Lesson Plan Template - Florida Music Education Associations



High 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 Standards:

LACC.910.RST.2.4  and LACC.1112.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 9-10/11-12 texts and topics.

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

Course Name: Orchestra 1-4 Grade Level: 9-12

|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 multiple compositions |

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

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

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

| |when changing pitches with the left hand | |

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

|cresc., dim., crescendo symbol, and diminuendo |contrast through the use of dynamic markings. They |multiple compositions. Make dynamic contrasts|

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

| |balance | |

| | |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, marcato, tremolo, molto |contrast through the use of different articulation |music. |

|sostenuto |and expressive markings. | |

| | |Perform spiccato bow strokes in multiple |

| |It is necessary to perform an off the string bow |compositions |

| |stroke (spiccato) if a group of staccato notes are | |

| |written at a fast tempo |Perform sostenuto in the slow introduction of |

| | |“Overture to Rienzi” |

| |The term “sostenuto” is used by composers to | |

| |encourage musicians to perform with a sustained sound| |

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

| |proper phrasing. |compositions. |

| | | |

| |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. |2/2, 2/4, and 4/4 time signatures. |

| | | |

|Abbreviations for common time and cut time. |Compositions can have changes in the time signature. |Recognized abbreviations for common and cut |

| | |time |

| | | |

| | |Perform compositions with changing time |

| | |signatures. |

|Tempo markings: Adagio, Adagietto, Allegro |Tempo markings, not time signatures or note values, |Perform music at a variety of tempo varying |

|energico, Allegro vivo, Maestoso, Meno mosso, |are the means that composers use to indicate the |from slow to fast pieces. |

|Poco rit., Rit. |speed of the steady reoccurring pulse. | |

Lesson Implementation:

Overture to Rienzi by Wagner, arr. Dackow

The Brilliant Red Shandandan Flowers, Chinese Folk Song, arr. Albert Wang

Queen Noor Suite by Robert Washburn

|Performance Fundamentals |Slurs, Ties, and Hooked Bowings. Overture to Rienzi has slurs in the upper three parts, ties in all |

|(e.g., (tone, intonation, technique) |parts, and hooked bowings in all parts. The Brilliant Red Shandandan Flowers has slurs in ties in all |

| |parts, and hooked bowings in all parts except for the bass part. Queen Noor Suite has slurs and ties in|

| |all of the parts. |

| | |

| |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). |

|Technical Preparation |Key Signatures/Finger Patterns |

|(e.g., notes, rhythm, dynamics, tempo) |Overture to Rienzi: D Major |

| |The Brilliant Red Shandandan Flowers: G Major |

| |Queen Noor Suite: D Major and a minor |

| | |

| |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 Essential Technique, |

| |D Major, pp. 22-23 |

| |G Major, pp. 20-21 |

| |C Major (relative to a minor), pp. 18-19, a minor, p. 32 |

| | |

| |Dynamics Overture to Rienzi uses pp, p, f, ff, and pf dynamic markings and crescendo and diminuendo |

| |symbols. The Brilliant Red Shandandan Flowers uses mf, mp, f, and ff dynamic markings and crescendo and|

| |diminuendo symbols. |

| | |

| |Dynamics are used to achieve balance in The Brilliant Red Shandandan Flowers and in the opening of Queen|

| |Noor Suite |

| |--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, 2/2, and 2/4. Alter speed of beat and use to teach tempo markings: Adagio, Adagietto, |

| |Maestoso, Allegro, Gradually slow down the beat to demonstrate ritardando. Make sudden slow down to |

| |demonstrate Meno Mosso. 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 |

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

| | |

| |Discuss the arranger’s use of the term molto sostenuto at the beginning of Overture to Rienzi. |

| |Demonstrate and discuss how proper bow holds are critical to smooth bow changes that are necessary for a|

| |sustained sound. . Guided practice on this passage. Record some of the performances, lead student |

| |discussion, have students discuss the musical effect of each performance |

| | |

| |In the same piece discuss the use of the term “energico” Demonstrate and lead guided practice. Record|

| |several performances of a short passage and have students listen and determine if they achieved the |

| |desired effect of “energetic.” |

| | |

| |In the third movement of Queen Noor Suite, discuss the term “vivo.” 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 “vivo.” |

| | |

| |In Queen Noor Suite, discuss the term “marcato” |

| |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 “strongly accented.” |

| | |

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

|History/Cultural |Queen Noor of Jordan (contemporary figure, widow of King Hussein, American-born, philanthropist (on |

| |behalf of children amongst her causes). Queen Noor Suite was commissioned for the opening of the |

| |Conservatory of Music of the Royal Cultural Center in Amman, Jordan |

| |Rienzi-opera by Wagner based on the life of Cola di Rienzo, the opera depicts both the rise and fall of |

| |this character. |

| | |

| |The Brilliant Red Shandandan Flowers is a popular Chinese Folk Song |

|Other Standards That Can Integrated Into This Unit |

| |

|MU.912.C.1.2  Compare, using correct music vocabulary, the aesthetic impact of two or more performances of a musical work to one's own hypothesis of the|

|composer's intent. |

|MU.912.C.2.1  Evaluate and make appropriate adjustments to personal performance in solo and ensembles. |

|MU.912.C.2.2  Evaluate performance quality in recorded and/or live performances. |

|MU.912.C.3.1  Make critical evaluations, based on exemplary models, of the quality and effectiveness of performances and apply the criteria to personal |

|development in music. |

|MU.912.H.1.1  Investigate and discuss how a culture's traditions are reflected through its music. |

|MU.912.O.3.1  Analyze expressive elements in a musical work and describe how the choices and manipulations of the elements support, for the listener, |

|the implied meaning of the composer/performer. |

|MU.912.O.3.2  Interpret and perform expressive elements indicated by the musical score and/or conductor. |

|MU.912.S.2.2  Transfer expressive elements and performance techniques from one piece of music to another. |

|MU.912.S.3.1  Synthesize a broad range of musical skills by performing a varied repertoire with expression, appropriate stylistic interpretation, |

|technical accuracy, and kinesthetic energy. |

|MU.912.S.3.2  Sight-read music accurately and expressively to show synthesis of skills. |

|MU.912.S.3.4  Analyze and describe the effect of rehearsal sessions and/or strategies on refinement of skills and techniques. |

|MU.912.S.3.5  Develop and demonstrate proper vocal or instrumental technique. |

|Assessments (Formative and/or Summative): |

| |

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

|approach if necessary |

| |

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

| |

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

|Assessment |

| |

| |

| |

|Materials Needed: Repertoire, Method Books, Digital Recorder, Internet Access for Possible Student Research on Historical Subjects |

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