You are on page 1of 4

Lesson Plan #1 Wednesday, March 19, 2014 Content standards that are the target of student learning (list

the complete text of the relevant parts of each standard): (TPE 1) 1.4 Sight-read simple melodies in the treble clef or bass clef. 2.3 Perform on an instrument a repertoire of instrumental literature representing various genres, styles, and cultures with expression, technical accuracy, tone quality, and articulation, by oneself and in ensembles (level of difficulty: 1 on a scale of 16). Learning Objectives (both content and language): (TPE 1) 1. Students will sight-read La Rejouissance without stopping. 2. Long-term: Students will learn to play La Rejouissance with correct notes, rhythms, good ensemble tone and balance. 3. Students will learn the history behind the composition and first performance of La Rejouissance, while practicing their note reading skills. 4. Students will begin rehearsing this piece to correct any rhythm and pitch errors. Resources and Materials: (TPEs 4,9) 1. Parts for La Rejouissance, (from Royal Fireworks, by G. F. Handel, arranged by Mark Williams), one per student. 2. Worksheet on Royal Fireworks Instructional Strategies and Learning Tasks to Support Student Learning (what you and the students will be doing) (TPEs 1,4,5,6,9,10) 1. Follow the usual warm-up procedure with the Breathing and Buzzing routine and lines from the Musicianship Through Your Instrument book. 2. Pass out parts for La Rejouissance to each student. 3. Introduce the piece: This piece of music is from a larger work by George Frederic Handel, which is entitled Royal Fireworks. Does anyone remember learning a little about Handel and this piece of music from a few weeks ago? (Handel was the Musician of the Week that week). Have students share what they remember from that discussion. What does La Rejouissance mean? (The Rejoicing) What language is it? (French) What were they rejoicing, or celebrating? (The end of a war)

The melody of this piece gets passed around from section to section. Sometimes one section gets to play the entire melody, and sometimes they only get to play a small part of it. Look at your part while I play the flute part at measure 17, and see if your part has parts of the melody somewhere in it. Bass voices, you might not have the melody, but see if your part has a similar rhythm as the melody. Play flute part from measure 17 to 32 The melody starts in the 1st altos and 1st trumpets. 4. Follow the usual procedure for sight-reading a new piece, which is to review the time signature, key signature, scan the part for accidentals, expressive markings and repeats, and to silently finger the part for 1 minute. Who can raise their hand and tell the class what our time signature is for this piece? (4/4 time) What does that mean? (There are 4 beats in the measure and the quarter note gets one beat.) Raise your hand if you have pick-up notes. (1st alto saxes and 1st trumpets). When does the next group of instruments enter? (Measure 1, beat 4: clarinets, 2nd altos, 2nd trumpets, F horn, trombones, tuba, and percussion). When do all remaining sections enter? (Flutes and oboe enter measure 4, beat 4). What is our first dynamic level? (Forte) Are there any repeats? (No) What is the key signature for C instruments: flutes, oboe, bassoon low brass and percussion? (Eb Major, 3 flats) For Bb instruments: clarinets, tenor saxes, trumpets? (F Major, 1 flat) For altos? (C Major) For F horn? (Bb Major, 2 flats) Are there any accidentals not in the key signature? (measure 15 for cls, a. saxes, tpts; measure 31 flutes). Circle the accidentals in that measure, and remember that the accidental carries through the entire measure. Silently finger your part for one minute. If you have a fingering question, you may quietly ask your stand partner, or me if neither of you know the answer.

Now lets sight-read the whole piece without stopping. Try to keep counting and keep going, even if you make a mistake. If you get lost, listen for the big measure numbers that I will give and try to come back in. Dont play as loud as you can when sight-reading! Listen to each other and concentrate on counting and playing right notes instead. Sight-read through the entire piece, only stopping and starting again if most students get lost. 5. Pass out Note Worksheet on Royal Fireworks, according to clef. Instruct the students to fill in the letter names of the notes to complete the story on Royal Fireworks. Ask for volunteers to read one sentence each of the story. Discuss. 6. Rehearse the beginning of La Rejouissance, clarifying rhythms and pitches, and particularly working on entrances.

Formal and Informal Assessments: (TPE 2) Formal: Note Worksheet on Royal Fireworks Informal: Class discussion on history

Name:____________________ La Rejouissance, from Royal Fireworks G. F. Handel Directions: Fill the blanks with the note names to complete the story of the Royal Fireworks.

eorge Frederic Handel was born in 1685 in Germany, but lived in

ngland for

much of his life. He was one of the most influential

omposers of the


Period. His most famous works include the Messiah, Water Music, and Royal

ireworks. The

Royal Fireworks is a five-movement work that was composed in 1749 to celebrate the end of the War of

ustrian Succession. It was background music for the royal fireworks, which unfortunately

set fire to the wooden building that was specially made for the celebration. The music itself was more

successful. The rehearsal that happened six days before the

isastrous performance

attracted more than twelve thousand people. It was originally written for 24 oboes, 12 bassoons, 9

trumpets, 9 horns, 3 pairs of kettle drums (the ancestor of the timpani), and side drums (snare drums).

La Rejouissance is the

ourth movement, and refers to the rejoicing that England was

experiencing at the end of the long war.