Objectives: Students will be able to…

● Balance so the most active parts and melody are easily heard
● Articulate with respect to the classical style

Standards: HII. 15 A-E, HII. 16 A-F

Materials: Instruments, music (Farewell Symphony)

Procedure:
Jessi:
● Have students find pick up to 17. “With classical music, the character isn’t too heavy-
even with fortes.”
● Play Concert G quarter notes. Practice staccato articulation with forte sound.
● Play 17-26
○ Ensure articulation and dynamics are correct
○ Ensure whole note people are rearticulating together
○ Ensure the forte is not too loud because so many people have the same rhythm
● Repeat 17-26 as necessary
● Play pick up to measure 5-8
○ Ensure the and of 2 quarter note is not too loud
● Repeat 5-8 if necessary
○ Talk about phrasing- emphasize the down beat
● Play with phrasing
● Start from beginning-17 applying phrasing and articulation.
○ If necessary talk about a bigger range and characters for forte and piano. Lighter
on piano.
○ Repeat as necessary
● Play beginning-26.
● Direct students to measure 26, tell quarter note people to bring it out and whole/half note
people to bring it down.
● Play 26-31.
○ If quarter note people are struggling to play together, have just people play when
they have quarter notes
○ Repeat as necessary
● At 31, remind people to subdivide for off beats
● Play 31-40
○ If struggling to have tempo stay consistent, have parts that are not doing quarter
notes keep the beat with clapping and have quarter note people play
○ Repeat as necessary
● Play 41-47
○ Remind to keep quarter notes light
○ Quarter notes without dots are more connected
● If time allows, play from beginning-57.
Alison:
● Does this part look the same as something we have seen before or like something new?
(the same)
● Students will play from 57, listening for differences from the first theme
● When does it change? Is anything else different?
○ Saxes, horns: add whole notes in m. 65
○ Strings: New unison material at 69 (no winds)
● Strings play pickup of m. 69-75 under tempo
■ Make sure intonation and articulations are solid before speeding up
■ Make sure students are bowing as it comes
○ Ask violins to crescendo through m. 74 once comfortable with notes
○ Slowly speed up to tempo, repeat as necessary
● Everyone play from 69, going on to 86
○ How many different musical lines did you hear in 80-86? (at least 3)
○ Everyone listen to strings/bassoon in measure 80
■ Listen for intonation, timing, articulation and repeat section as necessary
to adjust
■ Give good bowings if there isn’t a chance before handing out music
■ Moving notes should always come out, make sure whole/half notes are
not too loud!!
○ Add winds back in, remind them to always listen for moving notes/melodies
○ Repeat for balance/other adjustments as necessary
● Teach brief offbeat section:
○ Split room in half. “Team A” will play downbeats while “Team 1” plays offbeats
■ Start slow and accelerando to speed of Haydn
○ Swap sides and start slow again.
● Students will play measure 86-90
○ Once under tempo, once closer to desired tempo
● Take 30 seconds to look ahead at m. 91-109
● Students will play through m. 91-109 under tempo, then at tempo if it goes well
○ Once intonation, timing, and articulations are all solid and consistent:
○ Point out that we haven’t seen any dynamic markings in a while and ask them to
find the most recent one
■ (Forte at measure 69 for strings or 75 for winds)
○ Does that mean we should just play everything the same dynamic since Haydn
didn’t give any more instructions?
■ (No!!)
○ What can we do to make this more musical and interesting?
■ (Phrasing/Dynamics)
○ Ask students for phrasing suggestions, guiding them through the conversation
and helping when they get stuck
■ Ask them to find the high points of each phrase
■ Have them VERY LIGHTLY mark the agreed upon dynamics in pencil
● Students will play m.91-109, adding the dynamics they just decided on as a class
 ● If time allows, students will play from 57-109

Katie:

● Balance
○ Who has the melody at m. 128?
○ Whose parts have quarter note triplets aside from melody? (raise your hand or -
winding forward - challenge students to identify by listening after a brief run)
■ Answer: Oboe, Clarinet 2, Trumpet
○ Who is in danger of washing everyone out? (answer: sustained tones!)
○ Help me rank who should play out/play under
■ Options: Melody (vln 1 & 2), quarter note triplets, moving quarter notes
(Sax 2, Bsn, Horn 2, Trombone, Timpani, Cello/Bass), sustained notes
(Flute, Clarinet, Sax 1, Horn 1, Vla)
■ If students are unsure, play the first phrase to test it out
○ Play with these rankings!
● Articulation
○ Has anyone played Haydn before?
○ What is the style of Haydn? (or his era?)
■ Light
■ Phrases end small
■ Silly!!
○ How will we apply his style to the adagio?
○ Sing then play at m. 132 then, if that sounds good, 128
● Phrasing
○ Who will lead phrasing? (answer: melody!)
○ Do you always have to follow melody? Why or why not?
■ (Answer: sometimes the marks on the score tell you differently)
○ Apply phrasing to m. 128 and/or m. 132
● The Exit™
○ Sit respectfully when you are done or quietly leave - pick your poison. :)

Assessment:
● Informal: observe how students apply discussions on balance, style, and articulation
while they do a final run of selected excerpts