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1 Page 6 Lesson Plan Exercises Score Pages 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 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. Locate Spain on a world map and share information about the country. Clarinets: Play new notes Concert E, D, and C with the correct fingerings, embouchure, posture, hand position, intonation, and a characteristic tone quality. Clarinets: Identify, define, and perform crossing the break. Identify, define, and perform ritardando. Identify, define, and perform Maestoso. Clarinets: Play new note Concert F with the correct fingering, embouchure, posture, hand position, intonation, and a characteristic tone quality. Percussion: Demonstrate proper crash cymbal technique. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 25. Warm-up: Spanish Hymn 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 slurring. Have brass players perform the warm-up on their mouthpieces while woodwind players and percussionists perform on their instruments. 25. Warm-up: Spanish Hymn 1) Have students inspect the road map of the music. Instruct them to locate the repeat sign, the D.C. al Fine, and the Fine. For clarification, inform students that characteristically, repeats are not observed on a D.C. al Fine. 2) As a class, construct the road map using measure numbers, writing the measure number performance order on the board as the student(s) provide the information. (Road Map: 1, 2, 3, 4, 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 3, 4.)

2 2 3) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Be sure students are using four-measure phrases as well as all dynamics in their singing. 4) Perform this exercise. 5) Isolate measures 5 8. Have students practice making the sudden dynamic changes while not changing the support, tone, or intonation of the pitches. Adding a breath mark between measures 6 and 7 for this rehearsal segment is prudent. 6) Perform this exercise with the recorded accompaniment. 7) Identify Spain 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 Spain, such as climate, geography, history, cuisine, art, and culture. 8) Help students explore the relationships between music and Spanish culture and geography by using the Spain Worksheet available in the Tradition of Excellence Interactive Teacher Studio (ITS). Distribute the pages to students as homework, or review by displaying them in class. 9) Using the Interactive Practice Studio (IPS)/ITS, explore the history of the song: This hymn melody comes from Spain and was written in the 17th century. Rather than always creating new music to fit new words, hymn writers have often reused familiar or beloved melodies. This melody has been the inspiration for many different sets of sacred (religious) lyrics. Written by Mark C. Samples, American musicologist 26. Gentle Zephyr Introduction of Concert E, D, and C [clarinets]; introduction of crossing the break [clarinets] 1) Point out to the clarinet section that they need only add the register key to reach the new pitches from the notes preceding them. Allow these students to practice rolling their left thumbs to the register key on these notes. Select a clarinetist to read the definition of crossing the break from the top of the page. 2) Sing this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. While the other students are singing, allow the suspended cymbals to play. Also use this time for students to practice negotiating the fermatas in the exercise. 3) Play this exercise in four sections, separated by a fermata and a breath. Sustain the fermatas long enough to allow all clarinetists to find the upper register and to allow the cymbals to ring. 4) Be sure all sections perform the crescendos. This will aid clarinetists in changing registers. 5) Perform this exercise with the recorded accompaniment. 27. These Hallowed Halls Duet Introduction of ritardando 1) Clarinetists are encouraged to reinforce the upper register pitches introduced in 26. Gentle Zephyr by playing line A of this duet. Students not yet achieving the upper register may wish to play line B.

3 3 2) Select a student to read the definition of ritardando from the top of the page. Explain that for an ensemble to gradually slow down together, they must listen closely to each other as well as watch the conductor. 3) Sing line A of this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Students should sing the slurs and dynamics as well as the ritardando. 4) Sing line B of this exercise on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Students should sing the slurs and dynamics as well as the ritardando. 5) This exercise provides a great opportunity to reinforce 3rd valve slide technique with the trumpet section. Make sure that the slide is employed on each D to help with intonation. 6) Creatively divide the band into two groups and play as a duet with the recorded accompaniment. 7) Select duets or small groups to perform for the band. Allow time for peer evaluation and feedback to include both positive and constructive comments. 28. Regal Procession Introduction of Maestoso; introduction of Concert F [clarinets]; introduction of crash cymbals [percussion] 1) Point out to the clarinet section that they need only add the register key to reach the new pitch from the note preceding it. Allow these students to practice rolling their left thumbs to the register key on this note. 2) This exercise is the first time crash cymbals are used in book 2. Review proper technique and have a percussionist demonstrate this new instrument for the band. Allow different percussionists to try the crash cymbals. 3) Sizzle this exercise while using the correct fingerings, slide positions, or air sticking. Be sure that style, tempos, and dynamics are reflected in the sizzle. Address the length, weight, and separation of the accented notes. This detail will add significantly to the feeling of Maestoso. 4) Perform this exercise with the recorded accompaniment. 29. Skill Builder 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. Evaluation (Assessment) Use 29. Skill Builder as an evaluation tool to assess the skills learned on student page 6. 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.

4 4 Enrichment Studies Instrument Identification Take time each day to listen to the recorded accompaniments correlated with page 6. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Music and Lyrics On a piece of staff paper, have students write out 25. Warm-up: Spanish Hymn without using any repeat indications. They should use four lines of four measures each. Students should not include any dynamics or articulations at this time. As described in the lesson, hymn writers have often set their lyrics to familiar melodies. This particular melody has been used for many lyrical settings, including school songs (or alma maters), making it perfect for students to use to compose their own lyrics. Individually or in small groups, have students write lyrics to this melody to be used as a school or band song. (Alternatively, students may decide on an original subject for their lyrics.) First, students should brainstorm the characteristics of their school (or band) song which positive adjectives could be used to describe their school (or band) and its students? Which rhythms in the melody seem to naturally fit the school s name? Have students complete their lyrics. Students should be allowed to make alterations to the rhythms in the melody to fit their lyrical choices. Additionally, appropriate slurs should be added to accommodate any syllables that are applied to more than one note. Select student songs to be performed for the class. Conducting Lesson Review the ƒ conducting pattern with students. Using a metronome, have students conduct several measures of ƒ at and Andante tempo. They should apply what they have learned thus far about conducting gesture size as it relates to dynamics using the exercises below. With the metronome, conduct four measures of mf, followed by four measures of f, four measure of mf, four measures of mp, and four measures of p. Repeat this exercise at your discretion allowing incremental increases and decreases in the dynamics. Next, conduct four measures with a gradual crescendo from p to f. After several trials, conduct four measures with a gradual decrescendo from f to p. Consider having students count the beats aloud (1+, 2+, 3+) while conducting these dynamic changes. The volume of their voices should match the size of their gestures.

5 5 Have students inspect the music of 22. These Hallowed Halls from the perspective of a conductor. Have them decide how they might conduct this exercise to reflect the printed dynamics. Next, have them identify where the tempo alteration occurs and how it will be incorporated into their conducting patterns. (Of course, the tempo change cannot be practiced with a metronome, but it can be done by counting aloud while conducting.) Playing the recorded accompaniment on a loop, have students conduct with the recording. Finally, select students to conduct the band on this exercise using the correct dynamics as well as the tempo alteration. 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 30. Private Lesson Flute: Play Bb using the alternate thumb fingering. Oboe: Play F using the appropriate fingering. Clarinet and bass clarinet: Perform finger patterns in F major. Alto clarinet: Use proper technique to roll from E to A. Play with right hand down technique. Bassoon: Perform chromatic finger patterns. Alto saxophone and baritone saxophone: Perform finger patterns and tone studies in G major above the staff. Tenor saxophone: Play C using the alternate fingerings. Trumpet/cornet, F horn, Eb horn, baritone/euphonium, and tuba: Perform chromatic finger patterns. Trombone: Identify, define, and perform glissando. Electric bass: Play new note C. Identify and define position. Perform C with proper shifting technique. Mallets: Perform a technical exercise with F# using logical sticking. Snare drum: Identify, define, and perform Five Stroke Roll (Eighth Note Roll).

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