Matthews High School

Instrumental Music Unit Plan

Montana Hollis
Instrumental Methods II
April 1st, 2019
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Table of Contents

Unit Plan Rationale 3

March to the Scaffold by Hector Berlioz arr. Law (Orchestra)
Musical Concepts & Objectives 4
Score Analysis 5
8 Week Rehearsal Matrix 7
Lesson Plan 8
Resources 11
Shine by Julie Giroux (Band)
Musical Concepts & Objectives 12
Score Analysis 13
8 Week Rehearsal Matrix 15
Lesson Plan 16
Resources 21
3

Unit Plan Rationale

Both ensembles consist of students grades 9-12 and cover a broad range of prior
knowledge. All students have been auditioned into both ensembles and have demonstrated
comprehension of difficult rhythms including extended sixteenth note runs, mixed eighth
note/sixteenth note passages, dotted and double dotted rhythms, mixed and compound meter
such as 4/4, 2/4, 3/4, 6/8, 9/8, 12/8, 3/2, 5/4, 6/4, 2/2, specific intonation problems, and proper
technical practices specific to their instrument such as intonation tendencies, range extension for
each instrument, and finger speed and dexterity as well as extended bow techniques like spiccato.
Many students within these ensembles have been privately studying their instruments,
performing with honors ensembles, or plan to apply for university study. Due to the high level of
these ensembles, repertoire was chosen to strengthen and reinforce prior knowledge and expand
into the standard repertoire such as within March to the Scaffold, or expand into the new wind
band music as within Shine. Both pieces were chosen as they are included on the OMEA Large
Group Required List and will be used for adjudicated performance later this Spring.
4

March to the Scaffold by Berlioz arr. Law

Musical Concepts and Objectives

Cognitive:
 The student will be able to define Idée Fixe in the context of March to the Scaffold.
 The student will be able to recall 3 other examples of an Idée Fixe (or leitmotifs) from
popular culture.

Psychomotor:
 The student will be able to apply extensions into other positions throughout.
 The student will be able to use proper dynamics spanning from pianissimo to fortissimo.
 The student will be able to use staccato articulations with the bow

Affective:
 The student will be able to assess how elements of music are used in a work to create
images or evoke emotions.
5

March to the Scaffold

Hector Berlioz
Arr. J. Cameron Law
Grand Mesa Music Publishers
Score Analysis (Labuta & Matthews)

1. ACQUIRE AN AURAL CONCEPT

Instrumentation
Complete String Orchestra scored for 10 Violin 1, 10 Violin 2, 6 Viola, 1 Solo
Cello, 6 Cello, and 6 Contrabass.

Transpositions and Clefs

Viola in alto clef.

Form
Intro mm. 1
Descending theme mm.
March theme mm.62-84
Transition mm. 85
Development mm.
Coda mm.

Definition of Terms
Allegretto non troppo: lively but not too much
Sempre piu forte: always louder
Dolce assai ed appassionato: very sweetly and passionate

2. ANTICIPATE PROBLEMS OF CONDUCTING

Problems can arise within showing differences in articulations and styles, as well
as in dynamic contrasts throughout. Gesturing different bowings throughout the
piece. Beginning the piece in cut time at a tempo of half= 72. Throughout the
introduction section problems occur when the dynamic level is at pianissimo and
immediately decrescendos. Deciding what dynamics to display when one part of
the ensemble is at piano and the other is at forte. M33 begins the staccato section,
where showing the contrast in articulations from the previous non-staccato section
is key. M40 sudden dynamic change to fortissimo. M165 cuing the solo first
violin with the idee fixe. Conclusion of the piece includes a fermata over a half
rest.

3. ANTICIPATE PROBLEMS OF ENSEMBLE AND REHEARSAL

Ensemble problems throughout will include difference in dynamics as the pieces

moves very quickly from pp to ff. Other problems include variations in
6

articulations between staccato and accented articulations. M15 Tremolo in vln II,
vla, cello, and bass. M25 vln I rhythm accuracy. M21 above D using shifting.
M61 full ensemble (minus bass) swell of 16th notes into a full ensemble moment
in 62 highlighted by the bassline. M79 and M81 sextuplets in upper four voices.
M114 vln II grace notes into each beat, watch notes as well as placement of the
grace notes. M123 tremolos in upper three parts, consistency across the ensemble.
7

8 Week Rehearsal Matrix

Week 1 Major focus introduction section; pp dynamics; staccato articulations; bow

retakes; Crescendo pp<f 5 measures; discuss part similarities and differences
Week 2 Major focus 33-61; eighth note moving lines; dynamics throughout; bowings
across ensemble; pizzicato articulations; subito dynamics leading into 49;
sixteenth note swell into 62
Week 3 Major focus 62-89 ; March theme; dotted eighth sixteenth rhythmic figure;
retake bowings; full ensemble dynamics and balance; sextuplet figures with
staccato articulation
Week 4 Major focus 89-123; review of dotted eight sixteenth figures; reinforcement
of prior material brought back within this section
Week 5 Major focus 123-end; discussion of similar and different throughout to
identify parts; descending triplet figures; upbeat articulations in vln 2 and vla;
full ensemble ff concluding the piece; tremolo; Idée Fixe
Week 6 Major focus reviewing and reinforcing topics from week three, four and five;
chunking these three sections together
Week 7 Major focus reviewing and reinforcing topics from week one and two;
chunking these two sections together
Week 8 Major focus- bringing it all together reviewing smaller chunks from previous
weeks and connecting the chunks; 2 full runs a day for the last three days to
work on endurance
8

Kent State University

Lesson Plan- Week 5
Teaching Intern: Montana Hollis
School: Matthews High School
Grade Levels: 9-12
Subject/Content Area: Full Orchestra (Top Auditioned Ensemble)
Title of Lesson: What is an Idée Fixe and how do we find it?
Repertoire: March to the Scaffold by Hector Berlioz arr. J Cameron Law
Learning Central Focus: Compositional device of Idée Fixe
Time Needed for Lesson: 55 minutes

1. LEARNERS & LEARNING ENVIRONMENT

a. Prior Academic Knowledge and Conceptions
This class is 9-12 and covers a broad range of prior knowledge. All students have
been auditioned into this ensemble and have demonstrated comprehension of
difficult rhythms including extended sixteenth note runs, mixed eighth
note/sixteenth note passages, dotted and double dotted rhythms, mixed and
compound meter such as 4/4, 2/4, 3/4, 6/8, 9/8, 12/8, 3/2, 5/4, 6/4, 2/2, specific
intonation problems, and proper technical practices specific to their instrument
such as intonation tendencies, range extension for each instrument, and finger
dexterity. Many students within the ensemble have been privately studying their
instruments, performing with honors ensembles, or plan to apply for university
study. These students have been responsible for leading sectionals with guidance
from the teacher multiple times throughout the year. This ensemble meets daily
for 50 minutes, with three two-hour evening rehearsals over the course of the unit.
b. Special Modifications/Accommodations for Exceptional Students
One student, a violinist, with an orthopedic impairment that limits the student to a
wheelchair. This student has full range of motion with arms and upper body but
cannot move below the waist. Accommodations for this student include
designated space for a wheelchair within the violin section that makes it easier to
navigate the classroom. Other accommodations include a signal agreed upon by
teacher and student that designates the student needs special physical assistance.
c. Common Errors, Developmental Approximations, Misconceptions, Partial
Understandings (How will you modify instruction?)
Common errors throughout the piece include incorrect notes and rhythms
throughout technical runs such as are found in all instruments mm. 136-140, these
will need to be slowed down and analyzed to allow students to acquire the muscle
memory necessary to execute runs with fluidity. Misconceptions will arise with
variations in bowings, this will require definition as decided by the director and
first chair of each section. Specific articulations to watch out for are staccato and
accented articulations and specifying the difference between them being shortness
in staccato and a front to the note in accented. Other problems include rhythmic
accuracy in full ensemble sections such as in mm. 6-17, mm. 62-85 (top three
voices), mm. 89-114, mm. 135-140, and mm. 152-153.
2. OUTCOMES & ASSESSMENT
a. State Standards
9

HS III-1CE Interpret music symbols and terms expressively while performing a

varied repertoire of music.
HSIII- 1PR Sing or play, alone and/or in ensembles, demonstrating accurate
intonation and rhythm, fundamental skills, advanced technique and a high degree
of musicality.
HSIII- 2PR Prepare and accurately perform a varied repertoire of ensemble
music showing continuous individual improvement in performance ability given
the level of complexity found in the selected literature.
HSIII- 4PR Perform an appropriate part in an ensemble demonstrating well
developed ensemble skills
HSIII- 2RE Describe how compositional devices and techniques (e.g., motives,
imitation, suspension and retrograde) are used to provide unity, variety, tension
and release in a music work
b. Objectives & Assessment Evaluation
1. The student will be able to aurally identify where the Idée Fixe motive exists
within March to the Scaffold
o Students will raise their hand when the Idée Fixe is heard while
listening to March to the Scaffold
2. The student will be able to define an Idée Fixe
o Students will define Idée Fixe on the provided exit slip
o Definition to include: in music and literature, a recurring theme
or character trait that serves as the structural foundation of a
work
3. The student will be able to cite other famous Idée Fixe or Leitmotif examples
in popular culture
o Students will cite three other examples of an Idée Fixe or Leitmotif on
the provided exit slip
o Answers could include: Star Wars (Darth Vader Theme, Jedi
Theme, etc.), Lord of the Rings (Ring Theme, Hobbits Theme,
etc.), Wagner’s Ring Cycle, etc.

3. INSTRUCTIONAL PRACTICE
Introduction and Warm-Up
10 minutes Warm-Up:
-Bb Major scale in two octaves
-g minor scale in two octaves (key of March to the Scaffold)
-Warm-up choral focusing on using the entirety of the bow and quick
finger changes between notes
Instructional Procedures
20 minutes Students will listen to multiple different snippets of famous pieces
and will identify where each piece is from
Objective 2/3 -Darth Vader’s Theme (Star Wars)
-Yoda (Star Wars)
-Gollum (Lord of the Rings)
-The Ring (Lord of the Rings)
-Brünnhilde (Wagner’s Ring Cycle)
10

Students will be asked why each of these pieces are so influential and
how they immediately knew where they were from
Students will associate how these Leitmotif’s fit in with the definition
of Leitmotif
Students will relate Leitmotif’s to the definition of Idée Fixe
provided by the teacher
Students will examine aurally and visually Symphonie Fantastique’s
March to the Scaffold to find the Idée Fixe as shown on the board by
raising their hand when it is heard over the recording
Students will discuss how the Idée Fixe is important to the
development of the “story” (previously discussed) related to
Symphonie Fantastique
15 minutes Students will locate where the Idée Fixe is found within their music
(if applicable)
Students will rehearse the previously decided upon section with the
Idée Fixe
Closure
5 minutes Students will recap the lesson, answering the following questions on
an exit slip:
-In your own words, define Idée Fixe.
-What are three examples of an Idée Fixe (or Leitmotif) in a movie,
composition, or work of art other than March to the Scaffold?
1 minute Closing Announcements and Questions

4. REFERENCES & RESOURCES

Berlioz, H and Law, J. March to the Scaffold. 2018. Grand Junction, CO.
Grand Mesa Music Publishers. 2018. Print.

Corresponding Rehearsal Plan

Warm-up
Bb Major Scale
g minor scale
Warm-up chorale
March to the Scaffold
Listen to examples of Leitmotif
Discuss what Leitmotif is
Discuss how a Leitmotif is related to Idée Fixe (IF)
Listen for IF
Discuss why IF is important
Rehearse IF sections
Closure
Exit slip
Announcements and Questions
11

Resources
Exit Slip
March to the Scaffold by Hector Berlioz arr. Law
Name:__________________________________Date:______________
In your own words, define Idée Fixe.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

What are three examples of an Idée Fixe (or Leitmotif) in a movie, composition, or work of art
other than March to the Scaffold?
1.____________________________________________________________________________
2.____________________________________________________________________________
3.____________________________________________________________________________
4.____________________________________________________________(BONUS POINTS)
12

Shine by Julie Giroux (Band)

Musical Concepts & Objectives

Cognitive:
 The student will be able to define how to create a staccato articulation
 The student will be able to define how to create an accented articulation
 The student will be able to define how to create a marcato articulation
 The student will be able to define how to create a tenuto articulation
 The student will be able to define sections throughout Shine.
 The student will be able to discuss how elements of the piece contribute to musical highs
and lows throughout.

Psychomotor:
 The student will be able to perform with a high degree of musicality.
 The student will be able to demonstrate staccato articulation inside and outside of Shine.
 The student will be able to demonstrate accented articulation inside and outside of Shine.
 The student will be able to demonstrate marcato articulation inside and outside of Shine.
 The student will be able to demonstrate tenuto articulation inside and outside of Shine.

Affective:
 The student will be able to assess how elements of music are used in a work to create
images or evoke emotions.
 The student will be able to compose their own story to accompany Shine.
13

Shine
Julie Giroux
Musica Propria Inc.
Score Analysis (Labuta & Matthews)

1. ACQUIRE AN AURAL CONCEPT

Instrumentation
Full band scored for piccolo, four first flutes, four second flutes, one oboe one,
one oboe two, four first B-flat clarinets, four second B-flat clarinets, four third B-
flat clarinets, two B-flat bass clarinets, one B-flat contrabass clarinet, one E-flat
contralto clarinet, one bassoon one, one bassoon two, one contrabassoon, two E-
flat alto saxophone ones, two E-flat alto saxophone twos, two B-flat tenor
saxophones, one E-flat baritone saxophone, three B-flat trumpet ones, three B-flat
trumpet twos, three B-flat trumpet threes, two F horn one and two, two F horn
three and four, two trombone ones, two trombone twos, two trombone threes, two
bass trombones, two euphonium b.c, four tubas, one double bass, one timpani, one
piano, two chimes and crotales, one xylophone, one marimba one vibraphone,
three percussion one (cabasa, vibraslap, suspended cymbal), two percussion two
(washboard), four percussion three (snare drum, tenor drum, wood log, bass
drum).

Transpositions and Clefs

Study the B-flat, E-flat and F transpositions. Transposed score.

Form
Giroux begins with a slow introduction, titling it “Life in the 1920s during
prohibition”. Shine continues on into the “Prohibition” section using solo trumpet,
flute, piccolo, and clarinet to introduce the original theme ideas. M45 introduces
new thematic material began by the solo clarinet. The main theme of the piece
begins in M87 at the Listesso Tempo, it continues throughout multiple portions of
the piece, with small interjections of the other themes throughout, including the,
in my terms, Hoedown material which continues into a percussion break. Shine
continues into previous material, including the main theme, and ends with
material similar to the Hoedown material.

2. ANTICIPATE PROBLEMS OF CONDUCTING

Introduction uses meter changes between 4/4 and 3/2. Tempo begins at quarter
note equals 68, meaning that the 3/2 is slow enough to be conducted as if it were
6/4. Ritardando into m15 and continues on at quarter note equals 56, slower than
previously. M15 also begins a passing around of solo lines, conducting cues to
each of these lines might prove difficult as it changes almost every two measures.
Tempo change into new thematic material in m45, first two measures are a
continuation of the old idea, but in the new tempo quarter note equals 136 in 4/4
as well as a moving solo line shared between the flute, clarinet, and saxophone.
14

Beat patterns change but stay in the same tempo from being in two to a double
time of that in four m186.

3. ANTICIPATE PROBLEMS OF ENSEMBLE AND REHEARSAL

Sixteenth and dotted eighth figure throughout will have a tendency to be ahead of
the beat (a one, a two, a three, a four rather than one e, two e, three e, four e).
Entrance of soloists, performing in soloist quality throughout. Percussion
equipment includes uncommon instruments including vibraslap and washboard as
well as different stick uses on common instruments, this could lead to difficult
instruction throughout. Faster sixteenth note lines in woodwind instruments-
looking for accuracy of pitch, as well as accuracy of rhythms as an ensemble.
Faster sixteenth note lines in brass instruments as well, looking for accuracy of
rhythms as an ensemble. Sixteenth note triplets throughout. M87 introduction of
the main theme, as this moves to a in two feeling maintaining pulse underneath
will be key for accuracy of tempo and rhythms as an ensemble. Ritardando
mm97-99 still in two. Subito tempo change to quarter note equals 112 in m 100.
M106 woodwinds enter on off beats with grace notes that come before the beat.
15

8 Week Rehearsal Matrix

Week 1 Sight Reading through piece. Focus on tempo changes (m. 15 q=68 to 56; m.
45 q=56 to 136; m. 87 q= 136 to h=68; m. 100 h=68 to q= 112; m. 144 q=112
to 136; m. 173 q=136 to h=68), preliminary identification of difficult rhythms
(see m. 70-71; m. 80-88; dotted eighth sixteenth rhythms as well as sixteenth
runs), and form as indicated in Score Analysis.
Week 2 Major focus on 186-end; Rhythm and dynamics- watch for mp dynamic can
always be softer, rhythm inaccuracy students will tend to shift the rhythm to
be ‘a-1 a-2’ rather than ‘1-e 2-e’ etc. Identification of most important voice.
WW shedding of 16th note runs throughout ending 197-end.
Week 3 Major focus 144-173; entrances, syncopated rhythms; ww sixteenth note runs;
158 melody focus on clarinet and alto sax; muted brass into 170;
Secondary focus- review 186-end
Week 4 Major focus 100-144 “Hoedown” material; Percussion major focus this week
making sure each underlying rhythm of sixteenth notes alternating with eighth
notes as well as dotted quarter notes in the piano is correct and auxiliary
percussion played correctly throughout; upbeat entrances/ entering from rests
throughout wind section; dynamic differences throughout winds (pp through
f); staccato articulation in all instruments; grace notes before the beat; rips
throughout accel into 144
Secondary focus- review 144-173 and 186-end; Solo instruments throughout
piece receiving special focus this week (pullout time?)
Week 5 Major focus 45-87; solo clarinet line, solo interjections; articulation focus
throughout running sixteenth note lines- what is staccato v tenuto v accented
v marcato; Melodic focus decision making; trumpet and high ww sixteenth
notes into 72; Responding to Shine; Bringing it all together with musicality
Week 6 Major focus top-45; Slow somber opening with FULL blended ww sound- fit
into low brass, high brass entrance at soft dynamics, balanced chordal
structure and tuning throughout, solo trumpet, solo flute, solo piccolo, solo
oboe, solo horn, solo euphonium; ww melodic line into 40;
Secondary focus- review 45-87 and if time review 100-end
Week 7 Major focus 87-100 AND 173-186; Balance and blend throughout in full
ensemble “Main theme” idea (not too loud compared to rhythmically active
sections)
Secondary focus- review previous sections still posing issues based on week 6
secondary focus
Week 8 Major focus- bringing it all together reviewing smaller chunks from previous
weeks and connecting the chunks; 2 full runs a day for the last three days to
work on endurance
16

Kent State University

Lesson Plan- Week 5

Teaching Intern: Montana Hollis

School: Matthews High School
Grade levels: 9-12
Subject/Content Area: Wind Ensemble (Top Auditioned Ensemble)
Title of Lesson: How Articulations Influence Musicality
Repertoire: Shine by Julie Giroux
Learning Central Focus: Staccato, Marcato, Accented, and Tenuto articulations and Dynamics
in Relation to Musicality
Time Needed for Lesson: 55 minutes

1. LEARNERS & LEARNING ENVIRONMENT

a. Prior Academic Knowledge and Conceptions
This class is 9-12 and covers a broad range of prior knowledge. All students have
been auditioned into this ensemble and have demonstrated comprehension of
difficult rhythms including extended sixteenth note runs, mixed eighth
note/sixteenth note passages, dotted and double dotted rhythms, mixed and
compound meter such as 4/4, 2/4, 3/4, 6/8, 9/8, 12/8, 3/2, 5/4, 6/4, 2/2, specific
intonation problems, and proper technical practices specific to their instrument
such as intonation tendencies, range extension for each instrument, and finger
speed. Many students within the ensemble have been privately studying their
instruments, performing with honors ensembles, or plan to apply for university
study. These students have been responsible for leading sectionals with guidance
from the teacher multiple times throughout the year. This ensemble meets daily
for 55 minutes, with three two-hour evening rehearsals over the course of the unit.
b. Special Modifications/Accommodations for Exceptional Students
One student has a communication disorder. This student is hesitant to participate
in class, uses gestures more often than words, and has a problem putting words
into correct sequences when speaking. Accommodations for this student include
modeling effective language expression, finding opportunities to talk with the
student informally, as well as clearly demonstrating all tasks given within the
classroom and speaking slowly to aid in comprehension. This student will be
given the opportunity to visually show or perform answers to questions.
c. Common Errors, Developmental Approximations, Misconceptions, Partial
Understandings (How will you modify instruction?)
Common errors throughout the piece include incorrect notes and rhythms
throughout technical runs such as are found in the flutes and clarinets mm. 36-39,
these will need to be slowed down and analyzed to allow students to acquire the
muscle memory necessary to execute runs with fluidity. Students will drag/rush
through tempo changes and meter changes (in two feel), many early rehearsals
will need an underlying sense of pulse created by a metronome or percussion
instrument playing the eighth note subdivision for students. Misconceptions will
arise with variations in articulations, this will require re-definition of each type of
articulation as well as modeling through air pattern, sizzling, and modeling on
17

instruments. Specific articulations to watch out for are staccato and marcato
articulations as well as accented and tenuto articulations. Other problems include
unusual percussion instrumentation (washboard) and performance techniques
(specified in the score) including varied sticks and mallets (wire brushes, etc.),
these students will receive individual instruction by a percussion instructor during
the first two evening rehearsals to interpret these techniques.
d. What Will You Do to Engage Students in Developing Understanding of the
Lesson Objectives?
Students will spend time discussing how dynamics and articulations influence the
musicality of a performance in relation to multiple reference recordings. Students
will create their own story to fulfill the responding state standard. Students will
also practice variations in articulations throughout the piece as an ensemble and
individuals for assessment.
2. OUTCOMES & ASSESSMENT
a. State Standards
HSIII-1PR Sing or play, alone and/or in ensembles, demonstrating accurate
intonation and rhythm, fundamental skills, advanced technique and a high degree
of musicality.
HSIII-2PR Prepare and accurately perform a varied repertoire of ensemble music
showing continuous individual improvement in performance ability given the
level of complexity found in the selected literature.
HSIII-4PR Perform an appropriate part in an ensemble demonstrating well-
developed ensemble skills.
HSIII-3RE Assess how elements of music are used in a work to create images or
evoke emotions.
HSIII-1CE Interpret music symbols and terms expressively while performing a
varied repertoire of music.
b. Objectives & Assessment Evaluation
 The student will be able to assess how elements of music are used in a work to
create images or evoke emotions.
o The student will write their own “story” to the repertoire, matching
specified sections to each part of their storyline while explaining what
musical elements contribute to their ideas.
 The student will be able to describe the differences between staccato and
marcato articulations in relation to mm. 80-87. (Staccato articulations are light
and separated, while marcato articulations are heavy and separated.)
o The student will aurally identify the differences between staccato and
marcato articulations modeled by the teacher.
o The student will demonstrate the differences between staccato and
marcato articulations on their instrument.
o The student will verbally explain to the class how they created the
differences between staccato and marcato articulations.
o The student will discuss the differences in staccato and marcato
articulations on an exit slip.
 The student will be able to describe the differences between tenuto and
accented articulations in relation to mm. 87-100 (Tenuto articulations are
18

smooth and connected- almost legato with little to no front to the note, while
accented articulations have length with a front to the beginnings of the notes)
o The student will aurally identify the differences between tenuto and
accented articulations modeled by the teacher
o The student will demonstrate the differences between tenuto and accented
articulations on their instrument.
o The student will verbally explain to the class how they created the
differences between tenuto and accented articulations.
o The student will discuss the differences in tenuto and accented
articulations on an exit slip.
 The student will be able to perform with a high degree of musicality.
o The student will verbally identify where they believe the peaks and lows
of the piece in relation to dynamic level and articulation variation.
o The student will verbally identify the melodic voice for each section as
provided by the teacher.
3. INSTRUCTIONAL PRACTICE
 Introduction and Warm-Up
10 minutes Warm-Up:
-Bb Major scale two octaves repeating the top note; performed with legato
19
connected articulation focusing on creating line between the notes using
full supported breath to create the best intonation for their instrument
-Bb Major scale in thirds with legato articulation focusing on creating line
between the notes using full supported breath to create the best intonation
for their instrument
-Shine mm. 173 as a chorale; slower than normal tempo, students will
listen for the moving voice throughout
Instructional Procedures
25 minutes Creative writing/responding to what we hear
-Student will receive written instructions for the following activity- this
includes measure numbers for each specified section to be discussed
Objective 1 -Instructions: Students will create their own story to accompany Shine
using the provided worksheet with measure numbers indicating sections
for different pieces of the story. The story must be logical and relating to
the historical time period the piece is portraying, and must also reflect on
why the music leads to this perception (i.e. dynamics, articulations,
texture)
-Listen to Shine while students work to complete their handout
-Verbal discussion on the why the music leads to this perception question
-Students will answer articulations and dynamics, etc.
15 minutes Students will analyze mm. 80-87 looking for all types of articulation
Objective 2  Staccato and Marcato
-Students will identify the differences in sound between these two
articulations as modeled by the teacher
-Students will demonstrate the same differences on their own
instrument for the class and verbally explain how they created the
differences
-Students will practice performing the two types of articulation on their
own in sections
-All students will perform mm. 80-87 with proper articulation
throughout
Objective 3 Students will analyze mm. 87-100 looking for all types of articulation
 Tenuto and Accented
-Students will identify the differences in sound between these two
articulations as modeled by the teacher
-Students will demonstrate the same differences on their own
instrument for the class and verbally explain how they created the
differences
-Students will practice performing the two types of articulations on
their own in sections (Watch for anchor tonguing, too short of note lengths,
continuing to use breath support throughout)
-All students will perform mm. 87-100 with proper articulation
throughout
Students will perform mm. 80-100 with proper articulations using the
syllable “thee” for tenuto articulations, “da” for accented articulations,
“de” for staccato articulations, and “do” for marcato articulations
Students will analyze mm. 80-100 for dynamic contrasts, creating a
dynamic “chart” on the board
-Each student will partner up with a student next to them, discussing
the flow of dynamics throughout
-Student groups will be called upon to help fill in the dynamic “chart”
on the board
-Students will practice each of these dynamics with the teacher as a
guide “showing” the dynamics through their body movements on one held
20

4. REFERENCES & RESOURCES

Giroux, Julie. Shine. 2017. San Antonio, TX: Musica Propria Inc, 2017. Print.
Giroux, J. and University of North Texas Symphonic Band, Dennis Fisher (conductor).
(2018). Shine. Klavier. https://open.spotify.com/album/2rPCM6P0VkHyi4
KjfZApqb?si=08RSu0dnRx2b8CzhVDZT5w [Accessed 8 Mar. 2019].

Rehearsal Plan
Warm-up
Bb Major Scale 2 8va
Bb Major Scale in thirds
Shine 173- Slower than normal as a chorale- listening for moving voices
Shine
Instructions for writing story
LISTEN TO REFERENCE RECORDING
Write Story
mm. 80-87- staccato v. marcato
mm.87-100- tenuto v. accented
mm. 80-100- dynamics and dynamic chart
Run mm. 80-100 – articulations and musicality
Closure
Run mm. 40-100 – articulations/dynamics and musicality
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Resources
Exit Slip
Shine by Julie Giroux
Name:__________________________________Date:______________
Describe the difference in how to create a marcato articulation versus a staccato articulation on
your instrument.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

Describe the difference in how to create a a tenuto articulation versus an accented articulation on
your instrument.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

In your own words, how do dynamics and articulations effect the perceived musicality of Shine?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

In Class Assessment Rubric

Shine by Julie Giroux
Week 5

Objective: The student will be able to perform with a high degree of musicality by verbally
identifying the melodic voice for each section.

0 points 1 point 2 points 3 points

The student
The student does The student The student
correctly
not identify the correctly correctly
identifies the
melodic voice identifies the identifies the
Melodic Voice melodic voice
within each melodic voice melodic voice
Identification for three
section as for one section for two sections
sections as
specified by the as specified by as specified by
specified by the
teacher. the teacher the teacher
teacher
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Responding to Shine
In the space provided below, while listening Shine by Julie Giroux, create your own story
to accompany the piece. What is happening within each section? Be as creative as possible, using
what you already know from the program notes on the board to guide you throughout the piece.

mm. 1-20

mm.21-44

mm. 45-86

mm. 87- 123

mm. 124-147

mm. 148-209

mm. 210-end
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