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Middle School Unit Plan

Sara Sulecki

MUS 3470 – Instrumental Music Methods I

Fall, 2012

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Table of Contents

Title Page……………………………………………………………………………………Page 1

Table of Contents……………………………………………………………………………Page 2

Program Description………………………………………………………………………...Page 3

Music Choice and Preparation………………………………………………………………Page 3

Basic Information……………………………………………………………………….Pages 4 - 7

Historical Information…………………………………………………………………..Pages 8-10

Program Notes……………………………………………………………………………...Page 11

The Works……………………………………………………………………………..Pages 12-15

Preparation Guide……………………………………………………………………...Pages 16-17

Rehearsal Calendar…………………………………………………………………………Page 18

Program…………………………………………………………………………………….Page 19

Posture Checkup Rubric……………………………………………………………………Page 20

Performance Test Rubric…………………………………………………………………...Page 21

Practice Sheet………………………………………………………………………………Page 22

5 min Research Assignment……………………………………………………………….Page 23

VIP Performance Sheet…………………………………………………………………….Page 24

Practice Checklist…………………………………………………………………………..Page 25

Landler Variation Sheets………………………………………………………………Pages 26-28

Sources and Related Items………………………………………………………….…Pages 29-30

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Program Description

The program was designed for the Spring concert of the Awesome Middle School Advanced Orchestra. Awesome Middle School is a class B school, meaning that there are around 450 Full time equivalent students in the 7th and 8th grades at Awesome Middle School. This orchestra consists of mostly 8th grade students with some advanced 7th grade students mixed in as well. There are 10 first Violins 8 second Violins, 9 Violas, 5 Cellos and 2 Double Basses. The ensemble is mostly balanced with the Violins being the ‘weakest’ section. The basses play with good tone, but are still learning how to shift accurately and play in different positions. Across the board, students need to be able to identify sharps, flats and naturals and play them accurately on their instruments.

The Awesome Middle School Advanced Orchestra prepares four orchestra concerts a year and one chamber music concert near the end of the school year. There is about 9 weeks before the first concert, near the end of October. There is about 7 weeks to prepare for the second concert around mid-December. There are 8 weeks to prepare for the pre-festival concert is February 28th for MSBOA festival Sat. March 2, 2013. Assuming we do not go to State festival, there are 9 weeks to prepare for the Spring concert (this program), which would be around the first week of May. After this last concert students would break up into chamber groups and choose pieces to play for a less-formal Chamber Music concert around the first week of June.

The pieces we play throughout the year will be the focus of the curriculum. Students will play a variety of pieces and use those musical experiences to delve into deeper understanding of musical styles, improvisation, composition, history, and how it functions in society.

Music Choice and Preparation

I chose the pieces Four Royal Dances by Eric Ewazen, Variations on a Ground by Marsha Chusmir Shapiro and Landler by W.A. Mozart, arr. John Caponegro to play at the Spring Concert because they are all very cheerful and dance-like. The Landler is a German dance and the Ground on which Variations on a Ground is also very lively. In Four Royal Dances each dance has a different tone, but they are all represent more serious ‘courtly’ dances.

Justification: As I chose these pieces because I wanted to pretend that the Music Library was my personal Middle School Orchestra Library and I only had those pieces to choose from. I was immediately pulled toward Four Royal Dances because the name was familiar. After looking at the score, I realized I had played FRD in High School as an easier selection for one of the concerts. I then chose Variations on a Ground because I remembered that Marsha Chusmir Shapiro was one of the better composer/arrangers for young Orchestras. The last piece I chose was Landler because it was shorter and easier to balance out FRD (Grade 3) and Variations on a Ground (Grade 2.5). I knew that the piece wouldn’t be very challenging for my ensemble, but I chose it anyway to test myself to make it into an educational experience for my students.

Teacher’s Preparation: In order to teach this unit, it is important to brush up on Medieval music history, Dorian, Aeolian, and Mixolydian scales. It is also important to work out the Bass fingering in Variations on a Ground and prepare files in Sibelius or other Music Notation software to give students for their Group Landler Variations.

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Basic Information

Title: Four Royal Dances (Movement I. The Lord, Movement II. The Lady, Movement III. The Jester, Movement IV. The Knight)

Composer: Eric Ewazen

Arranger: NA

Publisher: Boosey & Hawkes, Inc.

Grade: 3

Style: Courtly Dances/ Medieval Character Pieces

Keys: Mvmt. I – D dorian Mvmt. II – Changes from E minor to B minor to G major/minor to E minorMvmt. III – C mixolydian, ends with F MajorMvmt. IV – G minor

Meters: Mvmt. I – 2/4Mvmt. II – 3/4 Mvmt. III – 4/4Mvmt. IV – 6/8, 9/8, 6/8, 3/4

Tempo: Mvmt. I – Allegro (quarter = 116)Mvmt. II – Andante (quarter = 80) Mvmt. III – Allegretto (quarter = 132)Mvmt. IV – Vivace (dotted quarter = 84)

Performance Time: Mvmt I about 1 min Mvmt II about 3 min 15 sec Mvmt III about 1 min 30 sec Mvmt IV about 1 min 45 sec Total: about 7 min 30 sec.

Instrumentation: Violin 1Violin 2ViolaCello BassPiano (optional)

Score: Full Score

Range Concerns: Mvmt I: Basses must play in III position

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Mvmt. II: Cellos must play in II positionMvmt III: Basses must play in II or III positionMvmt IV: Basses must play in II or III position

Requirements: Mvmt. I Lord (Students must be able to…)-Play in 2/4 time-Play quick sixteenth notes-Identify and demonstrate the difference between F# and F natural -Identify and demonstrate the difference between Bb and B natural-Read divisi parts-Play syncopated rhythms (viola/cello/bass)-Play dynamic ranges including mp, mf, and f, crescendo-Recognize style marks including staccato, tenuto, and hooked bowing-Play with space between the notes-Play 4th extension (cello)Mvmt. II Lady (Students must be able to…)-Play in 3/4 time-Play with long sustained bows (12 counts) without getting lost-Play legato, smooth and connected-Play dynamic ranges including p, mp, mf, f, ff, crescendo and decrescendo and sub. piano-Play sfz p-Play double stops with even distribution -Identify and demonstrate the difference between F#/F natural, C#/C natural, and G#/G natural-Identify and demonstrate the difference between Bb and B natural-Play retakesMvmt. III Jester (Students will be able to…)-Play eighth notes at a fast tempo-Play dynamic ranges including p, mp, mf, f, crescendo, sub. Piano-Identify and demonstrate the difference between F#/F natural, C#/C natural, and G#/G natural-Identify and demonstrate the difference between Bb and B natural-Play a gradual crescendo over the span of four barsMvmt. IV Knight (Students will be able to…)-Play in and switch between 6/8, 9/8, and 3/4 time signatures-Play with confidence on the off-beats (second beat) in 6/8-Play dotted eighth-sixteenth pattern-Play hooked bows (both double up and double down)-Identify and demonstrate the difference between Bb/B natural, Eb/E natural and Ab/A natural-Play double stops with even distribution-Play fast up-bows after slur two, while maintaining even sound-Understand and play the poco rit. At the end-Play 1st and 4th extensions (cello)

Title: Variations on a Ground

Composer: Marsha Chusmir Shapiro

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Arranger: NA

Publisher: Neil A. Kjos Music Company

Grade: 2 1/2

Style: Theme and Variations

Key: D Major

Meter: 4/4

Tempo: Moderato (quarter = 116)

Performance Time: 2 min 20 sec

Instrumentation: Violin 1Violin 2Viola (optional Violin 3)CelloBassPiano (optional)

Score: Full Score

Range Concerns: Basses must be comfortable playing in III position

Requirements: (Students will be able to…)-Play in D Major accurately with F# and C#-Play F# and C# on C string (violas)-Play a dynamic range of mp, and mf-Play left hand pizzicato on open strings (cello/bass)-Identify and demonstrate the difference between F#/F natural and C#/C natural -Play dotted quarter eighth note pattern-Play repeated quarter half quarter pattern -Play 4th finger extensions (cello)-Play double up bows-Play lift-retakes-Play quick eighth note and scalar passages -Play the last note (accent)

Title: Landler

Composer: Wolfgang Amadeus Mozart

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Arranger: John Caponegro

Publisher: Kendor Music, Inc.

Grade: 1

Style: Folk Song/ German Dance

Key: G Major

Meter: 3/4

Tempo: Allegro moderato (quarter = 138)

Performance Time: 1 min 40 sec.

Instrumentation:Violin 1Violin 2Viola (optional Violin 3)Cello BassPiano (optional)

Score: Full Score

Range Concerns: None

Requirements: (Students will be able to…)-Play an up-bow pickup into first measure-Play up-bow into M5-Observe repeat signs and second endings-Play indicated crescendos and decrescendos -Play a dynamic range including p, mf, f-Switch between arco and pizzicato -Lift and retake to up-bow-Play with light and detatched style

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Historical Information

Four Royal Dances was written in 1991 by invitation from Boosey & Hawkes as part of a new series of educational pieces for young string orchestra. The work was briefly out of print, but when several string teachers expressed their interest in the piece and dismay that it was out of print, the publishers reprinted it. Each movement represents a different character or mood that corresponds to the title of the movement; The Lord, The Lady, The Jester, and The Knight. This gives young students an idea to focus on and bring to life as they play and assists them in developing expression and musicality. Four Royal Dances was written after Eric Ewazen returned from an extended stay in Great Britain. The piece has a distinct Medieval flavor which fits with Ewazen’s sometimes ‘neoromantic’ style of composition.

Eric Ewazen was born in Cleveland, Ohio in 1954. He graduated with his bachelor’s degree from the Eastman School of Music and received his Master’s and Doctorate degrees from Juilliard School of Music, where he has been a teacher since 1980. He has written a plethora of compositions for a variety of ensembles and received many composition awards for his works. He is most known for his contributions to the Brass repertoire. Ewazen is also an accomplished cellist and very comfortable writing for young string players.1

Related History – 1991 and Medieval Music

1991

-Final Year of the Cold War – Soviet Union collapsed into 15 sovereign republics

-Start of the Gulf War with operation Desert Storm

-Germany formally regains complete independence from post WWII occupying forces France, UK, US and Soviet Union.

-Freddie Mercury, the lead singer of Queen dies

Medieval Music (500-1400)

-Differences in string instruments – shape, bow, strings, and resulting sound production

-Dance music improvised around a familiar melody, played in court

-music written with neumes, to show approximate pitches, added more lines, etc. to create our current notation

-Society organized by Manorialism (peasants organized into villages, that owed rent or labor to nobles) and Feudalism (Knights and lower status nobles owed military service to Lords)

1 Dabczynski, Andrew H., “Four Royal Dances, Eric Ewazen (b. 1954).” Teaching Music Through Performance in Orchestra Vol. 1. Ed. David Liettrell and Laura Reed Racin. Chicago: GIA Publications, 2001. 198-203. Print.

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Variations on a Ground

Variations on a Ground was written in 1987 when Marsha Chusmir Shapiro was on maternity leave. This is a modern composition based on passacaglia form, with the exception that it is in duple instead of triple meter. A Ground is a short melody that is repeated throughout the piece, usually played or sung by a bass instrument/voice. In this work the melody travels throughout the orchestra so everyone has a chance to play it.

Marsha Chusmir Shapiro was born in Rhode Island in 1950 and grew up in Southern Florida. Her primary instruments are Horn and Double Bass. Shapiro earned her Bachelor and Masters degrees from Florida State University where she eventually studied with Charles Carter. Her orchestration style is similar to his in the setting and both make sure that all the instruments get to play the melody or more interesting lines. Shapiro has taught at all levels in Florida at Volusia County Schools since 1972 and has numerous compositions published for young orchestras.2

Related History – 1987 and Baroque Passacaglia

1987

-The cartoon The Simpsons first airs on Television

-First Aeropostale clothing store opens in New York City, New York

-First National Coming Out Day is held in celebration of the second National March on Washington for Lesbian and Gay rights.

Baroque Music (1600-1750)

-Passacaglia (theme or ground is played in lower voice and upper voices improvise over the theme, in triple meter)

2 Shapiro, Marsha Chusmir, “Variations on a Ground, Marsha Chusmir Shapiro (b.1950).” Teaching Music Through Performance in Orchestra Vol 1. Ed. David Liettrel and Laura Reed Rancin. Chicago: GIA Publications, 2001. 150-153. Print.

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Landler

Landler is a short piece by W.A. Mozart from a collection of German dances in KV602, composed near the end of Mozart’s life. This piece was arranged by John Caponegro in 1991. Mozart was a well-known child prodigy pianist, violinist and composer. He wrote many works for solo instruments, small and large ensembles including symphonies and operas. In 1781 Mozart lost his prominent position under the Archbishop of Salzburg and spent the rest of his life in a near constant state of financial uncertainty. This piece was written in August of 1787 at the same time he was composing the second half of his opera Don Giovanni which is considerably darker in nature. Mozart died a poor and broken man at the young age of 35 in 1791.3

John Caponegro graduated with Bachelors and Masters degrees from the Manhattan School of Music and has completed extensive work at Columbia Teachers College, New York University and Long Island University. He has teaching experience at all levels, Elementary through High School. His compositions are created to suit the needs of very Elementary level orchestras.

Related History – 1791 see also 1991

-Vermont is accepted as 14th state

-Ratification of the first 10 amendments to the U.S. Constitution is completed.

-French Royal family is captured as they try and escape the French Revolution in disguise.

3 Michael Allen et al. Teaching Music Through Performance in Orchestra(Chicago: GIA Publications, 2001), 482-485

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Program Notes

Four Royal Dances was written by Eric Ewazen in 1991 by invitation from Boosey & Hawkes. Each movement represents a different character or mood that corresponds to the title of the movement; The Lord, The Lady, The Jester, and The Knight. This gives young students an idea to focus on and bring to life as they play and assists them in developing expression and musicality. Four Royal Dances was written after Eric Ewazen returned from an extended stay in Great Britain. The piece has a distinct Medieval flavor which fits with Ewazen’s sometimes ‘neoromantic’ style of composition. Eric Ewazen has been teaching at Juilliard since 1980 and has written a plethora of compositions for a variety of ensembles, particularly brass. He is an accomplished cellist and very comfortable writing for young string players.

Variations on a Ground was written in 1987 when Marsha Chusmir Shapiro. This is a modern composition based on the baroque passacaglia form, with the exception that it is in duple instead of triple meter. A Ground is a short melody that is repeated throughout the piece, usually played or sung by a bass instrument/voice. In this work the melody travels throughout the orchestra so everyone has a chance to play it. Marsha Chusmir Shapiro’s primary instruments are the French Horn and the Double Bass. The bass part in this piece is challenging and requires the student to shift frequently to different parts of the instrument.

Landler is a short piece by W.A. Mozart from a collection of German dances in KV602, composed near the end of Mozart’s life. Mozart was a well-known child prodigy pianist, violinist and composer. He wrote many works for solo instruments, small and large ensembles including symphonies and operas. This piece was arranged by John Caponegro in 1991, about 200 years after it was written. John Caponegro has teaching experience at all levels and his compositions are created to suit the needs of Elementary level orchestras. We have taken this piece and made it our own, each section has composed a variation to be played as a section solo instead of the repeats.

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The Works

Four Royal Dances – Eric Ewazen

Formal Analysis: Mvmt I: Primary Theme (A1) in First Violins – M1-8

Secondary Theme (A2) in First and Second Violins– M9-16Modified Theme (A1) in Second Violin and Viola – M17-24Primary Theme (A1) in Cello/Bass – M25-32

Transition into New Theme (B) in First and Second Violins M33-40Transition back to A M 41-42

Primary Theme (A1) Restatement in First Violins M43-48Codetta M49-52

Movement shifts back and forth between major and minor tonalityMvmt II: Introduction M1-2 E Aeolian

Primary Theme (A) in First Violins M3-9Primary Theme (A) in Second Violins and ViolaDevelopment of Theme (A) shifts through different tonal centers and sections M15-38Primary Theme (A) developed rhythmically. M39-48Climax in M48 sfz/subito pCoda – similar to introduction staggered entrances of theme. Ends with Picardy third over

a sustained E major chordMvmt. III: One thematic unit in C Mixolydian – made of two-measure phrase sections. M1-14

Driving quarter notes throughout the pieceDevelopment of thematic motifs – trade between sections and in different keys M14-35Recapitulation of theme and tonal center – M36-45Codetta – Theme is rhythmically augmented M43-45

Mvmt IV: Introduction establishes rhythm, character and tonal center – G AeolianTheme (A) is presented in First Violins M3-9Transition (similar to introduction) M10-11Restatement of Theme (A) by Cello M12-19Second Theme (B) is introduced M20-26 – E-flat and CTransition M27-28Third Theme (C) G Aeolian M29-36Theme (A) – staggered entrances of First and Second Violins M37-42Final Transition M43-44Recapitulation of Theme (A) M45-50Codetta in 3/4 rhythmically augmented ending M51-54 Ends with a fermata on a Picardy third4

Errata: Ritardando missing at the end of the Mvmt. II.

Performance Notes:

-Don’t take the first movement too fast, some passages in are slightly awkward.

4 Dabczynski, Andrew H., “Four Royal Dances, Eric Ewazen (b. 1954).” Teaching Music Through Performance in Orchestra Vol. 1. Ed. David Liettrell and Laura Reed Racin. Chicago: GIA Publications, 2001. 198-203. Print.

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-Melody keeps traveling between all the sections, make sure each section brings it out.

-Watch out for syncopation in M34 to end of Mvmt. I.

-Make sure rhythmic sections keep the tempo, without letting it drag or pushing it forward

-The Lady is rather slow, make sure to exaggerate dynamic changes and keep it moving to maintain interest.

-Watch out for accidentals throughout the entire work!

-Watch the staggered entrances at the ends of Mvmt. II.

-Make sure the Introduction to Mvmt. IV does not drag.

-Watch for changing meters in Mvmt. IV

-Dotted quarter/eighth and dotted eighth/sixteenth note patterns are prevalent in Mvmt. IV.

-Fast hooked bowings in Mvmt. IV could be very difficult.

Glossary of Terms:

div. (divisi) – Instead of playing double stops inside player plays one note while outside player plays the other.

non div. – Double stops, play both notes

Allegro – Quickly

a2 – Everyone plays the line

Andante – Walking tempo

sub. P – Suddenly piano

sfz p – Sforzando, very loud accent, followed quickly by piano

Allegretto – Slightly quicker than Allegro (a little faster)

Poco rit. – Slow down little by little

Concepts:

-Play in D Dorian, E Aeolian, C Mixolydian, and G Aeolian modes

-Recognize and play frequent accidentals

-Play syncopated rhythms and hemiola

-Play hooked down and up bows

-Present each movement with a different character.

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-Play in 2/2, 4/4, 3/4, 6/8, and 9/8 time

See also Four Royal Dances - Requirements (page 5)

Variations on a Ground – Marsha Chusmir Shapiro

Formal Analysis:

Theme and Variations

Theme in Lower Strings – M1-8Theme in Upper Strings, Lower Strings Countermelody – M9-16Theme in Lower Strings – M17-24Theme in First and Second Violins everyone else has scalar accompaniment– M25-32Theme in Viola/Cello and Violins have countermelody – M33-40Theme in Viola, Cello 8va and 3rd down – M41-48Theme pizzicato in Upper Strings with arpeggiated accompaniment in lower strings – M49-56Theme in Cello/Bass, rest of the voices is staggered toward the end in a sort of mini-fugue M57-65Errata: None

Performance Notes:

-Make sure ensemble does not rush, very easy to do in this piece.

-Make sure the section playing the ground brings it out.

-Students need to observe the bow lifts and the staccato quarter notes in each statement of the ground.

Glossary of Terms:

Ground – Theme or melody usually played in the lower voice while upper voices play variations over it.

Variation – Altering the original theme to create interest. Can change the notes, rhythm, articulation, etc.

Moderato – At an easy (almost walking) tempo

Opt. – optional

Tutti – Everyone plays together

Cues – Optional part written in to the music that is already being played by another section.

Concepts:

-Playing variations based on a theme.

-Being able to identify the theme within a variation.

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-Play scalar passages as a variation on the theme.

-Play without rushing the rhythm, especially the dotted quarter/eighth pattern

-Play the mini-fugue at the end without getting lost or thrown off by the other sections

-See also Variations on a Ground – Requirements (page 6)

Landler – W.A. Mozart/ arr. John Caponegro

Formal Analysis: Sonata Form with the pattern ABA forming the exposition, CD the development and ABA as the recapitulation.

Theme (A) M1-8, RepeatTheme (B) M9-16Theme (A) M17-24Theme (C) M25-32, RepeatTheme (D) M33-40, RepeatTheme (A) M41-48Theme (B) M49-56Theme (A) M57-64

Errata: None

Performance Notes:

-Each section has a theme to make a variation on, make sure it is easy for them to follow and clearly marked which section is playing where.

-Make sure to play with a light, separated style

-Be careful not to rush, Landler is not a fast dance, precursor to the Waltz

Glossary of Terms:

Sonata Form – Exposition, Development and Recapitulation

Concepts:

-Play pickup notes into each phrase

-See also Landler – Requirements (page 7)

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Preparation Guide

Objectives for Students:

1) Play their part with both accuracy and musicality. 2) Play their part in the correct style.3) Recognize the role their part plays throughout the piece (melody/harmony)4) All strings – play in tune with correct rhythm and dynamics5) Successfully play dotted rhythms, syncopation and hemiola6) Recognize what the other instrument parts are doing.7) Recognize the characteristics of a Theme and Variations.8) Make connections with other musical pieces of the same composer.9) Make connections with other musical pieces by different composers.10) Make connections between the music and other historical and social circumstances.11) Play with proper posture and instrument carriage

Strategies and Activities:

The teacher will: -Identify a focus for each rehearsal and make it known to the students by writing it on the chalk/white board.-Keep students focused and on task.-Encourage listeningThe students will:-Attend class focused and ready to learn with all necessary equipment (instrument, music, pencil)-Practice regularly (even if only a little bit)-Do their best work

-Character Activity: Students will be put into four groups based on section, 1st violins, 2nd violins, Viola, and Cello/Double Bass together. Each group will get one large sheet of paper and a character from Four Royal Dances. Students will carefully trace the outline of one of their peers and draw their character. I will provide examples on the board/overhead of authentic Medieval attire. Students will brainstorm a list of character traits that suit their person (The Lord, The Lady, The Jester or The Knight) and will come up with a back-story for each. This should help develop musicality in each movement. Objectives 1 and 2

-Composition Activity: Students will get into groups by section and compose a variation based on one of the themes in Landler to be played instead of repeating the theme. (pages 26-28)

Assignments for Students:

-5 min Research Project: Students will receive an index card with a word that pertains to this unit on it. They will take the card home and write as much as they can on the lined side of the card which will be shared with the class and added to the Word Wall. (page 23) Objectives 7, 8, 9, 10

-Practice Checklist for Four Royal Dances: Students will develop productive practice habits as they follow the practice guide. (page 25) Objectives 1, 2, 4, 5

-VIP Performance Sheet (page 24) Objectives 1, 2, 4, 5

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-Listening Assignment: Students will visit the class website: www.symphonyinwriting.weebly.com and follow the directions for the listening assignment listed under Music Students – Helpful Videos. (students will listen to each movement of Four Royal Dances while following along in their part and listen to the final video and answer the questions comparing those examples of Medieval music to Four Royal Dances) Objectives 3, 6, 8, 9, 10

-Students will also listen to a recording of themselves and analyze what they need to work on/ improve. Calendar (page 18) Objectives 1, 2, 3, 4, 5, 7

Practice Guide:

-Practice Checklist for Four Royal Dances (page 25)

-Practice Sheet (page 22)

Evaluation of Students:

-Playing Tests and Posture Checkup on Calendar (page 18) and PT Rubric (page 21) and Posture Checkup Rubric (page 20) Objectives 1, 2, 3, 4, 5, 7, 11

- Regular checks to see if students are completing their Practice Checklists and VIP Performances

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Rehearsal Schedule Calendar:

Monday Tuesday Wednesday Thursday FridayWeek 1 Warmup, Review One

octave D M/m scalesSightread: FRD – Lord Introduce practice checklist and VIP Sheet

Warmup, D M/m scales Sightread: Variations, Play through opening of FRD – Lord, Introduce Listening Assignment

Warmup, Sightread: Landler, Introduce D dorian scale and compare to D M/m scales Play through FRD – Lord

Warmup, Review D M/m and dorian, Play through FRD – Lord and Variations

Playing Test: D M/m and D dorian scales Sightread FRD - LadyPlay through FRD - Lord (Landler if time)Reminders

Week 2 Warmup, check students VIP and Practice Checklists Review one octave G M scale Play through FRD - Lady and Lord (if time)

Warmup G M and play through Landler and Variations Introduce 5 Min Research due Friday

Warmup play through Variations Focus on FRD - Lady

Warmup play through FRD – Lady, Sightread: FRD - Jester Remind students about 5 min research due Fri.

5 Min Research presentations Posture CheckupPlay through FRD – Lord, Jester Reminders

Week 3 Warmup, check students VIP and Practice Checklists focus on Variations and sightread: FRD - Knight

Warmup, Scales and play through Variations and focus on FRD - Jester

Warmup, focus on FRD – Jester and Knight

Warmup, Review Variations PT play through FRD – Lord, Lady, Jester, Knight (if time)

Warmup, PT – Variations play through Landler, Landler – Variation Group Composition

Week 4 Warmup, check students VIP and Practice Checklists, Show off Landler-Var., focus on FRD – Knight if time

Warmup, remind about Listening Activity, focus on FRD – Jester and Knight, Lord (if time)

Warmup, play through Variations, focus on FRD – Knight, Lady and Jester (if time)

Warmup, focus on FRD Review PT on Lord/Lady and rubric

Playing Test:FRD – Lord/Lady Play through Landler-Var. and Jester/Knight (if time)

Week 5 Warmup, check students VIP and Practice Checklists, focus on FRD – Jester/Knight

Warmup, focus on Variations and FRD (all)

Warmup, focus on Ladler – Var. and FRD (all)

Warmup, focus on Variations and FRD (all) Review PT and rubric

Playing Test: FRD – Jester/Knight Listening due Mon.

Week 6 Warmup, check students VIP and Practice Checklists and Listening Activity focus on FRD (all)

Warmup, play through and record Ladler – Var. focus on FRD (all) (if time)

Warmup, focus on Variations and FRD (all)

Warmup, focus on Landler – Var. and FRD (all) Review PT and rubric

Playing Test: Landler – Var. and Posture Checkup FRD (all) (if time)

Week 7 Warmup, check students VIP and Practice Checklists, focus on FRD (all) and Variations (if time)

Warmup, focus on FRD (all) play through Variations and Landler – Var. (if time)

Warmup, play through and record Variations focus on FRD (all)

Warmup, focus on FRD (all) Review PT and rubric

Sightreading, play through and record FRD – Lord, and FRD - Lady

Week 8 Warmup, check students VIP and Practice Checklists play through and record FRD – Jester and Knight

Warmup, listen to recording of Landler-Var. and Variations difference?

Warmup, listen to FRD (all) Difference? Play through all pieces

Warmup, play through all pieces and focus on weakest, if time

Warmup, play through all pieces and focus on weakest, if time

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The Awesome Middle School Advanced Orchestra

Presents:

Skipping into Spring

May, 2013

Four Royal Dances Eric Ewazen (b. 1954)

Variations on a Ground Marsha Chusmir Shapiro (b. 1950) Landler W.A. Mozart/ arr. John Caponegro (b. 1935)

1st Violins*Minnie McGonagallAlbus DumbledoreJane UmbridgeSirius BlackLily EvansGinevra WeasleyDraco MalfoySalazar SlytherinHelga HufflepuffDobby Thehouseelf

2nd Violins*Hermione GrangerHarry PotterNeville LongbottomKatie BellRemus LupinCho ChangVernon DursleyPeter Pettigrew

Viola*Luna LovegoodNymphadora TonksPansy ParkinsonFred WeasleyCedric DiggoryRubeus HagridPetunia DursleyArthur WeasleyBellatrix Lestrange

Cello*James PotterOliver WoodMolly WeasleyGodric GryffindorRowena Ravenclaw

Bass*Severus SnapeGeorge Weasley

* Indicates Section Principal

Special Thanks To:Principal Rowling supporting the Orchestra programBooster Club for assisting in passing out uniforms and organizing refreshments after the concertArt Department for creating the programsSchool staff who are keeping the building openParents for supporting your studentsEspecially, the students for working so hard on the music

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Posture Checkup Rubric3 2 1

Feet Feet are flat on the floor

Feet are on the floor, but crossed

Both feet are not on the floor

Seat Sitting on the edge of seat, back straight, off the chair

Sitting on the edge of seat, leaning back against the chair

Not sitting on the edge with a hunched back

Carriage Instrument is in the correct position with straight wrists

Instrument is in the correct position with collapsed wrists

Instrument is sagging/incorrect position with collapsed wrists

Left-hand Fingers Fingers are arched/curved playing on the tip (vln/vla) Fingers are curved playing on the finger pad (cello/bass)Thumb is relaxed

Fingers are arched/curved playing on the finger pad (vln/vla) Fingers are not curved playing on the finger pad (cello/bass) Thumb is relaxed

Fingers are not curved playing on the finger pad (vln/vla) Fingers are not curved playing on the fingertips (cello/bass) Thumb is tense (bent oddly or Banana thumb)

Bow hold Fingers are appropriately curved over the stick pinkie on top of screw (vln/vla) Thumb is bent

Fingers are appropriately curved over the stick pinkie on top of screw (vln/vla) Thumb is not bent (banana thumb)

Fingers are straight/rigid pinkie is not on top of screw (vln/vla) Thumb is not bent (banana thumb)

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Performance Test Rubric

Musical Category 4 3 2 1Rhythm The beat is secure

and the rhythms are accurate for the style of music being played.

The beat is secure and the rhythms are mostly accurate. There are a few duration errors, but these do not detract from the overall performance.

The beat is somewhat erratic. Some rhythms are accurate. Frequent or repeated duration errors. Rhythm problems occasionally detract from the overall performance.

The beat is usually erratic and rhythms are seldom accurate detracting significantly from the overall performance.

Pitch Virtually no errors. Pitch is very accurate.

An occasional isolated error, but most of the time pitch is accurate and secure.

Some accurate pitches, but there are frequent and/or repeated errors.

Very few accurate or secure pitches.

Tone Quality Tone is consistently focused, clear, and centered throughout the range of the instrument. Tone has professional quality.

Tone is focused, clear and centered through the normal playing range of the instrument. Extremes in range sometimes cause tone to be less controlled. Tone quality typically does not detract from the performance.

Tone is often focused, clear and centered, but sometimes the tone is uncontrolled in the normal playing range. Extremes in range are usually uncontrolled. Occasionally the tone quality detracts from overall performance.

The tone is often not focused, clear or centered regardless of the range being played, significanltly detracting from the overall performance.

Articulation/Style Secure attacks. Markings (staccato, legato, slur, accents, etc.) are executed accurately as directed by the score and/or the conductor.

Attacks are usually secure, though there might be an isolated error. Markings are executed accurately as directed by the score and/or the conductor.

Attacks are rarely secure, but markings are often executed accurately as directed by the score and/or the conductor.

Few secure attacks. Markings are typically not executed accurately.

Phrasing Phrasing is always consistent and sensitive to the style of music being played.

Phrasing is usually consistent and sensitive to the style of music being played.

Phrasing is usually consistent and occasionally sensitive to the style of music being played.

Phrasing is rarely consistent and/or rarely sensitive to musical style.

Dynamics Dynamic levels are obvious, consistent, and an accurate intrepretation of the style of music being played.

Dynamic levels are typically accurate and consistent.

Dynamic levels fluctuate but can be discerned.

Attention to dynamic levels is not obvious.

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Practice Sheet

Name:

This sheet is for your benefit only! I am not going to check them, it is simply a tool to help you stay organized and remember to practice at least a little every day.

Time (min) Parts/ Pieces practiced

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Notes:

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Five Minute Research Assignment

Teacher: Passes out index cards with a musical term/composer/piece of music.

Students: Write as much about their given subject as they can on the lined side of the index card, brings it back to class and shares.

Teacher: Binds cards to make a class Word Wall of this Unit.

List of terms:

Feudalism Passacaglia Sonata-Allegro Form

Vassal Leopold Mozart Binary Form

Mozart – Late life Child Prodigy Rounded Binary Form

Theme and Variations Medieval Bow Medieval Instruments

Ground Baroque Bow Tutti

Landler Vienna Classical style

Die Zauberflote Cues Subito piano

Allegro Moderato Sonata Form poco ritardando

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VIP (Very Important Person) Performance Sheet

Name: Instrument:

Directions: One very important aspect of being a musician is performing in front of others. That is what this assignment gives you an opportunity to do. The student is to select a VIP or Very Important Person each week and play their assignment for them.

The VIP is to sign off that the student played for them and write any comments they might have.

Week 1: FRD - Lord VIP Signature:

Comments:

Week 2: Landler VIP Signature:

Comments:

Week 3: FRD - Lady VIP Signature:

Comments:

Week 4: Variations on a Ground VIP Signature:

Comments:

Week 5: FRD – Jester VIP Signature:

Comments: Improvement? Y or N

Week 6: FRD – Knight VIP Signature

Comments: Improvement? Y or N

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Practice Checklist: Four Royal Dances

Name: Instrument:

Directions: Read through the Steps carefully. If you are learning a new section, follow the steps in order and check them off as you practice. If you are practicing a section you are already familiar with, start at step 3. Put multiple check marks in each box. There should be more in boxes 3-6 and at least one check mark in boxes 1 and 2.

Warmup: Don’t forget to warm up with a one octave scale in the key of the piece and any exercises handed out in class.

Step 1: Look at the section, what potential problems do you see? What areas do you know need work? Clap the rhythm at a slower consistent tempo. Repeat until confident.

Step 2: Look at the notes and finger through the passage before playing. What finger pattern(s) do you need to use?

Step 3: Play through the section at a slower tempo. If you get stuck, break down the problem area into the smallest parts, then, play it very slowly, once the problem(s) is corrected, you may gradually speed the section up.

Step 4: Play through the section and pay special attention to the Intonation and Tone. How do you sound (warm, scratchy)?

Step 5: Play through the section and pay attention to the bowing and articulation. Are you playing all the accents/staccato/legato markings? Are you using the correct bowing?

Step 6: Play through the section and pay attention to where the phrases begin and end. Are you giving each ‘Idea’ a character? Are you playing with appropriate dynamic differences?

*At any time - Listen to a recording online to see if what you are playing matches what the piece should sound like. Use the class website www.symphonyinwriting.weebly.com.

Step 1 Step 2 Step 3 Step 4 Step 5 Step 6I – M 1-24I – M 25-52II – M 1-26II – M 27-53III – M 1-20III – M 20-45IV – M 1-27IV – M 28-54

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Sources

Bibliography

Recordings

Four Royal Dances by Hopkins Jr. High String Orchestra

The Lord - http://www.youtube.com/watch?v=u3_5VtnICMQ

The Lady - http://www.youtube.com/watch?v=YVX8PmM7334

The Jester - http://www.youtube.com/watch?v=ZVZ2w5OqqrM&feature=relmfu

The Knight - http://www.youtube.com/watch?v=JVJMMHO__h4

Books

Michael Allen et al. Teaching Music Through Performance in Orchestra(Chicago: GIA Publications, 2001), pgs. 150-153, and 198-204.

MSBOA Yearbook, 2011-2012, Pg 62

Websites

http://www.wikipedia.com

http://www.wmea.com/CMP/teaching_plans/Four_Royal_Dances.html

https://www.kendormusic.com/store/index.php?_a=viewCat&catId=232

www.symphonyinwriting.weebly.com

Related Items

Eric EwazenConcerto for Horn and String Orchestra Medium Advanced Level, Theodore Presser Co.Bridgehampton Suite for Flute, Violin, Viola and Cello, Advanced Level, Theodore Presser Co.

Marsha Chusmir ShapiroSeasons of Celebrations, Medium Level, Imagine Music PublishingFolk Songs of Israel, Medium Easy Level, Shawnee PressBezhit Reka, Medium Easy Level, TRN Music Publishing CompanySimilar works by other composers

John CaponegroCannon in D, Easy Level, Kendor Music, Inc.Canyon Sunset, Easy Level, Kendor Music, Inc.Let it Snow, Easy Level, Kendor Music, Inc.

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Works by other composers:

221B Baker Street by Jeffrey Bishop, Wingert-Jones PublicationsAboriginal Rituals by Elliot Del Borgo, Alfred Publishing Co., Inc.Adventure on the High Seas by Lorie Gruneisen, Kendor Music, Inc.Afterburn by Brian Balmages, FJH Music Company Inc.Agincourt by Doug Spata, Alfred Music Publishing