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Parker Sterling

Dr. Palmer
CMUP
11 October 2016
Comprehensive Musicianship Unit Plan
History/Background of Work and Composer:
This piece is originally based off of an old hymn titled My Shepard Will Supply My
Need and adapted from a folk melody, Resignation. Originally published in 1835, the works
text is a paraphrase of Psalm 23 by Isaac Watts. The melody consists of the use of the major
pentatonic scale with an overall form in AABA Format and each 8 measure phrase ending on the
tonic chord. This arrangement was originally commissioned by the Grand Rapids Christian
School and the melodies that were utilized went unchanged except for the modulation to C major
and then back to the original key of Eb Major.
The arranger, John Edmonson, has composed over 600 works for concert, marching and
jazz bands. He has been able to travel across the country as well as internationally in order to
teach, edit, perform, clinic, and conduct and in doing so has become a well-respected individual
in the concert band setting.

CMUP Lesson 1
Content and Achievement Standards

MU:Pr5.3.E.IIa Develop and apply appropriate rehearsal strategies to address individual


and ensemble challenges in a varied repertoire of music, and evaluate their success.
MU:Pr4.1.6a Apply teacher-provided criteria for selecting music to perform for a specific
purpose and/or context, and explain why each was chosen.
MU:Re7.1.E.IIa Apply criteria to select music for a variety of purposes, justifying
choices citing knowledge of the music and the specified purpose and context.

State Standards

6.2.5 Play melodies, accompaniments, and ensemble parts expressively with correct
rhythms, tempos, and dynamics, independently or in ensembles.
6.2.6 Maintain an independent part on an instrument in a group while following the cues
of a conductor.
6.6.2 Identify and use appropriate terminology to describe various musical styles, genres,
cultures, and time periods.

Class Goals and Objectives

Introduce A Southern Hymn Setting


Learn layering/balance for the melody can be heard
Revisit the idea of anacrusis

Materials

Developing band score


Baton (Optional)
Instrument for modeling (Optional)

Procedures
1. Students will warm up by playing the Eb scale but to start to incorporate balance they
will play it in a round, going lows-middles-highs (5 Minutes)
a. Students will play with a sound that is even and balanced between all sections
b. Involve playing the entire scale at different dynamics, emphasis on Mezzo Piano
2. Introduce A Southern Hymn Setting and have students identify things such as the key
signature, meter, and dynamics. (2 Minutes)
3. Students will play through the piece until the instructor stops them or if they reach bar 38
(2 Minutes)
a. Instructor will be giving their expectations for the piece clearly throughout their
playing
4. Students will once again identify the key signature and instructor will make a point to
address different fingerings, especially concert B natural (2 Minutes)

5. Students will continue to apply given knowledge to the latter half of the piece (2
Minutes)
6. Only students who have the melody will play and the others will quietly finger long (5
Minutes)
a. Instructor will make a point to point out the dynamics of the melody as well as all
accompanying parts.
b. Students will discuss what a hymn is and how to sound like a hymn
7. Students will apply the above information to each phrase of the music with the melody as
it switches between parts (3 Minutes)
8. Students will be isolated to any sections that are not getting correct pitches/release points
(1-3 Minutes)
9. Students will play through the arrival point at measure 66 and discuss how it is the climax
of the piece (5 Minutes)
a. After which they will jump to 30 and explain how it is a teaser for what we had
just played at 66
10. Teacher will point out how each phrase begins with an anacrusis and review with the
students that concept (2-3 Minutes)
a. Point out to the students that the parts with the anacrusis are typically the ones
that need to be heard

Assessment of Goals and Objections


Assessment will be informal and be the students playing through the piece and discussing
how the melody must always be heard and other parts are the support for the melody.
Follow up Lessons
Work on the key change
Keep exploring a large range of dynamics and expressivity
Contextualizing the piece with Comprehensive musicianship

CMUP Lesson 2
Content and Achievement Standards

MU:Pr5.3.E.IIa Develop and apply appropriate rehearsal strategies to address individual


and ensemble challenges in a varied repertoire of music, and evaluate their success.
MU:Pr4.1.6a Apply teacher-provided criteria for selecting music to perform for a specific
purpose and/or context, and explain why each was chosen.
MU:Re7.1.E.IIa Apply criteria to select music for a variety of purposes, justifying
choices citing knowledge of the music and the specified purpose and context.

State Standards

6.2.5 Play melodies, accompaniments, and ensemble parts expressively with correct
rhythms, tempos, and dynamics, independently or in ensembles.
6.2.6 Maintain an independent part on an instrument in a group while following the cues
of a conductor.
6.6.2 Identify and use appropriate terminology to describe various musical styles, genres,
cultures, and time periods.

Class Goals and Objectives

Continue work on A Southern Hymn Setting


Refine the students ability to play in Concert C major

Materials

Developing band score


Baton (Optional)
Instrument for modeling (Optional)

Procedures
1. Students will warm up with the concert C major scale (5 Minutes)
a. First going note by note and then to a steady tempo
b. Students will also play the scale at various dynamics as well as implement
balance
2. Students will begin the rehearsal at measure number 38 and play through the end of the
piece. (7 Minutes)
a. This time will be utilized to secure more of the fingerings
3. Students will discuss who has the melody in certain segments and mark it in their part for
who to listen too. (5 Minutes)
a. This will be done by isolating sections and have the kids decide if it is the melody.
b. This is also a great time to hear individual parts and secure stuff you may not hear
when the whole group is playing

4. Students will learn the grandioso marking, the tempo change, and the key change in their
piece, and apply the information about how the ending is a celebration. (4 Minutes)
5. Students will put both of the segments in context and play from 38 to the end twice and
applying given comments for the second repetition. (4 Minutes)
a. After two reps it is up to the instructor if it is up to the standard that it should be
and if not to isolate and run again as needed (1-5 Minutes)
6. Students will move on to the transition at 38 and will start at measure 22 to build into the
teaser point at 30 and into 38 (5 minutes)
a. Spend time reiterating this arrival and if need then play to the end of the piece
again.
Assessment of Goals and Objections
Assessment will be informal and be separate sections playing through parts of the piece
where the instructor can listen to the given part as well as ask the class what part of the
texture the part is in.
Follow up Lessons
Keep working on sections that are giving the students issues
Keep exploring a large range of dynamics and expressivity
Contextualizing the piece with Comprehensive musicianship

CMUP Lesson 3
Content and Achievement Standards

MU:Pr5.3.E.IIa Develop and apply appropriate rehearsal strategies to address individual


and ensemble challenges in a varied repertoire of music, and evaluate their success.
MU:Pr4.1.6a Apply teacher-provided criteria for selecting music to perform for a specific
purpose and/or context, and explain why each was chosen.
MU:Re7.1.E.IIa Apply criteria to select music for a variety of purposes, justifying
choices citing knowledge of the music and the specified purpose and context.

State Standards

6.2.5 Play melodies, accompaniments, and ensemble parts expressively with correct
rhythms, tempos, and dynamics, independently or in ensembles.
6.2.6 Maintain an independent part on an instrument in a group while following the cues
of a conductor.
6.6.2 Identify and use appropriate terminology to describe various musical styles, genres,
cultures, and time periods.

Class Goals and Objectives

Keep working on A Southern Hymn Setting


Contextualize A Southern Hymn Setting

Materials

Developing band score


Baton (Optional)
Instrument for modeling (Optional)

Procedures
1. Students will warm up by, once again, playing in C Major and Eb Major and we will
explore changing dynamics through the scales and playing the arpeggios. (7 Minutes)
a. An emphasis on balance will still be made by having students be no louder than
the ____ section
2. Students will play through the entire piece (4 Minutes)
3. Students will review what a hymn and why it is important to know for this piece (3
Minutes)
a. Soft and smooth sounding
b. Multiple parts need to be heard
c. Can be played in a celebratory manor
4. Comprehensive Musicianship Portion (8 Minutes)
a. Students will discuss with the teacher various historical aspects of this piece
i. When do you think this piece was written? 1835
ii. Originally commissioned by Grand Rapids Christian School

1. Honor of deceased band director Gerald Bartlett


iii. Read and summarize Psalm 23 because it is the text for the piece
iv. Read book Statement of John Edmonson
v. If students are aware of form include that it is in AABA form
5. Students will play through piece with the reminder that this is a religious hymn in
celebration of a mans life in music (4 Minutes)
6. Reiterate what is written on the page through what the instructor considers to be the
section needing the most attention (4 Minutes)
Assessment of Goals and Objections
Assessment will be summative and include questions such as:
When was this piece written?
It includes paraphrased text from _______ 23
By whom was this piece composed?
Typical characteristics of a hymn include: (List at least 2)
What form is this piece in?
Follow up Lessons
Keep working on sections that are giving the students more issues
Keep exploring a large range of dynamics and expressivity
Making the piece into more than what is one the page

Formative Assessment:

Within the second lesson I have the opportunity to have separate parts play throughout
the entire piece and this allows me to hear where students are struggling or succeeding greatly.
Assessment will be informal and be separate sections playing through parts of the piece where
the instructor can listen to the given part as well as ask the class what part of the texture the part
is in. Having this assessment allows the instructor to plan future lessons so that the students can
have a successful performance of the piece at the concert.
Summative Assessment:
The summative assessment is a quiz over the context of A Southern Hymn Setting as
well as their understanding of the concepts that they learned and were reinforced through the
piece. The questions include, but are not limited to:
When was this piece written?
It includes paraphrased text from _______ 23
By whom was this piece composed?
Typical characteristics of a hymn include: (List at least 2)
What form is this piece in?
What is an Anacrusis?
Define Grandioso
Define Ritard (Rallentando)