I.

Class Information
A. 9th Grade/ Music Theory/ Cadences and Phrase Analysis
B. Time Period: 50 minutes
II. Objective(s)
A. After lecturing about form and experiencing it through the singing of songs
and analysis of scores, students will be able to label the form of short
pieces. Students will also be able to describe what form is, how it is similar
to poetry, and why it is an important part of music.
B. Illinois Fine Arts Standards: Making connections - Recognize and apply
connections of important information and ideas within and among learning
areas.
National Music Standards: 6 Listening to, analyzing, and describing
music.
Common Core Standard: CC.9-10.R.I.2 Key Ideas and Details: Determine
a central idea of a text and analyze its development over the course of the
text, including how it emerges and is shaped and refined by specific
details; provide an objective summary of the text.
III. Materials
A. Notebook, pencil, eraser for students
B. Computer with disc drive and speakers to play song recordings
C. Document camera
D. Sheet music for a song
E. Paper with sheet music examples used in guided practice
F. Disc with recordings
G. Whiteboard with markers
H. Worksheets
I. Source of lesson Made by Becca Warfel
IV. Procedure
A. Review
1. The teacher will ask students to tell her what they know about how
music is organized. Chords and scales were discussed in previous
lessons in the unit and the students have talked about the I V I
progression. The teacher will lead the class in a short discussion about
how the I V I progression helps to organize music and how the audible
end of a piece sounds. The teacher will be sure to ask for plenty of
student answers instead of supplying the correct answers herself.
B. Anticipatory Set
1. After the review discussion, the teacher will explain that the class will
do a short singing activity.
2. The teacher will display a short ABA form song on the document
camera. She will give the class a starting pitch and the class will sing
the starting pitch together. Then the class will sing the song together
with the teacher.
C. Lesson Objective and Rationale
1. Understanding musical form and phrase structure is needed to
understand why music is written in the way it is.
2. All phrases can be divided by cadences.
3. Understanding how phrases work in simple songs can help students
understand the music they listen to every day. Popular music follows
phrase forms like simple folk songs do.
D. Instructional Input
1. After singing the song together, the teacher will tell the students to get
their notebooks out to take notes.
2. The teacher will lecture on phrase models while writing notes on the
board.
3. The teacher will lecture on how to label pieces as ABA, ABB, ABA and
so on. The teacher will specify that repeating a phrase means the letter
is repeated. If it is repeated but is slightly different, the letter gets a
prime ().
4. The teacher will talk about how this is like labeling the rhyme scheme
of poetry.
5. The teacher will lecture on the different types of cadences and how
they contribute to feelings of finality (perfect authentic and authentic) or
the lack of that (half cadence, deceptive cadence).
6. The teacher will tell the students that they will complete a short activity.
The teacher will play short melodies with chords on the piano and will
ask the students to raise their hands when the phrases end. The
teacher will play several different type of cadences, including deceptive
cadences. However, students will not be expected to identify them by
name.
7. The teacher will continue to lecture about the uses of cadences and
phrases.
8. At the end of the lecture, the teacher will lead the class in a short
discussion to review the items they just learned.
E. Checking for Understanding
1. The teacher will tell the students to take out a sheet of paper and write
the answers to these questions.
a. What is a cadence?
i. Cadences are chord progressions that signal the end of a
phrase.
b. How is it used?
i. They are used to lead to tonic. This creates a sense of
finality or lack of finality that can be the end of a phrase
or the end of a phrase and the end of a piece.
c. List the terminal cadences
i. Perfect authentic, imperfect authentic
 d. List the non-terminal cadences
i. Half cadence, deceptive cadence
2. The teacher will read the correct answers out loud and students will
correct their own work.
F. Guided Practice
1. The teacher will use the document camera to display a short piece
of music.
2. The students will write which measures they think the phrases end
on.
3. The teacher will walk around the room and make sure students are
on task. She correct each students final answers and will provide
clarification and help where needed.
4. Once the students all have an answer written, the teacher will play
the piece on the piano and they will check their answers together.
They will discuss the correct answers and how they got them.
G. Independent Practice
1. The students will complete a worksheet as a homework assignment.
She will introduce it by handing copies out and verbally explaining the
directions that are written on the worksheet.
2. The worksheet will cover information the class covered in this lesson.
Students will need to list cadence types and label short pieces for
phrases. In addition to this, there is an online recording of several
simple pieces that students will need to listen to. They will need to
label the form (ABA, AAB, etc.) on the worksheet by listening to the
recordings. These are not printed on the worksheet.
3. The worksheet will be due in the next class meeting.
V. Closure
A. In this class students learned about how to see, hear, and label phrase
models.
B. The teacher will ask a few quick questions and will call on random
students to answer them.
C. The teacher will tell the students that they will begin learning about voice
leading and composing short pieces using cadences in the next lesson.
D. The teacher will remind students that their worksheets are due at the start
of the next lesson.
VI. Evaluation
A. Student Evaluation
1. Informal assessment will be used in this lesson. The teacher will look
for individual responses to instruction. If a student looks confused, the
teacher will restate the question and make clarifications. The teacher
will not move on if there are many confused students.
2. The discussion at the beginning of class and the singing activity after it
will introduce the students to what they are going to be learning about.
 It will also remind them of the topics they learned about during the last
lesson.
3. Students will be formally assessed at the unit test at the end of two
weeks.
B. Teacher Evaluation
1. The strength of this plan is that the lesson will let students hear and
feel what cadences and phrases sound like. They will also be able to
see it in written music and feel it as they sing. There is a lecture
component that requires note taking so students will have notes to
study. However, the mixture of activities will keep them more engaged
than strict lecture.
2. A weakness is that this knowledge is very dependent on previous
music theory concepts. The teacher needs to remind the students of
what they learned before to connect this knowledge to the old
knowledge. It is an expansion of the I V I progression and an
elaboration on it, but the teacher needs to make this clear to the
students or it will not make sense.
VII. Accommodations
A. Emilio will have his desk in the front row near the teacher and the piano.
B. Emilio will have strong singers seated around him and they will sing out so
he will be better able to hear them.
C. Whenever the teacher gives the class a starting pitch for a song, she will
begin by playing it on the piano. Then she and the whole class will sing it
together to internalize the pitch. She will not move on until the class has
the starting pitch. Having everyone sing together will help Emilio get the
pitches right, but he will not have to worry about singing alone and being
self-conscious about it.
D. The teacher will stand facing Emilios better hearing ear.
E. The music room will be equipped with speakers and the teacher will use a
headset with a microphone to amplify her voice or any more quiet
instruments.
F. When the teacher is lecturing, Emilio will have printed handouts of all
slides and notes so that he does not have to worry about trying to listen
and write or speechread and write at the same time.
G. Any time a musical example is used in class, Emilio will have a printed out
version to look at.
H. The teacher will not improvise any melodies. Instead, she will stick to the
melodies that Emilio has written out.
I. There will be a strict no-judgement rule about singing in the classroom.
Emilio might have trouble singing because of his hearing loss, but other
students will not be permitted to make fun of him. They will also not be
permitted to make fun of any other student who has trouble with singing.
J. The music classroom will be free from any auditory distractions. There will
be no ticking clocks or buzzing lights.
K. The music classroom will be well lighted so Emilio can clearly see all
examples on the board and the teacher for speechreading.
L. When calling on a student in class, the teacher will gesture to the student
so Emilio will know where to look for speechreading or to help him hear.
M. Language in the worksheet has been modified so it can be understood at
a fifth grade reading level.
N. Instead of a link to the online listening, the modified worksheet has the
written music of the piece.
O. When other students are expected to analyze music purely by listening,
Emilio will be allowed to have written versions of the music.
P. When the teacher needs to talk about specific musical pitches, she will
use the Curwen Kodaly hand signs to show pitches instead of just saying
the pitch names out loud. This will make the communication more clear for
Emilio as well as for all of the other students. She will make sure she
holds her hands up high enough for the entire class to see them, even the
students in the back of the room.