10/01/12-10/15/12-"Kum Ba Yah"

"Kum Ba Yah"

Lesson Objectives: SWBAT Sing in 2 part harmony (SA) that transitions into 3 part harmony (SSA), SWBAT Sing a traditional spiritual with influences from Africa and explain the function of the music in society and everyday life, SWBAT Define and determine the difference between melody and countermelody

Essential Skill to be mastered: Sopranos will sing the countermelody and altos will sing the melody at the same time on the 2nd and 3rd verses with accompaniment. Students will be able to recognize and locate on the music the melody and countermelody. Students will be able to determine how a composer creates a countermelody and the purpose of the song/composers intent.

I can statement: I can sing a countermelody at the same time as another group is singing melody. I can scan a piece of music and locate the countermelody. I can explain a use for this song in everyday life.

IPI: Teacher led instruction, Student Work with Teacher Engaged, Student Active Engaged Learning

Teaching Strategy Utilized:  Day 1: Scan the music-look for basics of music such as time signature, parts, rhythms, types of notes, and where the harmony begins. Day 2: Discuss countermelody-what is the purpose? How and why do composers use a countermelody? How does it create harmony? Day 3: Read the text aloud and sing in parts. Work for part independence.  Day 4: Large group assessment. Day 5: Discuss and apply expressive elements. Day 6:Discuss possible uses for the song in culture and times for performances. Day 7: Discuss Kum Ba Yah and what it means (translated). Day 8: Small group assessment. Day 9: Polish for concert-formulate a plan for improvements that need to be made. Day 10-Use the plan to create a mock performance.

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

9/26/12-10/5/12-"Don't Stop"

Subject:Don't Stop Believin'

Lesson Objective:SWBAT identify and perform rhythms that occur on the beat and off of the beat. SWBAT use expressive elements to perform in a pop style. SWBAT identify and perform sections of music that utilize unison and harmony.

Essential Skill to be mastered: Students will perform an alternating rhythm that occurs in the introduction and in between the verses of the song. Students will be able to perform expressive elements that create a pop style of music.

I can statement: I can sing rhythms that are on and off of the beat. I can sing in unison and harmony. I can sing in a pop style.

IPI level:Teacher led instruction

Teaching Strategy Utilized: Day 1: Scan the music and sightread trying to sing as many correct notes and rhythms as possible. Discuss the "dah" introduction section. Sopranos will clap on the beat and altos will clap off of the beat. Rehearse the rhythm slowly and gradually increase the tempo. Day 2: Review the "dah" section and work for the open "ah" and put hands on the face to check. Day 3-Discuss the solos that occur at the beginning of the song. Scan the music and determine where unison and harmony occur. Day 4-Work on independent parts and review rhythms. Use a thumb check to have students self-assess their grasp on the concepts that have been taught so far in the song. Day 5-Review and do a large group assessment-Sopranos and altos. Day 6-Sing a cappella and listen for accurate harmony. Day 7-Discuss and perform expressive elements. Day 8-Polish for performance and hold solo tryouts for the concert.

Rigor or Level reached on Bloom’s Taxonomy: Evaluation

9/25/12-10/01/12-"Catch a Falling Star"

"Catch a Falling Star"

 SWBAT: Sightread in two independent parts, SWBAT: Identify, describe, and perform a round, SWBAT: Perform syncopated and Latin American style rhythms, SWBAT: Identify and perform a key signature change, SWBAT: Identify, describe, and perform repeat signs with first and second endings.

Essential Skill to be mastered: Students will be able to identify and perform a round in two parts. They will be able to explain how to create a round to a partner or the class. Students will perform syncopated rhythms and be able to recognize measure that use syncopation. Students will be able to locate repeat signs in the music and understand how to utilize a first and second ending. Students will be introduced to a key signature change, locate it in the music, and perform.

I can statement:  I can perform and create a round. I can sightread in two independent parts. I can perform syncopation in a Latin American style. I can identify and perform a key signature change. I can identify and perform repeat signs with first and second endings. 

IPI level:Teacher led instruction, Student Work with Teacher Engaged

Teaching Strategy Utilized:  Day 1: Students will perform several rounds in warm up such as Chocolate Cookie and Donkeys Like to Munch on Carrots. Students will scan the music for one minute and then sightread. Day 2: Scan the lyrics and read aloud in sections: Soprano, Alto. Ask students to locate any symbols in the music that they do not know/understand and review. Discuss rounds and ask them to think of other examples. What purpose do rounds have if used as a warm up? Why are they used to teach music? How many parts can be included in a round? Day 3: Introduce the term syncopation. Ask students to locate measures that include syncopated rhythm-clap or sing. Why is syncopation utilized in this style of music? In other styles?  Discuss Latin American music, use of the music within the culture, and performance techniques. Day 4: Locate the key signature change and practice listening to the accompaniment for clues to help with tuning. Why do composers use key changes? How do they heighten the performance of the lyrics? Day 5: Small group evaluation. Ask students to evaluate their own performance and find parts in the music to polish for the performance. Day 6: Utilize student suggestions to create a performance for an audience. Record and evaluate as a class.

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

Written Assessment

1. What is a round? How do you create this with a group of singers?

2. Name a round that you have sung in class.

1. What is the difference between a round and a canon? Describe using complete sentences.

1. How does singing a round help with tuning in a choir? 

2. What other aspects of singing are improved by singing rounds?

In a paragraph describe the purpose of a round and how to perform a round. Include details of improvements and examples of successes that happen as a result of singing rounds.

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

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

9/20/12-10/6/12-"Do, Re, Mi"

"Do, Re, Mi"

Lesson Objective: SWBAT: Sightsing in two independent parts. SWBAT: Sing the solfege syllables of a scale ascending and descending. SWBT: Perform the Curwen hand signs for each solfege. SWBAT: Recognize solfege patterns within this song and other songs. SWBAT: Compose a 2 measure composition using solfege and teach to the class.

Essential Skill to be mastered: Students will be introduced to the solfege syllables of do, re, mi, fa, so, la, ti and high do. The hand signs will also be demonstrated by the teacher and performed by the students. The students will be able to sing a scale ascending and descending with the solfege syllables as well as various combinations. Students will be able to recognize patterns of solfege withint the music and compose a 2 measure phrase that they will teach to the class.

I can statement: I can sightsing two part music. I can sing a scale using solfege. I can sing and perform the solfege hand signs. I can recognize solfege patterns within songs. I can compose using solfege syllables.

IPI level: Teacher-led Instruction, Student Learning Conversations

Teaching Strategy Utilized:  Day 1: Introduction to the solfege syllables of do, re, mi, fa, so, la, ti, and high do. Teacher will demonstrate the Curwen hand signs for students. Practice a cappella. Day 2: Review the hand signs with students and have them sightread "Do, Re, Mi" the song. Before sightreading have them scan the music for places that solfege occurs. Have volunteers read the lyrics aloud to the class. Is there a pattern or order that occurs within the text?  Day 3: Practice hand signs and solfege. Sing through for the second time. Discuss problem spots that will occur and need extra practice. Remind them of  "tall vowels" when singing. Speak the lyrics using tall vowels. Day 4: Large group evaluation: Check to see if sopranos, altos, and tenors can perform the solfege and hand signs. Day 5: Sing parts and work for part independence. Day 6: Discuss expressive elements: breathing, dynamics, and any other markings. Apply to song and work for whole group cohesiveness. Day 7: Discuss composers intent and how to perform effectively. Discuss different interpretations and ideas and try them to see what sounds the best. Day 8: Review and then small group evaluation. Day 9: Reflection and polishing for performance.

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