead these students in song. (The lyrics are printed in the score music.) 4) Inform students that the black note heads outline the traditional melody of Bingo. The last measure, however, does involve a rest on the downbeat for added fun. 5) The variation on this melody is created by altering the rhythm of the melody. The variation can be performed by playing both the black and the grey note heads and rhythms. Allow students to discover the variation on their own by preparing for their evaluation.
4 6) Bingo 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. 7) 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. 8) Assign this exercise for a performance evaluation. Evaluation (Assessment) Use 59. Bingo Variations as an evaluation tool to assess the skills learned on student page 16. 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. Enrichment Studies Instrument Identification Take time each day to listen to the recorded accompaniments correlated with page 16. 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 pages 45 46 in their books. Count and clap rhythms #21 35 and #44 46. After students have mastered the counting and clapping of each rhythm, have students count and clap two lines simultaneously. Add a third line, then a fourth. Play the rhythms on the concert pitch of your choosing in the same manner by first playing one line, then adding a second, third, and fourth line. Conducting Lesson Review the conducting pattern for. If needed, students can turn back to page 11 in their books for the conducting pattern. When the music begins on a downbeat, the conductor must give the beat prior to prepare the ensemble to play. This is called a preparatory beat. In, this would be count 2. In, this would be count 4. If the music begins with a pick-up note, the conductor must give the beat prior to the pick-up as the
5 preparatory beat. In 57. Rhythm Time, 58. Boil the Cabbage Down, and 59. Bingo Variations, the ensemble enters on count 2, so the conductor must give count 1 as a preparatory beat. Using the recorded accompaniment with the count-offs, practice conducting music using a pick-up on 57. Rhythm Time, 58. Boil the Cabbage Down, and 59. Bingo Variations. Select a student to conduct the band! To reinforce the concept of only one beat of preparation, have students apply this concept by conducting any prior exercise in the book. During the count-off of the recorded accompaniment, the student should only conduct one beat prior to the entrance. Lastly, add a breath to the preparatory beat gesture percussionists included. A conductor must breathe with the ensemble. Theme and Variation Improvising a Variation Select an exercise in the book thus far to encourage student improvisation of a variation. To begin, it is usually best to limit the improvisation to a rhythmic variation or a rhythmic variation with only one added pitch. Have students improvise their variation with the recorded accompaniment. For example, select 58. Boil the Cabbage Down. With the recording, have the whole ensemble play the exercise as printed the first time. For the second time through, select a student to vary the melody. Perform this activity allowing different students to improvise the melody using various student-selected exercises studied thus far. 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 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 60. Private Lesson Flute and oboe: Finger patterns in Concert Eb; slur two, tongue two technique. Clarinet and bass clarinet: Finger and thumb rolling to Bb. Alto clarinet: Identify, define, and perform a flat; perform Bb (Concert Db). Bassoon: Half hole technique on Ab. Saxophones: Identify, define, and perform a flat; perform Bb (Concert Db). Trumpet: 3rd valve slide technique; finger patterns in C major. F horn and trombone: Lip slur technique. Baritone/euphonium and tuba: Finger patterns in Concert Bb major; slur two, tongue two technique.
6 Electric bass: Finger technique in Eb major; right hand index and middle plucking technique. Mallets: Identify and define octave; perform Bb, C, D, Eb, F, G, and Ab. Snare drum: Multiple bounce stroke on eighth notes; foundation for eventual 9-stroke roll.