Hollidaysburg Area Junior High Band
7th Grade Band
Objectives:
1. Singing alone and with others, a varied repertoire of music
2. Performing on instrument alone and with others, a varied repertoire of music
5. Reading and notating music
6. Listening to, analyzing, and describing music
7. Evaluating music and music performance
Procedure:
1. Imperium by Michael Sweeney
a. Instruct students that we will listen to the recording of our performance from last week. While listening, they should listen for Balance, Tempo, Articulation, or Dynamics
i. Take time to define those terms
b. Listen to the recording, then discuss the things students heard, particularly regarding the terms listed on the board
c. Rehearse measures 1-16, focusing on a clean tempo change
d. Rehearse measures 45-54—check that students are counting correctly
i. If need be, have them write the count numbers into their music.
e. Run 45 to the end of the piece
2. Amazing Grace by John Edmondson
a. Play measures 41-56 to hear a full version of the melody in triple
b. Sing the tune in triple (words on the board or on handouts for the students)
c. Ask students to sing the tune in duple—first ask where that happens in their music
d. Play pick-up to measure 9-end
Concert Band
1) Warm-up
a. Have letter names for the following chords in F Major written on the board: I, IV, V
b. Ask students to pick one of the notes in I to play; Do the same for the other two chords
i. Note if there is an overbalance—ask students if they can hear all three notes; if not, what can they do?
c. As I point to the chord on the board, play one of the notes (doesn’t have to be the same note as before)
i. Do some chord progressions (I, V, I) (I, IV, V, I) (I, IV, I, V, I)
2) Slane
a. Play m.26-33—ask students who has the melody
b. Have each of the following groups play on their own and give them a number
i. Trumpets—Oboe and 1 Clarinet join them when they enter at m. 30
ii. Flute
iii. Bass Clarinet, Bassoon, Saxes, Horn, Trombone, Baritone, Tuba
iv. Percussion
c. Label each group with Melody, Harmony, Descant, Rhythm (percussion cannot always be labeled as rhythm though—ask if anyone plays a percussion part anywhere else in the piece that would be something else)
d. Have melody and harmony play together, then descant and rhythm—listen for balance
e. Try that section, then continue on until m. 41—ask students who plays melody, harmony etc. in any of the next section, then go back and try again
Play from m.26-43 (or the end if there’s time)
Objectives:
1. Singing alone and with others, a varied repertoire of music
2. Performing on instrument alone and with others, a varied repertoire of music
5. Reading and notating music
6. Listening to, analyzing, and describing music
7. Evaluating music and music performance
Procedure:
1. Imperium by Michael Sweeney
a. Instruct students that we will listen to the recording of our performance from last week. While listening, they should listen for Balance, Tempo, Articulation, or Dynamics
i. Take time to define those terms
b. Listen to the recording, then discuss the things students heard, particularly regarding the terms listed on the board
c. Rehearse measures 1-16, focusing on a clean tempo change
d. Rehearse measures 45-54—check that students are counting correctly
i. If need be, have them write the count numbers into their music.
e. Run 45 to the end of the piece
2. Amazing Grace by John Edmondson
a. Play measures 41-56 to hear a full version of the melody in triple
b. Sing the tune in triple (words on the board or on handouts for the students)
c. Ask students to sing the tune in duple—first ask where that happens in their music
d. Play pick-up to measure 9-end
Concert Band
1) Warm-up
a. Have letter names for the following chords in F Major written on the board: I, IV, V
b. Ask students to pick one of the notes in I to play; Do the same for the other two chords
i. Note if there is an overbalance—ask students if they can hear all three notes; if not, what can they do?
c. As I point to the chord on the board, play one of the notes (doesn’t have to be the same note as before)
i. Do some chord progressions (I, V, I) (I, IV, V, I) (I, IV, I, V, I)
2) Slane
a. Play m.26-33—ask students who has the melody
b. Have each of the following groups play on their own and give them a number
i. Trumpets—Oboe and 1 Clarinet join them when they enter at m. 30
ii. Flute
iii. Bass Clarinet, Bassoon, Saxes, Horn, Trombone, Baritone, Tuba
iv. Percussion
c. Label each group with Melody, Harmony, Descant, Rhythm (percussion cannot always be labeled as rhythm though—ask if anyone plays a percussion part anywhere else in the piece that would be something else)
d. Have melody and harmony play together, then descant and rhythm—listen for balance
e. Try that section, then continue on until m. 41—ask students who plays melody, harmony etc. in any of the next section, then go back and try again
Play from m.26-43 (or the end if there’s time)
8th Grade Accelerated Music
Objective: Students will be able to identify notes in both treble and bass clefs as well as on ledger lines.
Procedure:
1) Introduce treble clef
a. G clef-origin and curl circles G
b. Notes in lines and spaces
2) Show S how to get to exercises on musictheory.net
3) S practice identifying notes—go around the room, one note for each student
4) Introduce bass clef
a. F clef-origin and dots surround F
b. Notes in lines and spaces
5) S practice identifying notes—go around the room, one note for each student
6) Introduce middle C-what is the line called that C sits on?
7) Discuss ledger lines-be able to identify the first three above or below each clef
8) What do these symbols do to the note? (sharp, flat, natural)
9) “Go to musictheory.net if you were confused about anything we learned about today”
10) Rest of class used for getting started on homework
Assessment:
Teacher will go over student homework the next day in order to assess understanding (Treble and Bass Clef Note Identification)
Articulation Exercise
For my 7th Grade students, I wrote two short exercises that contained a variety of staccato, tenuto, and slurred notes. This was to tackle a common problem among most 7th graders that I determined based on a prior assessment. My goal for this exercise was to use it as an ensemble warm-up and for the students' individual practice. Ultimately the students played these exercises as part of an assessment. The following is a rubric that I created for scoring the assessment.
Objective: Students will be able to identify notes in both treble and bass clefs as well as on ledger lines.
Procedure:
1) Introduce treble clef
a. G clef-origin and curl circles G
b. Notes in lines and spaces
2) Show S how to get to exercises on musictheory.net
3) S practice identifying notes—go around the room, one note for each student
4) Introduce bass clef
a. F clef-origin and dots surround F
b. Notes in lines and spaces
5) S practice identifying notes—go around the room, one note for each student
6) Introduce middle C-what is the line called that C sits on?
7) Discuss ledger lines-be able to identify the first three above or below each clef
8) What do these symbols do to the note? (sharp, flat, natural)
9) “Go to musictheory.net if you were confused about anything we learned about today”
10) Rest of class used for getting started on homework
Assessment:
Teacher will go over student homework the next day in order to assess understanding (Treble and Bass Clef Note Identification)
Articulation Exercise
For my 7th Grade students, I wrote two short exercises that contained a variety of staccato, tenuto, and slurred notes. This was to tackle a common problem among most 7th graders that I determined based on a prior assessment. My goal for this exercise was to use it as an ensemble warm-up and for the students' individual practice. Ultimately the students played these exercises as part of an assessment. The following is a rubric that I created for scoring the assessment.