Spring Arbor University School of Education Lesson Plan Essential Elements Title: Style: Mvts I and IV Sub ect:

Inst! Music"#and $rade Level: %th Ti&e Allotted: '( &inutes

Materials )e*uired: Whiteboard and writing utensils, band set & score, baton, metronome, tuner, triangle, glockenspiel, suspended cymbal, small tom, timpani, xylophone, snare drum, bass drum, vibraphone, chimes, crash cymbal. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Michigan ,urriculu& -ra&e.or/: benchmark and/or GLC /!"C / GLC #write out$ -Art.M.1.HS.1 Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including some selections performed from memory. -ART.M. .HS.! Analy"e and consider the use of music and media for the future.

0b ective1s2: C.1.1: Students will improve their musical, technical, and ensemble skills by preparing instrumental pieces to a performance-ready level. Students will also create guided artistic interpretations of the pieces. (The purpose of this rehearsal is to get the light style of movements and !. The lilts and emphasi"ed notes must be in the right places. #ovement ! also various other styles to be brought out. $ P.1.1: Students will learn to play with a variety of styles, dynamics, and timbres. P.1.2: Students will understand and correctly respond to musical vocabulary. R.1.4: Students will articulate what they would like to gain from taking an instrumental music course and what music means to them personally.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Instructional Procedure: 3hat infor&ation do students need to acco&plish the ob ective1s24 Ti&e Essential Ele&ent Allotted % 5! Anticipatory Set: &s a 'bell(work) assignment, have the students write down on a piece o* paper minutes why it is use*ul *or them to learn about the expressive devices o* music. Go over some o* the ideas #such as it will make them more in*ormed listeners, it will help them appreciate music more a*ter knowing what goes into it, it brings them personal en+oyment, ect.$
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6! State Purpose and 0b ective1s2 of Lesson: 2ell the students they are going to learn how to bring out distinctive styles o* movements 3 and 34. 05 minutes 7! Plan for Instruction: -or movement 36 Work *or 5 minutes *rom the beginning to 70. 8ake sure beat one and the accented note o* the 'bird call) motive is always heard and that the notes are light. 2he second theme should have energy and always be *lowing. 2hen work *or 5 minutes on the '*uller texture) section, 7.(55. 8ake sure the accented notes are brought out, the moving low brass/woodwind voices are heard, and the melody is still *lowing even though this section is *uller. -inally, work on 55 to the end and make sure that the light texture returns. 2here is a canon and each statement o* the bird call theme should be heard. -or movement 346 Work *or *ive minutes on each statement o* the 'simple gi*ts) theme and make sure the style changes are clearly recogni9able. 2he *irst statement is *rom 5 to .7 and must have energy, +oy, and lightness in its sound. 2he next statement is *rom .% to %% and adds a countermelody that must also be heard. 2here are also driving :uarter notes that need a sharp *ront edge. 2he third statement is in the style o* a chorale and must be completely smooth and connected. 2he *ourth statement is an ethereal melody *rom the low voices and must have a ma+estic, legato style. -inally, the last statement is triumphant in style and the accented notes must be brought out.

.5 minutes mvt 34

'! 8ifferentiation ,onsiderations 1acco&&odations2: Strategies for &ove&ent I: "ing the 'bird call) theme in the correct style and have the students echo back ;emind them to keep a light tongue whenever starting the notes ;emind them to use warm air, not harsh cold air <se imagery #picture a warm spring morning, a sunrise in a valley, ect.$ ;emind the students to use lots o* air and a big, *ull sound in the middle section Strategies for &ove&ent IV: !ave the students add space between the eighth notes o* the *irst statement melody to make it lighter &sk the students to emphasi9e macro beats one and two ;emind the students to take in a deep diaphragmatic breath *or a dark, *ull sound at the *ourth statement !ave the students listen to the countermelody only and tell them to make sure they can always hear it ;emind students to use constant air and a gentle articulation during the chorale section. 2ell the students to add more air pulsation at the beginning o* a note i* the note has a sharp *ront( edge 8ake sure the students are getting a clean attack on the notes *rom the *irst statement

9! Assess&ent: 2he assessment o* these per*ormance(based ob+ectives is in*ormal interim because they have already some instruction on the piece and no tangible evidence will be created. 2he assessment will happen throughout the rehearsal as 3 am listening to how well the students are playing and ad+usting my rehearsal instructions accordingly. 3 will give the *ormal(summative assessment *or these ob+ectives a*ter 3 have taught them and students
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have shown me in rehearsal through in*ormal interim assessments that they will be success*ul. 3t is *ormal(summative because the students will create tangible evidence #an audio recording$ and it will assess all o* the ob+ectives *rom the unit. =Logistically, 3 will continue large group rehearsal while one student at a time goes to practice room to make their recording. !owever, although 3 am continuing rehearsal as students are being assessed, the rehearsal will not involve instruction o* new material. >er*ormance(based music courses re:uire rein*orcement and reminding o* previously taught ob+ectives. 0 minute :! ,losure: Compliment the students on the work they?ve done manipulating the styles. &lso let them know what changes need to be brought out more to make the piece musical and expressive.

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