Lesson Plan Template



Middle School Orchestra

Unit Lesson Plan: MPA Performance Pieces: Musical Symbols and Vocabulary

by Tom Silliman, Jr.

For my Classroom and to be Shared at the FMEA Pre-Conference Session

NGSSS, Literacy Standards and Mathematical Practices:

Oh My! It All Comes Down to Planning

January 8, 2014

This plan is based on the following Common Core Standard:

LACC.68.RST.2.4  

Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to grades 6-8 texts and topics.

Teacher:Tom Silliman Date(s) Jan. 7-Mar. 8, 2014

Course Name: M/J Orchestra III Grade Level:7-8

|Know |Understand |Do |

|What a key signature is, where it is located, and|Each key signature has its own unique group of finger|Perform compositions using the correct finger |

|what it means in music theory |patterns |patterns as dictated by the key signature. |

|Accidentals: sharps, flats, and naturals. |Accidentals are used when composers want to write |Perform notes that are chromatic alterations |

| |notes that are not a part of the given key signature.|from the key signature as indicated by |

| |Accidentals are also sometimes used to cancel an |accidentals. |

| |accidental that appeared earlier in a measure or as a| |

| |“courtesy” to remind musicians of correct notes. | |

|Ties are two or more notes of the same pitch |The rhythmic value of a tie is equal to the added |Perform notated ties in two different |

|connected in a single, uninterrupted bow stroke. |values of the notes that make up the tie |compositions |

|Slurs are two or more different pitches in a |Slurs require a constant bow speed throughout and it |Perform notated two note slurs in three |

|single uninterrupted bow stroke. |is important not to add extra emphasis to the bow |different compositions. |

| |when changing pitches with the left hand | |

|Dynamic markings: ff, f, mf, mp, p, pp, cresc., |Composers achieve expressiveness, variety, and |Perform appropriate dynamic markings found in |

|dim., crescendo symbol, and diminuendo symbol |contrast through the use of dynamic markings. They |three different compositions. Make dynamic |

| |also use dynamic markings to help achieve appropriate|contrasts by varying weight, speed, and bow |

| |balance |placement. |

| | | |

| | |Adjust dynamics based on melodic/harmonic |

| | |function of part |

|Articulation markings: accent, staccato, |Composers achieve expressiveness, variety, and |Perform accented notes where marked in the |

|pizzicato, arco |contrast through the use of different articulation |music. |

| |and expressive markings. | |

|Expressive marking: espressivo | |Perform a spiccato bow stroke on repeated |

| |It is necessary to perform an off the string bow |staccato eighth notes in North Country Legend |

| |stroke (spiccato) if a group of staccato notes are |when the tempo is marked quarter note = 138. |

| |written at a fast tempo | |

| | |Vary phrasing and exaggerate dynamics to |

| |The term “espressivo” is used by composers to |achieve and expressive quality of playing |

| |encourage musicians to perform expressively, | |

| |especially with regard to phrasing and dynamic | |

| |expression, also possibly to ecourage the use of | |

| |rubato. | |

|Bowing symbols: down, up, bow lift, slurs, group|It is important to perform notated bowings to achieve|Perform notated bowings in three compositions.|

|staccato |proper phrasing. | |

| | | |

| |Bowings can be changed as long as the composer’s |Participate in group discussions concerning |

| |intent is still preserved. However, changed bowings |any possible bowing changes that might improve|

| |need to be a group consensus and are not done on an |the performance without affecting the |

| |individual basis. |composer’s original intent with regard to |

| | |phrasing |

|Time signatures and the meaning of the top number|Time signatures are used to indicate the accent |Perform with appropriate accent patterns for |

|and the bottom number |pattern of a steady reoccurring beat. |2/4, 3/4, and 4/4 time signatures. |

| | | |

| |Compositions can have changes in the time signature. |Perform all three of the above mentioned time |

| | |signatures in a single composition (North |

| | |Country Legend) |

|Tempo markings: Lento, Moderato, Maestoso, |Tempo markings, not time signatures or note values, |Perform music at a variety of tempo varying |

|Allegro con fuoco |are the means that composers use to indicate the |from slow to fast. |

| |speed of the steady reoccurring pulse. | |

Implementation:

March Jubilee by Kathy Cook

An English Folksong arr. by Terry McQuilken

North Country Legend by Mark Williams

|Performance Fundamentals |Slurs and Ties. All three pieces have two note slurs. North Country Legend and English Folk Song have |

|(e.g., (tone, intonation, technique) |ties of varying lengths. |

| |Demonstration and Guided Practice: Examples of slurs in New Direction for Strings Book 2 Nos. 9 (G |

| |Major), No. 12 (C Major), and No. 18 (G Major). Examples of ties can be found in Nos. 16 (D Major) and |

| |67 (G Major) |

| | |

| |Bowings. Demonstration and Guided Practice for Bow Lifts. Assess that all students can clearly perform |

| |down bows, up bows, and bow lifts (Teacher Observation of Student Performances in Group). North Country |

| |Legend has group staccato bowings. Demonstrate on open strings-Guided Practice-Assess for |

| |understanding-apply to passages in the music |

|Technical Preparation |Key Signatures/Finger Patterns in English Folk Song and March Jubilee by Cook are the same, the pieces |

|(e.g., notes, rhythm, dynamics, tempo) |can be used as examples of related major/minor: G Major in March Jubilee and e minor in English Folk |

| |Song. Upper string students will need to differentiate between low 2 and high 2 as students move from |

| |lower strings to a and e string. Violas will have F# on the C string in English Folk Song. North |

| |Country Legend provides an opportunity to review the C Major key signature finger patterns studied in the|

| |December concert unit |

| |Demonstration and Guided Practice on Finger Pattern Charts. Show students how the notes of a scale can |

| |be derived from a key signature. Show students how a finger pattern chart can be constructed once the |

| |notes of a scale are known. Show students that a finger pattern chart is “more than just the specific |

| |notes of the scale that they may perform. |

| |Method Book Teaching Material From New Directions for Strings, Book 2: Nos. 7-12 for lower octave G |

| |Major pattern and C Major pattern, page 27 has the higher octave of G major scale for violin. |

| |Dynamics are used in March Jubilee to help achieve balance. Dynamics range from mp to f. Accompanying |

| |parts are marked with a softer dynamic marking so that the melody is more prominent. North Country |

| |Legend is also written with parts that have differentiated dynamic markings, especially in cases where |

| |the parts have repeated eighth notes, these parts are written at a lower dynamic level. Dynamics range |

| |from p to f. A good example of writing dynamics for balance is found in An English Folksong at mm. 37-52|

| |where the cellos have the melody. They are at a forte dynamic and the accompanying parts are at a piano |

| |dynamic. The dynamics in English Folksong range from p to ff. An English Folksong is the only piece |

| |that does not have any notated crescendos or diminuendos. |

| |Demonstrate and guided practice: Ways to vary the dynamic level: speed (fast-slow), weight, and bow |

| |placement (bridge-fingerboard). Perform at various dynamic levels and perform crescendos and diminuendos|

| |Time Signatures and Tempo Markings. Check for understanding of meaning of time signatures (top number |

| |and bottom number), demonstration and guided practice: clapping, counting in various time signature |

| |patterns: 4/4, 3/4, and 2/4. Alter speed of beat and use to teach tempo markings: Lento (slow), |

| |Moderato (moderate), and Allegro con fuoco (fast). Gradually slow down the beat to demonstrate |

| |ritardando. As part of guided practice, choose students to lead the class in this exercise. |

|Musical Effect |Balance and Expression is achieved through the use of dynamics (see dynamics under technical preparation)|

|(e.g., style, balance, expression) | |

| | |

| |Discuss the composer’s use of the term espressivo in the viola solo at the beginning of North Country |

| |Legend. Discuss various ways a musician can add expression to the melody (rubato, dynamic contrasts). |

| |Experiment with some different interpretations of the opening viola solo. Record some of the |

| |performances, lead student discussion, have students react to the musical effect of each performance. |

| |Determine which would be appropriate for performance. |

| | |

| |In the same piece discuss the use of the term “con fuoco”. Demonstrate for students and lead guided |

| |practice. Record several performances of a short passage and have students listen and determine if they |

| |achieved the desired effect of “with fire”. |

|Theory |Key Signatures, Time Signatures, Accidentals, Tempo Markings |

|Vocabulary |Legend, Jubilee, Folksong |

|Other Standards That Can Integrated Into This Unit |

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|MU.68.C.1.2  Compare, using correct music vocabulary, the aesthetic impact of a performance to one's own hypothesis of the composer's intent. |

|MU.68.C.2.1  Critique personal performance, experiment with a variety of solutions, and make appropriate adjustments with guidance from teachers and |

|peers. |

|MU.68.C.2.2  Critique, using correct music vocabulary, changes in one's own or others' musical performance resulting from practice or rehearsal. |

|MU.68.H.1.1  Describe the functions of music from various cultures and time periods. |

|MU.68.O.3.1  Describe how the combination of instrumentation and expressive elements in a musical work can convey a specific thought, idea, mood, and/or|

|image. |

|MU.68.O.3.2  Perform the expressive elements of a musical work indicated by the musical score and/or conductor, and transfer new knowledge and |

|experiences to other musical works. |

|MU.68.S.2.2  Transfer performance techniques from familiar to unfamiliar pieces. |

|MU.68.S.3.1  Sing and/or play age-appropriate repertoire expressively. |

|MU.68.S.3.2  Demonstrate proper vocal or instrumental technique. |

|MU.68.S.3.3  Sight-read standard exercises and simple repertoire. |

|MU.68.S.3.6  Develop and demonstrate efficient rehearsal strategies to apply skills and techniques. |

|Assessments (Formative and/or Summative): |

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|Formative Assessment: Daily Observation of Student Performances, Re-Teach where needed including use of “guiding bow/correct left hand/adjust fingers” |

|approach if necessary |

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|Small Group Performances to Help Teacher determine which students are being successful and which students need help. |

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|Summative Assessments: Written work focusing on students recognizing and defining musical symbols. Small Group Performances and Music Performance |

|Assessment |

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|Materials Needed: Listed Repertoire, Method Books, Dictionary, Mini Digital Recorder |

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