Lesson Plan 20 February 2013 Setting: MCHS Rationale: The students will continue to work on and improve their

performance of Olympiada to prepare for their Spring Concert performance. National and State Standards: 1.0 Singing, alone and with others, a varied repertoire of music. 1.1 Demonstrate, in unison, selected musical examples, rhythm patterns, and pitches. 1.2 Sing harmonies up to four parts with good tone and intonation. 2.0 Performing, alone and with others, a varied repertoire of music. 2.1 Demonstrate proper instrument care and maintenance. 2.2 Produce a characteristic quality of sound performing a varied repertoire of music. 2.3 Demonstrate and apply correct technique on ones instrument performing a varied repertoire of music. 2.4 Demonstrate and apply correct pitch, intonation, and rhythm performing a varied repertoire of music. 2.5 Produce musicality through style, dynamic control, tempo variation, and phrasing while performing a varied repertoire of music. 2.6 Execute, correctly, the technical and musical aspects of sight-reading. 2.7 Perform scales on ones instrument. 5.0 Reading and notating music. 5.1 Analyze and execute knowledge of musical notation. 5.2 Implement correct notation in various applications. 6.0 Listening to, analyzing, and describing music. 6.1 Analyze and describe teacher-selected listening examples using correct music vocabulary. 6.2 Analyze and describe teacher-selected listening examples demonstrating knowledge of compositional devices and techniques, which make it unique, interesting, and expressive. 7.0 Evaluating music and music performances. 7.1 Use selected criteria to evaluate the intent and quality of a composition. 7.2 Use selected criteria to evaluate the quality and effectiveness of a live or recorded musical performance. 7.3 Use selected criteria to evaluate ones own performance. Previous Knowledge: The students have played mm 1-137 of Olympiada Objectives: The learner will: Learn mm 137-the end play with correct tone, rhythm, pitches, and style balance chords in context of the piece perform the rit. In mm 155-158 play the last 3 measures in context of the conductor cues

Materials Needed: Chalk board chalk metronome baton speakers score music Foundations Books Procedures: Warm up: Breathing Gym: 1. Begin with simple inhale/ exhale to warm up 2. Perform The Horror, at 100 bpm. Students breathe in for 4, out for 4 approximately 5 times, then repeat the process with in for 3 out for 3, then in 2's, then in 1's, and back up to 4's Warm-Up Set: 1. Put Metronome on 100 bpm, and have students run through long tones 2 on p 5 2. put metronome on 112 bpm, and wave students run through warm up set 4 p 9 3. Walk around and listen and make comments/ feedback Scales: 1. Set metronome to 100 bpm, and have students run through the technical exercises in book in the key of concert Bb 2. Walk around and listen and make comments Chorale and Tuning: 1. Read through interval tuning I, II, III, and chord tuning for Bb Major 2. Make comments 3. Play chorale 2 4. Make comments on note, articulations, tone quality, pitch, balance/blend, and anything else appropriate. Ensemble Tuning: 1. Have Tuba give Bb for brass to tune to 2. Have Clarinet give Bb for woodwinds to tune to 3. Have Tuba and clarinet play in tune, then full ensemble tune together Rehearsal: 1. Begin at m 137 with the upper ww's and the glock. Play one measure at a time, with a downbeat. Ensure proper articulation, and dynamics are used, alongside keeping a driving temp consistent. While working on this, have Brass and low ww's work on the 16th notes in 127 or the closing fanfare. 2. Continue increasing tempo and adding additional measures until the students observe reasonable control and accuracy of the passage (approx. 106 bpm) Have ww's work on fingerings at increasingly faster tempo's on air as we move on to the next section. 3. Have brass, low reeds, and cym. play at 137. Work on producing a full, round, warm tone throughout, and articulate every new note like it has an agogic accent.

4. Go back to 137, with everyone, and add the parts together, until we reach 151. 5. Work on balance and blend of full ensemble in 151 to 159 without the rit. Focus on the correct sound and style before adding the rit. Once it is acceptable, work on performing the same way with the rit. 6. Return to m 137, and play till 159, working on transitions between sections and adding in the rit to 70 bpm. 7. Start working on the fanfare recapitulation in two measure chunks. Note parts that need to be brought out, and how the change in style should be emphasized. 8. Define recapitulation for students 9. At 165, work through individual ww, low reed/brass, and percussion ideas, and slowly work them together. While working with one or more groups, have others fingering through their parts. Note the tenuto markings, and the change in style/articulation. 10. Work on 169-end, both on how the notes will be cued, and how they should sound. Emphasize beat three and explain the dialogue between the voices. 11. In m 171, note the change in rhythm, and explain conducting pattern and cue. Give explanation to how the fermata will be treated. 12. Run 169-end, then start chunking backwards till 137. Run full section. 13. If time permits, continue to detail and increase tempo, hopefully reaching 158. Assessments: Informal assessment of listening and evaluating student performance based on style, articulation, note and rhythmic accuracy, dynamics, tone quality, balance, and blend. Closure: Give feedback on rehearsal, behavior, and if the set goals were met. Define goals for the next rehearsal and write them on the board.