Teacher: Johnathan Johnson

Subject/Grade: Concert Band 9-12

Lesson Title: Warm-Up & Celebration and Song

Standards:
1. Singing, alone and with others, a varied repertoire of music.
-1.1 Demonstrate, in unison, selected musical examples, rhythm patterns, and
pitches.
2. Performing on instruments, 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. Reading and notating music.
-5.1 Analyze and execute knowledge of musical notation. 5.2 Implement correct
notation in various applications.

Objectives:
-Students will demonstrate ability to read and notate music by performing in small
groups and in a large ensemble by performing on their instrument alone and with
others.
-Students will demonstrate their ability to interpret gestures by adjusting to a variety of
non verbal cues that I will give during the rehearsal.
-Students will show understanding of active listening and adjustment by drawing upon
previous knowledge of the role of balance and intonation.
-Students will identify and perform with correct posture, and technique during rehearsal
as well as be able to non verbally demonstrate good pitch, tone, and rhythm accuracy
through collaboration among other students

Assessment:
The students are assessed in a variety of different facets:
- A formal assessment through chair placement. This is dependent on the ability level
and successful demonstration of and use of proper technique and musical execution for
the instrument on which they study.
- An informal assessment through full ensemble rehearsal and sectional rehearsal to
gauge the growth in a certain musical excerpts. This is through working on different
problem areas for both individuals and sections. (i.e. Articulations, dynamics/balance,
technical ability, and/or correct execution of rhythms.)

-A formal assessment through different excerpts of pieces being studied are given on a
regular basis. This is through playing tests. The playing tests are administered either in
front of a class with the director or in private with an assistant. The assessment will
measure the ability to successfully perform a challenging passage from a piece the
students are working on.

Motivating Students/Anticipatory SET

The students begin every class (except for ensemble days) in the same manner.
They walk in and begin getting ready by gathering the materials they need for the day
and their instruments. Any special instructions and the agenda for the day are located
on the White board in the front of the room.
Students are engaged by covering familiar material as an ensemble during their warmup routine which lasts approximately 15-20 minutes a day and should be a comfortable
challenge for the majority of students to perform successfully. What I consider the hook
for this portion is the product of a good warm up and successful tuning which is the
Choral at the end of warm-up.
If a student, performing that day, is not engaged it will be obvious to other students as
well as the instructor.

Instructional Procedures:
-Students will enter the band room and begin getting ready for class and start warming
up on their own as everyone else enters and gets ready.
-Since there are so many percussionist and a limited number of instruments we use a
cycle from day to day so everyone warms up during a week.
-I will signal that I am ready for class to begin and we will start with working from the
Foundations for Superior Performance.
-We will work with a warm up in the key of Eb since that is what key Celebration and
Song is in, however from day to day we will change keys and cycle through at least 8
keys during the course of a month.
-I will lead the band through the Eb major scale in two octaves.
-The students will demonstrate correct fingering and performance of the scale with
acceptable tone and posture for their age group.
-The students will also play through the Mini-Scale (First 5 notes) and Tonic Arpeggio.
This also incorporates a variety of different articulations
-The students will demonstrate ability to play with different articulation styles by using a
Articulation pattern exercise based on the Eb Scale. Both Scale pattern 1 and 2
-I will then lead the band in a Interval exercise slowly, listening to the quality of the
different intervals and give them time to adjust to the intonation. We will do this both
articulated and slurred.
-As we go through each section during the warm up I will address different issues as
they arise. As well as enforce good technique and posture.
-We will then read through America in Eb to finish up the warm-up procedure.
-I will then have a reference pitch from a student then we will tune in sections at a time.
If there is an issue I will address it individually.
-I will first see if students will correct the issue and adjust but I will assist if needed.

-After tuning and playing the first chord of America and adjusting any further intonation
or balance issues we will then play through America again fully adjusted.
-The students will then transition into set up for Celebration and Song by Robert
Sheldon.
-I will start from the top of the piece and ask the students to pay close attention to the
articulations as that is what we will be working on.
-I will lead them through the opening section and stop after 20 or so measures.
-The section we will look at first will be articulation of the entrance and ensuring it is
together and that the students in the ensemble are playing within the same articulation
style and length.
-I will demonstrate vocally the articulation style I desire slowly, then have them at a
slower tempo sing the same articulation I dictated back to me while I conduct the
beginning. We will sing through this a couple of times until it is up to temp 152 then we
will play through as an ensemble.
-The students will demonstrate the ability to listen to one another through the execution
of effectively articulating the passage on their instruments.
-At this point if I need to work with an individual section I will address that.
-I will then put this same passage in context with other similar sections (Before M.93
and 109 to the End)
-I will work on this until it is solidified.
-After this portion I will then quickly turn and work with the percussionist (unfortunately
the room is too small to have percussion in the back so for rehearsal purposes they are
behind me which in no means is ideal. That means while I am working with the
percussionist I will allow for very quiet talking and mingling within the rest of the
ensemble.
-I will work with the percussionist in a challenging spot between measures 21 and 29 on
a rhythm that has been incorrectly executed.
-The students will first demonstrate the section then we will count through the passage
together if the section is still performed incorrectly. I will adjust as needed.
-After the students demonstrate success in this section we will start from the beginning
again and put together the two changes with the entire ensemble, I will ask again for the
students to execute the new articulation styles and be sure to listen to one another and
adjust.
-If time allows we will then move onto a section before m. 73 where I will ask for
different section to listen and mimic other sections articulations and style, (particularly
trumpets imitating the clarinets )
-We will also re-enforce tempo changes in the piece as I deliberately change how fast
and or slow I implement the numerous rallentandos and accelerandos.
-Should time allow I will continue working on sections in the music that are not as
solidified or could use work.
-We will then finish my portion of the lesson by playing the piece from top to bottom just
as in the performance.

Materials and Resources:

Instruments
Textbook as well as required music
Pencil
White Board
Marker
Tuner, Metronome

Questioning/Thinking/Problem Solving
(embedded throughout)
What is different from the rhythm in this measure in regards to the measures before it?
What section or sections have the same musical line as you and what sections have
contrasting or counter lines to what you are playing?
Which line is more important?
Are you sharp or flat?
What do you need to adjust in order to fix your intonation?
How does your part compliment or enhance the parts of other instruments?

Grouping:
Students are grouped by like instrumentation.
If I had the ability to change where the percussion were set up I would, however the
class size is too large for the space to comfortable and economically accommodate all
students in that way

Accommodations/Adaptations:
The class is arranged in arc row formations and I instruct the large group from the
podium which allows everyone to clearly see me.
We have a few students with a range of different disabilities and some are accompanied
by instructional assistants in order to fulfill their IEP requirements and aid in enhancing
their learning experience.
Due to the large size of the class, and that many students (mostly percussionists) play
in a rotation cycle I allow small non-disruptive chatter. Once it becomes disruptive I will
relocate students or take care of the issue one on one.

Closure:
I will close the lesson by running the piece if time allows, or just running a section. What
does not get finished today I will start again on Wednesday.