High School Lesson Plan, Three Ayres from Gloucester

Day Date/Class
High School Symphonic Band
Materials List
·       Three Ayres from Gloucester by Hugh M. Stuart, Mvt. II “Ayre for Eventide”

·       Warm-up: Bb scale, either written out music for the warmups or verbal/instrumental modeling.

·       Exit ticket: Quarter sheet paper slips collected before students leave the room.

Assessment
Formative assessments

·       Class participation.

·       Exit ticket.

National and State Standards
·       MU: PR4.3.E.lla: Demonstrate how understanding the style, genre, and context of a varied repertoire of music influences prepared and improvised performances as well as performer’s technical skill to connect with the audience.

·       MU: Cr6.1.E.llla: Demonstrate an understanding and mastery of the technical demands and expressive qualities of the music through prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres, and historical periods in multiple types of ensembles.

·       ART.M.I.HS.1: Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental literature with a moderate level of difficulty, including some selections performed from memory.

·       ART.M.1.HS.3: Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills.

·       ART.M.III.HS.1: Demonstrate extensive knowledge and use of the technical vocabulary of music.

·       ART.M.V.HS.4: Explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts and disciplines outside of the arts.

Time /60 Activity/Section Materials Standards
5 Set up Students are greeted at the door and unpack their instruments quietly while listening to a recording of Mvt. II, “Ayre for Eventide.”  
10 Warm-Ups ·        Bb, Eb scales, 4 quarter notes for each tone, legato articulation at pp.

·       “Watch the conductor” exercise where students play a Bb scale while responding to the conductor’s dynamic directions.

·       Balance exercise: Using Bach chorale, teacher will ask bass, tenor, alto, or soprano parts to be emphasized while the other parts back off.

ART.M.III.HS.1
10 Visualization, mm. 67 to 83 ·       Visualization activity: Have students close their eyes and imagine a special place from their childhood where they liked to hang out or play.

·       Teacher reads aloud “Before” by Ada Limòn.

·       Discuss the following adjectives: nostalgic, reminiscent, nostalgic, bitter sweet

·       Discuss: how music can invoke emotion and describe feeling without words? – dynamic shading.

·       Apply: Rehearse mm. 67 to 83 with the intent to create a nostalgic feeling.

ART.M.V.HS.4
10 Dynamic shading, mm. 91, 95, 119 ·       Determine dynamic levels.

o   Band plays a Bb chord at different dynamic levels pp to ff. If there is little contrast, the teacher assists.

o   Play down beat of m. 91 to determine mf. Rehearse cresc. and decresc. in this dynamic range.

o   Play down beat of m. 95 to determine mp. Rehearse cresc. and decresc. in this dynamic range.

o   Play down beat of m. 119 to determine p. Rehearse cresc. and decresc. in this dynamic range.

MU: PR4.3.E.lla, MU:Cr6.1.E.llla, ART.M.I.HS.1
5 Balance, mm. 67 to 75 ·       Question: Who has the melody? (Horn/Sax)

·       Discuss balance and review music vocab. Melody should be primary. Secondary is the accompaniment.

·       Annotation: Ask students playing accompaniment to circle the measures they have quarter notes in the first phrase. Explain how “moving” parts should be played slightly louder.

MU: PR4.3.E.lla, ART.M.I.HS.1, ART.M.1.HS.3, ART.M.III.HS.1
3 Tempo, poco accel., mms. 91 to 103 ·       Explain tempo markings and how composers manipulate the tempo for effect. Also how the accel. increases the music’s intensity and driving feeling.

·       Remind students the importance of watching the conductor. Rehearse from mm. 91 to 103.

MU: PR4.3.E.lla, MU:Cr6.1.E.llla, ART.M.I.HS.1
3 Tempo, rall. And slower, mm. 115 to End ·       Remind students about breath support and its necessity at quiet dynamic levels.

·       Demonstrate/model the rall. by showing how the conducting will slow with voice.

MU:Cr6.1.E.llla, ART.M.I.HS.1
4 Run Mvt. II Informally assess student progress towards daily objectives. ART.M.I.HS.1, ART.M.1.HS.3
5 Exit Ticket Students write a short answer to the following questions:

·       What are two (2) specific ways music can invoke emotion in a listener?

·       What do the words “rallentando” and “accelerando” mean?

ART.M.V.HS.4, MU: PR4.3.E.lla, ART.M.III.HS.1

 

Definitions

  • Nostalgia – a wistful desire to return in thought or in fact to a former time in one’s life, to one’s home or homeland, or to one’s family and friends; a sentimental yearning for the happiness of a former place or time.
  • ReminisceReminisce is a dreamy way of saying “remember the past.”
  • Bittersweet – both pleasant and painful or regretful
  • Rallentando – slackening, becoming slower
  • Balance – A balance in music is when every single part of the ensemble, whether its percussion, an instrument playing with a loud volume, or a flute, an instrument playing with a soft volume, harmonize in a way to create an appropriate sound.
  • Dynamics – how loud or soft music is
  • Accelerando – with a gradual increase of speed (used chiefly as a direction).
  • Tempo – the speed at which a passage of music is or should be played.
  • Melody – a sequence of single notes that is musically satisfying, the sing-able part
  • Accompaniment – a musical part that supports or partners a solo instrument, voice, or group.

Exit Ticket, Key

  • What are two (2) specific ways music can invoke emotion in a listener?
    • Tempo – how fast
    • Dynamics – how loud
  • What do the words “rallentando” and “accelerando” mean?
    • Rallentando – slow down
    • Accelerando – speed up

Before

Ada Limón, 1976

No shoes and a glossy

red helmet, I rode

on the back of my dad’s

Harley at seven years old.

Before the divorce.

Before the new apartment.

Before the new marriage.

Before the apple tree.

Before the ceramics in the garbage.

Before the dog’s chain.

Before the koi were all eaten

by the crane. Before the road

between us, there was the road

beneath us, and I was just

big enough not to let go:

Henno Road, creek just below,

rough wind, chicken legs,

and I never knew survival

was like that. If you live,

you look back and beg

for it again, the hazardous

bliss before you know

what you would miss.

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