S.C.

Lee Junior High

Advanced Band – 4th Six Weeks
WEEK OF February 26th , 2018- March 3rd, 2018
(UIL Evaluation Unit with Sight-Reading Supplement)

Title/Concept or Skill: Instrumental Fundamentals and Ensemble Rehearsal Techniques

Gr. Level/Subject: 7th/8th Grade; Middle School Sub Non-Varsity, Non-Varsity, Varsity Bands

Domain 1: Planning
TEKS
7.1.1 A demonstrate characteristic vocal or instrumental timbre individually and in groups;
7.1.1 C identify music forms presented aurally and through music notation.
7.2.1 A perform independently with accurate intonation and rhythm, demonstrating fundamental skills and basic performance
techniques;
7.2.1 B perform expressively, from memory and notation, a varied repertoire of music representing styles from diverse
cultures; and
7.2.1 C demonstrate appropriate small- and large-ensemble performance techniques during formal and informal concerts.
7.2.2 A sight-read music in treble and/or other clefs in various keys and meters;
7.2.2 C interpret music symbols and terms referring to dynamics, tempo, and articulation when performing.
7.3.1 C perform music representative of diverse cultures, including American and Texas heritage; and
7.3.1 D identify the relationships between the content, the concepts, and the processes of the other fine arts, other subjects, and
those of music.
7.4.1 A design and apply criteria for evaluating the quality and effectiveness of music and musical performances;
7.4.1 B evaluate the quality and effectiveness of personal performances; and
7.4.1 C exhibit concert etiquette during live performances in a variety of settings.
8.1.1 A demonstrate characteristic vocal or instrumental timbre individually and in groups;
8.1.1 C identify music forms presented aurally and through music notation.
8.2.1 A perform independently with accurate intonation and rhythm, demonstrating fundamental skills and basic performance
techniques;
8.2.1 B perform expressively, incorporating appropriate stylistic qualities;
8.2.1 C perform, from memory and notation, a varied repertoire of music representing styles from diverse cultures; and
8.2.1 D demonstrate appropriate small- and large-ensemble performance techniques during formal and informal concerts.
8.2.2 A sight-read music in treble and/or other clefs in various keys and meters;
8.2.2 C interpret music symbols and terms referring to dynamics, tempo, and articulation when performing
8.3.1 C perform music representative of diverse cultures, including American and Texas heritage; and
8.3.1 D relate the content, the concepts, and the processes of subjects other than the arts to those of music.
8.4.1 A design and apply criteria for evaluating the quality and effectiveness of music and musical performance;
8.4.1 B evaluate the quality and effectiveness of personal musical performances;
8.4.1 C apply specific criteria appropriate for the style of the music and offer constructive suggestions for improvement; and
8.4.1 D exhibit concert etiquette during live performances in a variety of settings.

ELPS
ELPS (C) Cross-curricular second language acquisition essential knowledge and skills.
(1) Cross-curricular second language acquisition/learning strategies. The ELL uses language learning strategies to develop
an awareness of his or her own learning processes in all content areas. In order for the ELL to meet grade-level learning
expectations across the foundation and enrichment curriculum, all instruction delivered in English must be linguistically
accommodated (communicated, sequenced, and scaffolded) commensurate with the student's level of English language
proficiency. The student is expected to:
(a) use prior knowledge and experiences to understand meanings in English;
1c: Setting instructional outcomes:

Instructional Outcome(s)

(1) Students will perform with correct posture and breathing 100 % of the time,
(2) perform music with appropriate phrasing in the style of the genre with 90% accuracy and,
(3) evaluate and adjust their perceptions of intonation with 90% accuracy.

Importance of Instructional Outcomes/Content

(a) Develop critical listening skills in regards to intonation, phrasing, and dynamics.
(b) Develop uniform tone production consistent with the style of the selected music.
(c) Troubleshoot inconsistent products and adjusting to public perception.
1e: Designing coherent instruction:

Anticipatory Set

I. (5 Minutes) Teacher will conduct a warm-up for the ensemble and rhythm exercise in anticipation of the targets for
the lesson’s rehearsal frames.
a. Warm-up
i. Teacher will guide students through an exercise of blending and matching pitch with a drone concert F
from the Harmony Director.
1. “Class, we will start as a group matching the drone F and then proceed through passing the
concert F around the room. Be focused and ready to play using the best posture and breathing
required for producing the best, warm tone possible.”
a. Teacher will guide class through the F drone matching exercise.
b. Teacher will activate the metronome at a 120 BPM, enable a drone concert F, and
begin a count off that prepares students to take a full two count breath before entering
on a concert F.
c. Teacher will ask students to first hum the concert F and count off.
d. Teacher will then ask for the full section to play a concert F and count off.
e. Teacher will then ask students to play individually to match pitch with the drone.
f. Teacher will then ask for the full section to play a concert F.
b. Rhythm Exercises
i. Teacher will guide students through a rhythmic exercise based off UIL music excerpts from the set list
with a metronome.
1. “Class, we will now engage in some rhythmic exercises to get us in the mindset for the coming
work on our upcoming performances. Please remember to pat your foot on the floor and use
crisp and articulate sounds for our counting so we can be as precise as possible.
a. Teacher will guide class through approximations of rhythms by asking:
i. Students to first count the selected rhythm with either numbers or “Down-E-
Up-A,” while also tapping their foot on the ground, calmly.
ii. Students to sizzle air while counting the selected rhythm while also tapping
their foot on the ground, calmly.
iii. Students to play a unison concert F on their instruments with the selected
rhythm while also tapping their foot on the ground, calmly.

Procedures/Activities/Explanations

II. (1-5 Minutes) Introduction

a. Teacher will greet the class.
i. “Greetings, We are working on music and scales for our upcoming UIL Concert and Sight-reading
Evaluation. Let’s get started with some fundamentals and some rhythm exercises.”
b. Teacher will establish that rules for producing a great centered tone that rely on the best practices in posture and
breathing.
c. Teacher will conduct a warm-up for the section in anticipation of the targets for the lesson’s rehearsal frames.
i. This process is detailed in the anticipatory set above.
III. (10 Minutes) Rehearsal Frames for fundamental skill development consisting of evenness of tone quality, intonation,
finger technique for [Concert F Warm-Up Variations and Scales]
a. Targeted Areas
i. Full Range Chromatic
ii. One/Two Octave Scales
1. Concert F
2. Concert Bb
3. Concert Eb
4. Concert Ab
5. Concert C
b. Primary Goal: Evenness of Tone Quality
 i. Students will perform with evenness of tone quality across all registers of the instrument with 100%
accuracy.
1. Students will be lead through approximations where the teacher asks:
a. Students to blow air through their instrument using a full supported breath and to
minimalisitically modify the embouchure to adjust to the register in which the student
is performing.
i. To adjust for the idiosyncrasies between brass/flute and single reed register
pitch tendencies as notes get higher/lower.
ii. It is important to stress that too much firmness or too little firmness will
change the intonation and tone of the instrument and any changes should be
made in very small increments.
b. Students to play with warmer or colder air streams to adjust to the register of their
instrument without compromising breath support through different registers of the
instrument.
c. Students to sizzle air through their front teeth to simulate a constant and even air
stream.
2. Teacher will ask students to perform the scale with the correct breathing sequence and use a full
and consistent air stream with modified embouchures across different registers of the
saxophone.
ii. Assessment: Students will perform selected scales with evenness of tone quality across all registers of
the instrument with 100% accuracy.
c. Secondary Goal: Intonation
i. Students will play with appropriate intonation with 90% accuracy.
1. Should pitch issues arise an appropriate sequence of pitch evaluation will be utilized.
2. Teacher will approximate performance by asking:
a. Students to hum the correct pitch with a drone.
b. Students to matching pitch with a drone.
c. Students perform the music previous to the pitch, stopping on the pitch, and match
pitch with the drone.
3. Teacher will ask students to perform the music without a drone and giving feedback to students
on the accuracy of their intonation through the phrase.
ii. Assessment: Students will use their critical listening skills to play targeted areas with appropriate
intonation with 90% accuracy.
d. Ternary Goal: Technique (Finger Evenness)
i. Students will play with appropriate finger technique with 90% accuracy.
1. Students will be lead through scales and approximations that facilitate the most effortless and
efficient finger technique advantageous to building proper finger technique.
2. Should improper technique arise teacher will ask:
a. Students to slowly play an isolated sequence of the scale repeatedly with individual
feedback from the teacher.
b. Students to play a sequence of the scale “in and out of rhythm” to isolate finger
coordination from one key to the other.
i. Students will play a selected sequence of notes from a scale in a three tiered
approach to eliminating faulty technique by playing the sequence in a dotted
eighth sixteenth rhythm, an sixteenth dotted eighth rhythm and finally in a
straight eighth note rhythm.
3. Teacher will speed up the scale sequence to reach the required tempo while giving group and
individual feedback to students whom struggle.
ii. Assessment: Students will play with appropriate finger technique with 90% accuracy.
e. Assessment: Students will play scales with evenness in tone quality & finger technique and with appropriate
intonation with 90% accuracy.
IV. (10) Rehearsal Frames for Sight-Reading simulation targets with focus of approximations of performance and
performances of select sight-reading literature [UIL Sight Reading Set List]
a. Set List [Grade Level Title]
i. I Flatrock Creek
ii. II ...To The Rescue
iii. I Unseen King
iv. II Echo Point Canyon
v. I Tag, You're It!
vi. II Variations on a Theme by Haydn
 vii. I New Age Anthem
viii. II Block Party
ix. I Forest Dances
x. II Majestic Spirit
xi. I Procession and Coronation
xii. II Cantabile and Minuetto
xiii. I Peppermint Court
xiv. II Apollo 17
xv. I Fanfare & Dance
xvi. I Chestnut Square
xvii. II Notting Hill
xviii. III Windermere
xix. IV On The Panhandle Plains
xx. I Pride of America
xxi. II Cops and Robbers
xxii. III Nocturne Fantasy
xxiii. I Andante and Allegro
xxiv. II Song for Home
xxv. I The Last Crusade
xxvi. II Folk Song and Dance
xxvii. III Aragon
xxviii. IV Mystic Fortress
xxix. II Chant and Variant
xxx. I Arundel Castle
xxxi. I Arundel Castle
xxxii. II Cedar Creek Journey
xxxiii. III Chorale and March
xxxiv. IV Texoma!
xxxv. I Majestic Promenade
xxxvi. II The Royal Coachmen
xxxvii. III Richmond Hill
xxxviii. I Give Me Liberty March
xxxix. II Buttonwood Lane
xl. III On The Grand Mesa
xli. I Olympia Hills
xlii. II Century Fanfare
xliii. III Telford Meadows Celebration
xliv. I Hampton Court
xlv. I Lexington Parade
xlvi. II Blue Ridge Point
xlvii. III Dover Ridge
xlviii. I Cliff Ridge Overture
b. Primary Goal: Etiquette and Approximation of Performance of Explanation Period per UIL Sight-Reading
Procedure
i. Students will participate in the sight-reading sequence with proper etiquette and approximations of
performance with 90% accuracy.
1. Students will execute the sight-reading sequence with proper etiquette and approximations of
performance.
2. Teacher will approximate the sight-reading process by asking (Time-Line/7 Minutes-420
Seconds)
a. Students to locate the selected piece from the sight-reading set list.
b. Students to place music on stand face down.
c. Students to briefly flip the music to verify correct instrument selection.
d. Students to sit up with proper approximation of performance posture.
e. Students to flip music right side up to begin the first explanation period of the UIL
Sight-Reading Procedure.
f. (5/420) Students to place finger along their clef and key signature.
 g. (15/420) Students to approximate performance of the scale of the song without teacher
approximations.
h. (20/420) Students to pat their foot to the approximate tempo of the song.
i. (30/420) Students to locate beginning and end sections of the selected chunk of music
by placing fingers on both points.
j. (60/420) Students to simulate performance of the song using fingerings, positions, and
air stickings of the appropriate rhythms of the selected music without teacher
approximations.
k. (180/420) Students to identify themselves through raising their hand for teacher
identification of melodic, harmonic, and rhythmic roles corresponding to the music.
l. (210/420) Students to point to dynamic, style, form changes, tempo changes, and other
varied elements of performance.
m. (240/420) Students to begin simulating performance of the song using fingerings,
positions, and air stickings of the appropriate rhythms of the selected music with
teacher approximation.
n. (300/420) Students to simulate form and tempo change corresponding to the music
using fingerings, positions, and air stickings of the appropriate rhythms of the selected
music with teacher approximation.
o. (390/420) Students to simulate performance of the opening measure of the music using
fingerings, positions, and air stickings of the appropriate rhythms of the selected music
with teacher approximation
p. (420/420) Students to turn over the music to be un-readable.
q. Students to vacuum reeds, expel condensation, gather proper equipment for
performance of music.
r. Students to perform a whole note scale of the selected key.
c. Secondary Goal: Performance and Evaluation of UIL Sight-Reading with correct rhythms, balance, and
intonation with 90% accuracy.
i. Students will perform the selected UIL Sight-Reading song with correct rhythms, balance, and
intonation with 90% accuracy.
1. Students will perform the selected UIL Sight-Reading song with correct rhythms, balance, and
intonation.
2. Teacher will initiate performance of the selected music by having:
a. Students raise their instruments to playing position.
b. Students approximate their entrance with teacher’s conducting cues.
c. Students perform the selection with teacher’s conducting cues.
d. Students lowering their instruments to resting position.
ii. Students will then perform selections of the UIL Sight-Reading song to assess Note and Rhythm
Accuracy, Balance, and Intonation.
iii. Primary Goal: Note and Rhythm Accuracy
1. Students will play correct notes and rhythms with 90% accuracy.
a. Students will follow an appropriate sequence for approximating and performing
correct notes and rhythms dependent on the complexity of the rhythm.
b. Teacher will approximate performance by asking:
i. Students to count the rhythm without fingerings, using numbers, “ands”, and
similar counting rhythms appropriate to the selected music.
ii. Students to count the rhythm with fingerings on their instruments, using
numbers, “ands”, and similar counting rhythms appropriate to the selected
music.
iii. Students to blow air through their instrument with fingerings on their
instruments using a full supported breath.
iv. Students to perform the rhythm by clapping and simultaneously counting
aloud using numbers, “ands”, and similar counting rhythms appropriate to the
selected music.
c. Teacher will ask students to perform the music with guided practice if needed with
appropriate counting, modeling, or clapping from the teacher.
2. Assessment: Teacher will have students perform the selected music with correct rhythms and
notes with multiple reinforcing repetitions while also giving individual feedback to students
whom struggle to meet the goal.
iv. Secondary Goal: Balance
 1. Student will play with appropriate balance in regards to melody and harmony with 100%
accuracy.
a. Students will approximate performance and assess their role in the texture by asking:
i. Students to play melodic parts while others take note of the part that is
prioritized.
ii. Students to play harmonic/rhythmic parts while others take note of the part
that is secondary to theirs.
1. In the case of chord tuning, this will be addressed in the intonation
goal set.
iii. Students perform melodic/harmonic/rhythmic parts together while listening
for the appropriate balance of voices for the section.
v. Tertiary Goal: Intonation
1. Students will play with appropriate intonation with 90% accuracy.
a. Students will apply the previous balance and dynamic awareness throughout the entire
piece. Should pitch issues arise an appropriate sequence of pitch evaluation will be
utilized.
b. Teacher will approximate performance by asking:
i. Students to audiate the correct pitch with a drone.
ii. Students to hum the correct pitch with a drone.
iii. Students to matching pitch with a drone.
iv. Students perform the music previous to the pitch, stopping on the pitch, and
match pitch with the drone.
c. Teacher will approximate chord tuning by asking:
i. Students to play individually as the individual chord members.
ii. Students to adjust major thirds 14 cents lower.
iii. Students to adjust minor thirds 16 cents higher.
iv. Students to adjust minor sevenths 31 cents lower.
v. Students to play in sequence to balance chord members
1. Starting with root then;
2. Adding fifth then;
3. Adding third then;
4. Adding seventh;
d. Teacher will ask students to perform the music without a drone and giving feedback to
students on the accuracy of their intonation through the phrase.
2. Assessment: Students will use their critical listening skills to play targeted areas with
appropriate intonation with 90% accuracy.
d. Sight-reading Assessment: Students will perform the targeted music with correct notes/rhythms, balance,
intonation and dynamic contrast with 90% accuracy.
V. (10) Rehearsal Frames for de-contextualization targets with various focus of rhythms, balance, intonation, dynamics,
phrasing, style, and entrances for [UIL Set List]
a. Set List
i. Captain Dane March (William Owens)
ii. Colliding Visions (Brian Balmages)
iii. Storm Mountain Jubilee (Carl Strommen)
b. Targeted Areas
i. Captain Dane March
a. Mm.1-8 Introduction
b. Mm. 9 -16 A Section
c. Mm. 17-24 B Section
d. Mm. 25-33 C Section
e. Mm. 34-40 A' Section
f. Mm. 41-51 D Section
g. Mm. 52-67 Coda Section
ii. Colliding Visions
a. Mm. 1-10 A Section
b. Mm. 11-16 A' Section
c. Mm. 17-26 B Section
d. Mm. 27-34 B' Section
 e. Mm. 35-46 C Section
f. Mm. 47-54 A'' Section
g. Mm. 55-62 C' Section
h. Mm. 63-66 Transition
i. Mm. 67-74 Coda Section
iii. Storm Mountain Jubilee
a. Mm. 1-4 Introduction
b. Mm. 5-15 A Section
c. Mm. 16-29 A' Section
d. Mm. 30-37 B Section
e. Mm. 38-48 C Section
f. Mm. 49-64 D Section
g. Mm. 65-80 Coda
c. Primary Goal: Note and Rhythm Accuracy
i. Students will play correct notes and rhythms with 90% accuracy.
1. Students will follow an appropriate sequence for approximating and performing correct notes
and rhythms dependent on the complexity of the rhythm.
2. Teacher will approximate performance by asking:
a. Students to count the rhythm without fingerings, using numbers, “ands”, and similar
counting rhythms appropriate to the selected music.
b. Students to count the rhythm with fingerings on their instruments, using numbers,
“ands”, and similar counting rhythms appropriate to the selected music.
c. Students to blow air through their instrument with fingerings on their instruments
using a full supported breath.
d. Students to perform the rhythm by clapping and simultaneously counting aloud using
numbers, “ands”, and similar counting rhythms appropriate to the selected music.
3. Teacher will ask students to perform the music with guided practice if needed with appropriate
counting, modeling, or clapping from the teacher.
ii. Assessment: Teacher will have students perform the selected music with correct rhythms and notes with
multiple reinforcing repetitions while also giving individual feedback to students whom struggle to meet
the goal.
d. Secondary Goal: Balance
i. Student will play with appropriate balance in regards to melody and harmony with 100% accuracy.
1. Students will approximate performance and assess their role in the texture by asking:
a. Students to play melodic parts while others take note of the part that is prioritized.
b. Students to play harmonic/rhythmic parts while others take note of the part that is
secondary to theirs.
i. In the case of chord tuning, this will be addressed in the intonation goal set.
c. Students perform melodic/harmonic/rhythmic parts together while listening for the
appropriate balance of voices for the section.
e. Ternary Goal: Intonation
i. Students will play with appropriate intonation with 90% accuracy.
1. Students will apply the previous balance and dynamic awareness throughout the entire piece.
Should pitch issues arise an appropriate sequence of pitch evaluation will be utilized.
2. Teacher will approximate performance by asking:
a. Students to audiate the correct pitch with a drone.
b. Students to hum the correct pitch with a drone.
c. Students to matching pitch with a drone.
d. Students perform the music previous to the pitch, stopping on the pitch, and match
pitch with the drone.
3. Teacher will approximate chord tuning by asking:
a. Students to play individually as the individual chord members.
b. Students to adjust major thirds 14 cents lower.
c. Students to adjust minor thirds 16 cents higher.
d. Students to adjust minor sevenths 31 cents lower.
e. Students to play in sequence to balance chord members
i. Starting with root then;
ii. Adding fifth then;
iii. Adding third then;
 iv. Adding seventh;
4. Teacher will ask students to perform the music without a drone and giving feedback to students
on the accuracy of their intonation through the phrase.
ii. Assessment: Students will use their critical listening skills to play targeted areas with appropriate
intonation with 90% accuracy.
f. Quaternary: Dynamics
i. Students will use correct volume changes to produce the correct sequence of dynamics without
compromising tone/pitch accuracy with 90% accuracy.
1. Students will use the correct sequence of volume generation within the above balance scheme
with appropriate tone and pitch while compensating for their instrument type. (Flutes/Brass v.
Single Reeds)
2. Teacher will approximate dynamic contrasts by asking:
a. Students to [blow air/sizzle/play] a unison concert F [with or without a drone] at half
tempo while demonstrating a dynamic contrast using a volume scale of 1-30 for the
appropriate dynamic levels either as:
i. 8 counts increase, 4 count hold, 8 counts decrease or;
ii. 8 counts decrease, 4 count hold, 8 counts increase or;
iii. [4-12] counts increase and [16-8] counts hold or;
iv. [4-12] counts decrease and [16-9] counts hold or;
3. Teacher will ask students to perform the music and provide feedback to students on the accuracy
of their dynamic contrast through the phrase.
ii. Assessment: Students will use full-supported steady air to produce the appropriate dynamic contrast of
the targeted music with 90% accuracy.
g. Quinary Goal: Phrasing and Musical Direction
i. Students will rely on subdividing through antecedents and consequents of each phrase to connect the
musical ideas to the appropriate theme and section while staggering the breathing to keep larger musical
ideas connected with 90% accuracy.
1. Students will use the correct note lengths by applying the correct sequence of articulation and
breath support that facilitates the phrase marking indicated.
2. Teacher will approximate performance by asking:
a. Students to [blow air/sizzle/play] a unison concert F for the appropriate number of
counts identical to the phrase.
b. Students to play at half tempo to coordinate musical direction by subtlety creating
changes in volume without breathing to create the appropriate musical inflection to the
phrase marking.
3. Teacher will ask students to perform the music with the appropriate phrasing and musical
direction with guided practice, modeling, or individual feedback as needed.
ii. Assessment: Students will perform selected music with the appropriate phrasing and musical direction
with 90% accuracy.
h. Senary Goal: Style
i. Students will rely on the appropriate articulation sequence that produces note shapes within the style of
the section with 90% accuracy.
1. Students will use the correct rhythms and note lengths by applying the correct sequence of
articulation that facilitates the style indicated.
2. Teacher will approximate performance by asking:
a. Students to follow an articulation exercise by performing continuous quarter notes
series and adjusting their style of articulation to the style conducted by the teacher.
b. Students to actively adjust their articulation using appropriate syllables [Doo, Dee,
Dah, Toh, Tah, Tee] to match the conductor.
c. Students to play a sustained pitch while subdividing with the metronome to assist in
full-value note lengths.
3. Teacher will ask students to perform the music with the appropriate style with guided practice,
modeling, or individual feedback as needed.
ii. Assessment: Students will perform selected music with the appropriate style with 90% accuracy.
i. Septenary Goal: Entrances
i. Students will rely on individual counting of rests along with accurate toe tapping to enter the ensemble
texture at the indicated moment on their music with 100% accuracy.
1. Students will use an internal pulse assisted with toe taps and a metronome on the loudspeakers to
correctly enter the ensemble texture.
2. Teacher will approximate performance by asking:
a. Students to count rests out loud and say the syllable of their entrance.
b. Students will [sizzle or count] aloud using crisp numbers to enter the texture.
 c. Students will play their selected music in a extremely short fashion to illustrate
individual entrances within the textures.
3. Teacher will ask students to perform the music with the correct counting of rests to enter the
texture.
ii. Assessment: Students will perform selected music with the correct entrance with 90% accuracy.
VI. (8) Rehearsal Frames for contextualization with focus of rhythms, balance, intonation, and dynamics [UIL Set List]
a. Target Areas
i. Line of Ants
1. All
ii. Haunted Clocks
1. All
iii. Freedom Finale
1. All
b. Primary Goal: Note and Rhythm Accuracy
i. Students will play correct notes and rhythms with 90% accuracy.
1. Students will follow an appropriate sequence for approximating and performing correct notes
and rhythms dependent on the complexity of the rhythm.
2. Teacher will approximate performance by asking:
a. Students to count the rhythm without fingerings, using numbers, “ands”, and similar
counting rhythms appropriate to the selected music.
b. Students to count the rhythm with fingerings on their instruments, using numbers,
“ands”, and similar counting rhythms appropriate to the selected music.
c. Students to blow air through their instrument with fingerings on their instruments
using a full supported breath.
d. Students to perform the rhythm by clapping and simultaneously counting aloud using
numbers, “ands”, and similar counting rhythms appropriate to the selected music.
3. Teacher will ask students to perform the music with guided practice if needed with appropriate
counting, modeling, or clapping from the teacher.
ii. Assessment: Teacher will have students perform the selected music with correct rhythms and notes with
multiple reinforcing repetitions while also giving individual feedback to students whom struggle to meet
the goal.
c. Secondary Goal: Balance
i. Student will play with appropriate balance in regards to melody and harmony with 100% accuracy.
1. Students will approximate performance and assess their role in the texture by asking:
a. Students to play melodic parts while others take note of the part that is prioritized.
b. Students to play harmonic/rhythmic parts while others take note of the part that is
secondary to theirs.
i. In the case of chord tuning, this will be addressed in the intonation goal set.
c. Students perform melodic/harmonic/rhythmic parts together while listening for the
appropriate balance of voices for the section.
d. Tertiary Goal: Intonation
i. Students will play with appropriate intonation with 90% accuracy.
1. Students will apply the previous balance and dynamic awareness throughout the entire piece.
Should pitch issues arise an appropriate sequence of pitch evaluation will be utilized.
2. Teacher will approximate performance by asking:
a. Students to audiate the correct pitch with a drone.
b. Students to hum the correct pitch with a drone.
c. Students to matching pitch with a drone.
d. Students perform the music previous to the pitch, stopping on the pitch, and match
pitch with the drone.
3. Teacher will approximate chord tuning by asking:
a. Students to play individually as the individual chord members.
b. Students to adjust major thirds 14 cents lower.
c. Students to adjust minor thirds 16 cents higher.
d. Students to adjust minor sevenths 31 cents lower.
e. Students to play in sequence to balance chord members
i. Starting with root then;
ii. Adding fifth then;
iii. Adding third then;
iv. Adding seventh;
 4. Teacher will ask students to perform the music without a drone and giving feedback to students
on the accuracy of their intonation through the phrase.
ii. Assessment: Students will use their critical listening skills to play targeted areas with appropriate
intonation with 90% accuracy.
e. Quaternary Goal: Dynamics
i. Students will use correct volume changes to produce the correct sequence of dynamics without
compromising tone/pitch accuracy with 90% accuracy.
1. Students will use the correct sequence of volume generation within the above balance scheme
with appropriate tone and pitch while compensating for their instrument type. (Flutes/Brass v.
Single Reeds)
2. Teacher will approximate dynamic contrasts by asking:
a. Students to [blow air/sizzle/play] a unison concert F [with or without a drone] at half
tempo while demonstrating a dynamic contrast using a volume scale of 1-30 for the
appropriate dynamic levels either as:
i. 8 counts increase, 4 count hold, 8 counts decrease or;
ii. 8 counts decrease, 4 count hold, 8 counts increase or;
iii. [4-12] counts increase and [16-8] counts hold or;
iv. [4-12] counts decrease and [16-9] counts hold or;
3. Teacher will ask students to perform the music and provide feedback to students on the accuracy
of their dynamic contrast through the phrase.
ii. Assessment: Students will use full-supported steady air to produce the appropriate dynamic contrast of
the targeted music with 90% accuracy.
f. Rehearsal Assessment: Students will perform the targeted music with correct notes/rhythms, balance, intonation
and dynamic contrast with 90% accuracy.
Closure

VII. (3 Minutes) Closure

a. Teacher will call on students to answer questions the first things they did.
i. “What did we do at the very beginning of the lesson?”
1. Students will answer, “We warmed up.”
ii. “What did we warm-up with?”
1. Students will answer, “With a F around the room.”
iii. “What was the overall arching concept of the warm-up?”
1. Student will answer, “Listening within the ensemble.”
a. Answers that are correct but not the best answers include:
i. Watching the conductor.
ii. Balancing within the section.
iii. Blending within the section.
b. Teacher will ask students what one of the focuses were of the first rehearsal frames.
i. “What was a goal of any of the first rehearsal frames?” [De-contextualized RFs]
1. Students will answer, “Note and rhythm accuracy.”
a. Answers that are correct but not the best answers include:
i. Balance, Intonation, Style, Dynamic, Phrasing, Entrances
c. Teacher will ask students what one of the purposes of the second rehearsal frames.
i. “What was a goal of any of the second rehearsal frames?” [Contextualized RFs]
1. Students will answer, “Transitions”
a. Answers that are correct but not the best answers include:
i. Note/Rhythm Accuracy, Balance, Dynamic Contrast
d. Teacher will thank the students for participating in the lesson.
i. “Thank you class for your patience and I appreciate your work today.”
e. End Lesson
1b: Demonstrating Knowledge of students
Differentiated Instruction

English Language Learners: Provide minimal translations of vocabulary essential for achieving the lesson objectives.

Special Education: Students whom are visually-impaired will have larger printed music provided for them. Students whom
are wheelchair bound will be placed in a location in the band hall that is closest to the director yet still adheres to standard
ensemble seating arranging.
 Gifted/Talented: Students will be given the opportunity to give responses to the class in regards to feedback that
collaborates with the given rehearsal frame or activity that is considered either a developed musical nuance or a
specialized application of music theory beyond the requisites of the class.

Struggling: Students who are struggling will be first met with proximity and/or eye contact in efforts to guide the student
to the correct behavior. Should students still struggle, they will be offered personal lessons or personalized feedback from
the teacher.

Extension activities for all learners: Students will be offered opportunities from the score study of the teacher to receive
specialized feedback on their individual parts indicative of problematic temperaments of the style of music that is being
performed to include: Equal/Just temperament adjustment notes, phrase markings, harmonic analysis of selected phrases
and their instrument family’s role, etc.
1d: Demonstrating knowledge of resources

Resources:
• Professional quality musical instruments in playing condition that produce ideal tones/timbres of their instrument family
• Wenger chairs and stands along with copied music with provided educational copyright provisions.
• Writing surfaces for students and teacher to include utensils such as paper, pencils, colored markers.
• Yamaha Harmony Director and Strobe Tuner.
• Projector and Internet Accessible Computer or Tablet.