Name: Samantha Buchanan

District: LAUSD
School: XXX Middle School
Grade: 6-8 Intermediate
Date: 02-07-2019
Lesson Plan Number: 1

National Standards for Music Education

PERFORMING
- Analyze- Analyze the structure and context of varied musical works and their
implications for performance
-MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
the setting and formal characteristics of musical works contribute to
understanding the context of the music in prepared or improvised performances.

RESPONDING
-Interpret- Support an interpretation of a musical work that reflects the
creators’/performers’ expressive intent.
-MU:Re8.1.E.8a Identify and support interpretations of the expressive intent and
meaning of musical works, citing as evidence the treatment of the elements of
music, contexts, and (when appropriate) the setting of the text.

California Visual and Performing Arts Content Standards

2.0 CREATIVE EXPRESSION: Creating, Performing, and Participating in Music
-Apply Vocal or Instrumental Skills
-2.1 Sing a repertoire of vocal literature representing various genres, styles, and
cultures with expression, technical accuracy, tone quality, vowel shape, and
articulation—written and memorized, by oneself and in ensembles (level of
difficulty: 2 on a scale of 1–6).

-2.2 Sing music written in two and three parts.

Objectives
1. To sing with consolidated vowels and good tonality
2. To appropriately pronounce diction of the Latin-text in the piece
3. To discuss the meaning and importance behind the Latin-text in the piece
4. To sing music that maintains a repetitive text with expression and musicality through
dynamics
5. To be able to perform 2-part music with a balanced sound between sections
Equipment and Supplies
-“Cantate Domino” composed by Brian Lewis sheet music (level 2)
-Soprano descant soloist
-Piano

Procedure

1. Start by dividing voice parts into sections and have them sit in the classroom divided
accordingly
2. Begin with a quick choir warm up
a. Fully Arpeggiated lip trills from A3-C6
i. I will describe this as blowing bubbles with the lips closed, the lips should
vibrate as the pitches are sung throughout.
b. This exercise engages the diaphragm, an open soft pallet, the relaxation of the
larynx, and encourages good vocal placement/tonality.

3. Discuss Latin text and appropriate diction

a. Cantate domino canticum novum omnis terra
i. Translation: Sing to the Lord a new song, sing to the Lord all the Earth
b. Appropriate diction will be addressed as follows:
i. Cantate Domino: Kahn-tah-te Daw-mee-noh
ii. Canticum Novum: Kahn-tee-coom Noh-voom
iii. Omnis Terra- Awm-nees Teh-rah
c. Sing-speak in head voice each of these pronunciations word-by-word
4. Run through the A-section (mm. 1-20)
a. I will play out individual parts, especially the alto part, in order to assure the voice
parts are confident
b. Should either part falter, I will isolate each section accordingly
i. I will correct any potential vowel, posture, or tonal misdemeanors
throughout
c. Following each section’s confidence in the A-section, I will have the parts sing
acapella.
5. Run through B-section, discuss text importance and how to ensure variety despite
repetition in text and melody (mm. 22-42)
a. While running through this section, I will play their parts throughout with a light
accompaniment
 b. This section is incredibly conversational but is also repetitive, with the soprano
and alto line singing antiphonally, this will be stressed in this portion of the lesson
to ensure:
i. A strong, unified sound in both sections
ii. Appropriate dynamic textures are utilized to ensure variance in the melody
and text
iii. The ensemble must know that despite a repetitive text and/or melodic line,
each repetition should be sung with a different dynamic or renewed
emotional articulation
1. Each time “cantate domino” is sung, it should be sung with
renewed vibrancy and excitement as this is a joyful text;
appropriate dynamics, facial expression, and a bright vocal tone
should be realized throughout.
2. Each time a new “cantate domino” or “omnis terra” text is sung,
have them change a dynamic level in response from the other
section singing.
a. Ex. Alto: Mezzo piano, Soprano: recants Piano,
b. Alto: Mezzo Forte then Soprano: recants Forte
3. Should a piano dynamic be sung, teacher must note that the singers
must sing with the same amount of breath support to not
compensate tonality. (remain “on the voice”)
iv. Once parts are confident in this section, conduct and have them sing
acapella at this point
6. Run through A’ section (mm. 43-end)
a. Assign a soprano soloist
i. Sydney
ii. Discuss a “floaty” solo descant over the choir, ask her to use a light
vibrato and renewed expression each time she returns to a new phrase
1. This observes Objectives 1 and 2, as I will encourage her to sing
with good tonality, vowels, and dynamic contrast to encourage the
meaning behind the text.
b. Play through parts with light accompaniment from mm. 43-end
i. Correct posture issues, vowel issues, breath support issues throughout
c. Have them sing this section acapella
7. Sing through entire piece with full accompaniment with newly learned music and
technical strategies with both parts sung.
a. The parts should now exhibit a balanced sound and healthy tonality between the
soprano and alto sections.
Assessment:

1. Objective 1 can be assessed by in-class observation of the posture, facial expression, and
mouth positions that are necessary to good tonality and vowel unification and vocalizing
necessary changes to the students as needed.
2. Objective 2 can be assessed by a homework assignment of writing IPA of the text to
assure mutual diction agreement.
3. Objective 3 can be assessed by a homework assignment of a short essay prompt on the
meaning of the Latin text and then writing in translations in the text to remind them of
what they are singing.
4. Objective 4 can be assessed by having the students write in appropriate dynamic and
tempo changes in the music during class. Then having the students sing with the
dynamics first by sections, then as a whole ensemble as they view their changes that they
wrote in.
5. Objective 5 can be assessed by having the sections sing as independent duets through the
piece. This can help balance the sections as a whole because singing in duets can both
showcase individual issues that are detracting from the balanced sound as well as
unifying the sound with another part which encourages listening.

Evaluation:

1. Through my work with the “sing-speak” exercise and the beginning lip trill exercise, the class
exhibited a more mature sound by the end of the lesson. Their vowels were more consolidated
and taller as a result of these exercises.
2. The class did exemplary regarding the diction of the Latin text. They followed my sing-speak
exercise and did well lengthening the vowels while also using adequately placed consonants so
the text could be better understood.
3. After being able to pronounce the Latin text, I had the class discuss how it is meaningful as
this will help future decisions regarding tempo and dynamics changes as needed.
4. After much discussion of the text, how it is meaningful, and how it is repetitive, we discussed
as a whole how to make the text still maintain its meaningfulness with also adding more
appropriately placed dynamic contrast. They were incredibly receptive and followed my dynamic
changes well.
5. I had the classes work individually as parts throughout much of the rehearsal. I chose to play
each part with chords as opposed to playing the accompaniment throughout, as to help the
students understand their parts better. This worked well, I think, although I felt like I did need to
rush through parts at times. But due to their individual work, it allowed a more balanced sound
throughout the entire ensemble. The ensemble utilized their earlier work with diction (especially
regarding vowels) and dynamic changes that encouraged a more unified sound altogether.

Extension:

1. I was not able to get through the entirety of this piece in my lesson, so my extension
would certainly cover the whole of the work. Once the parts were balanced and working
effectively together, I would have an accompanist play the piano part while I conduct the
piece, showcasing all of the dynamics and tempo changes throughout the work.
Effectively, I would take each section that I had worked on independently and meld them
together to finally create the cohesive final result.
2. I would also like to take time in a later rehearsal to discuss more about the historical
context of the piece and why the text is so popular for choral music composers as there
are hundreds of pieces written to this text in particular.
3. I will also aim to have the class memorize the piece, as it is incredibly repetitive. This is
important as having the piece memorized will allow for more expression in the face and
body as it is not focused so much on reading the piece of music and more focused on
actually making music.