10/21/13-11/22/13 - "Put a Little Love in Your Heart"

Writer's Style: Sound Devices of Alliteration and Consonance in Music

Standards

National Standards MU5 and MU1

ShowMe Standards FA2 and FA1

Music Standards EM1D and PP1B7-8

MOELL Standard 1D

NTESOL Standard 2 Goal 1 

Content Objectives:
 SWBAT to identify and analyze alliteration and consonance used in music lyrics. SWBAT to identify alliteration and consonance used within the song text of "Put a Little Love in Your Heart" and perform using expressive markings such as an accent, dynamics, or  variations of tempo using vocal elements that communicate these interpretations.

Language Objectives:

SWBAT identify and analyze alliteration and consonance by reading and singing

the song lyrics. (Reading and Speaking)

SWBAT scan the text of the song while listening to the oral example provided by 
the teacher and the recording. (Listening)

SWBAT write an alliteration phrase.(Writing)

SWBAT work in small groups to formulate and confirm the alliteration with a peer. 
(Speaking and Listening)

                                   

Key Vocabulary

Alliteration-the repetition of consonant sound or letter at the beginning of words such as "Say to them, say to the down-keepers, the sun-slappers" also as in "When the wind whispers"

Consonance-the repetition of consonant sounds  within and at the end of words, Consonance is unlike rhyme in that the vowel sounds preceding or following the repeated consonant sounds differ as in "lonely afternoon" or "Write a great paper by the due date" "blank and think" "strong and string"

Sound Devices-ways of using words for the sound qualities they create. They can help convey meaning and mood in a writer's work. They give poems a musical quality (make music) and help to emphasize important ideas or words.

Supplementary Materials

T-Chart-Copies for Student and Smartboard file or transparency of the graphic organizer

"Put a Little Love in Your Heart" sheet music-Highlighted text for ESL student

Recording of the song

Index Cards 

Pocket Chart with Sentence Strips

Markers

Whiteboard

Lesson Sequence

1. Content/language objectives-Write on white board and have a student read orally.  Discuss and clarify objectives verbally with class.

2. SW read the board to compare and contrast examples of alliterations and share with a shoulder partner what they find is similar and different about these examples. Compare and contrast examples of consonance and share with a partner.

Link to background experiences: Have you ever been able to remember the name of a person, place, or thing because of the way that it sounds when you say it?  It is memorable because of the use of a sound device. Possible answers could relate to functions such as: Song lyrics, speeches, poems, advertisements or slogans, and store names.

Links to Past Learning and New Concepts: "Who remembers a warm up that we have performed that involved a composer utilizing alliterations?" Teacher or student will write on the board and then sing.

3.Key Vocabulary Emphasized:

Use the T-chart to introduce the words alliteration and consonance to use for guided practice. Use graphic organizer (SmartBoard) to write and record examples as a class.  Practice with the examples given on the board and poetry excerpts for clarification as time permits. Have students record their responses on the T-chart. Check for understanding-Thumbs Up, Down, and Middle.

4. Small group  Game and Writing Practice-Alliteration Match-Students are given an index card containing half of an alliteration (it could be taped under their chair prior to the lesson).  They must interact to find the other half of their phrase on another student's index card. When they have found their partner they must read the complete phrase together and be prepared to share with the class.Teacher will model using an index card match and write steps on the board to review with students. Students will also be asked to formulate an alliteration and write on it on the sentence strip. They will practice it together and be prepared to share with the class. 

5.Distribute the music and have a student read the song title orally. What do you notice about the title? Guide the class in finding an alliteration and consonance usage. SW scan the lyrics of the song for alliteration and consonance sound devices used by the composer while listening to a performance of the piece. Add information to the T-chart. Discuss expressive markings such as an accent, dynamics, or variations of tempo as possible elements used by the composer to emphasize these sound devices in lyrics. Discuss the effect of various repeated sounds such as soft sounds like s or sh differ from k or p? Teacher models student suggestions. Guided practice singing the piece together and implementing these distinctions.

7. Review the content and language objectives with Exit Slips. Write an alliteration and one question they have about the lesson that needs to be addressed.

Extension: Use alliteration to describe the following sounds: school hallways between classes, a rainstorm, or traffic on a busy street. Use consonance to create a few word phrases or sentences that describe the sounds and movements of animals such as a chicken, a snake, or a dog.

Discuss the relationship of music consonance to the consonance found in the song.  Determine if the chord structure or melody is consistent with the use of the sound device. Does it remain the same throughout the phrase or does it change? How would this help to create an effect that emphasizes and expresses the text?  

Music Fundamentals-9/03/13-9/13/13

Music Fundamentals

Lesson Objective:SWBAT determine meter such as steady and unsteady beat as it relates to a rhythm. SWBAT find and perform the beat of a song. SWBAT: identify a time signature and explain the symbol. SWBAT: Identify, perform, and determine the value of quarter notes, eighth notes, sixteenth notes, whole notes dotted quarter notes and the rests of the same value.SWBT: compose a four measure piece in 4/4 time using notes and rests.

Essential Skill to be mastered: Students can identify and perform steady/unsteady beat while finding the beat of a song. Students can identify but also explain a 4/4 (common) time signature and others such as those with a different numerator or denominator. Students are able to identify and explain different types of notes and be able to apply these types of notes to a composition that they create.

I can statement: I can determine steady and unsteady beat. I can use a time signature to determine note values. I can compose a four measure composition.

IPI level:Teacher led discussion, Student Learning Conversations, Student Work with Teacher Engaged

Teaching Strategy Utilized: Day 1:Check knowledge of the word beat by using a bellringer. Introduction to beat-steady and unsteady. Use page 8-9 of the text to have them tap the x of the song. Read aloud pages 10-11 and have them write notes on beat and meter. Play rhythm round game. Day 2: Check prior knowledge of note values and time signature. Teach time signature and relate to fractions-numerator and denominator. Discuss 4/4 time as the most common time signature. Discuss other time signatures such as 6/8. Take notes on time signature. Take notes on note values-whole, half, quarter, eighth, sixteenth. Have them figure the next value (double) on their own. Keep going and see what they can determine. Day 3-Review 10-11 and chant combined note values. Use musictheory.net to reinforce the concept. Day 4-Choose a song and work as a class to look at the music and determine note values and how to perform. Introduce composing and use the board to create a composition (several measures) with the class. Perform. Give the students a chance to ask questions and clarify. Have them begin by creating one measure on their own. Have students come to the front and write on the board. The class will then perform and check the example. Day 5 and 6-Students will be given class time to compose a four measure example and then perform. A quiz will be given over the note values and a grade will be taken on compositions. Day 7, 8, and 9-Students will be given written perimeters for a twelve measure composition that includes using a variety of types of notes and the grand staff. Day 10-Students will complete a written reflection outlining their experiences as a new composer.

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

Written Assessment

In a paragraph describe how to use a staff to name notes and the system that you use for identifying the lines and spaces. Please include information about the treble clef and if possible the bass clef. Pretend you are writing to someone who has never been able to read music.

Reflection:

In one paragraph describe  your experience as a composer. Include details on what was easy and what was difficult. What surprised you about composing? What expectations did you have for the project and what was the overall outcome.

Charting Vocal Range-8/19/13-8/30/13

Charting Vocal Range

I can determine my vocal range by listening to my voice match pitches. I can identify and classify vocal range.

Lesson Objective:SWBAT: Chart vocal ranges of themselves and others.  SWBAT: Identify and classify vocal range.

Essential Skill to be mastered: Analyze, Critique, and Graph- the aural range of vocal music production to the staff. After graphing the student will analyze the range and determine his or her voice type. They will also determine the voice type of those within their small group and determine patterns in music.

IPI level:Teacher-led instruction, Student Active Engaged Learning 

Teaching Strategy Utilized:  Day 1-Discuss the definition of range and have students match pitch with piano. Day 2-Match pitch on piano and mark range on chart as a large group. Day 3-Match pitch on piano and experiment with larger ranges than are found on the chart and add notes. Day 4-Within a small groups come to the small piano to check range and teacher assesses work. Small groups will determine range and discuss overlapping notes and finalize decisions.What do you notice about your vocal range? Do you notice any patterns in the ranges of your group members? Who has the smallest vocal range? Who has the largest vocal range? How does each member's range compare with the ranges for baritones, tenors, altos, and sopranos? Do they overlap different parts?    

Singing Activity: Students will sing "America" in three keys and determine which key is best for their range.

Assessment: Students will sing "America" by themselves or in a small group and will state which range is best for their voice before beginning the evalutation. The teacher will determine if they were correct.

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

2/01/13-2/18/13-"Chim Chim Cheree"

"Chim Chim Cher-ee"

Lesson Objective: SWBAT sing in two independent parts with a descant. SWBAT describe and perform a descant. SWBAT sing in a minor key. SWBAT listen and distinguish between major and minor melodies. SWBAT discuss the text of the story and determine the meaning.

Essential Skill to be Mastered:Students will sing in two independent parts of the music and add a descant at the end of the piece. Students will sing in a minor key and work for correct intonation. Students will read the text aloud and discuss the meaning as a large group. SWBAT listen, identify, and distinguish between major and minor melodies.


I can statement: I can describe and sing in minor key. I can describe and sing a descant. I can sing in two independent parts with a descant. I can describe the meaning of the song.

Teaching Strategy Utilized:Day 1: Students scan music for symbols or notes that they do not recognize. What measures do these take place? Ask the class to answer and check for background knowledge. Sightread getting as many notes and rhythms as possible. Day 2: Define and locate the descant in the piece of music. What is a descant? Why is it used? Sing through the "ah" section and listen for structure. How do these notes fit with those of the other parts? What is the connection? Day 3: Sing through both parts. Listen for clear diction and correct notes. Focus on the text. Have a student volunteer to read aloud listening for the meaning of the text. Discuss the dropped consonants that occur at the beginning of many words. Why would the lyricist create this effect? Day 4: Focus on the 2 part harmony and then add the descant. Review parts and practice slowly for tuning. Day 5: Sing through the entire song without stopping and analyze performance. Use thumbs up/middle/down to check for understanding within the sections. Day 6: Discuss and perform major and minor scales. Discuss the structural differences of half steps and whole steps. Play and sing passages of major and minor melodies. Check for knowledge using thumbs up (major) or down (minor) and have students determine whether a passage of a song is major or minor.  Day 7: Evaluate and sing in small groups. Day 8: Sing and evaluate again. Polish details from the song. Day 9: Sing as if for an audience.


Rigor or Level reached on Bloom's Taxonomy: Application, Evaluation

03/14/13-04/03/13-Viva La Vida

"Viva La Vida"

Lesson Objective: SWBAT sing in three independent parts with an additional descant part at the end of the piece. SWBAT perform pop style music. SWBAT will be able to discuss and determine repetition that occurs in the music as it relates to form. SWBAT to determine where unison and harmony occur in the song in their individual part and the three parts of the choir as a whole.

Essential skill to be mastered: Students will be able to sing a pop song in three part harmony. Students will be able to determine and perform unison and three part harmony that occurs in the song. Students will be able to discuss and determine repetition that occurs in the song as it relates to form.

I can statement: I can sing, identify, and perform unison and harmony. I can discuss and determine repetition that occurs in music. I can discuss and determine basic types of form.

IPI Level-Teacher led instruction, Student Active Engagement

Teaching Strategy Utilized: Day 1: Sightread-Scan for Soprano, Alto, Tenor, and Descant parts. Review the basic elements of sightreading such as tempo, time signature, etc. Scan and determine unison and harmony parts and where they occur. Have students say aloud the measure numbers. Sing getting as many correct notes as possible. Day 2: Look for repetition that occurs in the song and discuss. Say aloud the measure number and have students point to it in the music. Day 3: Rehearse unison and harmony parts and solidify. Day 4: Discuss basic types of form such as AB, ABA, and Theme and Variations. Determine songs they use these forms that students may have sung before. Day 5: Have students create a chart that uses shapes or figures that represent the basic types of form. Use partners to create the chart and present to the class. Day 6: Focus on the overall sound of the choir. What can be improved? What are we doing well? Day 7: Singing test-Small groups mm 37-57 listening for correct 3 part harmony. Day 8: Review the structure of the song and how to memorize music using form. Day 9: Record the song and play back for students to evaluate. Day 10: Polish expressive elements of the song and sing as if for an audience.


Rigor or Level reached on Bloom's Taxonomy: Application, Evaluation

1/28/13-2/12/13-"Love Story"

"Love Story"

Lesson Objective:SWBAT sing in three independent parts with a descant. SWBAT describe and perform a descant. SWBAT define and describe texture. SWBAT sing in a pop style.


Essential Skill to be Mastered:Students will sing in three independent parts on the chorus of the music and add a descant at the end of the piece. Students will sing in a pop style.

I can statement: I can describe and sing in a pop style. I can describe and sing a descant. I can sing in three independent parts. I can define and describe the texture of a song.


IPI Level-Teacher led instruction, Student Active Engagement, Student led Discussion


Teaching Strategy Utilized:Day 1: Students scan music for differences in texture such as: 1 part which are the solos, 2 part, 3 part, and the addition of a descant. What measures do these differences take place? Why do composers use a variety of textures within songs? What part are you most interested in learning? Sightread getting as many notes and rhythms as possible. Day 2: Define and locate the descant in the piece of music. What is a descant? Why is it used? Sing through the "ah" section and listen for structure. How do these notes fit with those of the other parts? What is the connection? Day 3: Sing through both solos and have students sing independently. Listen for clear diction and correct notes. Day 4: Focus on the 3 part harmony. Review parts and practice slowly for tuning. Day 5: Sing through entire song without stopping and analyze performance. Use thumbs up/middle/down to check for understanding within the sections. Day 6: Evaluate and sing in small groups. Day 7: Sing and evaluate again. Polish details from the song. Day 8: Sing as if for an audience.


Rigor or Level reached on Bloom's Taxonomy: Application, Evaluation

1/04/13-1/22/13-"Rumour Has It/Someone Like You"

"Rumour Has It/Someone Like You"

Lesson Objective:SWBAT sing in three independent parts with an additional solo part. SWBAT identify and perform contrasting rhythms. SWBAT perform pop style music. SWBAT identify and locate parts of the two songs and determine how they combine to create harmony. SWBAT use expressive elements to create a musical performance.

Essential skill to be mastered: Students will be able to perform a pop song with accurate rhythms. Students will be able to perform a song that combines two different melodies and harmonies together. Students will be able to apply stylistic characteristics of this type of music. 

I can statement: I can sing, identify, and perform contrasting rhythms. I can sing music in a pop style. I can sing rhythms accurately and as written in the music.

IPI level:Teacher led instruction, Student Active Engagement

Teaching Strategy Utilized: 1. Sightread-Scan for Soprano, Alto, and Tenor parts. Review the solo line-above the other three parts. Work on introduction-syncopated sections. Sightread the solos. Day 2-Review introduction and solo parts. Day 3-Solo tryouts for solo 1 and 2. Day 4-Rehearse music and scan for syncopated rhythms. Determine how each independent part combines to create a pop style. Day 5-Discuss reading the music as written and performing verses the way that you hear it sung on the radio. Work for accuracy. Day 6-Focus on the chorus and soprano harmony that is above the melody. Rehearse for balance and blend. Day7-Emphasize part independence and work with independent sections. Day 8-Small group assessment. Day 9-Sing with the c.d. accompaniment and assess the performance. What are the strengths and weaknesses of the ensemble? Day 10-Formulate a plan to utilize expressive elements for the concert. Day11-Check for smooth transitions between the songs and the change from 4/4 to 2/4. Day 12-Small group evaluations of the chorus. Day 13-Pretend you are singing for an audience, record, and evaluate.

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