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Extremis m53-m63 Lesson Plan - Jeff Oliveira, SCED 303I, Fall 2017

Context: Prior to this lesson, students have been practicing melodic patterns A and B and have worked
on the ending of the piece, measures 63-end. They are able to play the pitches and rhythms present in
the piece.
Objective:
Students will identify melodic content, when it occurs in their instrumental part, and how to play
melody and harmony with appropriate dynamics.

National/Core Standards:
MU:Pr4.2.8b When analyzing selected music, sight-read in treble or bass clef simple rhythmic,
melodic, and/or harmonic notation.
MU:Pr6.1.8a Perform the music with technical accuracy, stylistic expression, and culturally authentic
practices in music to convey the creators intent

State Standards:
MU:Pr6.1.8a. Perform the music with technical accuracy, stylistic expression, and culturally authentic
practices in music to convey the creators intent.

Materials: Full score, individual parts, instruments, smartboard/projector, audio playback equipment,
recording of piece (https://www.youtube.com/watch?v=PfLZyIcsVdM) music stands, pencils
Time Detailed Sequencing: Assessment:
Before 7:40 1. Project daily agenda slides on the screen Be prepared!
7:40-7:42 2. Play recording of piece as they enter and set up Visual scan to ensure set up
7:42-7:44 3. Announcements - wait for quiet Are they watching?
7:44-7:46 4. Sing solfege patterns with different instrumental Listen for balance, encourage
groups students to beat each other
7:46-7:48 5. Two minute warm up to practice m53-63, Look for rehearsing, listen to
anything else they might need to practice what they are doing
7:48-7:59 6. Rehearse m53-63. Run through it first to see what Focus on them listening to each
shape it is in. Then work through by the different other critically for balance and
melody lines in instrumental groups. Focus on dynamics. Have them evaluate
getting them to listen to their balance and knowing each other. If it is too difficult,
who has which melody, having students with each slow it down and/or break it
melody line play out more. apart. See plan B if needed.
7. If time, run through to the end and start on m37-52
8. Daily gratitude (call and response. I am grateful
7:59-8:00 for ____, I am grateful for music, I am grateful for
the people in this room)

Reflections -TBD
Extension(s):
We will continue to work backwards through the piece in chunks, m37-52, 25-37, etc.
Form:

Section A'

Part Melody #2 Countermelody Rhythm #1

Melody returns, bass line accompanies with


Role harmony in melodic rhythm pattern 1 Transition into ending

Melody #2 in high voices, countermelody in


Instrumentation middle and lower voices Percussion only

Measures 53-60 61-62

Supplements:

What they should know:


My expectations of them. The rhythms and pitches present in the piece. How to follow a
conductor.

What I should know:

The piece, inside and out. No score needed. How to assess my students during a rehearsal, what
to listen for and how to get them to listen for what I want them to hear. How to motivate them to
do the work that a rehearsal takes. Fingering for any accidentals or difficult passages.

Plan B:

If things arent going well, we can move from dynamics and melody identification to focus
strictly on rhythmic content. If that doesnt go well, we can go to the chanting section and
practice that to keep their interest (m36-43).

For the Future:

Every rhythm, pitch, phrasing, articulation and dynamic we use in this piece will be used again
over and over in future pieces - not the specific melodies per se, but the concept of melody, how
to phrase, breaking a piece down backwards, etc, will be useful in future rehearsals.