Middle School Beginning Choir

Full Year Curriculum

Garrett Prall

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Table of contents
Program Goals Pg. 3
Course Goals Pg. 4
National Standards Pg. 4
Scope and Sequence Pg. 5
Course Page Pg. 6
Performance 1 Pg. 7
Performance 2 Pg. 8
Performance 3 Pg. 9
Performance 4 Pg. 10
Assessment Pg. 11

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Program Goals
1. Students will grow in their musical knowledge and abilities.

2. Students will be exposed to a wide variety of repertoire from various styles, genres, and cultures.

3. Students will create their own compositions to be performed in the classroom.

4. Students will evaluate musical performances to become critical listeners

5. Students will learn the historical and cultural importance of each piece performed.

6. Students will learn how music ties into other content areas.

7. Present music in a way that is relevant to students and encourages exploration outside of the
classroom.

8. Encourage the development of positive personality traits such as work-ethic, teamwork, and self-
reflection.

9. Promote a safe learning environment where students can explore their creativity within the
classroom.

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Course Goals
1. Work on improving musicianship to prepare the class for Intermediate Choir.

2. Perform all chosen repertoire at an appropriate level.

3. Establish good rehearsal habits.

4. Exposure to music of different cultures, styles, and genres.

5. Develop basic music theory knowledge and skills.

National Standards
1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.

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Scope and Sequence
Unit 1:

 Fundamentals
o Rhythm readings, solfege exercises, Basic theory
 Blending in 4-part and 2-part harmonies
 Listening skills: self and across ensemble

Unit 2:

 Fundamentals
o More rhythm readings, solfege exercises, theory
 Compositional techniques
 Rehearsing in a circle formation to work on listening
 Isolating parts for balance

Unit 3:

 Fundamentals
o More complicated rhythm readings, solfege exercises, theory
 Student suggestions during warmups
 Mixed choir formation for listening, blend
 Djembe basics and exercises

Unit 4:

 Fundamentals
o Advanced rhythm readings, solfege exercises, theory
 Student guided warmups
 Student quartets and octets to demonstrate balance and blend
 Continued mixed formations

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Middle School Beginning Choir

Course Description

Beginning Choir is an ensemble intended for 6th and 7th graders to begin to learn what it’s like to be a in
a choir. A portion of this class is dedicated to learning music theory and history so that the students will
be able to more effectively understand what they are working on. Students will learn to think critically,
criticize performances, and self-evaluate their own musical output. The expectation of this choir is that
students are constantly developing their musicianship and becoming actively aware of their own voices.

Course Objectives

1. Students will grow in their musical abilities in order to perform the course repertoire at an
appropriate level.

2. Students will participate in class discussions and listening activities. In doing so, students will build
critical thinking and listening skills.

3. Students will be able to determine different musical genres based upon the genres performed
throughout the course.

4. Students will explore emotional connections between the text and the music and communicate these
relationships to audiences in performances and activities.

5. Students will explore their own musical choices and self-evaluate them in order to become better
musicians.

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Performance Units
Performance 1:
Repertoire:  Sisi Ni Moja by Jacob Narverud
 My America by Luara Farnell
 Inscription of Hope by Z. Randall Stroope
 Baloo Baleerie by Ruth Elaine Schram
Skills/Elements Addressed:  Cross-ensemble listening
 Blending
 Rhythm: Syncopation, Accelerando
 Melody: Conjunct
 Harmony: Consonance, Dissonance
 Texture: Homophony, Polyphony
 Timbre: Altered diction in Baloo Baleerie
 Form: Binary, Through-Composed
S, H, C, NS Addressed:  Styles/Genres: Secular, Patriotic, Folk
 Historical Period: Sisi Ni Moja – 2017; My America – 2010;
Inscription of Hope – 1997; Baloo Baleerie – 2015
 Culture: Baloo Baleerie – Scottish
 National Standards: 1, 2, 5, 6, 7, 8, 9
Sample Lesson Plan:  Objective: The students will learn about the origins behind the
song to improve their expressiveness in the piece.
 Students listen to Inscription of Hope and write down what they
believe the inspiration behind the piece is.
o Students share ideas in small groups and then with class
 Teacher reveals story about how the text was written in the wall of
a cellar in Poland by a Jew hiding from the Nazis in the 1940’s.
o Ask students to discuss this new knowledge and then
share if it gives new meaning to the text.
 Have the class break into groups and speak the text to each other
in expressive ways
o Select a handful of students to speak the text in front of
class
 With this inspiration, the class sings the piece with expressivity in
mind.
Assessment: Has the class’s expressiveness on the piece improved?
Rationale: As students transition from elementary music to middle school choir, it
is important to present the class with interesting repertoire that also
challenges them to some degree. The pieces should present topics
they learned in previous music classes and then build on them. This
unit focuses more on 2-part songs that allow the students to adjust to
singing in parts. Additionally, each song picked focuses on developing
a student’s rhythmic abilities. Pieces like Inscription of Hope will allow

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 the class to build their skills in performance character. My America
also presents the class with some familiar melodies to begin the year
with as well.

Performance 2:
Repertoire:  Star Carol by John Rutter
 Winter is Near by Luigi Zaninelli
 Somewhere in My Memory by John Williams, arr. By Leslie Bricusse
 Ose Shalom by John Leavitt
Skills/Elements Addressed:  Rhythm: Ritardando
 Melody: Conjunct
 Harmony: Consonance, Dissonance
 Texture: Homophony, Polyphony, Imitative
 Timbre:
 Form: Binary, Round, Ternary
 Musical Expression:
S, H, C, NS Addressed:  Styles/Genres: Sacred, Secular, Holiday
 Historical Periods: Star Carol – 1972; Winter is Near – 1971;
Somewhere in My Memory – 1990; Ose Shalom – 2002
 Cultures: Ose Shalom – Jewish
 National Standards: 1, 5, 6, 7, 8, 9
Sample Lesson Plan: Objective: Students will correctly perform the key change in
Somewhere in my Memory.
 Start on m. 37 in Somewhere in My Memory and sing through to
the key change in m. 52.
 Stop the choir before the key Change. Have the accompaniment
played through from 52 to the choir’s entrance.
 Start the choir at their new entrance in m. 64 through 65.
 Restart the choir in m. 49 and sing through m. 52. Cut the choir
off, have their new chord played in the piano, then have the choir
join in.
 Repeat the process until the choir feels confident with the change
 Have the choir restart at m. 49 and sing through m. 65
Assessment: Has the choir correctly found their new notes after the
key change?
Rationale: For the holiday concert, I wanted to allow the class to experience
music of sacred and secular Christmas music, as well as a piece from
Hanukah. Star Carol presents a retelling of the nativity story, while also
presenting the students with a new tune that they may not be familiar
with. Winter is Near divided the class into 4 sections for rounds and
requires the performers to confidently hold their line in order to stay
with the group. Somewhere in My Memory introduces a somewhat
familiar tune that also allows the class to experience a key change in

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 the middle of the piece. Ose Shalom exposes the class to Hanukah
culture in a fun and exciting way.

Performance 3:
Repertoire:  Panis Angelicus by Cesar Franck
 He Came Down by Nancy Grundahl
 For the Beauty of the Earth by John Rutter
 Singabahambayo by Victor Johnson
 Ave Verum Corpus by Mozart
Skills/Elements Addressed:  Rhythm: Rubato, Ritardando, Syncopation
 Melody: Conjunct
 Harmony: Consonance, Dissonance
 Texture: Homophony, Polyphony, Imitative
 Timbre: Bright, thin vowels for Singabahambayo
 Form: Binary, Round
S, H, C, NS Addressed:  Styles/Genres: Sacred, Secular, Folk
 Historical Periods: Panis Angelicus – 1872; He Came Down – 2003;
For the Beauty of the Earth – 1980; Singabahambayo – 2015; Ave
Verum Corpus - 1791
 Cultures: Singabahambayo – South African
 National Standards: 1, 4, 5, 6, 7, 8, 9
Sample Lesson Plan: Objective: Students will develop their own simple counterpoint
composition and relate it to Ave Verum Corpus.
Sequence:
 Begin by introducing Ave Verum Corpus as a counterpoint
melody.
 Discuss basic characteristics and rules behind counterpoint
melodies and give the students a handout that has the rules
written down.
 Students work on counterpoint compositions inside and
outside of class.
 Teacher plays each melody on the piano or choir volunteers
sing them.
Assessment: Did the students create a composition that complies to
the rules of counterpoint?
Rationale: This unit brings in different historical periods of music, introducing the
class to the music of Franck and Mozart. Additionally, Singabahambayo
introduces the class to South African culture, as well as providing them
with rhythmic challenges. For the beauty of the earth will allow the
class to explore expressive traits in the music, as well as requiring
them to keep their voices light in order to correctly perform the
embellishments in the music. He Came Down will allow the class to
explore a fuller dynamic range.

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Performance 4:
Repertoire:  A Million Dreams by Mac Huff
 Stand Together by Jim Papoulis
 How Can I Keep from Singing? Arr. By Gwyneth Walker
 Grow, Little Tree by Andrea Ramsey
Skills/Elements Addressed:  Rhythm: Syncopation, Rubato
 Melody: Conjunct
 Harmony: Consonance, Dissonance
 Texture: Homophony, Polyphony, Imitative
 Timbre: A “pop” sound for A Million Dreams
 Form: Binary, Through-Composed, Strophic
S, H, C, NS Addressed:  Styles/Genres: Pop, Sacred, Secular
 Historical Periods: A Million Dreams – 2017; Stand Together –
2006; How Can I Keep from Singing – 1800; Grow, Little Tree -
2014
 Cultures: Stand Together - Irish
 National Standards: 1, 2, 3, 5, 6, 7, 8, 9
Sample Lesson Plan: Objective: Students will attempt to relate to the emotional appeal of
music by reflecting on their own favorite song and how it makes them
feel. Students will research the song and the meaning behind it, how
popular it became at its release, etc.
Sequence:
 Teacher explains project to students
 Teacher gives example of a project by talking about their
favorite song, when it was released, how popular it was, the
meaning behind it, how it makes them feel
 Students are dismissed to do research
 Students present on their songs
 Teacher relates content back to songs class repertoire
Assessment: Did the students actively research their songs and give a
meaningful correlation to the class repertoire?
Rationale: This performance brings in the most technically challenging pieces
experienced so far. They are rhythmically more complex and have
more independent lines. This concert should be a culmination of what
the class learned throughout the year. A million dreams is a medley
from The Greatest Showman and combines rhythmic challenges with
tunes the students are familiar with. Stand together is an upbeat tune
with intricate rhythms tying together throughout the lines with a
simple melody. How can I keep from singing is a round that requires
sections to be independent on their lines. Grow little tree is a piece
that will challenge the ensemble’s expressive capabilities.

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Assessment
 Types of assessment used:
o Peer Assessment
 Examples:
 Students listen across ensemble to assess another section’s dynamics
 Students are partnered up and they sing an excerpt from the song we
are working for one another
 Rationale: Peer assessment is a useful tool because it allows students to hear
constructive criticisms from someone who is at the same level as them, rather
than from their teacher.
o Teacher Observation
 Examples:
 Assessing that a passage the choir just sang is incorrect and having them
redo it
 Having the students submit a video recording of them singing their parts
to songs and determining its accuracy
 Rationale: Teacher observation can be formal or informal. Informal assessments
can be quick and allow the teacher to correct a small mistake in the moment it
happens. Formal teacher assessments allow students to get direct feedback
from their instructor.
o Rubrics
 Examples:
 Students submit compositions and are graded based on how the
composition matches the criteria.
 Rationale: Rubrics provide a set criterion for students to meet. They can see
how their product matches the rubric and what needs to be improved upon.
o Self-Assessment
 Examples:
 Students record themselves singing an excerpt and then write a
reflection on their recording; what did they do well, what can be
improved?
 Rationale: Students learn best from their own experiences, so using themselves
as a learning template is a great way to promote growth.

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