Elaine Snowden

MUSIC 412
3/19 Lesson Plan
Blues Machine by Michael Sweeney
Objective:
Students will be introduced to the piece Blues Machine by Michael Sweeney as well as
the swing style and corresponding note emphasis. Then, students will be able to perform at least
the main melody or counter melody of the piece.
Procedures: *Director has trombone to model warm up exercise as needed*
1. Director greets the ensemble.
2. Director begins rehearsal with the warm-up sheet labeled “Blues.”
a. This begins with a the notes of an F blues scale written out (This is the key of the
chart) Director will start pitched instruments with note-by-note to hear the mode.
b. Next, the director will focus on the drummer. The skill and background
knowledge of the drummer is unknown so mostly this is to make sure the
drummer knows which line/space in the staff goes with which drum.
c. Then, everyone will play the first four measures in time together.
d. Next, the director has the ensemble play the next two measures as written.
i. It is important that instrumentalists are placing emphasis on the “and” of
each note to create the right swing style. There are accents written in the
exercise, but this should still be explained.
e. Finally, the ensemble runs through the exercise top to bottom, ending with the
scale written without accents.
3. Now the ensemble moves to the chart, beginning with only the “melody” at the anacrusis
to mm. 7. (With drums)
a. By looking at their music, they should be able to at least tell if they don’t have the
melody.
b. May need to work through notes.
c. There may need to be a reminder about the swing style. Also, it’s at mf.
4. Next, the whole ensemble begins with anacrusis to mm. 7. (This means that backgrounds
don’t play right away at the first time through.
a. It’s very important that backgrounds play mf so as to not drown out the melody.
b. Accent is written out in the style of swing
c. Add in fp on longer notes to add interest.
d. Make sure backgrounds play both times at mm. 15.
5. Next, have only the “melody” play at mm. 21. (With drums) It’s a different section now.
a. May need to work through notes.
b. Legato unless otherwise indicated.
6. Next, add the backgrounds.
 a. Make sure the trombone(s) bring out measure 24, it adds to the dynamic of the
melody.
b. Check rhythm at mm. 29 as they transition.
7. Next, ask to hear everyone but the trumpets and trombones at mm. 33 to hear if students
are carrying rhythmic and stylistic concepts over. (We will save solos for another day)
8. Everyone at mm. 45.
a. Checking for rhythmic and stylistic concepts again.
9. Everyone but saxes at mm. 49
a. Pay particular attention to the fall in the trumpets and trombones.
b. Dynamic contrast
10. Everyone at mm. 57 (Unison playing)
a. May need to work through notes
b. Remind them of where the emphasis is placed in swung notes.
c. Crescendo
d. Check for rhythmic fluidity in the transition to mm.63.
11. Check the form, following the D.S. al fine.
a. Would like to run from the signo into the coda.
12. Finally, end rehearsal with the coda.
a. Articulations (Now staccato too)
b. Fp
c. Final chord.
d. Drum fill
Assessment:
I will be able to assess whether students can perform the main or counter melody in the
correct swung style through observation at the end of rehearsal.
I will be able to assess if students can identify another section with a similar part through
observation in the warm-up portion when asking students to play if they have the
melody/counter-melody at separate times.
Reflection:
• Were my instructions clear to the ensemble?
• Were my instructions effective in demonstrating the intended concept?
• Did I keep rehearsal moving along in a way that did not waste time?
o But was also not frustratingly fast?
• Were my expectations for the rehearsal too high?
o Were they too low?
• Were my expectations for the ensemble’s capabilities too high?
o Were they too low?