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LESSON PLAN

Teacher: Elizabeth Anderson


Grade: 6

Date: 2/19/2015

1. Learning Outcome/Behavioral Objectives: Students will identify Classical


songs in binary, ternary, rondo, and theme and variations form. Students will
apply their knowledge of forms to their own short composition in a form of their
choice to be performed on the keyboard at the end of class.
2. Required Prior Knowledge and Skills: This lesson is a continuation of a
previous lesson in which major forms of music (binary, ternary, rondo, and theme
and variations) will be defined and paired with familiar songs in each form.
Students must have experience identifying sections and in recognizing melodies
that are identical, similar or different from each other. Students must also have
experience playing easy melodies on a piano keyboard.
Anticipated needs: Students will need the definitions presented in the previous
class, and I will quickly review those for students who were absent. For students
who may have trouble identifying sections in longer works, I will supplement
Classical-style examples with shorter pieces in contemporary styles and childrens
songs that the students will be familiar with, presented in the previous class. I
will also allow the students to discuss the listening examples and work to discover
the sections in the pieces before divulging the answer as a class. For students who
dont have extensive experience on the instruents, this exercise can be used as a
starting point to build familiarity. It is not necessary that melodies be terribly
complex in order to accurately follow the students selected form.
3. Standards and Frameworks:
National Standards:
Creating: AS1 Imagine AS2 Plan, Make AS3 Evaluate, Refine, Present
Performing: AS4 Select, Analyze, Interpret AS5 Rehearse, Evaluate, Refine
AS6 Present
Responding: AS7 Select, Analyze AS8 Interpret AS9 Evaluate
Connecting: AS10 Synthesize, Relate AS11 Relate for deeper understanding
State Frameworks Singing
Reading and notation
Playing Instruments
Improvisation and composition Critical response
Purposes and meaning in the arts Role of artists in communities
Concepts of style, stylistic influence and stylistic change
Inventions technologies and the arts Interdisciplinary connections
4. Assessment: Student performances will be documented with audio recording and
graded on criteria of accurate use of their selected forms, complexity of the
composition, and demonstrated effort. Students will be expected to verbally
identify the form they used and if asked identify the locations of the beginnings
and endings of sections.

5. Materials, Repertoire, Equipment needed: YouTube access, speakers, audio


recording device, Orff instruments, copies of fill-in worksheet
6. Accommodations:
a. Special needs
My student with autism enjoys making music at the piano but becomes
overwhelmed by the noise of many people playing at once. I will
ensure that students use headphones on their keyboards while working
on their compositions. He also has anxiety performing in front of the
class, so if he declines the opportunity, I will be content to allow him
to play his composition for me in private. I will also make up a
worksheet with fill-in-the-blank spaces for definitions of each type of
form and space to write in examples, to help this student by providing
a kinesthetic activity (writing) in addition to listening.
b. ELL
I believe that the representational system of notating sections with
letters will make intuitive sense to an English Language Learner.
There will not be extensive language use in this class except for the
introduction of some musical terms, including rondo and theme and
variations.
7. Lesson Sequence:
a. Activity: Listening to form in musical examples
In the order listed on the worksheet (binary, ternary, rondo, theme and
variations), fill in definitions for each form (AB or AABB, ABA, ABACA,
and AAA) based on listening examples, asking students to raise their
hands when they hear a new section and suggest names for
the sections. Examples to be played: binary - Scarlatti
Sonata K130 in A flat major, ternary minuet and trio from
Mozarts Haffner symphony, rondo Fur Elise, theme and
variations La Folia
Estimated Time: 10 min
b. Activity: Listening map
Discussion of listening maps. Students will listen to Mozarts Rondo alla
Turka and independently create their own listening maps. When finished,
select one or two volunteers to share their map and explain their notation
as the recording is played again. What form is this piece?
Estimated Time: 10 min
c. Activity: Composing a piece in small groups
Discuss what makes a piece sound coherent and choose parameters. Class
may vote on what form they would like to use. Divide the class into the
requisite number of groups (no more than 3-4) and give 6 min to write 4
bars for their part on Orff instruments.
Estimated Time: 6 minutes

d. Activity: Presentation of compositions


Students will play the composition as a whole for the entire class,
repeating parts as necessary to make the form complete. Take a recording
to post on class website.
Estimated Time: 4 minutes
8. Assignments: None
9. Contingency plan: Real-life or familiar childrens song examples can replace
recorded examples in case of a technology failure. The class may be given extra
time to work on compositions if prior activities run under, or if there is not
enough time to break into groups for compositions, the composition may be done
as a class, with students contributing a bar at a time.
10. Evaluation/Diagnosis/Remediation: