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Winona Hendrick

Music Credential Candidate
Aural Skills 1, 6
th
– 8
th
grade
Expression Unit
esson 1 – Expression and !hrasing, "#$#%&1', (& )inutes
Expected Student earning *utco)es+
Students will be able to sing all four excerpts in a class setting with correct rhythms and melody.
Students will be able to recall the different aspects of expression in order to describe how a singer can
express the emotions of music without text. Students will be able to assign their perceived importance
of expression in terms of being a singer.
CA Acade)ic Standards Addressed+
6.1.2 Read, write, and perform rhythmic and melodic notation, using standard symbols for
pitch, meter, rhythm, dynamics, and tempo in duple and triple meters.
6.1.4 Sight-read simple melodies in the treble clef or bass clef.
6.2.1 Sing a repertoire of vocal literature with e!pression, technical accuracy, good posture
written and memori"ed, by oneself and in ensembles #level of difficulty$ 1 on a scale of 1%6&.
Materials Used: '!pression '!cerpts 1 and 2, pencil, phrasing wor(sheet, whiteboard and mar(ers,
Lesson Outline:
)genda on board$ )ttendance, *armups, '!cerpts, '!pression
11$++
11$+,
12$-+
12$2+
12$.+
/reet class, 0ell students re1uired materials #e!cerpts, pencil&, )ttendance
*arm-2ps % Scale with conducting, )scending diatonic thirds #do mi, re fa, mi so...&,
)scending diatonic triads with written solfege #do mi so mi do, re fa la fa re...&
3earn '!cerpts % .- seconds to loo( for and sing through difficult intervals or rhythms.
3ead students in, and students sing e!cerpt aloud with conducting. )fter the first time,
students write corrections in music for thirty seconds. *e will sing again as needed. *e will
do this for all four e!cerpts.
45ur topic for the ne!t couple days is 6usical '!pression. *ho can tell me some ways that
they have heard the word e!press or e!pression used78 #student brainstorm&
49n music, '!pression is the aspect that goes beyond notes and rhythms. 6usical e!pression
is the art of performing with communication of emotion or feeling. 0he main aspects of
musical e!pression are phrasing, dynamics, articulation and tempo.8

4*e will be doing a writing e!ercise, please ta(e out a blan( piece of binder paper and write
your name at the top. :ou will be turning this in for credit. )ll answers need to be in
complete sentences. ;egin each answer by restating the 1uestion. 0urn this in on the piano
12$44
before you leave.8
1.& *hy is it important for singers to be musically e!pressive7 #. minutes&
2.& <ame a solo that you are currently wor(ing on, list at least three words or phrases that
describe the emotions in the te!t and music. #. minutes&
..& 9f you removed all of the words, how could you still e!press the meaning of the song7 #.
minutes&
4:our homewor( for this wee(end is to practice and become comfortable singing all four
e!cerpts. 9 also want you to thin( about how performers can e!press music without words.8
Monitoring and Assessment:
=uring the sight reading, 9 will be listening for common errors and encourage students to write in their
music to curb future errors. 9 will be able to both monitor and assess student learning by reading
student answers to the writing e!ercise. 9 will assess student e!cerpt accuracy by listening for rhythmic
and melodic errors as they practice.
Modifications to Address Individual Student Learning Needs:
9f student errors persist 9 will ma(e suggestions to the class about how to fi! notes or rhythms. 9f
individuals continue to struggle with singing, 9 will have students partner up and sing with a classmate.
>alf of the class will sing as the other half listens and then criti1ues for accuracy. 9f students are having
trouble answering 1uestions individually, 9 will have the class briefly brainstorm some answers as a
class. 9f students are having trouble thin(ing of descriptive words for song they are wor(ing on, 9 will
have the class brainstorm some possible ad?ectives their classmates might use. 9 would similarly do a
brainstorm as a class for the third 1uestion, and 9 would write the different aspects of e!pression on the
board. 9 will ma(e sure to chec( in often with my 9'@A+-4 students, and will provide the modifications
listed in their plans as needed.
Follow-up Activities and Homewor:
Bor homewor(, my students will be as(ed to practice the four e!cerpts for class on 6onday. Students
are also as(ed to continue to thin( about how performers can e!press music without words.
esson % – !hrasing, "#1&#%&1', "( )inutes
Expected Student earning *utco)es+
Students will be able to critically think about phrasing in relation to breath. Students will be able to
justify their phrase placement. Students will be able to mark phrases in relation to their breathing.
CA Acade)ic Standards Addressed+
6.1.2 Read, write, and perform rhythmic and melodic notation, using standard symbols for
pitch, meter, rhythm, dynamics, and tempo in duple and triple meters.
6.2.1 Sing a repertoire of vocal literature with e!pression, technical accuracy, good posture
written and memori"ed, by oneself and in ensembles #level of difficulty$ 1 on a scale of 1%6&.
Materials Used: '!pression '!cerpts 1 and 2, pencil, phrasing wor(sheet, whiteboard and mar(ers,
Lesson Outline:
)genda on board$ )ttendance, *armups, @hrasing
1-$++
1-$+,
11$-+
11$1-
/reet class, 0ell students re1uired materials #e!cerpts, pencil&, )ttendance
*arm-2ps % Scale with conducting, )scending diatonic thirds, )scending diatonic triads
#without pointing to notes on board&
40oday, we will be tal(ing about phrasing. *ho can tell me some ways that they have heard
the word phrase used before78 #student brainstorm&
4<ow 9 am going to hand out a wor(sheet that contains information about phrasing, and
instructions for our ne!t activity. *hile you are silently reading the wor(sheet 9 want you to
try to answer the 1uestion, C*hy are phrases important7C8
Students read for 2 minutes.
4<ow, 9 am going to demonstrate how we will do this activity using e!cerpt 11. 0he first
thing 9 am going to do is sing through the passage and mar( where 9 naturally want to ta(e
breaths. /o ahead and mar( where 9 breath with your pencil also.8
9 sing e!cerpt while class listens and mar(s breaths.
49 mar(ed si! breath mar(s, who else did7 <ow that 9 have my breaths mar(ed, 9 am going
to try to ?ustify why my breaths ma(e sense in regard to phrasing. 6a(e sure that your
breath mar(s and mine are the same, and ma(e sure to write the same numbers above your
breath mar(s.
0he first breath 9 too( was in the second measure between the two DCs. 9 decided to breath
here so that 9 could emphasi"e the second D and start my ne!t phrase with a pic(up note. 9
11$1+
11$2-
11$2+
mar(ed a 2 and + above my breath mar( to show this.
0he ne!t breath 9 too( was between measures 4 and +. 9 chose to breathe here because the
melody seemed to rest, and the ne!t section seemed li(e a different melodic thought to me. 9
mar(ed 2, ., and 4.
0he third breath 9 too( was in the second system, third measure, after the first /. 9 chose to
breath here so that the ne!t two /s could be part of the ne!t phrase. 9 mar(ed a 2 and + here.
9 put the ne!t breath mar( right before the high =, two measures later. 9 chose to put a
breath mar( there so that the = would feel more important. 3i(e my first breath mar(, 9
wrote a 2 and + above my breath mar(.
0he ne!t breath mar( 9 mar(ed was in the third system between the 1
st
and 2
nd
measures.
3i(e the second breath mar(, 9 mar(ed 2, . and 4.
0he last breath mar( was after the half note = three measures later. 3i(e the third breath
mar(, 9 chose to breathe here to ma(e the pic(up notes part of the ne!t phrase. 9 mar(ed +
and 2.8
4<ow we are going to do the ne!t e!ample together as a class. 3etCs start by singing it
together as a class. 'veryone should lightly mar( where they breath this first time around so
we can decide on breath mar(s as a class.8
Dlass sings and mar(s own breath mar(s.
4<ow lets go through the song and write in our class breath mar(s. 'veryone needs to write
in all the same breath mar(s so that we are singing the same thing. <ow, can someone tell
me where they put their first breath mar(7 ... *ho agrees with that7 =oes anyone else
have another idea7 8
)s( students where they placed breath mar(s. 9f disagreement, ta(e a vote. *inning vote
gets mar(ed. <e!t, go through numbers and have students vote for numbers they should
mar(. 'veryone has to raise their hands for at least one number.
)fter all breath mar(s are placed. Students sing e!cerpt again with new phrasing.
<ow we are going to split into our groups from last wee( and decide the phrasing for
e!cerpt 1.. *e will sing it together once, so you can remember what it sounds li(e. 6a(e
sure to ?ustify your answers.
<ow that you are familiar with the process, try number 14 on your own. *e will sing it
together once, go ahead and mar( your breath mar(ings as you sing. 5nce you (now where
your phrase mar(ings are, ma(e sure to ?ustify them. :ou will turn in this page at the end of
class. 9f you donCt finish, you can do it as homewor(.
Monitoring and Assessment:
9 will continue to listen for common errors and encourage students to write in their music to curb future
errors. 9 will be able to both monitor and assess student learning by collecting the second page of
e!cerpts, the one with their small group and individual phrase mar(ings.
Modifications to Address Individual Student Learning Needs:
9f student errors persist 9 will ma(e suggestions to the class about how to fi! notes or rhythms. 9f
students are unable to mar( phrases in groups because they do not disagree, 9 will have students mar(
e!cerpts based on individual preferences instead. 9 will ma(e sure to chec( in often with my 9'@A+-4
students, and will provide the modifications listed in their plans as needed. 9 will ma(e sure that my
student with @0S= is getting along well with his group mates.
Follow-up Activities and Homewor:
Bor homewor(, my students will be as(ed to practice e!cerpt 12 with the phrase mar(ings we decided
as a group.
esson " – ,-na)ics and !hrase Shaping
Expected Student earning *utco)es+
Students will be able to identify phrase peaks and accentuate them using dynamics.
CA Acade)ic Standards Addressed+
6.1.2 Read, write, and perform rhythmic and melodic notation, using standard symbols for
pitch, meter, rhythm, dynamics, and tempo in duple and triple meters.
6.2.1 Sing a repertoire of vocal literature with e!pression, technical accuracy, good posture
written and memori"ed, by oneself and in ensembles #level of difficulty$ 1 on a scale of 1%6&.
Materials Used: '!pression '!cerpts 1 and 2, pencil, phrasing wor(sheet, whiteboard and mar(ers,
Lesson Outline:
)genda on board$ )ttendance, *armups, '!cerpts, '!pression
11$++
11$+,
12$-+
12$1-
12$1+
/reet class, 0ell students re1uired materials #e!cerpts, pencil&, )ttendance
*arm-2ps % Scale with conducting, )scending diatonic thirds, )scending diatonic triads,
students sing without pointing. Sing again with legato and phrasing
40oday, we will be tal(ing about dynamics. *ho can tell me some ways that they have
heard the word dynamic used before78 #student brainstorm&
49 am handing out a wor(sheet that contains information about dynamics. *hile you are
silently reading the wor(sheet 9 want you to thin( about how how dynamics e!press
emotion.8
#>and out new '!pression '!cerpts 1 page, with new written dynamics and phrasing.&
4Bor todayCs class we are going to practice '!cerpt 12 with dynamics and phrasing. 0his
will be for a test on 6onday. *e will practice together several times, and then you will
practice in groups.8
@ractice several times as class, ma(e ad?ustments as necessary.
4<ow we will loo( over the rubric that you will be graded with. 0a(e one minute to loo( it
over, especially paying attention to the difference between a one and a three.8
Students read rubric.
4)re there any 1uestions about how you will be scored on 6onday78
12$2-
12$.-
12$.+
=iscuss Rubric
4Bor the ne!t activity, you will ta(e turns singing while your groupmates give you feedbac(
on your note accuracy, phrasing, dynamics, and D5<=2D09</. <ow you will split into
your groups from last wee(, and use the rubric to assess your classmates.8
4Bor those of you who are solid on accuracy, phrasing and dynamics, now ma(e sure to
focus on conducting. 9t will be scored as well. 9f anyone is still struggling to ma(e phrases
in one breath, remember that you can ad?ust your tempo. Bor those of you are confident in
your notes, rhythms, conducting, phrasing )<= dynamics, try to thin( about ma(ing your
phrases smooth with legato as well.8
/ather class, sing e!cerpt together.
>ave students answer 1uestion, 41.& 9n what parts of the rubric are you still wea(7 2.&
>ow are you going to practice to improve these parts78
Monitoring and Assessment:
9 will monitor student understanding of dynamics, and the new rubric by responding to 1uestions
accordingly. 9 will listen to class, and group efforts in adding dynamics and phrasing, and offer
feedbac( as necessary. Students will be informally assessed based off of their progress in adding
dynamics to their e!cerpt performances.
Modifications to Address Individual Student Learning Needs:
9f student groupwor( is not productive, 9 will switch group members as needed or call students bac( to
whole class practicing. 9 will ma(e sure to chec( in often with my 9'@A+-4 students, and will provide
the modifications listed in their plans as needed.
Follow-up Activities and Homewor:
Bor homewor(, my students will be as(ed to practice e!cerpt 12 with dynamics, phrasing, and
conducting as they will be tested the ne!t time the class meets.