CMUP Lesson Plan #3

Standards
2) Playing an instrument
a) 7.2.1 Play with correct posture, characteristic tone quality, accurate tuning and intonation,
good breath support, proper bowing, and correct hand position
b) 7.2.3 Play musical selections with accurate pitch, articulation, and rhythm, and appropriate
tempo, dynamics, balance, style, and expression.
c) 7.2.4 Play an appropriate variety of repertoire, independently and in large and small
ensembles.
d) 7.2.5 Follow the directions of a conductor.
5) Reading, notating, analyzing music
a. 7.5.1 Read and play repertoire in appropriate clefs for various instruments.
b. 7.5.2 Sight-read music written in appropriate clefs and major and minor keys and in
simple and compound meters, using a consistent method.
c. 7.5.3 Identify and apply musical symbols found in scores.
6) Listening to, analyzing, and describing music
a. 7.6.2 Listen to and describe the relationship of the instrumental parts in a work being
rehearsed using appropriate terminology. 7.6.3 Identify musical elements in repertoire
being studied that may convey a particular emotion or mood.

Concepts
o Dynamics
o Phrasing
o Dissonance
o Similar Motion/Contrary Motion

Objectives
At the end of this lesson students will be able to:
o Speak intelligently about the expressive qualities of the two sections of Red Rock
Canyon, focusing on the stylistic differences between each
o Relate expressive qualities and adjectives to describe mood to playing techniques
o Play through the entire piece with good tone quality, proper playing posture, and good
technique

Materials
o Score to Red Rock Canyon
o White Board/Markers

Procedure
Introduction
o Weve worked the past couple of classes on 2 distinct sections of this piece, lets take
some time to review what weve worked on by talking about the stylistic qualities of
the 2 sections
o Ask students to describe sections using adjectives and emotions
What is different about the sections?
 What is the same?
How can we work to create these stylistic differences on our
instruments? What techniques should we use?
Warm-Up
o Harmonic Warm-up
o Start by playing E-flat Major scale in a round to create 3-part harmony
o Teach I-IV-V-I Chord progression
o Play this progression in F Major, E-Flat Major, and C minor to establish tonal
centers of the piece
o Play the progression in all three keys, differing the style each time
What colors/adjectives are we creating when we combine harmony with
articulation? How many different combinations can we create?
Allow students to choose combinations
Introducing the Piece
o Lets look at the sections we havent rehearsed in class yet
o Based on what you see in your music, what styles will we apply to mm.1-7?
o Mm. 20-34?
o How about mm. 54-end?
Rehearsing the Piece
o Mm. 20-36
o Mm. 23: dissonance in clarinet
o Mm. 24-25: Rhythm from previos class in alto sax, tpts, horn/ten sax
o Mm. 26-27: Low brass/woodwinds rhythm, note accuracy, accents
o Mm. 32-33: Trumpet soloist
o Play through the whole piece
o Listen carefully for the ways we are expressing the music well and what we can
do to improve
Listen to students comments
Are there any specific sections that you thought could have been better?
Which ones? What could have been better?
Rehearse those sections again, listening to student input
o Lets play through it all again to help build endurance and to try to implement
some of the changes we discussed

Assessment
Assessment will be largely informal and formative through visual and auditory assessment of
performance. Students should always be demonstrating their ability to play/sing with good posture,
breath support, and accurate notes and fingers while also playing/singing musically. The teacher
will address issues and encourage repetition to improve concepts when necessary.

Next time
Next time we will play through the sections, working any trouble technique spots and record
ourselves so we can listen to how we are conveying the piece as a whole.
 CMUP Assessment

The majority of my assessment for this unit will take place in rehearsal as informal,

formative assessment. During every rehearsal students are expected to pay attention and

remember the concepts we discuss. For this unit specifically, this includes any background

information about the piece and composer; concepts such as accents, legato, staccato, mixed

meter, harmony, melody, mood, and tempo; and accurate demonstration of proper executive

skills when playing or singing. Students should be demonstrating their knowledge by

answering questions in class, speaking intelligently and with proper vocabulary about the

topics we are covering. They should also be exhibiting proper posture and executive skills

when they sing or play. As a teacher, it is my responsibility to keep track of who seems to be

grasping concepts well and who may be struggling, and I will do this by keeping all students

engaged, calling on them to answer questions, and listening to every persons part while they

are playing to ensure correct notes, rhythm, and expressive playing.

Along with this type of informal, summative assessment, I would also use two separate

summative assessments. The first would be a short quiz on this piece of music. The quiz would

take no more than ten minutes and would cover all of the concepts we discussed as well as

some of the background information of the piece. I would then use this quiz to determine who

is being engaged in the lessons and ways I could improve as an instructor when I deliver

concepts to the class. Lastly, I would most likely perform this piece as part of a concert. I

would use this as a summative assessment to see how well the students were able to

implement everything we talked about in order to portray the music as expressively and

accurately as possible. Grades and rubrics would be attached to these assignments that are

based on student performance.