08/25/14-9/6/14-Charting Vocal Range

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 evaluation. The teacher will determine if they were correct.

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


Written Assessments:

Reflection:

If you could be any voice type what would it be? Why? Who do you most admire that sings this voice type?

9/8/14-9/12/14-Music Fundamentals

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

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

10/29/12-11/20/12-"Winter Wonderland"

"Winter Wonderland"

Lesson Objectives: SWBAT locate and describe key signature changes and why they are utilized. SWBAT sing and describe 4/4 time and 2/2 time. SWBAT locate the accompaniment and compare/contrast it with what they are singing.

Essential Skills to be mastered: Students will be able to locate and describe key signature changes and why composer use them in music. Students will be able to describe and sing "Common" time and how it changes to "Cut" or "Alla Breve" time. Students will be able to examine the accompaniment and compre/contrast the notes to what they are singing.

I can statements: I can locate and describe key signatures. I can locate and describe the difference between 4/4 time and 2/2 time. I can locate and compare/contrast the accompaniment with what the choir is singing.

IPI level: Teacher led instruction with student engagement, Student led learning conversations


Teaching Strategies Utilized: Day 1: Read the text and discuss where harmony and unison occur. Sightread singing as many correct notes as possible. Day 2: Locate the key signature at the beginning of the piece of music. Have students scan and find all the key signature changes paying close attention to the ending of the piece of music. Why are so many key signature changes found in this piece? Day 3: Discuss the time signature found at the beginning of the piece and the use of a C for 4/4 or common time. Locate the next time signature change and discuss the slash through the C and what it means for each note value. Practice transitioning from one time signature to the other. How will we find the beat in the new time signature? Day 4: Work on independent parts and securing the harmony. Day 5: Large group evaluations of the parts. Day 6: Discuss the accompaniment of the piece of music and the contrast it creates. Why would a composer use a contrasting accompaniment? What effect does it have on the piece of music? Day 7: Revisit expressive elements and locate in the music. Practice creating the dynamics as a large group. Day 8: Have students partner up and practice the music together checking to see if the partner is singing correct notes, rhythms, expressive elements, etc. Day 9: Gather back as a large group and sing as if performing for an audience. Make a checklist of this to improve. Discuss successes within the piece of music as well. Day 10: Go through the checklist and fix problem spots. Perform as if for an audience.


Rigor or Level Reached on Bloom's Taxonomy:Analyze, Evaluate

10/17/12-11/2/12-"Firework"

"Firework"

Lesson Objectives: SWBAT sing in three independent parts. SWBAT sing in a pop style using syncopated rhythms. SWBAT locate and perform the verse and the chorus of the song.

Essential Skills to be Mastered: Students will be able to sing in three independent parts: Soprano I, Soprano II, and Alto. Students will locate and perform syncopated rhythms associated with pop music. Students will locate and perform the verse and chorus of the piece of music.

I can statement: I can sing in three independent parts. I can sing in a pop style. I can locate and perform syncopated rhythms. I can locate the verse and chorus of the song.


Teaching Strategy Utilized: Day 1: Divide the choir into three independent parts. Discuss how to read the music including the Soprano I and II sharing a line and Alto reading the bottom line. Read the text and discuss how it is different/same as the original recording. Sightread the piece of music. Day 2: Review the divided parts and how to read the music. Read the text aloud and discuss syncopation. Locate places in the song where syncopation occurs such as mm. 45. Have students notice mm. 53 and the division of parts that occur there. Day 3: Practice harmonizing between the Sopranos I and II then add the altos. Day 4: Large group evaluation. Day 5: Locate expressive elements and discuss how the group will perform and practice. Day 6: Have students break into small groups and review the music. Day 7: Small group evaluation Day 8: Practice with the recorded accompaniment. Have the students practice facial expressions in front of the mirror. Day 9: Record the performance and evaluate. Day 10: Polish for the performance. Day 11: Perform as if for a real audience.

IPI Level: Teacher Led with Student Engagement

Rigor or Level Reached on Bloom's Taxonomy:Analyze, Evaluate

10/16/12-10/26/12-"Super Santa"

"Super Santa"

Lesson Objectives: SWBAT locate a tempo marking and metronome marking. SWBAT locate the time signature and identify the eighth notes, and quarter notes that are sung. SWBAT create choreography in the style of the piece. SWBAT locate, define, and perform a descant.

Essential Skill to be Mastered: Students will be able to locate and discuss where to find a tempo marking and how to apply the metronome marking to the piece of music. Students will be able to locate and identify eighth notes, sixteenth notes, and quarter notes throughout the piece of music.

I can statement: I can find the tempo marking on a piece of music. I can determine the value of eighth notes, quarter notes, half notes and quarter notes. I can locate and perform a descant. I can create movement that matches the style of the piece.

IPI level: Teacher led instruction with Student Engagement

Teaching Strategy Utilized: Day 1: Students will scan the music and look for the type of notes they will be singing in the first two measures. Discuss eighth notes and how many counts each receives in 4/4 time. Count them aloud and have students chant the words in rhythm. Day 2: Discuss half and quarter notes and locate in the music. What method do you use for counting? Explain. Review 1st and 2nd endings and how to read through the music. Day 3: Determine who has the melody at B. What do you know about descant? Who should sing the descant part? Day 4: Work for part independence. Evaluate as a large group. Day 5: What does the music at D have in common with the music at A? Differences? Divide into groups and create choreography that matches the style of the piece. Day 6: Discuss the style of the piece of music and how to sing expressive elements and add into the performance. Rehearse choreography in front of the mirrors. Day 8: Small group evaluation of singing and choreography. Day 9: Analyze and create a checklist of items that the students want to improve. Day 10: Record the performance and listen for improvements. Day 11: Polish and perform as if for an audience.

Rigor or Level reached on Bloom's Taxonomy: Application and Analyze

Writing Activity:

Write an informative paragraph about a time signature of your choice. Include information about the top and bottom number as well as an explanation on how to count quarter notes, half notes, eighth notes, sixteenth notes, and whole notes. Pretend you are writing to someone who does not know anything about music.

10/16/12-11/2/12-"Inscription of Hope"

"Inscription of Hope"

Lesson Objectives: SWBAT sing in 2 independent parts. SWBAT describe and perform how to produce tall vowel sounds. SWBAT discuss and describe the historical connections of this song to World War II. SWBAT describe and perform semplice, a tempo, and freely as expressive elements.

Essential Skills to be mastered: Students will be able to perform two independent parts and connect the music to a historical event. Students will be able to perform tall vowels and focus on the production of those vowels. Students will be introduced to semplice, a tempo, and freely and perform as a large group.

I can statement: I can sing in 2 independent parts. I can describe how to produce and perform tall vowels. I can sing expressively. I can make historical connections through music.

IPI Level: Teacher led instruction, Student learning conversations.

Teaching Strategies Utilized: Day 1: Hand out music and have students scan for 1 minute. Discuss and review the sightreading process. Read the text aloud in sections. Have students notice the syncopated rhythm of the accompaniment and the voices at mm. 5. Sing through the piece. Day 2: Read the performance notes aloud. Discuss what students know about World War II. What is the significance of singing this piece of music? Why does the composer want the text to be read before we sing the song? Day 3: Discuss the breath marks and where they are placed. What is the purpose? Sing phrases noticing the markings and following as written. Day 4: Create an "oo" vowel and discuss how to produce the sound. Demonstrate or have a student model. Work for blend across the choir. Day 5: Discuss the term "semplice" and what it means. How do we produce this type of tone color? Day 6: Discuss the key change at mm. 57. Why do we go up a half step? What is the purpose or intent of the composer? Day 7: Discuss the various tempo markings and a tempo. Why is the ending marked "freely" and how do we determine how to sing those measures as a choir? Day 8: Work for part independence and check the progress with a formative assessment. Day 9: Record a performance and evaluate the expressiveness of the piece. Are we following the dynamics and other markings? Analyze and discuss corrections. Make a list on the board. Day 10: Follow the suggestion list on the board and listen for the changes that are being made. Discuss if the suggestions made a difference in the expressiveness of the song. Were they improvements that needed to be made? Were they effective? Day 11: Split into small groups and have them work on balance and blend. Come back together into large group and sing listening for balance and blend. Day 12: Small group evaluations. Day 13: Hold tryouts for the reading of the text and what type of tone color the voice should have. Day 14: Add the text at the beginning and then during the first 12 measures. Which is more effective? Day 15: Polish and perform as if singing to an audience.

Rigor or Level reached on Bloom’s Taxonomy: Evaluate, Analyze

8/29/12-9/28/12-"Yonder Come Day"

"Yonder Come Day"

Lesson Objective: SWBAT: Demonstrate singing skills using a singing voice and match pitch in an appropriate range. SWBAT: Demonstrate the ability to distinguish between quality and non-quality performance through listening, performing, self-assessment, and offer suggestions for improvement.

Essential Skill to be mastered: Students will be able to sing in three parts. Students will be introduced to body percussion and how to perform while singing. Students will work for consistent airflow and breath support. Students will work on a cappella singing and working together for proper inonation throughout the song.

I can statement: Read and sing in three parts. I can perform body percussion while singing. I can assess and evaluate the effectiveness of a performance.

IPI level:Student active engaged learning, Teacher-led instruction, Student work with teacher engaged.

Teaching Strategy Utilized: See activities/assessments in the attached lesson plan.

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

https://docs.google.com/file/d/0B091GG70BzyEUnhCSDh2XzU4ck0/edit

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

8/23/12-9/6/12-"Tomorrow"

"Tomorrow"

Lesson Objective:SWBAT sing in unison on the song "Tomorrow" from the musical Annie. SWBAT identify and define unison. SWBAT sing in the expressive style of a musical. SWBAT: Sightread music in unison.

Essential Skill to be mastered: Students will be able to sing in a musical style and discuss how to perform music from a musical. Students will be able to sightread and build skills to read basic symbols of music such as time signature, clef sign, and key signature. Introduction to composers intent and artists responsibility to perform.

I can sing expressively in a musical style. I can sing with clear diction. I can sightsing in two or three independent parts.

IPI level:Student Active Engaged Learning, Teacher-Led Instruction

Teaching Strategy Utilized: Day 1-Sightread-Introduce/Review Time signature, clef sign, key signature-establish the order of these symbols when sightreading. Discuss sightreading and what singers are expected to do. Read through text (student volunteers) and discuss any word they are not familiar with-explain if necessary. Sing through. Day 2-Sing through song and work for more correct notes. Pay attention to large intervals especially on "there'll be sun"-go over measure slowly and work to match pitches. Look for other intervals that are large and will be places to check for tuning. Day 3-Discuss the 12 and 7 starting in measure 24. Talk about rests and review the time signature-beats per measure. Day 4-Discuss rall. check for prior knowledge. Explain how to perform/Demonstrate (rule at least half of the last measure). Day 5-Introduce the term diction-Demonstrate using speaking, have class practice speaking clearly, then singing. Day 6- Listen in large groups-Soprano, Alto, Tenor/Baritone-Evaluate Day 7-Discuss singing songs from musicals-expressive elements such as breathing, tone color, diction, and dynamics. Ask a student to demonstrate for the class. Point out positives. Practice as a class. Day 8-Perform as if for an audience. Discuss their perspective. Discuss the composers intent and our obligation to perform as written. Discuss the story of the song and how to perform. Day 9-Practice as a large group from memory. Discuss memorizing techniques-have a student share their method. Day 10-Evaluate in small groups.

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