Name: Samantha Buchanan

District: LAUSD
School: XXX High School
Grade: Beginner-Intermediate Choir
Date: XX/XX/20XX
Lesson Plan Number: 1

California Visual and Performing Arts Content Standards:

1.0 ARTISTIC PERCEPTION: Processing, Analyzing, and Responding to Sensory

Information Through the Language and Skills Unique to Music
-Read and Notate Music
-1.3 Sight-read music accurately and expressively (level of difficulty: 3 on a scale
of 1-6).

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music

-Apply Vocal or Instrumental Skills
- 2.1 Sing a repertoire of vocal literature representing various genres, styles, and
cultures with expression, technical accuracy, tone quality, vowel shape, and
articulation—written and memorized, by oneself and in ensembles (level of
difficulty: 4 on a scale of 1–6).
-2.2 Sing music written in two and three parts.

Objectives:

1. Students will be able to sing with good tonality supported by adequate breathing.
2. Students will be able to sing their parts correctly in the A-section of El Grillo.

Equipment and Supplies:

1. Sheet music of El Grillo c. Josquin des Prez

2. Piano
3. Pencil
4. Recording of El Grillo

Procedure:
1. Start by dividing voice parts into SATB sections and have them sit in the classroom divided
accordingly
2. Begin with warm up sequence:
a. Have the students hum quietly to themselves on a self-selected pitch and have
them do numerous stretches to warm up the body. These include:
 b. Have students stand up straight following these stretches, feet shoulder-width
apart.
c. Discuss proper breathing with the diaphragm
i. Have students inhale fully as if they are “breathing through a straw”,
exhale on “shhh” to engage the diaphragm
1. The “shhh” allows the breath to exhale consistently and slowly
d. Fully Arpeggiated lip trills from A3-C6
i. I will describe this as blowing bubbles with the lips closed, the lips should
vibrate as the pitches are sung throughout.
ii. This exercise engages the diaphragm and effective breath support must be
used in order to exhibit a successful attempt.
1. This exercise also helps engage an open soft pallet, the relaxation
of the larynx, and encourages good vocal placement/tonality.
iii.
iv.

3. Play recording of El Grillo as the students read along with their music.
a. https://www.youtube.com/watch?v=9PtNf8oUCk4
4. Following the completion of the listening, have the students sight-read through the piece to
the best of their ability.
5. After sight-reading, the remainder of the lesson will focus on learning the A-section. (mm.
1-21)
a. Students will begin by speaking their rhythms
i. “Ta’s” for longer notes
1. Whole, half, and quarter notes
ii. “Ti’s” for shorter notes
1. All Eighth notes
iii. Although the piece is largely rhythmically homogenous, there will likely
be issues regarding dotted quarter notes in the Alto and Tenor lines, which
will be addressed independently of the group, and then added back when
singers properly and confidently speak the dotted rhythms.
 iv. I will use this quick rhythmic exercise to help the ensemble understand
dotted rhythms with a metronome at 80 bpm to help them subdivide:

b. After the rhythm has been learned, the singers will sing the A-section pitches on
solfege while pulsing the beats with their hands in an “up-down motion” while
being accompanied with parts on piano.
i. There will likely be issues between “mi” and “so” which may require
isolation in the soprano voice
ii. Watch out for tuning issues in altered pitches (F#), also have singers sing
“fi” instead of “fa” to remember the raised pitch
iii. I will isolate any parts that need specific attention regarding pitches and/or
rhythm and have two parts to sing at a time.
1. Ex. Basses and Sopranos sing, as their rhythms are the same
2. Ex. Altos and Tenors, as they exhibit rhythmic difficulties with
dotted rhythms
6. Following the learning of pitches on solfege, the students will run the entire A section
through on solfege.
a. If time permits, fix any rhythmic or pitch issues.

Assessment:

1. Objective 1 will be assessed by students verbally discussing what proper breathing looks
like, feels like, and explaining the muscles that are involved in taking a full, complete
breath.
2. Objective 2 will be assessed aurally by measuring the success of the ensemble by
periodically spot-checking sections and having the sections sing a-Capella, then by having
the students listen to their sections and discuss any potential issues they may have
discovered or what they are doing well.

Evaluation:

Extension:
Name: Samantha Buchanan
District: LAUSD
School: XXX High School
Grade: Beginner-Intermediate Choir
Date: XX-XX-20XX
Lesson Plan Number: 2

California Visual and Performing Arts Content Standards:

1.0 ARTISTIC PERCEPTION: Processing, Analyzing, and Responding to Sensory

Information Through the Language and Skills Unique to Music
-Read and Notate Music
-1.3 Sight-read music accurately and expressively (level of difficulty: 3 on a scale
of 1-6).

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music

-Apply Vocal or Instrumental Skills
- 2.1 Sing a repertoire of vocal literature representing various genres, styles, and
cultures with expression, technical accuracy, tone quality, vowel shape, and
articulation—written and memorized, by oneself and in ensembles (level of
difficulty: 4 on a scale of 1–6).
-2.2 Sing music written in two and three parts.

Objectives:

1. Students will be able to sing with mixed meters and indicate where they occur in their
music.
2. Students will be able to sing their parts correctly in B-sections of El Grillo.

Equipment and Supplies:

1. Sheet music of El Grillo c. Josquin des Prez

2. Piano
3. Pencil

Procedure:

1. Start by dividing voice parts into SATB sections and have them sit in the classroom divided
accordingly
2. Begin with warm up sequence:
 a. Have the students hum quietly to themselves on a self-selected pitch and have
them do numerous stretches to warm up the body.
b. Have students stand up straight following these stretches, feet shoulder-width
apart.
c. Fully Arpeggiated lip trills from A3-C6
3. Before running through the B-section of El Grillo, I will ask the students if they notice
anything different regarding meter in mm. 23-27.
a. In mm. 23-25, there is a change in meter from 2/2 – 3/2 – 2/2
b. I will explain that this is referred to as “mixed meter” or “changing meter” and
how it changes the counting of said measures.
i. Instead of counting in 2, as has been done throughout the piece, m. 24 will
be count in 3 instead. It changes back to 2/2 in the following measure,
where the traditional counting will commence.
ii. I will also explain that this change in meter does NOT affect the value of
the notes nor the speed of them, just the amount of them to account for
within the given measure.
4. Once the students understand the idea of meter change, I will commence with learning the
B-section. (mm. 22-37
a. I will start by having the students speak in rhythm.
i. “Ta’s” on long notes (whole, half, and quarter notes)
ii. “Ti’s” on short notes (eighths)
iii. Special attention may need to be paid to dotted rhythms, rests, and tied
notes that flow into the following measure (such as in mm. 35-36) creating
a syncopated effect.
1. If these problems arise, I will have parts speak their rhythms
independently, then in groups.
b. Once the rhythms are learned, I will have the students sing the B-section on
solfege while pulsing the beats with their hands with parts accompanying them on
piano.
i. Watch out for tuning issues in altered pitches
1. (F#) Have singers sing “fi” instead of “fa” to remember the raised
pitch
2. (C#) Have singers sing “di” instead of “do” to remember the raised
pitch
ii. I will isolate any parts that need specific attention regarding pitches and/or
rhythm and have two parts to sing at a time.
5. Following the learning of pitches on solfege, the students will run the entire B section
through on solfege.
a. If time permits:
i. Fix any rhythmic or pitch issues.
 ii. Run through both A and B sections (whole piece) on solfege.
Assessment:

1. Objective 1 will be assessed by verbally quizzing students what mixed meter is, where it is
exhibited in the piece, and speaking the rhythms in sectioned where meter change is
observed.

2. Objective 2 will be assessed aurally by measuring the success of the ensemble by

periodically spot-checking sections and having the sections sing a-Capella, then by having
the students listen to their sections and discuss any potential issues they may have
discovered or what they are doing well.

Evaluation:

Extension:
Name: Samantha Buchanan
District: LAUSD
School: XXX High School
Grade: Beginner-Intermediate Choir
Date: XX/XX/20XX
Lesson Plan Number: 3

California Visual and Performing Arts Content Standards:

1.0 ARTISTIC PERCEPTION: Processing, Analyzing, and Responding to Sensory

Information Through the Language and Skills Unique to Music
Listen to, Analyze, and Describe Music
-1.4 Analyze and describe the use of musical elements and expressive devices
(e.g., articulation, dynamic markings) in aural examples in a varied repertoire of
music representing diverse genres, styles, and cultures.
- 1.5 Identify and explain a variety of compositional devices and techniques used
to provide unity, variety, tension, and release in aural examples.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical

Contributions and Cultural Dimensions of Music
-Diversity in Music
-3.4 Perform music from various cultures and time periods.

Objectives:

1. Students will learn to sing with clear diction and open vowels.
2. Students will learn proper diction and English translations of Italian text in El Grillo.

Equipment and Supplies:

1. Sheet music of El Grillo c. Josquin des Prez

2. Piano
3. Pencil
4. Italian text of El Grillo with English translations

Procedure:

1. Start by dividing voice parts into SATB sections and have them sit in the classroom divided
accordingly
 2. Begin with warm up sequence:
a. Have the students hum quietly to themselves on a self-selected pitch and have
them do numerous stretches to warm up the body.
b. Have students stand up straight following these stretches, feet shoulder-width
apart.
c. Have students inhale fully as if they are “breathing through a straw”, exhale on
“shhh” to engage the diaphragm
d. Students will engage in a diction-centric vocalese that focuses on quick moving of
the tongue on consonants and round, open vowels.

3. Following the warm-up sequence, I will quickly run through El Grillo on solfege to
reinforce the work done in the previous two rehearsals, then have them sit and take their
pencils out.

El Grillo Text and Translations:

El grillo è buon cantore The cricket is a good singer

Che tiene longo verso. He can sing very long -
Dalle beve grillo canta. He sings all the time.

Ma non fa come gli altri uccelli But he doesn't act like the birds.
Come li han cantato un poco, If they've sung a little bit
Van de fatto in altro loco They go somewhere else
Sempre el grillo sta pur saldo, The cricket remains where he is...

Quando la maggior el caldo When the month of May is warm

Alhor canta sol per amore Because he sings out of love.

a. I will read the Italian text one phrase at a time, and subsequently translate it.
Phrase by phrase, the students will write out their translations above or below the
text.
 b. After the text has been translated throughout the piece, I will then speak the
Italian in small sections of 2-3 words and have the students repeat the text after
me.
c. Following their verbalizing the text, they will write in their personal phonetic
vowel/consonant sounds to help them remember the pronunciations.
4. Once the students have translated and written in their phonetic pronunciations, the students
will speak through the piece in the written Italian.
a. Students will likely need reminding that Italian vowels are open and pure, and
“t’s” must be dental.
i. This is where the tongue is distended in such a way that the point arrives
and touches the roots of the upper teeth
b. I will spot-check any vowels or consonant misdemeanors.
5. Once the piece has been spoken properly in rhythm with, the ensemble will then sing
through the piece on text.
a. If time permits, I will spot check any issues regarding pitch, rhythmic, or diction.

Assessment:

1. Objective 1 will be assessed by having students discuss what vowels or consonants are
being used in the piece as well as the warm-up.

2. Object 2 will be assessed by the students writing in their translations and phonetic
pronunciations in their music with a pencil. They will show me their music at the end of
class to show that they wrote in their scores as expected.

Evaluation:

Extension:
Name: Samantha Buchanan
District: LAUSD
School: XXX High School
Grade: Beginner-Intermediate Choir
Date: XX/XX/20XX
Lesson Plan Number: 4

California Visual and Performing Arts Content Standards:

2.0 HISTORICAL AND CULTURAL CONTEXT: Understanding the Historical

Contributions and -Cultural Dimensions of Music
-Role in Music
-3.2 Explain the various roles that musicians perform, identify
representative individuals who have functioned in each role, and explain
their activities and achievements.
-Diversity in Music
-3.4 Perform music from various cultures and time periods.
-3.5 Classify, by genre or style and historical period or culture, unfamiliar
but representative aural examples of music and explain the reasoning for
the classification.

4.0 AESTHETIC VALUING: Responding to, Analyzing, and Making Judgments About
Works of Music
-Derive Meaning
-4.3 Explain how people in a particular culture use and respond to specific
musical works from that culture.
- 4.4 Describe the means used to create images or evoke feelings and emotions
in musical works from various cultures.

Objectives:

1. Students will understand the history behind El Grillo, including the composer, the frottola
style, and the Renaissance.
2. Students will be able to sing El Grillo in the style of the 15th century frottola Renaissance
style.
Equipment and Supplies:
1. Sheet music of El Grillo c. Josquin des Prez
2. Piano
3. Pencil

Procedure:

1. Start by dividing voice parts into SATB sections and have them sit in the classroom divided
accordingly
2. Begin with warm up sequence:
a. Have the students hum quietly to themselves on a self-selected pitch and have
them do numerous stretches to warm up the body.
b. Have students stand up straight following these stretches, feet shoulder-width
apart.
c. Have students inhale fully as if they are “breathing through a straw”, exhale on
“shhh” to engage the diaphragm
d. Students will then sing in 3-part harmony the exercise shown below. This exercise
works exclusively on open, pure vowels with clean, legato lines up and down

half-steps. This exercise also encourages listening inter-sectionally and blending

within sections and throughout the ensemble as a whole.
i. These pure-Italian vowels are needed exclusively throughout El Grillo.
3. Following the completion of the warm up sequence, I will run the ensemble through El
Grillo on text to reinforce what was learned in the previous rehearsal.
4. Following this, I will discuss the history behind El Grillo, the composer, and the style it is
set in.
a. El Grillo was composed in the 15th century by Josquin des Prez, who remains to
be one of the most famed composers of the time.
b. The piece represents a popular Italian style of music called the frottola, which is
similar to and a precursor to the madrigal style.
c. Historians believe that the text about the “singing cricket” alludes to a certain
Cardinal Sforza who was a local in a chapel near des Prez who sung often, and
poked fun at him. But on the surface, the piece speaks of the cricket’s love song.
i. Regardless of whether it is the cricket or the cricket personified, the
humous text is in line with the frottola style.
 d. This piece was secular, and considered a “pop” favorite of the time, and due to its
popularity, was notated and preserved; somewhat a rarity of the time.
e. Des Prez lengthily uses “word painting” within the piece
i. This is observed:
1. The second phrase of the piece moves quickly to showcase the
cricket’s excitement
2. On the text “who can hold the long note”, the note is held.
3. Repetition of text between voices is reminiscent of the cricket’s
song
f. The musical style of the frottola is typically categorized as “light and breezy” and
should be sung as such.
i. Pure-tone singing or “senza vibrato” should be observed in this style at all
times.
ii. A lightness of consonants should be observed in this style, as well as in
the Italian language; specifically in “t’s” and “d’s” which should be dental.
iii. Tall vowels and a raised soft pallet should be employed, in order to
prevent any squeezing of the vocal chords that can at times occur when
singing pure tone. If the voice is properly supported with appropriate
space in the mouth, a beautiful and unified sound should occur.
a. “in churches and public cappelle one sings in one manner,
and in private camere in another: for there in cappelle one
sings in full voice ... and in camere one sings with a more
submissive and suave voice, and without yelling.”
1 Source:
http://www.maurouberti.it/earlymusic/earlymusic.
html
5. Following discussion of the historical and stylistic points of the piece, we will run the piece
with the appropriate style observed with accompaniment.
a. If time permits, I will stop and make stylistic adjustments as needed.

Assessment:

1. Objective 1 will be observed by giving the students a small written quiz on the historical
and stylistic attributes of El Grillo and the frottola style.
2. Objective 2 will be observed by aurally assessing the ensemble and making changes as
necessary. The students will be asked to listen to how they performed the piece and how to
more effectively perform in the necessary style.

Evaluation:
Extension:
Name: Samantha Buchanan
District: LAUSD
School: XXX High School
Grade: Beginner-Intermediate Choir
Date: XX/XX/20XX
Lesson Plan Number: 5

California Visual and Performing Arts Content Standards:

1.0 ARTISTIC PERCEPTION: Processing, Analyzing, and Responding to Sensory

Information Through the Language and Skills Unique to Music
Listen to, Analyze, and Describe Music
-1.4 Analyze and describe the use of musical elements and expressive devices
(e.g., articulation, dynamic markings) in aural examples in a varied repertoire of
music representing diverse genres, styles, and cultures.

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music

-Apply Vocal or Instrumental Skills
- 2.1 Sing a repertoire of vocal literature representing various genres, styles, and
cultures with expression, technical accuracy, tone quality, vowel shape, and
articulation—written and memorized, by oneself and in ensembles (level of
difficulty: 4 on a scale of 1–6).
-2.2 Sing music written in two and three parts with and without accompaniment.

Objectives:

1. Students will be able to sing with good tone and balanced sound between sections.
2. Students will be able to perform El Grillo a capella with appropriate dynamics and
expression.

Equipment and Supplies:

1. Sheet music of El Grillo c. Josquin des Prez

2. Piano
3. Pencil
Procedure:

1. Start by dividing voice parts into SATB sections and have them sit in the classroom divided
accordingly
2. Begin with warm up sequence:
a. Have the students hum quietly to themselves on a self-selected pitch and have
them do numerous stretches to warm up the body.
b. Have students stand up straight following these stretches, feet shoulder-width
apart.
c. Have students inhale fully as if they are “breathing through a straw”, exhale on
“shhh” to engage the diaphragm
d. This vocalese aids in vowel consolidation as well as dynamic contrast. I will
switch the consonants between “n”, “m”, and “v”, and the vowels between “ah”,
“ee”, and “oo” throughout the exercise.

3. I will then run through the piece to reinforce what we studied in the precious rehearsal
regarding style and ask questions regarding the history of the piece.
4. Following my quick assessment of the previous lesson’s retention, I will have the students
take out their pencils to write dynamics that will be observed throughout the piece.
a. Due to the nature of the piece being of the Renaissance Era, dynamics were not
recorded in the original score. It is up to interpretation of either the director and/or
arranger to decided how much dynamic contrast will occur throughout the piece.
Our copy does not have dynamics written, so the students will have to write in
dynamics where I tell them to.
b. I will also have the students write slurs over phrases they are to be singing to
ensure long, flowing lines.
i. They will also circle rests and lifts where needed to ensure the phrase is
lifted when necessary.
ii. This is especially noted in mm. 11-16 where the “cricket’s song” speeds
up playfully and quickly. The singers must release the note so that the
other parts can start cleanly.
5. Following the ensemble writing in the dynamic changes as necessary, I will run the piece
acapella for the first time.
 a. My conducting will also remind the students of dynamics and phrasing changes
that are to be observed.
b. I will continue to spot check and clean any remaining issues as needed.

Assessment:

1. Objective 1 will be assessed by having students sing in a quartet test to measure intonation,
tonality, and a balanced sound between sections.

2. Objective 2 will be assessed by having the students write in appropriate dynamic and
tempo changes in the music during class. Then having the students sing with the dynamics
first by sections, then as a whole ensemble as they view their changes that they wrote in.

Evaluation:

Extension: