Page 32 Lesson Plan Exercises Score Pages

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1 Page 32 Lesson Plan Exercises Score Pages Goal Students will progress in developing comprehensive musicianship through a standards-based curriculum, including singing, performing, 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 Japan on a world map and share information about the country. Identify, define, and perform the key of Concert D minor. Identify and perform the Concert D natural minor scale. Identify and perform the Concert D harmonic minor scale. Percussion: Play new notes Concert D and A (on timpani). Identify and perform the Concert D melodic minor scale. Share information about Antonín Dvořák. Locate the Czech Republic on a world map and share information about the country. Locate The United States of America on a world map and share information about the country. See Private Lessons Homogeneous Study for individualized objectives. Procedure (Activities) Warm-up Use 145. Warm-up: Haru Ga Kita [Spring Has Come] Duet 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 performing with a very legato style. Use the warm-up to continue to develop a characteristic concert band tone quality as well as improve ensemble balance and blend Warm-up: Haru Ga Kita [Spring Has Come] Duet 1) Divide the band (top and bottom) and sustain the first pitch. 2) Play this pitch mf, p, and finally pp. 3) Holding the same pitch beginning at p, gradually crescendo to mf, diminuendo to p, crescendo back to mf, and finally diminuendo to pp.

2 2 4) Sizzle or sing this line on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. Be sure that style and dynamics are reflected in the sizzle or singing. 5) Play this exercise as a duet. Make sure there is a noticeable and gradual dynamic change for the crescendi and diminuendi. 6) Play this exercise with the recorded accompaniment. 7) Haru Ga Kita is a Japanese folk song. Identify Japan 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 Japan, such as climate, geography, history, cuisine, art, and culture. 8) Help students explore the relationships between music and Japanese culture and geography by using the Japan Worksheet available in the Interactive Teacher Studio (ITS). Distribute the pages to students as homework, or review by displaying them in class. 9) Enhance this lesson by introducing the lyrics: Transliteration of the Japanese Lyrics Haru ga kita, Haru ga kita, Doko ni kita? Yama ni kita, Sato ni kita, No ni mo kita. Hana ga saku, Hana ga saku, Doko ni saku? Yama ni saku, Sato ni saku, No ni mo saku. Tori ga naku, Tori ga naku, Doko de naku? Yama de naku, Sato de naku, No de mo naku. Translation Spring is coming, Spring is coming, Where is spring now? Here in the mountains, Here in the village, And here in the fields. Flowers bloom, Flowers bloom, Where do flowers bloom? Here in the mountains,

3 3 Here in the village, And here in the fields. Birds are singing, Birds are singing, Where do birds sing? Here in the mountains, Here in the village, And here in the fields. 10) Using the Interactive Practice Studio (IPS)/ITS, explore the history of the piece: Haru Ga Kita is a Japanese folk song about the coming of spring. Each verse of this song follows a simple pattern. It begins with a question ( Spring is coming, spring is coming, where is spring now? ), which is followed by a response ( Here in the mountains ). Each verse deals with a different aspect of the budding of spring, and though the question changes from verse to verse, the response remains constant. Sharpen up your pencil and try writing your own verse to this song. Carefully read the lyrics two or three times, and try to closely match the pattern and mood set out in the earlier verses. Written by Mark C. Samples, American musicologist 146. Concert D Natural Minor Scale, Arpeggio, and Chords Introduction of Concert D minor key signature; introduction of Concert D natural minor scale 1) Have students point to the highlighted key signature in their book. While students have learned this key as Concert F major, here the same key signature actually represents Concert D minor. 2) Have each section say the name of the Concert key, the name of their scale, and their first pitch aloud. 3) Sing the scale. If using solfège, sing the scale with the correct syllables (me, le, te instead of mi, la, ti), or use the system of your choice. 4) Beginning with only the scale, sustain each pitch one at a time. Have the flutes, clarinets, and bass clarinets play the octave that is most comfortable at this time. 5) Play only the scale again, this time in tempo. 6) Next, hold the notes of the arpeggio one pitch at a time. 7) Play the arpeggio in tempo. 8) Finally, play the chords one at a time. Sections will need to observe the divisi to achieve the fully scored chord. Mallets should play their notes as double stops. 9) Play the entire exercise (scale, arpeggio, and chords) with the recorded accompaniment.

4 Concert D Harmonic Minor Scale, Arpeggio, and Chords Introduction of Concert D harmonic minor scale; introduction of Concert D and A on timpani [percussion] 1) Have students compare the scale of 146. Concert D Natural Minor Scale with the scale of 147. Concert D Harmonic Minor Scale. How do they differ? (The Concert C is now a Concert C#. Otherwise, all elements are identical including the key signature.) 2) Remind students that the raised seventh scale degree is the defining characteristic of the harmonic minor scale. 3) Sing the scale. If using solfège, sing the scale with the correct syllables (the same syllables as natural minor, except te becomes ti), or use the system of your choice. 4) Beginning with only the scale, sustain each pitch one at a time. Have the flutes, clarinets, and bass clarinets play the octave that is most comfortable at this time. 5) Upon completion of the scale, solicit responses about the sound of the scale from students. How does it differ from the sound of the natural minor scale? 6) Play the scale only, this time in tempo. 7) Play the arpeggio in tempo. 8) Finally, play the chords one at a time. Sections will need to observe the divisi to achieve the fully scored chord. Mallets should play their notes as double stops. 9) Isolate the dominant seventh chord. Students should take note that the raised 7th scale degree has turned the minor v chord into a major V chord. Compare the chords by playing the v-i progression from the previous exercise followed by the V7-i progression from this exercise. Solicit responses from students to describe the way the chords sound and feel. 10) Play the entire exercise (scale, arpeggio, and chords) with the recorded accompanient. If desired, snare and bass drummers can play their parts from the previous exercise as well Concert D Melodic Minor Scale, Arpeggio, and Chords Introduction of Concert D melodic minor scale 1) Have students compare the scale of 148. Concert D Melodic Minor Scale with the scale of 146. Concert D Natural Minor Scale. Starting with the ascending scales, how do they differ? (The Concert Bb is now B and the Concert C is now a C#.) Now look at the descending scales, how do they differ? (They do not differ.) 2) Remind students that the raised 6th and 7th scale degrees while ascending and restored 6th and 7th scale degrees while descending are the defining characteristics of the melodic minor scale. 3) Sing the scale. If using solfège, sing the scale with the correct syllables (le and te become la and ti while ascending and return to le and te while descending), or use the system of your choice. 4) Beginning with only the scale, sustain each pitch one at a time. Have the flutes, clarinets and bass clarinets play the octave that is most comfortable at this time. 5) Upon completion of the scale, solicit responses about the sound of the scale from students. How does it differ from the sound of the natural minor scale? From the harmonic minor scale? 6) Play the scale only, this time in tempo. 7) Play the entire exercise (scale, arpeggio, and chords) with the recorded accompaniment.

5 Skill Builder: Finale from Symphony No. 9 From the New World 1) Sizzle or sing this line on too or using solfège syllables while using the correct fingerings, slide positions, or air sticking. 2) Listen to a portion of an orchestral recording of the Finale from Symphony No. 9. If none is available, use the recorded accompaniment on the IPS/ITS. Ask students to describe the music. How would students play the notes (which are devoid of all articulations) to convey their descriptors? 3) Sing the melody again, this time applying the appropriate style. 4) Play this exercise with the recorded accompaniment. 5) Have students complete the Antonín Dvořák Worksheet available in the ITS. 6) Antonín Dvořák was a Czech composer. Identify the Czech Republic 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 the Czech Republic, such as climate, geography, history, cuisine, art, and culture. 7) Help students explore the relationships between music and Czech culture and geography by using the Czech Republic Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class. 8) Using the IPS/ITS, explore the history of the piece: This melody comes from the same symphony as the melody in 22. Largo from Symphony No. 9. Do you remember when and where this symphony was written? Look back at the history extra for that exercise to refresh your memory. The melody in that earlier exercise is marked largo (slowly) and is played smoothly and sweetly. This melody comes from the finale (end) of the symphony and should be played with a very different feel. Dvořák s expressive marking for this movement is allegro con fuoco, which translates to spirited and fiery. Keep this musical character in mind as you play this exercise. Written by Mark C. Samples, American musicologist 150. Theme from Tableau 1) As this line is designed for assessment, it is suggested that students learn how to perform this exercise on their own. 2) Have students name the key by writing the answer in the space provided. 3) Assign this exercise for a performance evaluation. 4) Bruce Pearson is from the United States. Identify the United States of America 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 the United States, such as climate, geography, history, cuisine, art, and culture. 5) Help students explore the relationships between music and American culture and geography by using the United States of America Worksheet available in the ITS. Distribute the pages to students as homework, or review by displaying them in class.

6 6 6) Using the IPS/ITS, explore the history of the piece: The melody you are playing here comes from a full-band piece called Tableau, written by Bruce Pearson (b. 1942). In the world of art, a tableau (plural tableaux; both pronounced tab-loh ) is a carefully placed group of models or images representing a scene from a story. In theater, tableaux are scenes artfully linked to make an impression on the audience. Listen to the full version of this piece, paying close attention to the first three notes in the solo alto saxophone. This motif corresponds to the first three nonrepeated notes of this exercise (Concert D, A, and G). As you listen, try to recognize the various ways this three-note motif returns throughout the fullband piece. In what way does Pearson create a musical tableau by artfully positioning and varying this motif throughout the composition? Evaluation (Assessment) Written by Mark C. Samples, American musicologist Use 150. Theme from Tableau as an evaluation tool to assess the skills learned on student page 32. 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. Enrichment Studies Instrument Identification Take time each day to listen to the recorded accompaniments correlated with page 32. Have students identify the instrument(s) playing the student melody. Also ask which instruments they can hear in the accompaniment. Melodic Dictation Pass out a piece of manuscript paper to the class. Have students divide the first three staves into four equal measures each with a final bar line at the end of each line. Have them draw their clef, a time signature, and the key signature for Concert Eb major at the beginning of each line. Note: Students will likely be most comfortable working in their transposed key (e.g., alto saxophones writing in the key of C major). Play the melodic examples on the following page for the class. For each example, play the entire phrase twice. Then, play each measure three times. Finally, play the complete phrase twice more so

7 7 students can check their work. It is important to demonstrate these examples using a metronome or another steady pulse. The goal is for students to complete the dictation with only their ears, not using their instruments. Also, give students direction as to the steps they might consider using to transcribe the melody. They might first try to hear the rhythm in each measure and sketch the rhythm above the measures (just like during rhythmic dictation enrichment studies). Next, they might write the notes they are sure of and sketch or x the notes of which they are unsure. Finally, students can use their knowledge of intervals as a guide to fill in the blanks. Many students might want to finger along on their instrument or an imaginary instrument to conceive the melody (just like during the echo enrichment studies just without playing). Collect the manuscript paper for evaluation upon completion of all three examples. Ear Training: Echoes Have the class play the Concert D minor scale ascending and descending in all three forms. (See student page 32, # for reference.) Using your primary instrument, demonstrate a onemeasure melody in the key of Concert D minor. Have students play it back in tempo. Do this with eight different examples, only moving to a new example when the class successfully echoes the current one. If needed, consider telling students the beginning Concert pitch for each example ot make this exercise easier. Upon completing eight one-measure examples, have students try echoing two-measure melodies. After completion of between four and eight two-measure examples, select students to take the role of demonstrator. Ask each student to improvise a two-measure melody in the key of Concert D minor. Have the rest of the class (including yourself) echo the response. Again, if necessary, have demonstrators tell everyone their beginning Concert pitch.

8 8 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 151. Private Lesson Flute: Maintain proper hand position while performing finger patterns in. Oboe: Maintain proper hand position while performing finger patterns using the left hand Eb and forked F fingerings. Clarinet and bass clarinet: Play F using the left hand alternate fingering. Alto clarinet: Play new note Eb. Bassoon: Perform articulation patterns. Alto saxophone and baritone saxophone: Perform ascending and descending octaves. Tenor saxophone: Maintain proper hand position while performing finger patterns. Trumpet/cornet, trombone, baritone/euphonium, and tuba: Perform articulation patterns with notes from the Concert D harmonic minor scale. F horn and Eb horn: Perform finger patterns with notes from the Concert D melodic minor scale. Electric bass: Perform finger patterns with notes from the D harmonic minor scale. Triangle: Identify, define, and perform triangle roll. Snare drum: Identify, define, and perform Thirteen Stroke Roll (Dotted Quarter Note Roll).