Lesson 1: Discovering and Defining a Phrase

Design Topic: Phrasing

Designer: Rosie OConnor

Subject(s) Treble Ensemble

Grade(s) 10th
Number of Students: 29
Date of Lesson: 10/6/2015

STAGE 1 DESIRED RESULTS

Central Focus: The description of the central focus of my learning segment is interpreting a phrase of choral
music. The purpose of my learning segment is to teach students how musical phrases can be interpreted
differently through manipulation of voice and dynamics. Students will learn about artistic options of musical
interpretation, as well as the cultural context, and the reasoning behind the composers decisions. Students will
critique and analyze the choir sound as a whole, along with suggesting improvements for the overall good of the
piece.
Lesson 1 Focus: Defining what is a phrase and why is it important.
National Core Arts Standards
MU:Pr6.1.E.Hs novice
o Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised
performances of a varied repertoire of music.
MU:Pr4.3.E.Hs intermediate
o Demonstrate understanding and application of expressive qualities in a varied repertoire of music
through prepared and improvised performances.
Learning Objectives:
Students will be able to demonstrate an
understanding that phrasing can be interpreted
in a variety of different ways by performing
musical excerpts from their selected pieces.
Students will be able to demonstrate an
understanding of musical terms used to
describe phrasing by using these terms
throughout the lesson.
Students will be able to analyze a piece of
music and identify a phrase of musical work.
Students will be able to question a composers
intent when referring to their phrasing
decisions.
Students will be able to identify the most
important words of a phrase
Students will utilize musical words describing
phrasing such as phrase, arch, expression, and
musical intent.

Essential Questions:
How does the structure of a musical phrase
create its order and clarity?
What are the composers or arrangers intent
behind their phrasing?
How can we showcase the music to its best
potential?

Instructional Strategies:
Constant and consistent feedback.
Repeating and rephrasing directions.
Allowing time for individual and partner work.
Informal questioning
Model desired skills and outcomes
Student self-assessments

Materials:
Whiteboard and dry erase markers
Ballad of Sweeney Todd arr. Andy Beck
Salmo 150 by Ernani Aguiar
Truly Brave arr. Mac Huff
Recording device

STAGE 2 ASSESSMENT EVIDENCE

Performance Tasks:
The students will demonstrate an understanding of
musical phrasing through vocalizing specific sections of
the pieces rehearsed in class. Students will also
demonstrate and appropriate use of musical terms.

Informal Assessment:
Students will be informally assessed throughout the
lesson by their participation and active involvement.

Key Vocabulary in Lesson:

Phrase, expression, arch, musical intent, crescendo,
diminuendo, dynamics, staggered breathing.

STAGE 3 LEARNING PLAN

Lesson Title: Discovering and Defining a Phrase
Summary of Learning Activities:
Lesson Introduction
Vocal Warm-ups:
At the first bell, I will play a D Major chord. I will play a D in octaves then put the rest
of the chord in (3rd and 5th scale degree). The students know that this means they should
stand up and listen for what warm-up they will begin to sing.
5,3,4,2,3,1,2,7,1. On the syllable Mee, meh, mah, mo, moo going down
o The students will not receive help from the piano on this section. I will play the
root of the first chord and then walk away from the piano.
o I will conduct a basic four pattern and sing the root of chord going down so the
students can reference where their next starting note is.
o The students will be reminded to relax their bodies and move around to stretch
any tension away.
o The students will be reminded of not pushing their voice too low during this
exercise. (Not singing lower than what is healthy).
o The students will be reminded to not going flat on mah or the 4th scale degree.
5,1,5,1,5,1,5,3,1. On the syllables Mee, eh, mee oh, mee ah going up.
o This exercise can be found in The Choral Warm-Up Collection, Compiled
and Edited by Sally K. Albrecht page 77.
o The students will not receive much help from the piano.
o I will play the first note and then sing the root of the chord for the following
modulations going up.
o This exercise helps with phrasing by having the students sing through the high
notes.
o I will conduct a four pattern to help the students stay on the beat.
1,2,3,4,5,4,3,2,1 starting on Bb.
o All students will sing this exercise. I will not give any indications on how the
phrasing should be accomplished for the first time through.
o The second time through I will ask the students to diminuendo as the reach the
top of the scale, and the third time I will ask them to crescendo to the top of the
scale.
o I will tell the students to put in direction to the notes, so that it sounds like the
music is going somewhere.
o This will demonstrate an artistic interpretation of a phrase as a segue into the
lesson about phrasing.

TIME
Time Frame:
42 Minutes

2 Min.

2 Min.

2 Min.

3 Min.

Learning Activities
Students will be directed to look at the white board. This text is taken directly from the
piece The Ballad of Sweeney Todd. This is the section of text the students will be
working on during this lesson.
o No one can help, nothing can hide you. Isnt that Sweeney there beside you?
o No one can help. nothing can hide you. Isnt that Sweeney there beside you.
o No one can help! nothing can hide you! Isnt that Sweeney there beside you!
! Students will read this aloud and discuss with a partner how these
phrases are different. All of these are phrases but are constructed
differently.
Students will be asked, What do we know about a musical phrases?
o I will help the students by saying a phrase is like a musical sentence.
o I will have the students think of a phrase in English such as writing and
speaking in conversation. How does someone else know when a thought is
finished?
o I will ask students to turn to a neighbor and briefly discuss for 30 seconds their
answer.
o One partner from each pair will share their answer with the class.
o I will write some of these answers on the whiteboard to document what the
students have said. This will help the students who learn visually.
Next, I will guide the discussion by asking the students to open up page 12 measure 122
in The Ballad of Sweeney Todd.
o The students will sing page 12 and 13 of Sweeney Todd.
! The students should know state that at this particular part in the piece
the students are building and building by adding a phrase on top of
another phrase to build intensity at this point of the piece.
o I will ask the students how they can improve on their phrase.
! Sing through the note, find the peak of the phrase, crescendo and
diminuendo through the phrase, and find out which are the most
important words.
! The students will get two to three tries to improve their phrase.
! The students will focus on a few more phrases in this piece.
! I will then have the students focus on the top of this page, measures
143-148.
This phrase in this spot is particular interesting because the
soprano and alto part cuts off half way through the phrase.
! Students will then run the rest of the piece.
o I will then ask the students to open up Truly Brave arranged by Mac Duff.
! Have the students open to page 11, and sing through the piece to the
end. I will have the students notice that on measure 71 and 72 that the
focus of the songs change from True Colors to Brave.
! I will ask the students why the arranger decided that this should
happen?
I will ask the students how this adds intensity to the piece.
! The students will sing this phrase with the phrasing that they decide is
best suited for this particular part of the piece.
o Next, I will then inform the students that we are going to record one section of a
rehearsed piece. Students will be able listen to their recording during the next
lesson. Engagement will be high due to the novelty of this activity.
! Students will then be recorded. I will allow the students 2 or 3
recordings to ensure they are achieving the sound they want to produce
as a choir.

2 Min.

4 Min.

1 Min.

5 Min.

5 Min.

2 Min.

1 Min.

5 Min.

6 Min.

Closure
o

The students will then open to the piece Salmo 150. I will ask the students to
look at the top of page 2 and identify the peak of the phrase. This piece is in
Latin.
! I will ask the students how they will remember this phrasing lesson for
the next day.
! I will ask the students how do we, as musicians, write a phrase in our
music.
! I will explain and demonstrate to the students how we notate a phrase in
music.
Student will draw an arch over the phrase.
I will ask the students to return their attention to the whiteboard asking, What
do we know about musical phrases now?
! I will then ask the students if they would like to make any changes to
the whiteboard. This could be adding or deleting.
! Students will be encouraged to reflect on this question and share
insights during the next lesson.

Extension:
If time permits, finding more examples of phrasing in the music could extend the lesson.
This is helping the students practice identifying phrases. I will also have the students
record another section of music from which they have worked on during this class period.
This recording will be used during the next lesson for ensemble improvement.

2 Min.

5-10
Minutes

Lesson 2: Discovering Different Interpretations of Phrasing

Design Topic: Phrasing
Designer: Rosie OConnor

Subject(s) Treble Ensemble

Number of Students: 29

Grade(s) 10th
Date of Lesson: 10/7/2015

STAGE 1 DESIRED RESULTS

Central Focus: The description of the central focus of my learning segment is interpreting a phrase of choral
music. The purpose of my learning segment is to teach students how musical phrases can be interpreted
differently through manipulation of voice and dynamics. Students will learn about artistic options of musical
interpretation, as well as the cultural context, and the reasoning behind the composers decisions. Students will
critique and analyze the choir sound as a whole, along with suggesting improvements for the overall good of the
piece.
Lesson 2 Focus: Comparing and contrasting professional recordings along with understanding the purpose of the
performances.
National Core Arts Standards
MU:Pr4.3.E.Hs intermediate
o Demonstrate understanding and application of expressive qualities in a varied repertoire of music
through prepared and improvised performances.
MU:Re8.1.E.Hs intermediate
o Identify and support interpretations of the expressive intent and meaning of musical works, citing
as evidence the treatment of the elements of music, contexts, and (when appropriate)
the setting of the text
Learning Objectives:
Essential Questions:
Students will be able to analyze a piece of
How does this songs phrasing affect the tone
music and identify a phrase of musical work.
of the piece?
Students will be able to question a composers
What are some ways we can accomplish
intent when referring to their phrasing
phrasing?
decisions.
What differences do you notice on how Treble
Students will be able to identify the most
Ensemble sings these pieces in comparison to
important words of a phrase.
the professional recordings?
Students will be able to compare and contrast
the professional recordings with their own
recording.
Students will be able to demonstrate an
understanding of phrasing vocabulary by using
them proficiently in a discussion.
Instructional Strategies:
Constant and consistent feedback
Repeating and rephrasing directions
Allowing time for individual and partner
discussion time
Informal questioning
Watching and responding to video
performances

Materials:
Ballad of Sweeney Todd arr. Andy Beck
Salmo 150 by Ernani Aguiar
Truly Brave arr. Mac Huff
Laptop for showing the Prezi
Recording from previous lesson
Writing utensils
Formal assessment work sheet

STAGE 2 ASSESSMENT EVIDENCE

Performance Tasks:
The students will analyze performances of familiar
pieces with a focus on musical phrasing.

Informal Assessment:
Students will be informally assessed throughout the
lesson by their participation and active involvement.

Source: Understanding by Design, Unit Design Planning Template (Wiggins/McTighe 2005)

Language Objectives:
Students will utilize musical words describing phrasing
such as phrase, arch, expression, and musical intent.
Key Vocabulary in Lesson:
Phrase, expression, arch, musical intent, cadence,
crescendo, diminuendo, dynamics.

Formal Assessment:
The students will be formally assessed through a
writing assignment that will serve as an exit slip for the
class.

STAGE 3 LEARNING PLAN

Lesson Plan Title: Discovering Different Interpretations of Phrasing

TIME
Time Frame:
70 Minutes

Summary of Learning Activities:

Lesson Introduction
Vocal Warm-ups:
At the first bell, I will play a D Major chord. I will play a D in octaves then put the rest
of the chord in (3rd and 5th scale degree). The students know that this means they should
stand up and listen for what warm-up they will begin to sing.
o 1,2,3,2,1 lips buzzing going down by half-steps.
o The students will not receive help from the piano on this section. I will play the
root of the first chord and then walk away from the piano.
o I will conduct a basic four pattern and sing the root of chord going down so the
students can reference where their next starting note is.
o The students will be reminded to relax their bodies and move around to stretch
any tension away.
o The students will be reminded of not pushing their voice too low during this
exercise. (Not singing lower than what is healthy).
1,2,3,4,5 on Yee, 1,2,3,4,5 on yoh, 1,2,3,4,5,4,3,2,1 on yah.
o This exercise can be found on page 79 of The Choral Warm-Up Collection
Compiled and edited by Sally K. Albrecht.
o This exercise will help the students learn about lifting their voice during a
phrase but not taking a full breath.
Students sing on unison 1,2,3,4,5,6,7,8
o I will take turns telling each section to take away a number.
o This will help the students warm up mentally.
o This will also allow them to focus on the interlocking of the different parts. I
will have the students make a phrase out of this material to show how a phrase
does not necessarily require words.
Learning Activities
Students will turn their attention to the projector. The projector will be presenting a
presentation through the online PowerPoint site, Prezi.
o The Prezis first slide will be a review of the previous day. The review
questions will be: What is phrasing? Why is it important? When do we use
phrasing? What are some ways we can accomplish phrasing? Do all phrases
sound the same?
o Students will be given 30 seconds to think about this and discuss it with their
sharing partner.
o Students will then be asked to share some of their answers with the class.
Next students will watch 2 minutes of the recording of The Ballad of Sweeney Todd.
o Students will then be prompted with the questions: What is most important
here? Can you understand what they are saying? How does this songs phrasing
Source: Understanding by Design, Unit Design Planning Template (Wiggins/McTighe 2005)

3 Min.

3 Min.

4 Min.

10 Min.

10 Min.

affect the tone of the piece?

! These questions are intended to be topical questions.
o After students answer these questions, everyone will open to this spot in the
music to see if some of the qualities that they brought up in the reflection can be
directly applied to the students singing.
After listening to and singing The Ballad of Sweeney Todd, students will listen to 2
minutes of a recording of Salmo 150.
o Students will be given guiding questions. What differences did you notice
between how Treble Ensemble sings this and how the Philippine Chamber choir
sing this? What similarities did you notice? What was the first thing you
noticed? Did they sound authentic to you? Did it maintain your interest?
! Students answer in a large group setting, volunteering when they want
to speak.
o Once students voice their opinion they will rehearse and focus on some ideas
that were brought up in discussion.
I will then handout a Venn diagram to the students.
o Students will be asked to fill out this worksheet when listening to a music video
of Truly Brave and the students recording of this piece from the previous
lesson.
o Students will listen to their recording of Truly Brave.
! While they are listening they will begin to write down some notes on
their recording.
o Students will listen and watch the music video of Truly Brave.
! While they are listening they will begin to write down some notes on
this performance.
Closure
Students will reflect on the video.
o They will discuss how the mash-up of the two songs played an importance and
transferred an emotion across through the music and through the video. The
phrasing in the video propelled the tone to come across effortlessly.
o Students will get 2 minutes to fill out the Venn diagram.
During this time I will give students their formal assessment that is to be due at the end
of the class period.
o I will also pass out the rubrics that will be used when grading the students
work.
o This prompt asks the students: After listening to the recording of Sarah
Bareilles and Cydni Lauper singing Truly Brave and Treble Choir singing
this piece, notate some differences that you would like to see Treble Choir try to
implement tomorrow during rehearsal in relationship to phrasing.
o This handout will be the students exit slip for the class period. If a student
needs extra time on this such as if they have and IEP or a 504 plan, they can
email the response to me by 11:59pm on that day.
Extension:
Refining the sections of the songs worked on during the class period can extend this lesson.
If needed, I will take the song that the students are least comfortable with and work on it
for the allotted extra time.
YouTube Video Links:
Ballad of Sweeney Todd ----- https://www.youtbe.com/watch?v=QAWWiYy_frY
Salmo 150----- https://www.youtube.com/watch?v=QAWWiYy_frY
Truly Brave----- https://www.youtube.com/watch?v=t9fMNNsdPjU

Source: Understanding by Design, Unit Design Planning Template (Wiggins/McTighe 2005)

12 Min.

14 Min.

6 Min.

10 Min.

7 Min.

Lesson 3: Apply Knowledge of Phrases into Truly Brave

Design Topic: Phrasing
Designer: Rosie OConnor

Subject(s) Treble Ensemble

Number of Students: 29

Grade(s) 10th
Date of Lesson: 10/7/2015

STAGE 1 DESIRED RESULTS

Central Focus: The description of the central focus of my learning segment is interpreting a phrase of
choral music. The purpose of my learning segment is to teach students how musical phrases can be
interpreted differently through manipulation of voice and dynamics. Students will learn about artistic
options of musical interpretation, as well as the cultural context, and the reasoning behind the composers
decisions. Students will critique and analyze the choir sound as a whole, along with suggesting
improvements for the overall good of the piece.
Lesson 3 Focus: Applying students ideas and opinions into Truly Brave.
National Core Arts Standards
MU:Pr4.3.E.Hs intermediate
o Demonstrate understanding and application of expressive qualities in a
varied repertoire of music through prepared and improvised performances.
MU:Re7.1.E.Hs novice
o Identify reasons for selecting music based on characteristics found in the
music, connection to interest, and purpose or context.
MU:Re9.1.E.Hs novice
o Identify and describe the effect of interest, experience, analysis, and context on the
evaluation of music
Learning Objectives
Essential Questions:
Students will be able to describe visual art
How does a phrase set the tone for music?
pieces with musical terms.
Has your personal definition of phrasing
Students will be able to identify key
changed from when we began?
musical points to enhance a musical phrase.
How would you use what you know about
Students will be able to self-assess to
phrasing with Truly Brave into our other
determine how to further the music.
pieces?
What student choices did you like? Which
did you dislike?
Instructional Strategies:
Constant and consistent feedback.
Allowing time for individual and partner
discussions
Model desired skills and outcomes
Discussions to deeper understanding
Student self-assessments
Linking music to visual art through
observation and discussion

STAGE 2 ASSESSMENT EVIDENCE

Performance Tasks:
The students will analyze performances of familiar
pieces with a focus on musical phrasing.

Materials:
Ballad of Sweeney Todd arr. Andy Beck
Salmo 150 by Ernani Aguiar
Truly Brave arr. Mac Huff
Overhead projector
Laptop for displaying the artwork

Informal Assessment:
Students will be informally assessed throughout the
lesson by their participation and active
involvement.

Language Objectives:
Students will utilize musical words describing
phrasing such as phrase, arch, expression, and
musical intent.
Key Vocabulary in Lesson:
Phrase, expression, arch, musical intent, cadence,
crescendo, diminuendo, dynamics.

STAGE 3 LEARNING PLAN

Lesson Title: Apply knowledge of Phrases into Truly Brave

TIME
Time Frame:
35 Minutes

Summary of Learning Activities:

Lesson Introduction
Vocal Warm-ups:
At the first bell, I will play a D Major chord. I will play a D in octaves then put
the rest of the chord in (3rd and 5th scale degree). The students know that this
means they should stand up and listen for what warm-up they will begin to sing.
o 1,2,3,4,5,4,3,2,1. On Solfege
o The students will not receive help from the piano on this section. I will
play the root of the first chord and then walk away from the piano.
o I will conduct a basic four pattern and sing the root of chord going
down so the students can reference where their next starting note is.
o The students will be reminded to relax their bodies and move around to
stretch any tension away.
o The students will be reminded of not pushing their voice too low during
this exercise. (Not singing lower than what is healthy).
5,4,3,2,1,5,1Zing-a-mama, zing-a-mama, zing, zing, zing
o This will help the students have more energy throughout the lesson.
! Students will move their bodies to the rhythm of this piece to
energize their bodies and
Learning Activities
Students will be shown a document of four different paintings.
o Students will be asked to compare and contrast paintings using phrasing
vocabulary they learned with music.
o Can you apply any musical terms to these paintings?
o Students will discover that phrasing applies to many different art forms.
o Each painting has a different intent expressed by artists. The brush
strokes that we use are like the notes we sing.
Students will then open up the song Truly Brave.
o On the previous lesson I had students write down what they would like
Treble Ensemble to try for the next lesson. I have taken all the
students ideas and complied it into the Top Ten Ideas to Improve
Treble Ensemble.
o Top Ten Treble Ideas for Improving Truly Brave
! Crescendo: I wanna see you be brave, add to chorus, need

2 Min.

2 Min.

7 Min.

6 Min.

more confidence
Picking someone special to sing it to, make a personal
connection to the song, sense of purpose, create more interest
! More staggered breathing to balance the song
! Make Brave louder
! Stronger: Chest voice, chorus strong, Altos louder, Make
Rainbow be stronger
! More articulation to emphasize important words and phrases,
clear cut-offs, accent
! More harmonies, expression, energy, more emotion in voices,
more arch, more enthusiasm, more dynamics, more umpf,
more contrast, more intent
! Less Legato
! Switching styles when the songs change
! Say the word you instead of chew
o Almost all of these ideas relate to phrasing which is my central focus.
I will condense the Top 10 List into 3 main points. These points are all going
to have one central focus.
o First point will be focusing on Power. I will have the students rehearse
particular sections in the song where their peers said there could be
more power and more dramatic dynamics.
o The second point is focused on having more articulation and enthusiasm
for the piece. I will run the rehearsal but ask students whether they
believed it was changed enough to their satisfaction.
o The last point is about how the students should put emotion in the piece.
Many students said they should think of someone special in their life
and sing this song to them.
!

Extension:
Students can have an end-of-phrasing-unit discussion. Students will be able
to break up into small groups or pairs and discuss what they learned about
musical phrasing.
o In their groups or pairs, students can write down their thoughts in an
exit slip format. This would be great information to adapt students
needs into future lesson planning.
Painting Sources:
Picture 1: Convergence by Jackson Pollock
Picture 2: A Sunday Afternoon on the Island of La Grande Jatte by Georges Seuart
Picture 3: Weeping Woman by Pablo Picasso
Picture 4: The Starry Night by Vincent Van Gogh

6 Min.

6 Min.

6 Min.

10
Min.