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Christmas Solos I
Jingle Bells
Jolly Old Saint Nicholas
Good King Wenceslas
Away In A Manger
Go Tell It On The Mountain
We Three Kings
O Come Emmanuel

 

 

More Christmas Solos I
Here Comes Santa Claus
The Snow Lay on the Ground
Joy to the World
Over the River and Through the Woods
Do You Hear What I Hear
Blue Christmas
Rudolph the Red-Nosed Reindeer

 

 

Christmas Solos II
God Rest Ye Merry Gentlemen
I Saw Three Ships
It Came Upon a Midnight Clear
Sing We Now of Christmas
O Little Town of Bethlehem
What Child is This?
O Come, Little Children
Silent Night
Joseph Dearest, Joseph Mine
O Come, All ye Faithful
Up On the Housetop

 

 

More Christmas Solos II
We Are Santas Elves
Silver Bells
Holly Jolly Christmas
I Want a Hippoppotamus for Christmas
Angels We Have Heard on High
Let it Snow! Let it Snow! Let it Snow!
Auld Lang Syne
He is Born, the Holy Child
The Twelve Days of Christmas
Hallelujah Chorus

 

 

Christmas Solos III
We Wish You a Merry Christmas
The First Noel
My Favorite Things
Rudolph the Red-Nosed Reindeer
O Christmas Tree
The Chipmunk Song
Carol of the Bells
Frosty the Snowman
Deck the Halls
We Need A Little Christmas
Rockin' Around the Christmas Tree

 

 

More Christmas Solos III
Angels from the Realms of Glory
White Christmas
Christmas Time is Here
Jingle Bells
Once in Royal David's City
Here We Come A-Wassailing
Suzy Snowflake
Blue Christmas
I Saw Mommy Kissing Santa Claus
Coventry Carol
Pat-A-Pan (1, 2)
Silver and Gold

 

Christmas Solos IV
Silver Bells
Angels We Have Heard On High
Joy to The World
Parade of the Wooden Soldiers
Hark! The Herald Angels Sing
 The Holly and The Ivy
Jingle Bell Rock
There's No Place Like Home For The Holidays
A Holly Jolly Christmas
Feliz Navidad
March of theToys
It's Beginning To Look Like Christmas
The Christmas Song

 

 

More Christmas Solos IV
Santa Claus is Comin' to Town
Wonderful Christmastime
What Child is This?
O Come, O Come, Emmanuel
Snowfall
It Came Upon a Midnight Clear
Grandma Got Run Over by a Reindeer
Believe
Bring a Torch, Jeanette, Isabella
Lo, How a Rose E'er Blooming
Do You Hear What I Hear
O Holy Night

 

Christmas Solos V
Still, Still, Still
Mary Had a Baby
I Wonder As I Wonder
The Christmas Waltz
Tennessee Christmas
Toyland
Mr. Santa
Jingle Bell Classic
Let it Snow!
God Rest Ye Merry Gentlemen
March
Dance of the Sugar Plum Fairy

 

More Christmas Solos V
Christmas Time is Here
O Little Town of Bethlehem
White Christmas
Jesu, Joy of Man's Desiring
Skating
Somewhere in My Memory
Carol of the Bells
Where Are You Christmas?
We Need a Little Christmas
Auld Lang Syne

 

Christmas Favorites Book 1
Away in a Manger
Jingle Bells
What Child is This?
O Come, O Come, Emmanuel
I Saw Three Ships
God Rest Ye Merry Gentlemen
O Little Town of Bethlehem
Silent Night
Joy to the World
Deck the Hall
Ukranian Bell Carol
Away in a Manger (Cradle Song)
We Wish You A Merry Christmas

 

Christmas Favorites Book 2
Angels We Have Heard on High
Bring a Torch Jeanette Isabella
Ding Dong Merrily on High
Dance of the Sugar Plum Fairy
The First Noel
Go Tell it On the Mountain
Hark! The Herald Angels Sing
The Holly and the Ivy
O Christmas Tree
O Holy Night
Still, Still, Still
We Three Kings of Orient Are

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STUDIO PIANO INFORMATION PAGE

 

Monday, September 12. 2016
A
Objective(s): (SWBA) The students review beginning music facts. The students will keep a steady beat while playing.  The students will identify notes on the Grand Staff between low C and high C.

Bell Ringer: Recognize Notes on the Piano Keyboard (handout)

Anticipatory Set: (Hook)  Beginning Music Facts

Direct Instruction/Modeling: (TW/SW) Technique "CDEFG" (Play hands separately and together with CD accompaniment)


Guided Practice: (TW/SW) Sight-Read and Perform "Reflection" (with CD accompaniment)

Independent Practice: Review and Practice
1) Sea (C) Song
2) Reflection

Closure/ Wrap up & Exit Ticket: Reviewing Middle C Position

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments Session 4
Materials:

 

Tuesday, September 13, 2016
B
Objective(s): (SWBA) The students review beginning music facts. The students will keep a steady beat while playing.  The students will identify notes on the Grand Staff between low C and high C.

Bell Ringer: Recognize Notes on the Piano Keyboard (handout)

Anticipatory Set: (Hook)  Beginning Music Facts

Direct Instruction/Modeling: (TW/SW) Technique "CDEFG" (Play hands separately and together with CD accompaniment)


Guided Practice: (TW/SW) Sight-Read and Perform "Reflection" (with CD accompaniment)

Independent Practice: Review and Practice
1) Sea (C) Song
2) Reflection

Closure/ Wrap up & Exit Ticket: Reviewing Middle C Position

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments Session 4
Materials:
 
Wednesday, September 14, 2016
A
Objective(s): (SWBA) The students review beginning music facts. The students will keep a steady beat while playing.  The students will identify notes on the Grand Staff between low C and high C.

Bell Ringer: Recognize Notes on the Piano Keyboard (handout)

Anticipatory Set: (Hook)  Beginning Music Facts

Direct Instruction/Modeling: (TW/SW) Technique "CDEFG" (Play hands separately and together with CD accompaniment)


Guided Practice: (TW/SW) Sight-Read and Perform "Reflection" (with CD accompaniment)

Independent Practice: Review and Practice
1) Sea (C) Song
2) Reflection

Closure/ Wrap up & Exit Ticket: Reviewing Middle C Position

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments Session 4
Thursday, September 15, 2016
B
Objective(s): (SWBA)  The students will sight-read notes on the treble staff. The students will compare the treble clef (or G clef) to the "Old English" letter "G". The students will sight-read notes on the bass staff. The students will compare the bass clef (or F clef) to the "Old English" letter "F". The students play with CD accompaniment and to a steady beat. The studens differentiate between "MIDDLE C POSITION" and "REGULAR C POSITION".

Bell Ringer: Review Beginning Music Facts

Anticipatory Set: (Hook)  Music Theory for Kids

Direct Instruction/Modeling: (TW/SW) LaGuardia High School Advanced Piano Class


Guided Practice: (TW/SW) Sight-Read and Perform Oh Gee (G) and Hide and Seek (with CD accompaniment, click on the links to see the demonstration and the scores)
1) Oh Gee (G)
2) Hide and Seek
Independent Practice: Review and Practice
1) Sea (C) Song
2) Reflection

Closure/ Wrap up & Exit Ticket: Middle C Position VS Regular C Position
Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments Session 4
Materials:
 
Friday, September 16, 2016
A
Objective(s): (SWBA)  The students will sight-read notes on the treble staff. The students will compare the treble clef (or G clef) to the "Old English" letter "G". The students will sight-read notes on the bass staff. The students will compare the bass clef (or F clef) to the "Old English" letter "F". The students play with CD accompaniment and to a steady beat. The studens differentiate between "MIDDLE C POSITION" and "REGULAR C POSITION".

Bell Ringer: Review Beginning Music Facts

Anticipatory Set: (Hook)  Music Theory for Kids

Direct Instruction/Modeling: (TW/SW) LaGuardia High School Advanced Piano Class


Guided Practice: (TW/SW) Sight-Read and Perform Oh Gee (G) and Hide and Seek (with CD accompaniment, click on the links to see the demonstration and the scores)
1) Oh Gee (G)
2) Hide and Seek
Independent Practice: Review and Practice
1) Sea (C) Song                  
2) Reflection

Closure/ Wrap up & Exit Ticket: Middle C Position VS Regular C Position
Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments Session 4
Materials:                        
 
MONDAY, September 19, 2016
B
SUBSTITUTE PLAN

Objective(s):
(SWBAT)
The students leans about a performing arts school in New York City. The students complete a written listening guide while viewing "FAME". (re: substitute plan; professional leave: LSU Choir Camp)

Bell Ringer: Listening Guide (handout)


Anticipatory Set: (Hook) This movie is based upon the 1980 film which follows NYC talent attending the New York City High School for the Performing Arts, (Known today as Fiorello H. Laguardia High School) students get specialized training that often leads to success as actors, singers, etc.

During the opening scenes in auditions and orientation, it is told that in 1936, New York City Mayor Fiorello H. LaGuardia founded the High School of Music & Art in order to provide a facility where the most gifted and talented public school students of New York City could pursue their talents in art or music, while also completing a full academic program of instruction. In 1948, the School of Performing Arts was created to provide training in performance skills to students who wished to prepare for professional careers in dance

Direct Instruction/Modeling: (TW/SW) Summary of Screen


 Wrap up & Exit Ticket: Complete listening Guide and  submit for credit.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Listening Guide (handout)

Name: ____________________________________ Date______________

 

Fame (The Movie) Questions Advisory

 

Audition Day

How many hours per day does it take to be as good as any of the performers?

What are the 2 things needed to succeed in any career?

What percent of the students were admitted to the PA (Performing Arts) school?

Freshman Year

What else is needed to be successful in a Fine Arts Career besides what you answered on #2?

What obstacles, outside of yourself do you face to become successful in Fine Arts?

Sophomore Year

6. What was missing, according to the professor for Master Travis to perform piano playing?

7. What was missing for Malik to be a successful actor?

8. What does it take to make your own business in the Entertainment Industry? (name 4 things)

9. Why do some of the students hide some of their talents? (a pianist can sing/a singer can play piano)

Junior Year

10. What does it take to be a performer on stage;

a) as far as the audience?

b) as far as the performer?

11. Is teaching a fall back career or a vocation?

12. What way can anyone take advantage of you in the Entertainment field? (name 2) Has anyone tried to take advantage of you in the Entertainment field?

Senior Year

13. Do you know what a dream killer is?  Do you listen to them? What are your dreams?

14. What happened to Joy?

15. What is the result of support or no support from you family in your performance?

16. For your 12th grade performance – What will you perform to graduate?

Materials:
 
TUESDAY, September 20, 2016
A
Objective(s): (SWBAT) Students will learn about the importance of music.
Students will be introduced to the essential elements of music theory. Each element of music theory will be illustrated. The students define the major scale. The students perform major scales for technical warm-ups on the piano keyboard. The students complete a daily  practice routine.

Bell Ringer: Learning to Read Music
1) Video
2) Listening Guide   (answers)        

Anticipatory Set: (Hook) Lecture "The C Scale"
1) definition
2) notation
3) correct fingering 
 

Guided Practice: (TW/SW) Group Session-:""The C Scale"
1) Lecture and participation  
2) Introduction to Major Scales (Interactive Lesson) Music Ace Session 24 (excerpt)                                             

Independent Practice: Daily Practice Routine
Warm-Up (Technique) C Scale
Drill and Practice (review)



Closure/ Wrap up & Exit Ticket: Listening "Do-Re-Mi"

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Introduction to Major Scales- Session 24 
Materials:
 
WEDNESDAY, September 21, 2016
B
Objective(s): (SWBAT) Students will learn about the importance of music.
Students will be introduced to the essential elements of music theory. Each element of music theory will be illustrated. The students define the major scale. The students perform major scales for technical warm-ups on the piano keyboard. The students complete a daily  practice routine.

Bell Ringer: Learning to Read Music
1) Video
2) Listening Guide   (answers)        

Anticipatory Set: (Hook) Lecture "The C Scale"
1) definition
2) notation
3) correct fingering 
 

Guided Practice: (TW/SW) Group Session-:""The C Scale"
1) Lecture and participation  
2) Introduction to Major Scales (Interactive Lesson) Music Ace Session 24 (excerpt)                                             

Independent Practice: Daily Practice Routine
Warm-Up (Technique) C Scale
Drill and Practice (review)



Closure/ Wrap up & Exit Ticket: Listening "Do-Re-Mi"

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Introduction to Major Scales- Session 24 
Materials:
 
THURSDAY, September 22, 2016
A
SUBSTITUTE PLAN

Objective(s):
(SWBAT)
The students leans about a performing arts school in New York City. The students complete a written listening guide while viewing "FAME". (re: substitute plan; professional leave: LSU Choir Camp)

Bell Ringer: Listening Guide (handout)


Anticipatory Set: (Hook) This movie is based upon the 1980 film which follows NYC talent attending the New York City High School for the Performing Arts, (Known today as Fiorello H. Laguardia High School) students get specialized training that often leads to success as actors, singers, etc.

During the opening scenes in auditions and orientation, it is told that in 1936, New York City Mayor Fiorello H. LaGuardia founded the High School of Music & Art in order to provide a facility where the most gifted and talented public school students of New York City could pursue their talents in art or music, while also completing a full academic program of instruction. In 1948, the School of Performing Arts was created to provide training in performance skills to students who wished to prepare for professional careers in dance

Direct Instruction/Modeling: (TW/SW) Summary of Screen


 Wrap up & Exit Ticket: Complete listening Guide and  submit for credit.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Listening Guide (handout)

Name: ____________________________________ Date______________

 

Fame (The Movie) Questions Advisory

 

Audition Day

How many hours per day does it take to be as good as any of the performers?

What are the 2 things needed to succeed in any career?

What percent of the students were admitted to the PA (Performing Arts) school?

Freshman Year

What else is needed to be successful in a Fine Arts Career besides what you answered on #2?

What obstacles, outside of yourself do you face to become successful in Fine Arts?

Sophomore Year

6. What was missing, according to the professor for Master Travis to perform piano playing?

7. What was missing for Malik to be a successful actor?

8. What does it take to make your own business in the Entertainment Industry? (name 4 things)

9. Why do some of the students hide some of their talents? (a pianist can sing/a singer can play piano)

Junior Year

10. What does it take to be a performer on stage;

a) as far as the audience?

b) as far as the performer?

11. Is teaching a fall back career or a vocation?

12. What way can anyone take advantage of you in the Entertainment field? (name 2) Has anyone tried to take advantage of you in the Entertainment field?

Senior Year

13. Do you know what a dream killer is?  Do you listen to them? What are your dreams?

14. What happened to Joy?

15. What is the result of support or no support from you family in your performance?

16. For your 12th grade performance – What will you perform to graduate?

Materials:
 
FRIDAY, September  23, 2016
B
Objective(s): (SWBAT) The students sight-read selections from the Bastien Older Beginner Book One (Unit One) using the heightened note system. The students practice playing in the C Major hand positions. The students perform beginner level selections with a a steady beat. The students define the C Chord and related terms. The students perform selections with hands together. The students differentiate between chords by listening.

Bell Ringer: Sight-Reading (from Bastien Older Beginner Book One - Unit I)
Note: Students use the heightened note system instead of notation.
Warm-Up
Merrily We Roll Along
Au Clair de la Lune
Ode to Joy
First Rock

Anticipatory Set: (Hook) Introduction to Harmony from Music Ace 2 (Session 24)
Note: Student led; class assists with entering the correct answers.
The activity teaches about chords, harmony, and accompaniment. The drill requires students to differentiate  between same and different chords from, measure to measure, by listening.

Direct Instruction/Modeling: (TW/SW) Lecture: The C Chord

I. Review the C Scale
II. Define the C Chord
 

Guided Practice: (TW/SW) Group Session: Play Frere Jacques (includes the C Chord for the LH)

Independent Practice: Daily Practice Routine

I. Warm-Up (Technique) C Scale 
   A. Perform with CD accompaniment as a group
   B. Drill independently (30 times)
II. Sight-Read - see bell ringer
III. Drill Repertoire from previous lessons
 

Closure/ Wrap up & Exit Ticket: The Importance of following the daily practice routine.  

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessement (SLT) Introduction to Harmony Session 24 (Music Ace 2)
Materials:
 
MONDAY, September 26, 2016
A

Objective(s): (SWBAT) The students sight-read selections from the Bastien Older Beginner Book One (Unit One) using the heightened note system. The students practice playing in the C Major hand positions. The students perform beginner level selections with a a steady beat. The students define the C Chord and related terms. The students perform selections with hands together. The students differentiate between chords by listening.


Bell Ringer: Sight-Reading (from Bastien Older Beginner Book One - Unit I)
Note: Students use the heightened note system instead of notation.
Warm-Up
Merrily We Roll Along
Au Clair de la Lune
Ode to Joy
First Rock


Anticipatory Set: (Hook) Introduction to Harmony from Music Ace 2 (Session 24)
Note: Student led; class assists with entering the correct answers.
The activity teaches about chords, harmony, and accompaniment.
The drill requires students to differentiate  between same and different chords from, measure to measure, by listening.


Direct Instruction/Modeling: (TW/SW) Lecture: The C Chord
I
. Review the C Scale
II. Define the C Chord  


Guided Practice: (TW/SW) Group Session: Play Frere Jacques (includes the C Chord for the LH)


Independent Practice: Daily Practice Routine
I
. Warm-Up (Technique) C Scale     
    A. Perform with CD accompaniment as a group   
    B. Drill independently (30 times)
II. Sight-Read - see bell ringer
III. Drill Repertoire from previous lessons  


Closure/ Wrap up & Exit Ticket: The Importance of following the daily practice routine.  


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessement (SLT) Introduction to Harmony Session 24 (Music Ace 2)


Materials:

 
TUESDAY, September 27,  2016
B
Objective(s): (SWBAT) The students review and perform selections assigned in the previous lesson: Merrily We Roll Along, Au Claire de la Lune, Ode to Joy, Little Rock, and Frere Jacques. The students perform basic melodies with left hand chordal accompaniment.  The students identify the sharp, flat, and related terminology. The students perform the C major scale. The students identify, define, and perform the chromatic scale with the right hand.

Bell Ringer: Bastien Older Beginner Piano Book (Unit One- handout)
Perform the selections from Unit One (Bastien Older Beginner Book One)


Anticipatory Set: Group Session I (re-teach and incoming students)

1) play and sing the music alphabet with harmonic accompaniment
2) play and sing only "C's" on the piano. Define octave.
3) play and sing the ascending chromatic scale (going up)
4) play and sing the descending chromatic scale going down

Note: After the Group Session (for new students and students who need additional review) these students will be instructed to log onto the Music Ace Computer Assessment to complete Music Ace  assessments 1 and 2 (for new students); or Music Ace 2 assessments 1 and 24 (for students needing review)..  

Direct Instruction/Modeling: (TW/SW)  Lecture/Activity: Define Sharp and Flat
This is a sharp. The sharp indicates to play sharpened pitch or tone one-half step higher. (Note: Higher on the piano keyboard is to the right.)

Directions: Using the piano keyboard, find middle C. Play middle C. Using the piano keyboard find C#.   C# is a half step up from middle C. (See Treble and Bass Notation)

This is a flat.  The flat indicates to play the flatted pitch or tone one-half step lower. (Note: lower on the piano keyboard is to the left.)

Directions: Using the piano keyboard, find middle C again. Play and hold the note before C. See the Grand Staff for the answer.

 
Guided Practice: (TW/SW) Daily Practice Routine
Warm-Up (Technique)
Sight-Read
Drill and Practice 

Independent Practice: The students review and perform selections assigned in the previous lesson: Merrily We Roll Along, Au Claire de la Lune, Ode to Joy, Little Rock, and Frere Jacques.

Closure/ Wrap up & Exit Ticket: Listening to selections from Unit One (Bastien Older Beginner Piano Book-Level One) 

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT)
1) Music Ace Sessions 1 and 2 (for new students)
2) Music Ace 2  Sessions 1 and 24 (for students needing additional review.)
Materials:
 
WEDNESDAY, September 28, 2016
A
Objective(s): (SWBAT) The students review and perform selections assigned in the previous lesson: Merrily We Roll Along, Au Claire de la Lune, Ode to Joy, Little Rock, and Frere Jacques. The students perform basic melodies with left hand chordal accompaniment.  The students identify the sharp, flat, and related terminology. The students perform the C major scale. The students identify, define, and perform the chromatic scale with the right hand.

Bell Ringer: Bastien Older Beginner Piano Book (Unit One- handout)
Perform the selections from Unit One (Bastien Older Beginner Book One)


Anticipatory Set: Group Session I (re-teach and incoming students)

1) play and sing the music alphabet with harmonic accompaniment
2) play and sing only "C's" on the piano. Define octave.
3) play and sing the ascending chromatic scale (going up)
4) play and sing the descending chromatic scale going down

Note: After the Group Session (for new students and students who need additional review) these students will be instructed to log onto the Music Ace Computer Assessment to complete Music Ace  assessments 1 and 2 (for new students); or Music Ace 2 assessments 1 and 24 (for students needing review)..  

Direct Instruction/Modeling: (TW/SW)  Lecture/Activity: Define Sharp and Flat
This is a sharp. The sharp indicates to play sharpened pitch or tone one-half step higher. (Note: Higher on the piano keyboard is to the right.)

Directions: Using the piano keyboard, find middle C. Play middle C. Using the piano keyboard find C#.   C# is a half step up from middle C. (See Treble and Bass Notation)

This is a flat.  The flat indicates to play the flatted pitch or tone one-half step lower. (Note: lower on the piano keyboard is to the left.)

Directions: Using the piano keyboard, find middle C again. Play and hold the note before C. See the Grand Staff for the answer.

 
Guided Practice: (TW/SW) Daily Practice Routine
Warm-Up (Technique)
Sight-Read
Drill and Practice 

Independent Practice: The students review and perform selections assigned in the previous lesson: Merrily We Roll Along, Au Claire de la Lune, Ode to Joy, Little Rock, and Frere Jacques.

Closure/ Wrap up & Exit Ticket: Listening to selections from Unit One (Bastien Older Beginner Piano Book-Level One) 

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT)
1) Music Ace Sessions 1 and 2 (for new students)
2) Music Ace 2  Sessions 1 and 24 (for students needing additional review.)
 
THURSDAY, September 29, 2016
B
Objective(s): (SWBAT) The students sight-read, perform and drill Hanon No. 38(C). The students complete a daily practice routine by playing selections from Bastien's Older Beginner Book One Unit One. The students review Beat and Tempo terms, major scale concepts, a music fundamentals concepts. The students identify the sharp, flat, and related terminology. The students perform the C major scale. The students identify, define, and perform the chromatic scale with the right hand.



Bell Ringer: Daily Practice Routine
I. Warm-Up - C Scale
II. Sight Reading - Hanon No. 38C (RH only)
III. Drill and Practice - Selections from Bastien Older Beginner Book One


Anticipatory Set: (Hook)  Hanon No. 38C

Direct Instruction/Modeling: (TW/SW) (Re-Teach previous lesson)
1) play and sing the music alphabet with harmonic accompaniment
2) play and sing only "C's" on the piano. Define octave.
3) play and sing the ascending chromatic scale (going up)
4) play and sing the descending chromatic scale going down

Note: After the Group Session (for new students and students who need additional review) these students will be instructed to log onto the Music Ace Computer Assessment to complete Music Ace  assessments 1 and 2 (for new students); or Music Ace 2 assessments 1 and 24 (for students needing review)..      

Guided Practice: (TW/SW)    Lecture/Activity: Define Sharp and Flat
This is a sharp. The sharp indicates to play sharpened pitch or tone one-half step higher. (Note: Higher on the piano keyboard is to the right.)

Directions: Using the piano keyboard, find middle C. Play middle C. Using the piano keyboard find C#.   C# is a half step up from middle C. (See Treble and Bass Notation)

This is a flat.  The flat indicates to play the flatted pitch or tone one-half step lower. (Note: lower on the piano keyboard is to the left.)

Directions: Using the piano keyboard, find middle C again. Play and hold the note before C. See the Grand Staff for the answer.
 
FRIDAY, September 30, 2016
A
Objective(s): (SWBAT) The students sight-read, perform and drill Hanon No. 38(C). The students complete a daily practice routine by playing selections from Bastien's Older Beginner Book One Unit One. The students review Beat and Tempo terms, major scale concepts, a music fundamentals concepts. The students identify the sharp, flat, and related terminology. The students perform the C major scale. The students identify, define, and perform the chromatic scale with the right hand.


Bell Ringer: Daily Practice Routine
I. Warm-Up - C Scale
II. Sight Reading - Hanon No. 38C (RH only)
III. Drill and Practice - Selections from Bastien Older Beginner Book One


Anticipatory Set: (Hook)  Hanon No. 38C

Direct Instruction/Modeling: (TW/SW) (Re-Teach previous lesson)
1) play and sing the music alphabet with harmonic accompaniment
2) play and sing only "C's" on the piano. Define octave.
3) play and sing the ascending chromatic scale (going up)
4) play and sing the descending chromatic scale going down

Note: After the Group Session (for new students and students who need additional review) these students will be instructed to log onto the Music Ace Computer Assessment to complete Music Ace  assessments 1 and 2 (for new students); or Music Ace 2 assessments 1 and 24 (for students needing review)..      

Guided Practice: (TW/SW)    Lecture/Activity: Define Sharp and Flat
This is a sharp. The sharp indicates to play sharpened pitch or tone one-half step higher. (Note: Higher on the piano keyboard is to the right.)

Directions: Using the piano keyboard, find middle C. Play middle C. Using the piano keyboard find C#.   C# is a half step up from middle C. (See Treble and Bass Notation)

This is a flat.  The flat indicates to play the flatted pitch or tone one-half step lower. (Note: lower on the piano keyboard is to the left.)

Directions: Using the piano keyboard, find middle C again. Play and hold the note before C. See the Grand Staff for the answer.
 
MONDAY, October 3, 2016
B
Objective(s): (SWBAT) The students sight-read ad perform beginner piano pieces with standard bass clef and treble clef notation. The students perform piano selections that begin in middle C position and end in regular C position. The students review basic hand positions in C Major. The students perform Hanon No. 38C with the right hand three or more times. The students complete a daily practice routine. Analyze and express the impact of music on the intellect and the emotions. 

Bell Ringer: Note Naming Sheets
1) Treble Clef Note Names
2) Bass Clef Note Names

Anticipatory Set: (Hook) Sight-Reading
1) Right Hand Finger Fun
2) Left Hand Finger Fun

Direct Instruction/Modeling: (TW/SW) The Basics of Reading Music (lecture-review)

Guided Practice: (TW/SW) Technique (Drill) Hanon No. 38C

Independent Practice: Daily Practice Routine 
I. Warm-Up (Technique) Hanon No. 38C 
II. Sight-Reading
    A. Right Hand Finger Fun
    B.  Left Hand Finger Fun
III. Drill and Practice Repertoire (from Bastien's Older Beginner Book One (Unit One)
     A. Warm-Up
     B. Merrily We Roll Along
     C. Au Claire de la Lune
     D. Ode to Joy
     E. First Rock
     F. Frere Jacques
 

Closure/ Wrap up & Exit TicketLearning to Play Music Makes Your Smarter
Activity: discuss with your partner how music has enhanced your life.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 7 (Notes of the Treble Staff) and Session 13 (Notes of the Bass Staff)
 
TUESDAY, October 4, 2016
A
Substitute Plan  
WEDNESDAY, October 5, 2016
B
Objective(s): (SWBAT) The students identify and define sharp and flat .

Bell Ringer: Half Steps and Whole Steps/Sharps and Flats *Music Ace"


Anticipatory Set: (Hook) Sharps, Flats, and  Naturals


Direct Instruction/Modeling: (TW/SW) Group Session
I. Technique (Warm-Up)
II. Sight-Reading - Little River Flowing


Guided Practice: (TW/SW) Group Session: Sight-Read "Little River Flowing"

Independent Practice:
Daily Practice Routine
I. Technique (Warm-Up)
A. C Major Scale (Review)
B. Hanon No. 38 (page 2; RH and LH together)
II. Sight-Read Little River Flowing (with Sharps)


Closure/ Wrap up & Exit Ticket: Complete the Daily Practice Routine




Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 7 (Notes of the Treble Staff) and Session 13 (Notes of the Bass Staff)
FRIDAY, October 7, 2016
B

Objective(s): (SWBAT) The students learn to perform before a peer audience. The students perform Hanon No. 38C with their right hand before an audience of their peers. The students learn to practice performance etiquette by participating as an audience. Students learn to practice acceptable performance etiquette.


 

Bell Ringer: Warm-Up and Review Hanon No. 38 to prepare for Performance Assessment No. 1


Anticipatory Set: (Hook) Etiquette for Recitals


 

Direct Instruction/Modeling: (TW/SW) Demo Performance: Hanon No. 38C RH Only
I. Lecture/Demo
II. Performance Grading system for Performance Assessments (points are taken from 100 points)
    A. Restart -5
    B. Missed measures -5
    C. Repeated measures -5
    D. Single note errors -3
    E. sections of notes or measures -3


 

Guided Practice: (TW/SW) Performance Assessment: Hanon No. 38C RH only


Independent Practice: See bell ringer.


 Closure/Wrap Up and Exit: Recital Etiquette for Performers and Listening to Recital Repertoire


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Notes of the Treble Staff (Session 7)
and Performance Assessment No. 1: Hanon No. 38C

 
MONDAY, October 10, 2016
A

Objective(s): (SWBAT) The students learn to perform before a peer audience. The students perform Hanon No. 38C with their right hand before an audience of their peers. The students learn to practice performance etiquette by participating as an audience. Students learn to practice acceptable performance etiquette.


 

Bell Ringer: Warm-Up and Review Hanon No. 38 to prepare for Performance Assessment No. 1


Anticipatory Set: (Hook) Etiquette for Recitals


 

Direct Instruction/Modeling: (TW/SW) Demo Performance: Hanon No. 38C RH Only
I. Lecture/Demo
II. Performance Grading system for Performance Assessments (points are taken from 100 points)
    A. Restart -5
    B. Missed measures -5
    C. Repeated measures -5
    D. Single note errors -3
    E. sections of notes or measures -3


 

Guided Practice: (TW/SW) Performance Assessment: Hanon No. 38C RH only


Independent Practice: See bell ringer.


 Closure/Wrap Up and Exit: Recital Etiquette for Performers and Listening to Recital Repertoire


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Notes of the Treble Staff (Session 7)
and Performance Assessment No. 1: Hanon No. 38C

 
TUESDAY, October 11, 2016
B

Objective(s): (SWBAT) The students review basic note values. The students learn to  define Intervals. The students learn to calculate intervals. The students learn to perform interval patterns with keyboard accompaniment.


Bell Ringer 
1) Music Dominos
2) Music Math


Anticipatory Set: (Hook) Review Note Values


Direct Instruction/Modeling: (TW/SW) Lecture: Intervals
A. Music Ace 2: Session 22
B. INTERVALS



Guided Practice: (TW/SW)
Group Session: Intervals
A. Melodic Intervals
A. Melodic Intervals
B. Harmonic Intervals


Independent Practice: Daily Practice Routine
I. Warm-Up (Technique)
II. Sight-Reading:
III. Rehearse:
A. Left Hand Finger Fun
B. Right Hand Finger Fun
C. The C Chord (handout)


Closure/ Wrap up & Exit Ticket:
Complete the daily practice routine


Checking for Understanding (Possible Questions)/ Lesson Assessment: Performance Assessment on Friday


Materials: Teacher workstation, Internet Access, CD for accompaniment, Piano keyboards, Music Ace Software, The Piano Student (Glover; primer), Hal Leonard's Piano Lessons (Book Two)

 
WEDNESDAY, October 12, 2016
A

Objective(s): (SWBAT) The students review basic note values. The students learn to  define Intervals. The students learn to calculate intervals. The students learn to perform interval patterns with keyboard accompaniment.


Bell Ringer 
1) Music Dominos
2) Music Math


Anticipatory Set: (Hook) Review Note Values


Direct Instruction/Modeling: (TW/SW) Lecture: Intervals
A. Music Ace 2: Session 22
B. INTERVALS



Guided Practice: (TW/SW)
Group Session: Intervals
A. Melodic Intervals
A. Melodic Intervals
B. Harmonic Intervals


Independent Practice: Daily Practice Routine
I. Warm-Up (Technique)
II. Sight-Reading:
III. Rehearse:
A. Left Hand Finger Fun
B. Right Hand Finger Fun
C. The C Chord (handout)


Closure/ Wrap up & Exit Ticket:
Complete the daily practice routine


Checking for Understanding (Possible Questions)/ Lesson Assessment: Performance Assessment on Friday


Materials: Teacher workstation, Internet Access, CD for accompaniment, Piano keyboards, Music Ace Software, The Piano Student (Glover; primer), Hal Leonard's Piano Lessons (Book Two)

THURSDAY, October 13, 2016
B

Objective(s): (SWBAT) Studio I students review and perform basic chords in C Major. The students learn to identify chords by reading music and listening. The students complete a daily rehearsal routine.


 

Bell Ringer: Group Work

 1) Group  I:  Introduction to Harmony: Music Ace 2 (Session 24)

2) Group II:  Perform Selections from ien Older Beginner Book One (Unit One)


Anticipatory Set: (Hook) Basic Chords


 

Direct Instruction/Modeling: (TW/SW) The C Chord (notation)
 A. C Major Five Finger Position (Notation) 
 B. I and V7 Chords in C Major  


 

Guided Practice: (TW/SW) Individual Lesson Schedule

Independent Practice: Daily Practice Routine
I. Technique (Warm-Up)
    A. C Major Scale (Review)
    B. Hanon No. 38 (page 2; RH and LH separately 
II. Sight-Read C Major Melodies


 


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Notes of the Treble Staff (Session 7

 
FRIDAY, October 14, 2016
A

Objective(s): (SWBAT) Studio I students review and perform basic chords in C Major. The students learn to identify chords by reading music and listening. The students complete a daily rehearslal routine.


 

Bell Ringer: Introduction to Harmony: Music Ace 2 (Session 24)


Anticipatory Set: (Hook) Basic Chords


 

Direct Instruction/Modeling: (TW/SW) The C Chord (notation)
 A. C Major Five Finger Position (Notation) 
 B. I and V7 Chords in C Major  


 

Guided Practice: (TW/SW) Individual Lesson Schedule

Independent Practice: Daily Practice Routine
I. Technique (Warm-Up)
    A. C Major Scale (Review)
    B. Hanon No. 38 (page 2; RH and LH separately 
II. Sight-Read C Major Melodies


 


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Notes of the Treble Staff (Session 7)

MONDAY, October 17, 2016
B
Objective(s): The students learn to play piano by performing exercises and selections with specific interval patterns. The students learn to read music by identifying notes  on the treble and bass staffs and interval notation. The students learn to play piano by performing beginner level selections with an accompaniment and steady beat. The students will learn to play piano by working in ability groups. The students learn about music education technology by exploring how the tools are being used in other schools nationwide.


Bell Ringer(s):  Groups I, II, III
I. Group I: Daily Practice Routine (Warm-Up)
II. Group Two:
III. Group Three: Music Ace Computer Assessments (SLT)
 



Anticipatory Set: (Hook) Music Technology in Music Education

Direct Instruction/Modeling: (TW/SW) Group I: Daily Practice Routine
   A. Warm-Up ad Technique Hanon No. 38C (RH; note: sight-read and perform the L)
   B. Sight-Reading from  Middle C Position Sunlight Through the Trees (demo)
   C. Drill and Practice" I and V7 Chords in C Major
   D. Music Ace 2 Computer Drills (SLT)
  

Guided Practice: (TW/SW) Group II: Daily Practice Routine
 A. Warm-Up and Technique Hanon No. 38C (RH)
 B. Review: Melodic and Harmonic Interval patterns
 C. Drill and Practice Frere Jacques
  

Independent Practice: Group III: Daily Practice Routine
A. Warm-Up and Technique (with CD accompaniment; Hal Leonard's Piano Lessons -Book 2)
     1. My Own Song: "CDEFG"
     2. The C Major Scale 
B. Drill and Practice: "Ode to Joy" 
Closure/ Wrap up & Exit Ticket: Music Technology in Education

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT)
Group I: Music Ace 2 Lesson  22 (Intervals)
Group II: Music Ace  Lessons 7 and 13  - Treble and Bass Clef Note Names;
Group III: Music Ace Lessons 1 and 2
TUESDAY, October 18, 2016
A


Objective(s) The students learn to play piano by performing exercises and selections with specific interval patterns. The students learn to read music by identifying notes  on the treble and bass staffs and interval notation. The students learn to play piano by performing beginner level selections with an accompaniment and steady beat. The students will learn to play piano by working in ability groups. The students learn about music education technology by exploring how the tools are being used in other schools nationwide.


Bell Ringer(s): Interval Review (handout) 

Anticipatory Set: (Hook)Music Technology in Music Education

Direct Instruction/Modeling: (TW/SW) Group I: Daily Practice Routine
   A. Warm-Up ad Technique Hanon No. 38C (RH; note: sight-read and perform the L)
   B. Sight-Reading from  Middle C Position Sunlight Through the Trees
   C. Drill and Practice" I and V7 Chords in C Major
   D. Music Ace 2 Computer Drills (SLT)
  

Guided Practice: (TW/SW) Group II: Daily Practice Routine
 A. Warm-Up and Technique Hanon No. 38C (RH)
 B. Review: Melodic and Harmonic Interval patterns
 C. Drill and Practice Frere Jacques
  

Independent Practice: Group III: Daily Practice Routine
A. Warm-Up and Technique (with CD accompaniment; Hal Leonard's Piano Lessons -Book 2)
     1. My Own Song: "CDEFG"
     2. The C Major Scale 
B. Drill and Practice: "Ode to Joy" 
Closure/ Wrap up & Exit Ticket: Music Technology in Education

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT)
Group I: Music Ace 2 Lesson  22 (Intervals)
Group II: Music Ace  Lessons 7 and 13  - Treble and Bass Clef Note Names;
Group III: Music Ace Lessons 1 and 2
 

Materials:
 
TUESDAY, October 25, 2016
B
Objective(s): (SWBAT) The students learn to read music using interval concetpts. The students learn to play piano by sight-reading selections that emphasize intervals. Students improve piano skill by practicing daily.

Bell Ringer: Review Intervals

Anticipatory Set: (Hook) Listening to Performance Selections
1) Painted Rocking Horse
2) Watercolors

Direct Instruction/Modeling: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. selections from The Virtuoso Pianist (Hanon)
2) Sight-Reading
     a. Painted Rocking Horse (pages 1 and 2)
     b. Watercolors
3) Drill and Practice Selected Repertoire

Guided Practice: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. C Major Scale or (Music Alphabet)
2) Review Melodic and Harmonic Intervals
3) Drill and Practice Selected Repertoire

Independent Practice: Student Practice Sessions
I. Warm-Up
II. Sight-Read
III. Rehearse

Closure/ Wrap up & Exit Ticket: Intervals Review (Songs to remember intervals.)

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Lesson 18: Half Steps and Whole Steps and Music Ace 2 Computer Assessments (SLT) Lesson 22: Intervals
Materials:
 
WEDNESDAY, October 26, 2016
A
Objective(s): (SWBAT) The students learn to read music using interval concepts. The students learn to play piano by sight-reading selections that emphasize intervals. Students improve piano skill by practicing daily.

Bell Ringer: Review Intervals

Anticipatory Set: (Hook) Listening to Performance Selections
1) Painted Rocking Horse
2) Watercolors

Direct Instruction/Modeling: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. selections from The Virtuoso Pianist (Hanon)
2) Sight-Reading
     a. Painted Rocking Horse (pages 1 and 2)
     b. Watercolors
3) Drill and Practice Selected Repertoire

Guided Practice: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. C Major Scale or (Music Alphabet)
2) Review Melodic and Harmonic Intervals
3) Drill and Practice Selected Repertoire

Independent Practice: Student Practice Sessions
I. Warm-Up
II. Sight-Read
III. Rehearse

Closure/ Wrap up & Exit Ticket: Intervals Review (Songs to remember intervals.)

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Lesson 18: Half Steps and Whole Steps and Music Ace 2 Computer Assessments (SLT) Lesson 22: Intervals
 
THURSDAY, October 27, 2016
B
Objective(s): (SWBAT) The students learn to sight-reading selections in Middle C Position. The students learn to read music using interval concepts. The students learn to play piano by sight-reading selections that emphasize intervals. Students improve piano skill by practicing daily.

Bell Ringer: Middle C Position VS Regular C Position

Anticipatory Set: (Hook) Listening to Performance Selections
1) Painted Rocking Horse
2) Watercolors

Direct Instruction/Modeling: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. selections from The Virtuoso Pianist (Hanon)
2) Sight-Reading
     a. Painted Rocking Horse (pages 1 and 2)
     b. Watercolors
3) Drill and Practice Selected Repertoire

Guided Practice: (TW/SW) Group Instruction
1) Warm-Up
      a. technique
      b. C Major Scale or (Music Alphabet)
2) Review Melodic and Harmonic Intervals
3) Drill and Practice Selected Repertoire

Independent Practice: Student Practice Sessions
I. Warm-Up
II. Sight-Read
III. Rehearse
IV. Music Ace 2
     A. Beat and Tempo
     B. Hearing Rhythms
     C. Basic Rhythm Notation

Closure/ Wrap up & Exit Ticket: Review RH and LH Middle C Position

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Lesson 18: Half Steps and Whole Steps and Music Ace 2 Computer Assessments (SLT) Lesson 22: Intervals
 
MONDAY, October 31, 2016

Objective(s): (SWBAT) The students learn to perform the chords of the C Major Scale.


Bell Ringer: Review Scale and Chords in C Major


Anticipatory Set: (Hook) Music Theory for Beginners - C Major Scale, Building Chords from a Scale


Direct Instruction/Modeling: (TW/SW)  Triads (Notes)

      A. Lecture: In music and music theory, a triad is a three-note chord that can be stacked in thirds. Its members, when actually stacked in thirds, from lowest pitched tone to highest, are called:

 


Guided Practice: (TW/SW) Group Session(s)
I. Technique (Warm-Up)
   A. Hanon No. 38 (hands together)  
   B. C Major Scale
   C. C Major Five Finger Patterns
II. Sight-Reading
    A. Reflection
    B. Carmen's Tune
    C. Ode to Joy
    D. Please No Bees
    E. March


Independent Practice: Daily Practice Routine
I. Warm-Up
II. Sight-Read
III. Rehearse


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine. Each student must complete Music Ace Session 1 (before the next progress report grades are submitted).


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 24 Introduction to Major Scales


Materials:

 
TUESDAY, November 1, 2016

Objective(s): (SWBAT) The students learn to perform the chords of the C Major Scale.


Bell Ringer: Review Scale and Chords in C Major


Anticipatory Set: (Hook) Music Theory for Beginners - C Major Scale, Building Chords from a Scale


Direct Instruction/Modeling: (TW/SW)  Triads (Notes)

      A. Lecture: In music and music theory, a triad is a three-note chord that can be stacked in thirds. Its members, when actually stacked in thirds, from lowest pitched tone to highest, are called:

 


Guided Practice: (TW/SW) Group Session(s)
I. Technique (Warm-Up)
   A. Hanon No. 38 (hands together)  
   B. C Major Scale
   C. C Major Five Finger Patterns
II. Sight-Reading
    A. Reflection
    B. Carmen's Tune
    C. Ode to Joy
    D. Please No Bees
    E. March


Independent Practice: Daily Practice Routine
I. Warm-Up
II. Sight-Read
III. Rehearse


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine. Each student must complete Music Ace Session 1 (before the next progress report grades are submitted).


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 24 Introduction to Major Scales


Materials:

 
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
   
     
     
     
     
     
  Emergency Substitute Plans  
     
     
 

Objective(s): (SWBAT) The students review and drill  Hanon No. 6. The students sight-read and rehearse the Entertainer (Joplin).


Bell Ringer: Hanon No. 6 (Demo)


Anticipatory Set: (Hook) Hanon No. 6 (Tutorial)


Direct Instruction/Modeling: (TW/SW) Group Session I. Sight-Read "The Entertainer" (page one; lines 3 and 4)


Guided Practice: (TW/SW) Individual Lesson Schedule



Independent Practice: Daily Practice Routine

I. Warm Up (Technique) Hanon 1-4 and 6

II. Drill and Practice    

    A. The Entertainer (page one)    

   B. Spinning Top (entire)


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine.


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Session (SLT) Music Ace Session 13 and 14


Materials: Teacher Computer-Workstation, Student desktop computers, keyboards/electric pianos/synthesizers, black folders for students' music/notes/repertoire

 
 

Objective(s): (SWBAT) The students review chord progressions in C Major.The students participate in a piano master class. Selected students perform before a peer audience for bonus credit points. . Audience members (peer audience) rate the students’ performances. Selected students prepare for the Spring Piano recital by performing before a peer audience.


Bell Ringer: Students warm-up for 15 minutes. Review chord progressions in C Major (handout).


Anticipatory Set: (Hook) Jazz Master Class: Introduction to Improvision


Direct Instruction/Modeling: (TW/SW) Lecture: “What is a Master Class”

A master class is a class given to students of a particular discipline by an expert of that discipline—usually music, but also painting, drama, any of the arts, or on any other occasion where skills are being developed.

The difference between a normal class and a master class is typically the setup. In a master class, all the students (and often spectators) watch and listen as the master takes one student at a time. The student (typically intermediate or advanced, depending on the status of the master) usually performs a single piece which they have prepared, and the master will give them advice on how to play it, often including anecdotes about the composer, demonstrations of how to play certain passages, and admonitions of common technical errors. The student is then usually expected to play the piece again, in light of the master's comments, and the student may be asked to play a passage repeatedly to attain perfection. Master classes for musical instruments tend to focus on the finer details of attack, tone, phrasing, and overall shape, and the student is expected to have complete control of more basic elements such as rhythm and pitch. The value of the master class setup is that all students can benefit from the master's comments on each piece.

 


Guided Practice: (TW/SW) Master Class

  1. Bonus Credit for performers
  2. Peer audience members rate each performance based on specified criteria. The student performers receive bonus credit based on the average rating: (.1- 25 points)

Independent Practice: See bell ringer.


Closure/ Wrap up & Exit Ticket: Selected students give performers feedback on how to improve their overall performance.


Checking for Understanding (Possible Questions)/ Lesson Assessment: Peer Rating Sheets receive credit. Students who perform will receive bonus points for performing based on the average score from the peer rating sheet.


Materials: Internet Access, Teacher Computer/Workstation and Projector, Electric Piano, Peer Rating Sheets

 
 
Objective(s): (SWBAT)

The students survey the life, career and music of Claude Debussy.

The students determine the correlation between music and art in impressionism.

The students listen to the piano music of Claude Debussy.

The students create images that represent their interpretation of Debussy’s piano music.

The students discuss their images in peer groups, explaining how their images relate to the music they've heard. 

The students compare impressionism to jazz/ragtime.

The students complete a daily practice routine.

The students prepare for the annual Spring Piano Recital by practicing solo duet, and required repertoire.




Bell Ringer: Claude Debussy (Handout; Answers)

Anticipatory Set: (Hook) Lecture: Impressionism in Music and Art
Impressionism was mostly a movement in art.
   .

 (Note: Before that, artists' works were very realistic. See sample of "realism" in art. .)

Claude Debussy was one of the primary composers of Impressionist music. He wrote music for children.(Listening Samples) 
       


Direct Instruction/Modeling: (TW/SW) Listening Summary: Claude Debussy (Student led activity)
Directions: Use the standard listening summary format to survey the life, career, and music of Claude Debussy.
Claude Debussy


Guided Practice: (TW/SW) Create  and Discuss Impressionist Art
I. Listen to the music of Debussy.
    A. The Snow is Dancing        
    B. Jimbo's Lullaby         
    C. The Little Shepherd 
II. Use pencil and paper to create the images that you imagine.
III. Afterwards, use watercolors paint to add color to your pencil image.
IV.  Use the completed image to discuss your interpretation of Debussy's music. Make sure to tell your peers the name of the selection that your image represents. Explain your image and why you selected the colors.


Independent Practice: Daily Practice Routine
I. Warm-Up (Technique) Hanon No. 6
II. Sight-Reading: 
    A. The Entertainer
    B. Watercolors (Hal Leonard; handout)
III. Drill and Practice: Review the Introduction
IV. Computer Music Assessments (SLT) Music Ace Session 14


Daily Practice Routine


 

Closure/ Wrap up & Exit Ticket: Complete the artist rendering. Complete the routine listening summary Complete the daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: (see Bell Ringer).
1. Debussy was born in what country?
2. The style of music that Debussy created was called ______________________.

3. Debussy liked to experiment with the strict rules of composition (True or False).
4. How is Jazz (Ragtime music) different from Impressionist music?

Computer Music Assessments (SLT) Music Ace Session 14 (see computer schedule)


Materials: Handouts for Bell Ringer (Meet the Composers), Teacher Computer Workstation and Projector, Desktop Computers for Student Use, Internet Access,  Art Supplies for Student Images, Pencils, Student folders, with Piano Assignments, Electric Keyboards and Pianos

 
  Objective(s): (SWBAT)The students partiacipate in the Spring piano recital as performers or audience members. The students compare the music of Baroque, Classical, Romantic, and Contemporary eras through active listening.


Bell Ringer: Review the Behavior Expectations for Piano Recitals (re: Audience members don't talk during piano performances.)

Anticipatory Set: (Hook) Recital Program Format


Independent Practice:  Selected students perform independently before a peer audience.

Closure/ Wrap up & Exit Ticket: Closing Remarks at the end of Piano Recital

Checking for Understanding (Possible Questions)/ Lesson Assessment:
Materials:
 
     
   
  Objective(s): (SWBAT)The students partiacipate in the Spring piano recital as performers or audience members. The students compare the music of Baroque, Classical, Romantic, and Contemporary eras through active listening.


Bell Ringer: Review the Behavior Expectations for Piano Recitals (re: Audience members don't talk during piano performances.)

Anticipatory Set: (Hook) Recital Program Format

Direct Instruction/Modeling: (TW/SW)

Guided Practice: (TW/SW)

Independent Practice:  Selected students perform independently before a peer audience.

Closure/ Wrap up & Exit Ticket: Closing Remarks at the end of Piano Recital

Checking for Understanding (Possible Questions)/ Lesson Assessment:
Materials:
 
 

Note: This lesson was not taught on Wednesday. Classes were at the school wide Spring Concert. Therefore it will be taught on Thursday.

Objective(s):
(SWBAT)
The students survey the life, music, and career of Modest Mussorgsky. The students sight-read  the main theme of "Pictures at an Exhibition" (simplified) by Modest Mussorgsky. The students listen to and compare the theme of "Pictures at an Exhibition" to other impressionst works. The students learn to play the main theme of "The Entertainer" with hands together  in order to perform for the final exam (performance assessment).


Bell Ringer: Modest Mussorgksy. (Reading/Article Handout) Russian artist and architect Victor Hartman was a good friend of Modest Mussorgsky. When Hartman died at the age of 39, there was a memorial exhibit of his work. That inspired Mussorgsky to create his own tribute to Hartman -- a composition depicting ten pieces of art from the exhibit. "Pictures at an Exhibition" was originally written for solo piano, but quite a few people have made orchestral versions of the piece. The best-known one is by Maurice Ravel.


Anticipatory Set: (Hook) Listening: Pictures at an Exhibition
Pictures at an Exhibition
Music heard in this episode: Mussorgsky: Selections from Pictures at an Exhibition Mussorgsky: Promenade Mussorgsky: Gnome Mussorgsky: Old Castle Mussorgsky: Tuileries Mussorgsky: Bydlo Mussorgsky: Ballet of the Unhatched Chicks Mussorgsky: Samual Goldenberg and Schmuyle Mussorgsky: Limoges Mussorgsky: Catacvombae Mussorgsky: Conmortuis in Lingua Mortua Mussorgsky: Hut on Fowl's Legs Mussorgsky: Great Gate of Kiev

 


Direct Instruction/Modeling: (TW/SW) Listening Summary: Pictures At An Exhibition  (Students led)                                                                                    


Guided Practice: (TW/SW) Group Session I - Pictures at an Exhibition (simplied-handout) 


Independent Practice: Daily Practice Routine
I. Technique (Warm Up) I
I. Sight-Read Pictures at an Exhibition (hand out)
III. Drill and Practice The Enterainer (Drill hands together)


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine


Checking for Understanding (Possible Questions)/ Lesson Assessment:Music Ace Computer Assessments (SLT) Session 15-16


Materials:

 
 

Objective(s): (SWBAT) The students survey the life, music, and career of Modest Mussorgksy. The students sight-read  the main theme of "Pictures at an Exhibition" (simplified) by Modest Mussorgsky. The students listen to and compare the theme of "Pictures at an Exhibition" to other impressionst works. The students learn to play the main theme of "The Entertainer" with hands together  in order to perform for the final exam (performance assessment).


Bell Ringer: Modest Mussorgksy. (Reading/Article Handout) Russian artist and architect Victor Hartman was a good friend of Modest Mussorgsky. When Hartman died at the age of 39, there was a memorial exhibit of his work. That inspired Mussorgsky to create his own tribute to Hartman -- a composition depicting ten pieces of art from the exhibit. "Pictures at an Exhibition" was originally written for solo piano, but quite a few people have made orchestral versions of the piece. The best-known one is by Maurice Ravel.


Anticipatory Set: (Hook) Listening: Pictures at an Exhibition
Pictures at an Exhibition
Music heard in this episode: Mussorgsky: Selections from Pictures at an Exhibition Mussorgsky: Promenade Mussorgsky: Gnome Mussorgsky: Old Castle Mussorgsky: Tuileries Mussorgsky: Bydlo Mussorgsky: Ballet of the Unhatched Chicks Mussorgsky: Samual Goldenberg and Schmuyle Mussorgsky: Limoges Mussorgsky: Catacvombae Mussorgsky: Conmortuis in Lingua Mortua Mussorgsky: Hut on Fowl's Legs Mussorgsky: Great Gate of Kiev

 


Direct Instruction/Modeling: (TW/SW) Listening Summary: Pictures At An Exhibition  (Students led)                                                                                    


Guided Practice: (TW/SW) Group Session I - Pictures at an Exhibition (simplied-handout)


Independent Practice: Daily Practice Routine I. Technique (Warm Up) II. Sight-Read Pictures at an Exhibition (hand out) III. Drill and Practice Individual Repertoire


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine


Checking for Understanding (Possible Questions)/ Lesson Assessment:Music Ace Computer Assessments (SLT) Session 15-16


Materials:

 
 

Objective(s): (SWBAT) The students survey the life, music, and career of Maurice Ravel.


Bell Ringer: Maurice Ravel (Word Search Handout)


Anticipatory Set: (Hook) Listening Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt

Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Along with Claude Debussy, he was one of the most prominent figures associated with Impressionist music. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.

Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, use a variety of sound and instrumentation. Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".

 


Direct Instruction/Modeling: (TW/SW) Maurice Ravel


Guided Practice: (TW/SW) Individual Lesson Schedule


Independent Practice: Daily Practice Routine
I. Technique (Warm Up)
II. Sight-Read (The Entertainer - RH melody)
III. Drill and Practice (The Entertainer - LH)


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine


Checking for Understanding (Possible Questions)/ Lesson Assessment:Music Ace Computer Assessments (SLT) Session 15-16


Materials:

 
 

Objective(s): (SWBAT) The students will take a look at the sharp sign, the flat sign, half steps and whole steps. The students will  identify  3 major keys. These major keys are C major, F major and G major. Also, we will learn about the C, F and G major five finger scales.


Bell Ringer: Sharp and Flat Signs, Half Steps and Whole Steps, Keys of C, G, and F Major

Note: Final Exam Requirements (handout)


Anticipatory Set: (Hook) Music Ace Lesson: Sharps and Flats on the Staff 

Direct Instruction/Modeling: (TW/SW)  Listening "The Entertainer" (Bastien; simplified)

Guided Practice: (TW/SW) Master Theory Lesson 27: The Flat -- Sharp -- Natural

Independent Practice: Daily Practice Routine
I. Warm-Up (Technique)
    A. Hanon No 6 (ascending and descending)
    B. Haonn Nos. 1-4
II. Slght-Reading "The Entertainer " and Etude (Bastien)
    A. "The Entertainer" (Bastien)
        1. Melody (lines three and four; page one RH only)
        2. Harmony (Left Hand)
    B. Etude
 III. Drill and practice
       A.  "The Entertainer" (Bastien)
       B. Repertoire or Hanon drills (preparation for the Final Exam)

Closure/ Wrap up & Exit Ticket: Complete Master Theory Lesson 27: The Flat -- Sharp -- Natural

Checking for Understanding (Possible Questions)/ Lesson Assessment: Computer Assessments (SLT) Music Ace  15 and 16
Materials:

 
  Objective(s): (SWBAT) The students play Hanon No. 6, from the Virtuoso Pianist with both hands, (ascending and descending). Students sight-read "Etude" and perform in C, G, and F positions. The students perform the right hand of the Entertainer in "group class" format.

Bell Ringer: Group I Chords (handout; from Bastien's Older Beginner Book One)

Anticipatory Set: (Hook)  Listening "The Entertainer" (Bastien; simplified)

Direct Instruction/Modeling: (TW/SW) Group Session
I. Warm-Up (Hanon Nos. 1-6
II. Sight-Reading - Etude
III. Drill and Practice The Entertainer

Guided Practice: (TW/SW) Independent Lesson Schedule

Independent Practice: Daily practice routine.  

Closure/ Wrap up & Exit Ticket:

Checking for Understanding (Possible Questions)/ Lesson Assessment: Peer Assessments (Quantitative; video documents. )
Materials:
     
   
     
     
 
     
     
     
  EOC Testing Schedule (Note: students attendance is varied because of testing. Therefore, students are focusing on completing SLT requirements (see Computer Schedule).  Students are organizing work folders and review previous written assignments. The students  are practicing to prepare for final performance assessments).  



Objective(s):
(SWBAT)
The selected students complete Music Ace Computer Assessment 15 and 16. The students identify and review the notes below the bass staff. The students differentiate between same and differenct pitches. The students complete a daily practice routine. The students perform selections for bonus credit performances.

Bell Ringer: Review Bass Clef Note Names

Anticipatory Set: (Hook) Lecture: Differentiate Between Pitch and Volume 

Pitch vs volume. Loudness and pitch are characteristics of sounds. Loudness refers to the magnitude of the sound heard, and pitch is related to here are some more compilation of topics and latest discussions relates to this video, which we found thorough the internet. Hope this information will helpful to get idea in brief about this. The difference between pitch and volume is that pitch is determined by the frequency that sound waves vibrate at while volume measures how loud or soft sound . Below information will help you to get some more though about the subject what do pitch and volume mean when talking about sound waves? if i play this sound here, and then i play this sound, can you tell what the difference is? sound waves, then what exactly about the waves is different between the two?. Pitch is what distinguishes a high note from a low note. There is no direct proportionality between volume and amplitude, but when one rises, difference between pitch and volume?if a sound is high pitched ,doesn't it mean that sound is loud?
 

Guided Practice: (TW/SW)  Individual Lesson Schedule

Independent Practice: Daily Practice Routine
I. Hanon No. 1-4, and 6
II. Sight Reading N/A
III. Drill and Practice Repertoire
    A. The Entertainer (Simplified; Bastien)
    B. Spnning Top (Hauber)
    C. Watercolors (Hal Leonard: Book Two) 
  

Closure/ Wrap up & Exit Ticket: Complete the following:
I. Computer Assessments
II. Daily Practice Routine

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Sessions 15 and 16
Materials:
 
     
     
     
     
     
     
     

     
     
     
     
     
  Wednesday, March 19, 2014

Objective(s): (SWBAT) The students identify the life, career, and music of Clara Schumann.

Bell Ringer: Clara Schumann (handout)

Anticipatory Set: (Hook)

Before she was even born, Clara Schumann’s father had determined that she would be a star at the keyboard. Her father, Fredrich Wieck, was a piano teacher, and he saw to it that she studied music, performed and composed – all at an early age. Clara toured all over Europe, wowing audiences with her playing, and her compositions.

When Clara fell in love with Robert Schumann, who was studying with her father, Friedrich Wieck tried hard to stop them from getting married. It took years -- and a court battle -- before Robert and Clara could finally get married. But Clara and Robert Schumann became one of the greatest musical partnerships of all time. She gave the first performance of many of his pieces, including his piano concerto and was a tremendous influence on his music. She also premiered works by Chopin and Brahms. Even though she gave birth to eight children, and had great family responsibilities, Robert encouraged her compose. When Robert got sick, and after his early death, Clara supported her family by giving concerts and teaching. She continued to perform into her 70’s.



Direct Instruction/Modeling: (TW/SW) Clara Schumann

Guided Practice: (TW/SW)  Individual Lesson Schedules

Independent Practice: Daily Practice Routine
I. Technique - Hanon No. 6
II. Repertoire - Drill competitive repertoire

Closure/ Wrap up & Exit Ticket: Complete and submit the composer review sheet and listening summary on Clara Schumann.
Checking for Understanding (Possible Questions)/ Lesson Assessment: See bell ringer (review sheet)
Materials:
 
  Tals:
 
  Thursday, March 27, 2014
Objective(s): (SWBAT) The students reivew  sharps, flats, nautral, and accidental signs.
Bell Ringer: Master Theory Lessons 27 and 28

Anticipatory Set: (Hook)  Sharps, Flats, and Naturals

Direct Instruction/Modeling: (TW/SW) Lecture: Review Accidentals

Guided Practice: (TW/SW) Individual Lesson Schedules

Independent Practice: Daily Practice Routine

Closure/ Wrap up & Exit Ticket: Complete the daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Session 18
Materials:
 
  Monday, March 30, 2014
Objective(s): (SWBAT) The students identify the life, work, and music of Scott Joplin.

Bell Ringer: Scott Joplin

Anticipatory Set: (Hook) CBS News Article on Jazz Musician, Marcus Robert (Interviewed by Marsalis)

Direct Instruction/Modeling: (TW/SW)

Today, birthdays are very carefully recorded, but no one knows for sure exactly when Scott Joplin was born. According to the United States census taken in July of 1870, Scott Joplin was two years old. And no one is sure where Joplin was born, either -- it was probably in northeast Texas.

Scott Joplin's father was born into slavery in North Carolina; his mother was a freeborn woman from Kentucky. Both his parents were musical. When his parents separated, Scott's mother supported the family by cleaning houses, and he was allowed to use the piano in one of those houses. He taught himself to play.

As a teenager, Joplin started traveling. In Missouri, he played piano in saloons; for the 1893 World's Fair, he headed to Chicago, and played cornet in a band. After spending some time in college, Joplin moved on to St. Louis, the hotbed of ragtime music. Eventually, he wound up in New York City.

Scott Joplin wrote some songs and stage works, but he's best known as one of the greatest composers of piano rags. In 1976 -- almost 60 years after Scott Joplin died -- his opera Treemonisha was awarded a Pulitzer Prize.



Guided Practice: (TW/SW) Lecutre/Notes: Scott Joplin

Independent Practice:  Individual Lesson Schedules

Closure/ Wrap up & Exit Ticket: Complete the listening summary and daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 17
Materials:
 
Tuesday, April 1, 2014
Objective(s): (SWBAT) The students sight-rea a piano classic, "The Entertainer".

Bell Ringer:  The Entertainer

Anticipatory Set: (Hook) Listening

Direct Instruction/Modeling: (TW/SW) 
Group Session

Guided Practice: (TW/SW) Individual Lesson Schedules

Independent Practice:  Daily Practice Routine

Closure/ Wrap up & Exit Ticket: Complete the daily practice routine

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 17
Materials:

  Wednesday, April 2, 2014
Objective(s): (SWBAT) The students complete a "Writing Wednesdays" summary on the form of Scott Joplin's Ragtime music.

Bell Ringer: Writing Wednesday Sheet (handout)

Anticipatory Set: (Hook)

The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability has been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime.

When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "...cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic, "Ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march."With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation.[ Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work that opera historian Elise Kirk described as, "... more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."



Direct Instruction/Modeling: (TW/SW) Listening "Ragtime Music"

Guided Practice: (TW/SW) Individual Lesson Schedule

Independent Practice:  Daily Practice Routine
I. Technique (Warm-Up)
II. Sight-Reading - The Entertainer (RH)
III. Drill and Practice - The Entertainer (Introduction)

Closure/ Wrap up & Exit Ticket: Complete class activities

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Session 17

Materials:
 
  Thursday, April 3, 2014

Objective(s): (SWBAT) The students reivew sharps, flats, nautral, and accidental signs.


Bell Ringer: Master Theory Lessons 29
Anticipatory Set: (Hook) Sharps, Flats, and Naturals
Direct Instruction/Modeling: (TW/SW) Lecture: Review Accidentals
Guided Practice: (TW/SW) Individual Lesson Schedules

Independent Practice: Daily Practice Routine

Closure/ Wrap up & Exit Ticket: Complete the daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Session 19
Materials:
 
  Monday, April 7, 2014
Objective(s): (SWBAT) The students define and identify music and composers of the Impresssionist period.

Bell Ringer: What is Impressionism?

Anticipatory Set: (Hook) 

Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.



Direct Instruction/Modeling: (TW/SW) Claude Debussy

Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.



Guided Practice: (TW/SW) Listening Summary Claude Debussy
Independent Practice: Individual Lesson Schedule

Closure/ Wrap up & Exit Ticket: Complete listening summary and daily practice routine

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment)SLT Session 19
Materials:
 
  Tuesday, April 8, 2014
Objective(s): (SWBAT) The students work in group sessions to prepare the Entertainer.

Bell Ringer: The Entertainer

Anticipatory Set: (Hook) Review Primary Chords in C Major

Direct Instruction/Modeling: (TW/SW) Group Session The Entertainer

Guided Practice: (TW/SW)

Independent Practice: Daily Practice Routine
I. Warm-Up
II. Sight-Reading (The Entertainer in group session)
III. Drill and Practice Repertoire

Closure/ Wrap up & Exit Ticket: Complete the daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Session 19
Materials:
 
  Wednesday, April 9, 2013
Objective(s): (SWBAT) The students survey the work of Eric Satie.

Bell Ringer: Listening "Gymnopedes Nos. 1-3"

Anticipatory Set: (Hook)  Erik Satie was a French avant-garde composer born in 1866. He was also a writer who contributed to publications such as Vanity Fair. His work anticipated 20th century music and is considered minimalist by today's standards. Some compositions featured instruments which mimic animal sounds and other non-instrumental noises. In 1879 he entered the Paris Conservatory, where his teachers said he was a lazy and untalented pianist. He never finished at the school. He performed mainly for caberet and cafe audiences, as his work was not widely accepted by the public. He became friends with Maurice Ravel and Claude Debussy, who helped bring his work into the public eye. He died in 1925.

Direct Instruction/Modeling: (TW/SW) The Biography of Eric Satie



Guided Practice: (TW/SW) Individual Lesson Schedules

Independent Practice: Daily Practice Routine
I. Technique (Warm-Up
II. Drill and Practice: The Entertainer

Closure/ Wrap up & Exit Ticket: Complete listening summary on Eric Satie (writing Wednesday routine) and Daily Practice Routine

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 19
Materials:
 
  Friday, April 11, 2014

Objective(s): (SWBAT) The students survey the life, music, and career of Maurice Ravel.
Bell Ringer: Maurice Ravel (Word Search Handout)

Anticipatory Set: (Hook) Listening Maurice Ravel - "Le tombeau de Couperin" by Angela Hewitt

Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Along with Claude Debussy, he was one of the most prominent figures associated with Impressionist music. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.

Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, use a variety of sound and instrumentation. Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".



Direct Instruction/Modeling: (TW/SW) Maurice Ravel

Guided Practice: (TW/SW) Individual Lesson Schedule

Independent Practice: Daily Practice Routine
I. Technique (Warm Up)
II. Sight-Read (The Entertainer - RH melody)
III. Drill and Practice (The Entertainer - LH)


Closure/ Wrap up & Exit Ticket: Complete the daily practice routine)
Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 19
Materials:
 
  Monday, April 14, 2014
Objective(s): (SWBAT) The students explore the life, career, and music of Kabalevsky.

Bell Ringer: Composer Review Sheet: Kabalevsky (handout)

Anticipatory Set: (Hook)

Dmitri Kabalevsky was born in St. Petersburg, which was then the capital of Russia. He started playing the piano by ear when he was six. In 1918, after the Russian Revolution, the family moved to Moscow, where Dmitri finally started studying music -- including composition.

Kabalevsky lived in a difficult time and place for a composer. In the Soviet Union, the government told artists -- painters, writers, composers, you name it -- exactly what they were expected to create, and how it should look or sound. Kabalevsky managed to make the authorities happy as he continued to compose.

Kabalevsky wrote a lot of piano music, including pieces for children. He really enjoyed writing for children. Other Kabalevsky compositions include songs for children's chorus, and a set of songs for solo voice based on some wonderful Russian translations of Mother Goose rhymes. Of course, Kabalevsky also wrote plenty of adult pieces, including symphonies, concertos, and music for the theater.



Direct Instruction/Modeling: (TW/SW) Listening Summary: Kabalesky

Guided Practice: (TW/SW)  Individual Lesson Schedules

Independent Practice: Daily Practice Routine
I. Technique (Warm-Up)
II. Sight-Read (The Entertainer- RH on page 2)
III. Drill and Practice -

Closure/ Wrap up & Exit Ticket: Complete the listening summary on Kabalevsky and complete the daily practice routine.

Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 20
 
  Tuesday, April 15, 2104
Objective(s): (SWBAT) The students prepare for Final Exam Performance Assessments. The students sight-read RH melodies. The students rehearse Scott Joplin's Entertainer.

Bell Ringer: Sight-Reading RH melodies

Anticipatory Set: (Hook)

Sight-reading is the reading and performing of a piece of written music, specifically when the performer has not seen it before, also called a prima vista. Sight-singing is often used to describe a singer who is sight-reading.


Direct Instruction/Modeling: (TW/SW) Group Session "The Entertainer" (Joplin)

I. Warm-Up
   A. Studio Piano I (Hanoni 1-6; and, 38)
   B. Studio Piano II/III (Czerny: measures 1-6)
II. Review
   A. The Entertainer (Introduction)
   B. The Entertainer (LH; pages 1 and 2)
III. Sight-Reading
    A. The Entertainer
    B. RH only; page 1


Guided Practice: (TW/SW)  Individual Lesson Schedules


Independent Practice: Daily Practice Routine
I. Warm-Up, Rehearse "The Entertainer", or
II. Music Ace Computer Assessments (SLT) Session 20 


Closure/ Wrap up & Exit Ticket: Complete group and independent practice sessions.


Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessments (SLT) Session 20


Materials:

 
  Wednesday, April 16, 2014
Objective(s): (SWBAT) The students identify the life, career and music of Bela Bartok.

Bell Ringer: Composer Review - Bela Bartok (handout) and Listening: Microcosmos IV, No. 33

Anticipatory Set: (Hook)

Bela Bartók was born in Hungary. He started playing piano at an early age. At first, he was taught by his mother; later he attended and graduated from the prestigious Budapest Academy of Music.

Bartók was very interested in the folk music of his native land and, with Zoltan Kodaly, traveled throughout Hungary and other neighboring countries recording thousands of old songs. He wanted to use this music in a very natural way in his own compositions. You can hear the strong rhythmic patterns of the folk tunes  and their unique sounds in many of his pieces. One of his most famous works is the Mikrokosmos, which consists of over 150 pieces for teaching piano that are based on Hungarian music.

In 1940, Bartók moved to the United States to escape from Hitler and Nazism. He settled in New York City with his wife, where he taught at Columbia University and continued to compose. His health was never good, however, and he had constant financial problems. He died in 1945.

Bartók’s music was not very popular during his lifetime, but after his death he became one of the most well known composers of the 20th century.



Direct Instruction/Modeling: (TW/SW) Writing Wednesdays Listening Summary (Lecture/Notes)
I. Composer: Bela Bartok
II. Writing Wednesday
     A. listening summary
     B. writing template 

Guided Practice: (TW/SW)  Individual Lesson Schedules
Independent Practice: Daily Practice Schedule 
I. Technique - Warm-Up
II. Sight-Reading Microcosmos IV, No. 33
III. Drill and Practice- The Entertainer


Closure/ Wrap up & Exit Ticket: Complete the Writing Wednesday Listening Summary and the Daily practice Routine
Checking for Understanding (Possible Questions)/ Lesson Assessment: Music Ace Computer Assessment (SLT) Session 20
Materials:
 
     
     
 

 
     
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