10/16/12-11/2/12-"Inscription of Hope"

"Inscription of Hope"

Lesson Objectives: SWBAT sing in 2 independent parts. SWBAT describe and perform how to produce tall vowel sounds. SWBAT discuss and describe the historical connections of this song to World War II. SWBAT describe and perform semplice, a tempo, and freely as expressive elements.

Essential Skills to be mastered: Students will be able to perform two independent parts and connect the music to a historical event. Students will be able to perform tall vowels and focus on the production of those vowels. Students will be introduced to semplice, a tempo, and freely and perform as a large group.

I can statement: I can sing in 2 independent parts. I can describe how to produce and perform tall vowels. I can sing expressively. I can make historical connections through music.

IPI Level: Teacher led instruction, Student learning conversations.

Teaching Strategies Utilized: Day 1: Hand out music and have students scan for 1 minute. Discuss and review the sightreading process. Read the text aloud in sections. Have students notice the syncopated rhythm of the accompaniment and the voices at mm. 5. Sing through the piece. Day 2: Read the performance notes aloud. Discuss what students know about World War II. What is the significance of singing this piece of music? Why does the composer want the text to be read before we sing the song? Day 3: Discuss the breath marks and where they are placed. What is the purpose? Sing phrases noticing the markings and following as written. Day 4: Create an "oo" vowel and discuss how to produce the sound. Demonstrate or have a student model. Work for blend across the choir. Day 5: Discuss the term "semplice" and what it means. How do we produce this type of tone color? Day 6: Discuss the key change at mm. 57. Why do we go up a half step? What is the purpose or intent of the composer? Day 7: Discuss the various tempo markings and a tempo. Why is the ending marked "freely" and how do we determine how to sing those measures as a choir? Day 8: Work for part independence and check the progress with a formative assessment. Day 9: Record a performance and evaluate the expressiveness of the piece. Are we following the dynamics and other markings? Analyze and discuss corrections. Make a list on the board. Day 10: Follow the suggestion list on the board and listen for the changes that are being made. Discuss if the suggestions made a difference in the expressiveness of the song. Were they improvements that needed to be made? Were they effective? Day 11: Split into small groups and have them work on balance and blend. Come back together into large group and sing listening for balance and blend. Day 12: Small group evaluations. Day 13: Hold tryouts for the reading of the text and what type of tone color the voice should have. Day 14: Add the text at the beginning and then during the first 12 measures. Which is more effective? Day 15: Polish and perform as if singing to an audience.

Rigor or Level reached on Bloom’s Taxonomy: Evaluate, Analyze

10/16/11/2/12-"Carol of the Bells"

"Carol of the Bells"

Lesson Objectives: SWBAT sing in three-part harmony. SWBAT describe and perform a cappella. SWBAT discuss and describe the history of the song. SWBAT evaluate a performance and problem solve to apply solutions to improve a performance.

Essential Skill to be mastered: Students will be able to sing in three-part harmony a cappella. Students will be able to describe the history of "Carol of the Bells" and why it is a standard piece of literature.  Students will be able to evaluate a performance and analyze what should be done to correct mistakes and improve the performance.

I can statement: I can sing in three-part harmony. I can sing a cappella. I can listen and tune while singing. I can describe the history of "Carol of the Bells" and tell why it is such a popular song. I can evaluate a performance.

IPI level: Student-led discussions, Teacher-led instruction


Teaching Strategy Utilized: Day 1: Review sightreading procedures such as determining clef sign, unison or harmony sections, time signature, dynamics, expressive elements, and other symbols that are unfamiliar. Sing through the music obtaining as many correct notes and elements as possible. Day 2: Review/Introduce the term a capella. Model or have a student demonstrate. Chant the text in rhythm and then sing. Scan music for symbols that are unfamiliar and discuss. Day 3: Read aloud the performance notes and discuss the history of the song. How many years has this song been performed? What is the history of this piece of music? Why is this song still so popular after so many years? Day 4: Focus on part independence. Sopranos mm. 21 with the high g work on breath support. Altos emphasize the dotted half note rhythm. Baritones work on eighth note patterns on mm. 16. Day 5: Discuss accents, staccato, and tenuto markings. How are these performed? Why did the arranger add these to the text? Day 6: Large group assessment for part independence. Day 7: Work for group expressive elements with a focus on dynamics. Day 8: Sing from beginning to end a cappella. Evaluate the performance and do a formative assessment. Discuss tuning and why it is important in a capella music. Day 9: Work section by section a cappella slowly adding on more music from beginning to the end. Day 10: Small group assessment. Day 11: Work in small groups to focus on singing a cappella. Pair students and have them move around the room and sing to each other. Model how to give constructive comments. Day 12: Large group performance while recording. Day 13: Evaluate the recording for accuracy. Were our notes accurate? Was the choir singing expressively? Were all parts equal and blending? Day 14: Polish the song for the performance. Day 15: Hand music back out and have students look at it as if they are getting ready to sightread for the first time. Review words and symbols. Perform as if for an audience.

Rigor or Level reached on Bloom's Taxonomy: Evaluation, Analysis, Application

10/01/12-10/15/12-"Amazing Grace/Pachelbel's Canon"

"Amazing Grace/Pachelbel's Canon"

Lesson Objectives: SWBAT: Sing in three-part harmony. SWBAT: Sing and describe the difference between a round and a canon. SWBAT: Identify and describe the term poco rit. and a tempo. SWBAT: Perform and define legato. SWBAT: Define and locate examples of contrapuntal techniques within the music. SWBAT: Use expressive elements to perform the song for a concert.

Essential Skills to be Mastered: Students will be able to sing their parts independently for the song "Amazing Grace" as it is partnered with the sounds of "Canon in D." Students will create a smooth legato style of singing and work for long phrases. Students will scan the music for expressive elements and perform as a large ensemble.

IPI Level: Teacher-led instruction, Student Active Engaged Learning

Teaching Strategy Utilized:  Day 1: Read aloud the text and sightread. Day 2: Discuss and review legato sound and underlying eighth note pules. Sing mm. 4-20 with all voices unison and on a neutral "noo" syllable pulsing the eighth notes in precise alignment with the accompaniment. Add the text when the pulse is internalized. Day 3: Discuss 2nd verse and importance of alto moving parts mm. 22, 26, 29, 31, 34-35. Why is the moving line more important than the melody? Day 4: Discuss and define canon-focus on the alleluia voices. Use a staccato "doo" until the choir can distinguish between all the moving voices. Determine if this piece of music has the qualities to be considered a partner song? Day 5: Review last verse. Focus on mm. 56-60. Use a syllable to accentuate the descending alleluias. Focus on part independence in a large group assessment. Day 6: Define contrapuntal and scan for parts of the song that this technique is utilized. Day 7: Discuss and perform expressive elements and polish for concert. Day 8: Self-assessment over the entire song. Discuss the venues for this type of music to be performed. Day 9: Polish for the performance. Day 10: Combined rehearsal for the performance. 

Rigor or Level reached on Bloom's Taxonomy: Explain, Produce

9/24/12-10/5/12-Music Fundamentals

Music Fundamentals

Lesson Objective:SWBAT: Recognize and label parts of the grand staff and note names. SWBT:Create a method for identifying notes on the treble clef and bass clef. SWBAT: Identify and utilize ledger lines at least two above and below the staff. SWBAT: List the letters of the music alphabet. SWBT: Identify and draw a brace on the grand staff.

Essential Skill to be mastered: Students will be able to recognize and identify various notes on the treble and bass clef. Students will be able to utilize ledger lines on the grand staff. Students will be able to create a method for remembering the notes of the music alphabet and their placement on the grand staff to share with others.

I can statement: I can list the letters of the music alphabet. I can label and identify the lines and spaces of the treble clef. I can label and identify the lines and spaces of the bass clef. I can label and identify the lines and spaces of a grand staff. I can share and teach a system for learning the lines and spaces of the grand staff.

IPI level:Teacher led discussion, Student Learning Conversations, Student Work with Teacher Engaged

Teaching Strategy Utilized: Day 1:Pretest  Day 2: Introduction to the treble clef lines and spaces. Discuss methods previously learned that help identify the lines and spaces. Students will work with a partner to create 10 music spelling examples with an answer key. Students will trade papers and fill in the blanks to see if they are correct. Day 3: Introduction to the bass clef. Discuss methods previously learned to help indentify lines and spaces. Students will work with a partner to create 10 music spelling examples with an answer key. Students will trade papers and fill in the blanks to see if they are correct. Day 4:Introduction to grand staff and brace. Review methods to remember lines and spaces. Have students share with class and teach to class. Students will be given a piece of music to label lines and spaces. Day 5:Review and Test

Rigor or Level reached on Bloom’s Taxonomy: Knowledge, Application, Synthesis

9/24/12-10/10/12-"Rumour Has It/Someone Like You"

"Rumour Has It/Someone Like You"

Lesson Objective:SWBAT sing in three independent parts with an additional solo part. SWBAT identify and perform contrasting rhythms. SWBAT perform pop style music. SWBAT identify and locate parts of the two songs and determine how they combine to create harmony. SWBAT use expressive elements to create a musical performance.

Essential skill to be mastered: Students will be able to perform a pop song with accurate rhythms. Students will be able to perform a song that combines two different melodies and harmonies together. Students will be able to apply stylistic characteristics of this type of music. 

I can statement: I can sing identify and perform contrasting rhythms. I can sing music in a pop style. I can sing rhythms accurately and as written in the music.

IPI level:Teacher led instruction, Student Active Engagement

Teaching Strategy Utilized: 1. Sightread-Scan for Soprano, Alto, and Tenor parts. Review the solo line-above the other three parts. Work on introduction-syncopated sections. Sightread the solos. Day 2-Review introduction and solo parts. Day 3-Solo tryouts for solo 1 and 2. Day 4-Rehearse music and scan for syncopated rhythms. Determine how each independent part combines to create a pop style. Day 5-Discuss reading the music as written and performing verses the way that you hear it sung on the radio. Work for accuracy. Day 6-Focus on the chorus and soprano harmony that is above the melody. Rehearse for balance and blend. Day7-Emphasize part independence and work with independent sections. Day 8-Small group assessment. Day 9-Sing with the c.d. accompaniment and assess the performance. What are the strengths and weaknesses of the ensemble? Day 10-Formulate a plan to utilize expressive elements for the concert. Day11-Check for smooth transitions between the songs and the change from 4/4 to 2/4. Day 12-Small group evaluations of the chorus. Day 13-Pretend you are singing for an audience, record, and evaluate.

Rigor or Level reached on Bloom’s Taxonomy: Application, Evaluation

9/14/12-10/1/12-"Down to the River to Pray"

"Down to the River to Pray"

Lesson Objective:SWBAT: Sightread in four independent parts. SWBAT: Identify and perform solo, duet, and trio. SWBAT: Describe characteristics and how to perform a song in an Appalachian folk and gospel style.

Essential Skill to be mastered:  Students will perform a song that starts in solo format, then duet, then trio, then ends with four part harmony. This provides an introduction to four part music. Students will discuss music from the Appalachian region of the United States and how to perform this style of music. 

I can statement: I can sightread in four part harmony. I can perform four part harmony. I can sing a song in the Appalachian style. 

IPI level:Teacher led instruction, Student work with teacher engagement.

Teaching Strategy Utilized:  Day 1: Students will scan music for one minute and then sightread in three independent parts singing as many correct notes and rhythms as possible. Day 2: Students will read lyrics aloud and discuss the gradual build from a solo to duet to trio to for part full choir. Why did the composer use this format within the song? What advantages are there to using this form? Students will sing through and sightread for more accuracy. Day 3: Students will read the information about the composer and the style of the song-Appalachian gospel style. Ask students to discuss other Appalachian folk songs that they have sung in the past and their similarities/differences.Why are they so simply written? Why is the simple harmony so effective? Day 4: Check large group harmony located at the last verse of the song: Soprano I, Soprano II, Alto, and Tenor. Why is the harmony added above the melody? What is the intent of the composer? Why did he make this musical decision? Day 5: Review all verses and look for the slight differences that occur in the lyrics and harmony.  Why is it important to think ahead in this type of song? Day 6: Hold tryouts for the solo, duet, and trio section. Discuss blend of voices and why it is important within the small group. Day 7: Polish and perform as if in front of an audience. Evalute and fix problems that occur.

Rigor or Level reached on Bloom’s Taxonomy: Evaluation

9/4/12-10/1/12-"Peace Like a River"

"Peace Like a River"

Lesson Objective: SWBAT: Sing in two and three part harmony. SWBAT: Sing using expressive elements such as phrasing and dynamics. SWBAT: Identify and perform legato articulation. SWBAT: Identify, explain, and perform mixed meter. SWBAT: Identify and perform shifts in key signature.

Essential Skill to be mastered: Expressive singing elements of phrasing using precise breath control. Legato articulation using smooth and connected notes. Identify and perform dynamics using expressive singing and correct volume levels associated with the text. Perform mixed meter that changes from 4/4 to 3/4 and back to 4/4. Perform shifts in key signature that occur three times throughout the song.

 IPI-Teacher Led Instruction, Student Active Engaged Learning

Teaching Strategy Utilized:  Day 1-Students will scan the music for their part and find measures that have three part splits. Day 2-Discuss breath control and appropriate places to breath such as where punctuation occurs. Discuss time signatures and count the number of times the meter changes. Practice the phrase before the change and then going into the next. Day 3-Discuss and identify key signature changes-Why is it important to notice? How do the changes effect intonation? Perform in small groups using phrasing and evaluate. Check Soprano, Alto, and Tenor. Day 4-Review/introduce dynamic symbols and scan music to find. Practice performing dynamics as a large group. Day 5-Discuss why composers use dynamics and why it is important to apply to the music. Ask if there is any they would change if they were the composer and discuss. Day 6-Work for dynamics as a large group. Day 7-Have small groups perform dynamics as written in the music and evalute.Day 8-Introduce the articulation marking legato and demonstrate (teacher or student). Day 9-Evaluate small groups. Day 10-Discuss a system of communication between the director and the students for dynamics and legato. Why is this important? Discuss non-verbal communication. Day11-Have a student lead the class directing the dynamics. Day 12-Talk about applying dynamics to other pieces of music and increasing effectiveness. Day13-Perform as is they were in front of an audience. Disscuss possible reactions to the piece. Day 14-Evaluate in small groups for elements of expressive singing.

Rigor or Level reached on Bloom’s Taxonomy:Knowledge, Evaluation, Synthesis

Writing Assessments:

Day 1:

1. Describe dynamics and give an

 example of how to apply them to

 an expressive song.

2. Sort these dynamic symbols and

 place them in order from softest to

 loudest.

 mp, ppp, f, mf, pp, ff, fff, p

Day 2:

Dynamics: Match the symbol with the Italian word.

1. ff                  pianissimo

2. pp                fortissimo

3. fff             fortississimo

4. ppp         pianississimo

Arrange them from softest to loudest.

Day 3:

Dynamics: Match the symbol with the Italian word.

1.  p                       a. mezzo piano

2. mf                      b. piano

3. f                         c. mezzo forte

4. mp                     d. forte

5. fff                      e.  pianissimo

6. pp                      f.  fortissimo

7. ff                       g.  fortississimo

8. ppp                    h. pianississimo

Now arrange them in order from softest to loudest.

Day 4:

Dynamics

1. What do you know about the term crescendo? Can you draw the symbol?

2. What do you know about the term decrescendo? Can you draw the symbol? What would you assume by looking at the prefix?

3. How are diminuendo and decrescendo related? Explain.

Day 5:

1. Sort and arrange these dynamics from softest to loudest:

    ff, p, ppp, f, mp, fff, mf, pp

2. In a sentence describe how to perform a crescendo.

3. In a sentence describe how to perform a decrescendo.

4. In a sentence describe how to perform diminuendo.

5. In a paragraph explain the purpose of dynamics and how the choir decides how to perform

    dynamics in a piece of music. Include an example from class.