Mikey Mayer

Unit Lesson Plan

1. Time Needed: 49 minutes

2. Materials Needed: Mouthpiece, Baton, Recording from the previous rehearsal,

professional recording, score of American Riversongs

3. Learning Objective: The students will learn how to correctly identify and discuss how

the staccato, legato, marcato and accented articulations that are in American Riversongs

changes the style and will learn to perform the articulations correctly together through

rehearsals.

4. Assessments: The students will demonstrate their knowledge and understanding of the

articulations in American Riversongs through a discussion based assessment and

performing and matching articulations in rehearsals.

5. Personal Objective: I will make sure my teaching voice is loud enough and the

information I give to the ensemble is concise and makes sense

6. Procedure:

a. Today we will further our understanding of differing articulations and listen critically

to one another in American Riversongs

b. Warm up for 6 minutes on the Bb chorale. Have the brass buzz and have the

woodwinds play

c. The first time they play the chorale, have the students play in a legato style

d. Have brass play the second time.

e. Ask “what makes the style legato?” (tenuto articulation, softer tone, not a lot of edge)

f. Play it again, this time asking for a march-like feel

g. Ask “what changes did you make to have it more march-like?” (Heavy, accented,

Marcato)

h. Play again with the brass playing

Recording Listening and discussion of American Riversongs-20 minutes

a. Tell the students to listen critically to the professional recording of American

Riversongs, be prepared to discuss the pros and cons of that group

b. Listen to their recording from the other day, be prepared to discuss what

improvements that can happen in the music, and the overall feeling about the

recording, emphasize listening to the entire group, not just their section. Have them

listen for matching articulations and changing articulations

c. As they listen have them fill out the listen reflection found down below.

Process Standard: Performing-. Demonstrate or analyze, using music reading skills,

how compositional devices of musical works impact and inform prepared or

improvised performances. Anchor Statement: Select, analyze, and interpret artistic

work for presentation.

d. Ask questions to further their discussions like “How does Pierre La Plante achieve to

make this style different than the other parts of piece? How does the articulation

change the style of the piece?

e. What musical device usually found in folk tunes is found in this piece? (round) how

should you play a musical idea that was given (match the articulation of the voices

before)

f. Ask them how the piece moved or touched them

g. Have the class do a call and response with you on a concert Bb, model playing a

subdivided figure, 8th note, in 6/8, 4/4, and 2/4, with your mouthpiece, emphasize

downbeats. Switching between legato, accented, staccato, and marcato.

h. When they understand what you are doing, just conduct, and change between the

three different meters. Praise the sections that are getting it well.

Have them take out American Riversongs.

a. Start at the beginning of the piece, if you are not playing for the first 3 bars, sizzle 8th

notes, model the articulation you want (accented)

b. Praise the woodwinds when they get the articulation, have them play and have the

rest of the band (including percussion) play that rhythm with the same articulation

and note length.

c. Put a vote up if they think they sounded unison in their articulation and their style? If

not, repeat the exercise and model the rhythm.

Process Standard- Creating: Interpret and apply personal, peer, and teacher feedback

to revise personal music. Anchor Statement: Revise, refine, and complete artistic

work.

d. Start from the beginning, encourage the students to listen and match that articulation

when they come in.

e. Have them go through measure 82, fixing dynamics or articulations if the problem

arises. When they change meter and style at 76, ask them who has the melody

(trumpet solo)

f. Ask if anyone has ever heard of Shenandoah, which this part is taken from
g. Ask them how does this style make them feel? How is it different than the other part

(legato, more connected, slower)?

Process Standard-Responding- Compare passages in musical selections and explain

how the elements of music and context inform the response. Anchor Statement:

Construct meaningful interpretations of artistic work.

h. Have the trumpet solo play, have everyone sizzle 8th notes and listen to the

articulation and style that the trumpet produces

i. Remind everyone that the solo needs to be heard, so all the other parts need to back

off.

j. Have the trombone solo and trumpet solo play at the same time at the start of their

respective solos, trumpets at 76 and trombones at 89, everyone else sizzle and listen,

they should have the same articulation although they are in different places.

k. Have them start at measure 76, emphasize listening to the full group to get the

ensemble to match style and articulation.

l. Work through the transition at 108 by having the students sizzle 8th notes along with

your conducting and changing meter and tempo (this may have to be repeated a few

times to fully lock into their heads)

m. At measure 120 have the brass band section play, and percussion play 1st time and

everyone else sizzle, discuss how this articulation is different from the last slower

section (lighter, shorter)

n. Tell them to play with a nice crisp articulation and have everyone play and sizzle at

the second time

o. If articulations are matching then go on ahead, emphasize keeping that light

articulation through the heavier textured sections

p. Have flute start at 165 and stop at 173, have everyone else sizzle 8th notes. Have the

class describe the articulation style (light, aloof, etc.)

q. If the flutes did not quite get it, sing and model the rhythm to give them a better idea

of what to play

r. Have the tuba and the trumpet solo play at the same time in the respective measures,

tubas at 173 and trumpets at 181, it should be the same stylistically, emphasize

listening to other sections in order to match articulation and style

s. Ask the band what device is being used at this part where the melody is being passed

to different voices that we mentioned previously (a round, why do you think it is used

in the piece?)

Process Standard-Responding- Compare passages in musical selections and explain

how the elements of music and context inform the response. Anchor Statement:

Construct meaningful interpretations of artistic work.

t. Start with 173, keeping matching articulations in mind when passing the phrase.

u. If the woodwinds or the tubas are not playing together, have the rest of the band

sizzle 8th notes and start from pickups to 189.

v. Once they get it down, have them play as written

w. If time permits work on the more textured section at 196, having the students sizzle

first and then play, describing the change in style (same motive but a heavier

articulation).

x. Repeat trouble parts as necessary

7. Closure 1 minute, thank everyone for their attention and praise their listening

improvement.