Garrett Kheshtinejad

Lesson Plan- Choir Training for Young Singers

Observation: 11/3/14
6:30pm-9: 30 pm
Standards
1.1.2.B.2
Explore the elements of music through verbal and written responses to diverse aural
prompts and printed scores.
1.1.5.B.2
Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic
and harmonic progressions, and differentiate basic structures.
1.2.5.A.1
Recognize works of dance, music, theatre, and visual art as a reflection of societal values
and beliefs.
1.3.5.B.4
Decode how the elements of music are used to achieve unity and variety, tension and
release, and balance in musical compositions.
1.4.5.A.3
Demonstrate how art communicates ideas about personal and social values and is inspired
by an individuals imagination and frame of reference (e.g., personal, social, political,
historical context).
Behavioral Objective: By the end of this lesson, students will be able to perform Al
Shlosha DVarim by Allan E Naplan in tune and without wrong notes, with a success rate
of 80 %
Experiential Objective: Students will sing 49 Measures in 2-Part harmony showing
independence and accuracy.
Constructive Objective: Students will appreciate the difference between a wide variety
of musical genres.

Procedures/ Activities
Warm-Up (very brief, prepare body for singing)
Stretch up (Say Hello to the Sky)
Stretch down (Say Hello to your toes)
Fall to the ground. Let your body hang over to the floor (focus the breath into your belly
and back, feel the back of the rib cage stretching out) feel the lower part in your back as
your breath makes it expand.
Five points of Alignment are emphasized: feet, knees, hips, sternum and
head. The concept of core also receives emphasis. Elevator analogy
Slowly roll up feeling the connection between stomach and back. Make sure your
stomach is not tight. Relax the diaphragm cannot work properly if your stomach is tight
Lip buzzes(5 note scale ascending/descending) up by half steps
Yawn and sigh
usually on [u] (can also be on a trill or other vowel).
This should be repeated after all other subsequent exercises. Singers Sigh
Major Scale ascending and descending (encourage forward resonance, tall shape and
active hand signs)-Key of A-flat, A major
Model and have class repeat following solfege patterns
S-D-R
D-L-T
L-T-D-L-S
D-D-R
M-R-D-M-R
T-T-D-T-D-R-M
Repeat after me: Model beginning rhythm using rhythm cards. All rhythms are included
in Al Shlosha D Varim. First clap the rhythms. Switch to ch
Once students have been introduced to a variety of patterns and
rhythm cards, arrange the cards in the exact rhythmic patterns shown
in Al Shlosha D Varim
Write Solfege in to the specific spaces under the rhythm cards
Audiation using Curwen hand signs. Cards will be arranged as depicted
in the music.
End at m. 28

Address the text of the specifically:

Where does it come from? Misnah(first major written reduction of the
Jewish Oral traditions)
What is Pirkei Avot(Chapters of the Fathers; deals solely with the
ethical and moral principles. 10th century BCE CE time period
What language is this in? Hebrew
Repeat after me. Al shlosha d varim haolam kayam
Al haemet val hadin val hashalom
m.29 What do students know recognize in the music about these
patterns?
Have we worked through and sung these before?
General characteristics about this change.
Treble 1- looks exactly like m.21-28
Treble 2- looks exactly like m. 1-16
*What is the musical term for when a pattern is repeated consistentlyOstinato.
Have class sing together with accompaniment.
Direct instruction: Information visual and aural examples
Modeling: aural examples, rhythm cards, solfege patterns
Check for Understanding: Students will answer a variety of
questions based on listening to the piece. Students will recognize
ostinato. Students will be able to sing both parts
Guided practice: Class will practice together aloud.
Assessment: There will be ongoing assessment both visually and
orally throughout the class period
Closure: Ask students what some new things they took away from this
musical experience. Ask students how the text was used in conveying
musical ideas in order to prompt future lesson.