Grade Level:

/ Secondary /

Subject:

/

Choir

/

Prepared By:

/ E. Cobbins

Overview & Purpose The course work for music theory, vocal technique, sight-reading, solo and choral repertoire, and music appreciation run simultaneously.

MUSIC FUNDAMENTALS/MUSIC THEORY
BEGINNING CHOIR –
A ledger line or leger line is musical notation to notate pitches above or below the lines and spaces of the regular musical staff. A line slightly longer than the note head is drawn parallel to the staff, above or below, spaced at the same distance as the lines within the staff (see Figure 1).
Notes more than three or four ledger lines above or below the staff are usually considered hard to read. When there are many notes in a passage requiring more than three ledger lines, it is often preferable to switch clef or use 8va notation. Some transposing instruments, such as the piccolo, double bass, guitar, and the tenor voice, transpose at the octave to avoid ledger lines.
A CAPELLA CHOIR –
Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags. (see Figure 1). A similar symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff. When they are on or above the middle line, they are drawn with stems on the left of the note head, facing down. Flags are always on the right side of the stem, and curve to the right. On stems facing up, the flags start at the top and curve down; for downward facing stems, the flags start at the bottom of the stem and curve up. When multiple sixteenth notes or eighth notes (or thirty-second notes, etc.) are next to each other, the flags may be connected with a beam, like the notes in Figure 2. Note the similarities in notating sixteenth notes and eighth notes. Similar rules apply to smaller divisions such as thirty-second notes (demisemiquavers) and sixty-fourth notes (hemidemisemiquavers).
VOCAL TECHNIQUE
The vocal lessons will begin with basic breathing practice. Student’s warm-up with the C Major scale, using long note values and each of the vowel sounds. In addition, the acappella choir will continue rudimentary vocal studies from Lutgen Daily Exercises; Nos. 1-6.
SIGHT-READING
Introduction to Sight-Reading Activities are taken from pages 14-17 of Patterns of Sound (TBA)
REPERTOIRE
SSA –This is the Day(Gerald Smith), Lift Thine Eyes (Mendelssohn), There is Sweet Music Here (Mary Lynn Lightfoot)
SAB- Praise the Lord (John Carter), The Water is Wide (arr. Mark Hayes), Good Thing (Joey Winters)
SATB – He Watching Over Israel (Mendelssohn), Ovos Omnes (Pablo Casals; All State Choir Audition Piece), Silent Night * (Rhonda Polay); Who Would Imagine a King (arr. K. Christopher).
SPIRITUALS: (for the Annual Heritage Festival, on Saturday, February 2, 2013 – 2:30)
Deep River (arr. John Rutter)
Ride the Chariot (Dawson)
Acapella Spirituals – Elijah Rock, Swing Low, Sweet Chariot, Every time I Feel the Spirit /

Education Standards Addressed

CREATIVE EXPRESSION
A. Focus. Creative expression opens an avenue for the
application of individual ideas, feelings, and expressions.
The use of a variety of media and techniques provides an
opportunity for the individual to develop, organize, and interpret knowledge for communication. The skills of
analysis, problem solving, cooperative involvement, and
disciplined behavior contribute to a successful school
environment and prepare the individual to become a
productive member of society.
B. Standard. Students develop creative expression
through the application of knowledge, ideas, communication
skills, organizational abilities, and imagination.
In grades 9-12, students should know and be able to:
M-CE-H2
Apply with technical accuracy notational
symbols and vocabulary that convey
precise musical meanings (2, 3, 4)
M-CE-H3 Improvise, or compose and perform
advanced compositions (1, 4)
M-CE-H4 Interpret and apply elements of music
using preferred medium of performance (3, 4, 5)
M-CE-H5 Perform in musical ensembles using a
preferred performance medium (1, 5)

LESSON PLAN: Week of September 10, 2012

Acapella Choir

/

Beginning Choir

Objectives

(Specify skills/information that will be learned.) / The students will review
sixteenth rests.
The students will define and identify chord patterns.
The students will identify and name ledger line notes.
The students will continue to sight-read in 2/4 time.
The students will practice good singing techniques.
The students will sight-read without writing the solfiege next to pitches.
The students will rehearse three and four part choir forms.
.

Information

(Give and/or demonstrate necessary information) / MONDAY (Bell Ringer Lectures: Harmony and Review Intervals)

A. Rehearsal 1. Warm-Up (routine) 2. Sight-Reading 3. Rehearsal a. Gloria (Haydn; pgs. 9, 10, 11) b. Agnus Dei (Butler, pages 4,5,6) B. Computer Lesson Schedules 1. Acapella: Disk II a. Disk II b. Session 15: rests2. Beginning: Disk I (Session 3)

TUESDAY (Bell Ringer Lectures: Notes Above the Treble and Bass Clefs)
A, Acapella Choir
1.  Computer Lesson Schedules
2.  Music Ace Disk II (Lesson 15)
B. Beginning Choir
1. Warm-Up (routine)
2. Sight-Reading (page two)
3. Rehearsal
a. Gloria (Haydn; pgs. 9, 10, 11)
b. Agnus Dei (Butler, pages 4,5,6)
WEDNESDAY(Pass Back Papers)
A. Bell Ringer
1. Beginning Choir-Ledger Line Notes
2. Acapella Choir-Sixteenth Rests
B. Sight-Reading
C. Repertoire
1. Gloria (Haydn)
2. Agnus Dei (Butler)
THURSDAY
A. Music Theory
1. Beginning Choir
a. MT Lessons 15/16
b. define interval
2. Acapella Choir
a. MT Lessons 39/40
b.Review concepts about “rests”.
B. Vocal Studies (Review)
1. Vocal Techniques for the Young Singer
2. by Henry Leck and the Indianapolis Children's Choir with Steven Rickards. Demonstrates technique using visualization, movement, and aural modeling. Covers stylistic technique, vocal modeling, exercises to demonstrate vocal concepts, and warm-ups to improve intonation and tone quality. Also provides a fine choir sound and visual model.
C. Computer Lesson Schedules
1. Beginning Choir
2. Session 2 (Disk 1)
FRIDAY
A. MasterTheory (due)
1. Beginning-MT Lessons 15/16
2. Acapella- MT Lessons 39/40
B. Review Rhythm Concepts
1. Video
2. Listening Guide
See: Computer Lesson Schedules

Verification

(Steps to check for student understanding) / Assessments
A.  Computer Drills
B.  Written Review Worksheets MasterTheory (due on Friday)
1. Beginning-MT Lessons 15/16
2. Acapella- MT Lessons 39/40 /

Other Resources

(e.g. Web, books, etc.)
http://musictheory.net
http://harmonicvision.com

Activity

(Describe the independent activity to reinforce this lesson) / Technology Centers
Computer Review
Music Ace I – Session Three (Pitch)
Music Ace II –Rests

CLICK TO SEE PERFORMANCES OF REPERTOIRE SELECTIONS

REPERTOIRE (Beginning Choir-SA, Concert Choir-SAB, and A cappella Choir-SATB; Beginning and Advanced Girls Combination Choir - SSA)

SSA –This is the Day(Gerald Smith), Lift Thine Eyes (Mendelssohn), There is Sweet Music Here (Mary Lynn Lightfoot)

SAB- Praise the Lord (John Carter), The Water is Wide (arr. Mark Hayes), Good Thing (Joey Winters)

SATB – He Watching Over Israel (Mendelssohn), Ovos Omnes (Pablo Casals; All State Choir Audition Piece), April is in My Mistress Face (Morely- required festival selection info); Laetatus Sum (Haydn) Silent Night (Rhonda Polay); Who Would Imagine a King (arr. K. Christopher).

SPIRITUALS: (for the Annual Heritage Festival, on Saturday, February 2, 2013 – 2:30)

Deep River (arr. Mark Hayes

Ride the Chariot (Dawson)

Acapella Spirituals – Elijah Rock, Swing Low, Every Time I Feel the Spirit

Chapter 1. General Provisions

§101. Introduction

A. The arts―dance, music, theatre arts, and visual arts, are fundamental to the intellectual, social, emotional, and

physical development of Louisiana students in the twenty-first century. The arts draw on a range of intelligence,

aesthetics, and learning styles not addressed in most educational environments.

B. Students of the arts are encouraged to use their imaginations, to develop personal discipline, and to find

multiple solutions to problems. They learn to respond to events and experiences with confidence and to communicate

their feelings and viewpoints through appropriate creative outlets.

C. Business demands workers who possess an ability to communicate, to be flexible, and to diagnose problems and

find creative solutions. The arts preceded speech as man's first language; they assisted in the development of the skills

of communication and the integration of basic skills of reading, writing, science, and mathematics. These skills help

students shape their lives, their communities, and their nation. The arts make all subjects come alive.

D. The Louisiana Arts Content Standards bring together the basic content of the four disciplines of dance, music,

theatre arts, and visual arts, into one common set of standards essential for a comprehensive arts education. The

twenty-first century, the age of information, requires more from the next generation of students. The relevance of

education in a rapidly changing society will depend on converging the aims of education and the workforce for

well-rounded, educated students who will be productive members of society. The arts will assist in the achievement

of these aims with the implementation of these rigorous and challenging content standards.

AUTHORITY NOTE: Promulgated in accordance with R.S.

17:24.4 et seq.

HISTORICAL NOTE: Promulgated by the Department of Education, Board of Elementary and Secondary Education, LR 30:209 (February 2004).

A. Creative Expression. Creative Expression is the ability to imagine, organize and interpret ideas for

expression in the process of creating and producing art forms which involve inspiration, analysis, and problem solving.

1. Standard. Students develop creative expression through the application of knowledge, ideas, communication

skills, organization abilities, and imagination.

B. Aesthetic Perception. Aesthetic Perception is the

ability to perceive the unique characteristics of natural

environments and human creations, to respond to aesthetic

ideas and experiences, and to develop awareness of beauty

and meaning in the arts.

1. Standard. Students develop aesthetic perception

through the knowledge of art forms and respect for their

commonalties and differences.

C. Historical and Cultural Perspective. Historical and

Cultural Perspective is the ability to recognize the arts as a

reflection of individual and cultural expression and to

appreciate the aspects of history and human experience.

1. Standard. Students develop historical and cultural

perspective by recognizing and understanding that the arts

throughout history are a record of human experience with a

past, present, and future.

D. Critical Analysis. Critical Analysis is the ability to

interpret, analyze and synthesize the performing and visual

arts to form judgments based on sufficient and appropriate

criteria.

1. Standard. Students make informed verbal and

written observations about the arts by developing skills for

critical analysis through the study

LOUISIANA CONTENT STANDARDS FOUNDATION SKILLS

The Louisiana Content Standards Task Force developed the following foundation skills that

should apply to all students in all disciplines.

1. Communication: A process by which information is exchanged and a concept of

“meaning” is created and shared between individuals through a common system of

symbols, signs, or behavior. Students should be able to communicate clearly, fluently,

strategically, technologically, critically, and creatively in society and in a variety of

workplaces. This process can best be accomplished through use of the following skills:

reading, writing, speaking, listening, viewing, and visually representing.

2. Problem Solving: The identification of an obstacle or challenge and the subsequent

application of knowledge and thinking processes, which include reasoning, decision

making, and inquiry in order to reach a solution using multiple pathways, even when no

routine path is apparent.

3. Resource Access and Utilization: The process of identifying, locating, selecting, and

using resource tools to help in analyzing, synthesizing, and communicating information.

The identification and employment of appropriate tools, techniques, and technologies are

essential to all learning processes. These resource tools include pen, pencil, and paper;

audio/video materials, word processors, computers, interactive devices,

telecommunication, and other emerging technologies.

4. Linking and Generating Knowledge: The effective use of cognitive processes to

generate and link knowledge across the disciplines and in a variety of contexts. In order

to engage in the principles of continual improvement, students must be able to transfer

and elaborate on these processes. Transfer refers to the ability to apply a strategy or

content knowledge effectively in a setting or context other than that in which it was

originally learned. Elaboration refers to monitoring, adjusting, and expanding strategies

into other contexts.

5. Citizenship: The application of the understanding of the ideals, rights, and

responsibilities of active participation in a democratic republic that includes working

respectfully and productively together for the benefit of the individual and the

community; being accountable for one’s own choices and actions and understanding their

impact on oneself and others; knowing one’s civil, constitutional, and statutory rights;

and mentoring others to become productive citizens and lifelong learners.

Note: These foundation skills are listed numerically in parentheses after each benchmark.