Delawre Curriculm Framework
Delawre Curriculm Framework
School: Sussex Academy of Arts and Sciences Curricular Tool: NA Course: __GLEE!__
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
1.15(P,E)- -Sing expressively Produce lighter and darker, fatter and
with phrasing, dynamics and thinner vocal qualities through
stylistic interpretation shaping lips and mouth.
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
5.3(E) -Read melodic notation Learning Targets: both in the Treble and Bass clefs, as
Listen and identify various tone well as a quiz on applying Solfege to
5.4(E) -Read a single line of an colors. the C Major Scale
instrumental or vocal part
Produce lighter and darker, fatter and
5.5(E) Notate symbols and terms thinner vocal qualities through
for meter and rhythm shaping lips and mouth.
5.6(E) Notate symbols for pitch Identify their voice part by range
sung and follow that part in a score
5.9(P, E) -Read unfamiliar music
with tonal and rhythmic accuracy Shape vowels correctly while singing
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
movement In order to engage in an ensemble one Assessment of solo and small group
must be both a performer and a Is the historical context important to performances using a rubric
6.3(E) -Identify and classify listener with the ability to react. listening and/or analyzing music? Peer assessment of performance
voices by range and quality using a rubric
To become a skilled performer Should you hear a performance to Assessments used to scaffold
6.4(E) -Identify and describe requires persistence. understand or appreciate it? performance project development
basic music forms
Written music is open to individual Is it necessary to be able to hear to Suggested Summative Assessments:
6.5(E) -Identify and describe interpretation. appreciate music? Tests on music theory and
common instrumental and vocal vocabulary
ensembles To become a skilled performer What influences the development of Projects involving the development
requires persistence. a personal aesthetic? of musical performances
6.6(E) -Express through verbal Performance assessments using a
and non-verbal means various How influential is the taste of the rubric
styles/ genres of music time, and why? Students watch videotape of their
performance(s) and write a critical
6.7 (P, E) -Identify the elements To what extent is dissonant music a
evaluation of the performance using
of music within a musical product of our undeveloped taste?
appropriate vocabulary and
composition
terminology. Within the written
On what basis can music be
evaluation, students identify their
6.8 (P, E) -Analyze form compared and contrasted?
own criteria for what makes a
including theme and variation,
performance “good” or in need of
basic binary, tertiary and rondo When is sound considered music?
improvement and then analyze their
forms, and more complex forms
and others’ performance using that
How does the concept of quality
independently set criteria.
6.9(P, E) -Identify and explain relate to musical performance?
compositional devices and
techniques use Why learn the historical context prior
to evaluating music?
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
terminology
Learning Targets:
7.4(P, E) -Discuss and evaluate
the relationship between music Students will be able to demonstrate
and human emotions good posture and breathing position
while standing on risers.
7.5(P, E) -Develop and apply
criteria for evaluating Students will be able to follow a
compositions and performances conductor
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
the arts including music a highly developed kind of shorthand music education an important part of using a rubric
that uses symbols to represent ideas. one’s comprehensive education? Assessments used to scaffold
8.2(P, E) -Make connections with performance project development
other disciplines as they relate to Music is a study and reflection of To what extent does learning in the
music society. Music reflects the arts contribute to a student’s Suggested Summative Assessments:
environment and times of its creation. cognitive ability? Tests on music theory and
8.3(P, E) -Illustrate ways in vocabulary
which the principles and subject Music has aesthetic, kinesthetic and Does art influence life or does life Projects involving the development
matter of other curricular areas affective characteristics. It requires influence art? of musical performances
are interrelated to music coordination of fingers, hands, Performance assessments using a
arms, lip, cheek and facial muscles in To what extent have changes in rubric
8.5 (P, E) -Compare and contrast addition to extraordinary control of the technology influenced music?
artistic themes across cultures, diaphragmatic, back, stomach
history and chest muscles which respond To what extent do musicians
instantly to the sound the ear hears and influence society?
the mind interprets.
Standard 9: Understanding To what extent does society
music in relation to diverse Music is art. It allows a human being influence musicians?
cultures, times and place to integrate many techniques and use
9.1(E) -Identify and describe the them to create emotion. Under what conditions should music
roles of musicians in various be preserved to accurately insure the
historical periods, cultures, genre Music is science. It is exact, specific composer’s intentions?
and styles and demands exact acoustics. A
conductor's full score is a chart, a To what extent does music play a
9.2(E) -Listen to music from graph that indicates frequencies, role in culture?
various periods and diverse intensities, volume changes, melody
cultures by genre or style and harmony all at once and with the To what extent does music influence
exact control of time. social change?
9.3(E) -Describe how elements of
music are used in various Music complements other art forms. On what basis can music be
historical periods, cultures, genres compared and contrasted?
and styles Music is one form of artistic
expression To what extent does music affect the
9.4(E) -Identify sources of world community?
American music genres; trace the People communicate about their
evolution of those genres and culture through music. How can music be used to reflect the
well-known musicians associated similarities and differences among
with them Changes in history cause changes in cultures?
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
music.
9.5(E) -Classify and describe To what extent is dance timeless?
distinguishing characteristics of Music as a form of expression
representative music genres and becomes part of the history and To what extent is it very history-
styles from various cultures culture. bound?
and historical periods
Cultures utilize their natural resources Learning Targets:
to produce music.
** Delaware Dance standards Students will be able to actively
used in association with A culture’s music reflects its values. listen and communicate regarding the
performances. music.
Dance is evident in many cultures,
Standard 5: Demonstrating and times and places. Students will be able to use the
understanding dance in various knowledge gained to communicate
cultures and historical the meaning of the music.
Periods
5.1(E) -Perform folk dances from Students will be able to describe
various cultures what makes the audience an integral
part of any performance.
5.2(E) -Perform a broad spectrum
of American historical folk, social Students will understand that musical
and/or theatrical dances taste is subjective and based on
personal preferences.
5.10(P, E) -Adapt and elaborate
on a multicultural dance of a Students will be able to understand
different time or culture; sharing the music’s connection to math.
the dance and it's context with
peers Students will be able to describe how
music is a world language.
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
Students will be able to discuss how
Blues, Ragtime and Jazz became a
part of America’s musical
foundation.
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
choral literature with expression for other performers. thinner vocal qualities through
and technical accuracy including shaping lips and mouth.
songs performed from memory.
Identify their voice part by range
6.1 Express changes and contrasts sung and follow that part in a score
in music through movement
Perform with proper balance within a
choir
6.7 Identify the elements of music
within a musical composition
Perform with proper blend within the
choir
6.9 Identify and explain
compositional devices and Shape vowels correctly while singing
techniques used in a musical work
Students will use dance to
accompany musical performances
** Delaware Dance standards
used in association with Exhibit good singing posture
performances.
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Curriculum Framework for Band/Orchestra
School:__Sussex Preparatory Academy___ Curricular Tool: _N/A______ Course: N/A
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
5.1/E-Identify and define to each other as they How can you use technology to compose music? students’ perform 15-20 measures
standard notation symbols play to ensure blend of musical selections in groups of
Learn the basics of a music notation program(Sibelius
and balance 4-6 students. The groups will have
or Finale are recommended)
5.2/E-Read rhythmic notation the opportunity to select a section
Certain behaviors and of the piece that they are
skills may contribute Learning Targets:
5.3/E-Read melodic notation comfortable with. The teacher will
to producing a good Demonstrate responsible behavior by keeping and
also have each student sing the
performance organizing their own music folder.
5.4/E-Read a single line of selection individually.
an instrumental or vocal part Composing is a form Caring for music department physical facilities and Rubrics
of communication equipment. Singing assessments on sight-
5.8D/P/E-Read an instrumental provides a method of reading in the keys of C, G, and D
or vocal score Being a responsible and contributing member at every major with Solfege
self expression.
rehearsal. Written assessments on identifying
5.9 D/P/E-Read unfamiliar music Composing rhythms notes both in the Treble and Bass
and songs provides a Identify the proper instrumentation and set up of a
with tonal and rhythmic accuracy wind ensemble. clefs, and music vocabulary and
deeper understanding symbols.
of the form and
5.10 D/P/E-Read simple melodies Demonstrate proper posture and playing position for Exit tickets where students are
in 2 or more clefs structure of music and their own particular instrument. asked to complete exit tickets as to
reflect the time period
Reacting appropriately at various musical activities and their grasp of the enduring
6.2/E-Identify and classify and culture of the
events. understandings, essential questions,
instruments according to family composer.
and objectives of each lesson.
Improvising with Define and demonstrate proper tone quality as it relates Singing assessments on sight-
6.5/E-Identify and describe music and movement to their individual instrument. reading in the key of C major (+
common instrumental and vocal enhances the relative minors) with Solfege
ensembles development of Produce a quality tone using proper breath support and
creativity. articulation.
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
help to define music. instrumentation and size.
Comparing and Identify good and bad intonation by listening.
contrasting various
styles of music can Identify key signature for the following major scales:
deepen the Concert Bb, Eb,Ab
understanding of how Identify fingerings for the above scales
music styles are
collaborative. Perform scales in select rhythm pattern and tempo
Identify note duration for select rhythms
Perform selected rhythm studies in tempo
Breathe in time and in unison with ensemble
Identify and demonstrate staccato, legato, marcato,
accents, and sforzando articulations.
Attach notes together, hold notes for proper duration,
release notes in unison
Identify and perform the following articulations in
music: tongue, slur, staccato, accent, legato
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
stylistic interpretation enhance performance.
How is a performance different than a rehearsal?
2.13P/E-Perform a repertoire Ensembles must listen Suggested Summative Assessments:
to each other as they Why is producing a good performance important?
of instrumental literature with Teacher will video tape the choir’s
expression and technical accuracy play to ensure blend Why do non-musical things like behavior affect the
and balance. performance at a rehearsal two
on a pitched or unpitched quality performance?
weeks prior to concert, and then
instrument Musical elements such again at the concert. He/she will
Why is it important to perform for others?
as articulation, then watch the performances, and
dynamics, and tone What do you want the audience to feel when you are evaluate each student using a
quality are necessary performing? rubric.
for a good
What manners are expected by a performer? The teacher will listen to the
performance. students’ perform 15-20 measures
What s the role of the conductor, and what must the of musical selections in groups of
Participating in and
performance do to ensure they are following the 4-6 students. The groups will have
observing music and
conductor? the opportunity to select a section
its performance is
of the piece that they are
enriching spiritually, How are balance and blend achieved within the comfortable with. The teacher will
emotionally, and ensemble? also have each student sing the
cognitively.
How does self-evaluation improve one’s own selection individually.
Evaluation and self - performance? Singing assessments on sight-
evaluation is a critical reading in ALL MAJOR/MINOR
component for How do expressive elements communicate an idea KEYS with Solfege
improving and and/or feeling in a song?
appreciating the
How can evaluating a music performance help to
aesthetics of a
improve your own performance?
performance.
Listening to and Learning Targets:
analyzing music helps Being a responsible and contributing member at every
to develop an rehearsal.
appreciation of how
music relates to a Demonstrate proper posture and playing position for
person’s environment their own particular instrument.
and culture.
Reacting appropriately at various musical activities and
Certain behaviors and events.
skills may contribute
Perform scales in select rhythm pattern and tempo
to producing a good
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
performance Identify note duration for select rhythms
Breathe in time and in unison with ensemble
Approach and leave the performance area in silence
Demonstrate proper stage presence.
Demonstrate proper stage etiquette.
Follow conductor cues and gestures.
Attach notes together, hold notes for proper duration,
release notes in unison.
Develop performance goals
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
cognitively. listening to its music? material covered in this unit.
7.3/E-Explain personal music Students can reflect on the
How do variations in music elements affect the mood
preferences using appropriate information or write about their
of piece?
terminology Listening to and own personal experiences or
analyzing music helps What similarities and differences do different genres of opinions in relation to the topics.
7.4D/P/E-Discuss and evaluate to develop an music have?
the relationship between music appreciation of how
and human emotions music relates to a How do expressive elements communicate an idea Suggested Summative Assessments:
person’s environment and/or feeling in a song? A Timeline of Music: Students will
7.5 D/P/E -Develop and apply and culture. What is the value of observing works of music? be required to create a timeline that
criteria for evaluating briefly illustrates the evolution of a
Variations in melody, How do variations in music elements affect the mood
compositions and performances musical genre of their choice. They
rhythm, tempo and of piece? will be presented with information
dynamics, instruments
7.6 D/P/E-Develop criteria for from the earliest to most modern
help to define music.
evaluating the quality and progressions of various genres.
effectiveness of music Comparing and This information will be used to
performances and compositions contrasting various Learning Targets: complete their timelines.
and apply the criteria in their styles of music can Learn to explore and appreciate music of different Research: Students will conduct
personal listening and performing deepen the cultures. research of many aspects of a
understanding of how musical genre of their choice, from
7.7 D/P/E-Critically evaluate music styles are Learn to respectfully critique/evaluate musical options studied in class, including
one's own musical creations collaborative. performances. information such as famous
musicians, popular genres, and
7.8 D/P/E-Critically evaluate the Develop a critical listening ear. musical instruments. They will use
compositions, arrangements, and resources such as, books,
improvisations of others by Learn to compare and contrast music of various genres. magazines, video, and the Internet
applying specific criteria to conduct their research.
appropriate for the style of the Identify Patterns in music, both tonal and rhythmic Graphic Organizers: Students will
music and offer constructive create and use graphic organizers
suggestions for improvement during their research and
during my presentations of the
8.1/E -Identify, compare and history of music, genre studies,
contrast the roles of creators, artist
performers and consumers in the studies and popular musical
production and presentation of the instruments to record the
arts including music information. One graphic
create organizers to show their
8.3 D/P/E - Illustrate ways in prior knowledge of the subject,
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
which the principles and subject what they want to learn and what
matter of other curricular areas they learned
are interrelated to music at the conclusion of each lesson or
part of the unit. Other graphic
8.4 D/P/E-Compare and contrast organizers will be used to guide
terms common between the them in writing and increase their
arts and other curricular areas (e.g. knowledge of important vocabulary
texture, color, form) terms.
Oral Presentations: Students will
8.5 D/P/E-Compare and contrast be required to orally present their
artistic themes across cultures, research during this unit. The
history and multiple media students will present at various
times throughout the unit. They
9.1/E-Identify and describe the will present information on genres,
roles of musicians in various artists, and musical instruments.
historical periods, cultures, genre Assessments: Students will be
and styles assessed on their written reports,
oral presentations, graphic
9.2 D/P/E-Listen to music from organizers, class work,
various periods and diverse participation in discussions,
cultures by genre or style participation in group work, and
journals.
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
2.10/E-Perform music cognitively. evaluate each student using a rubric
How is a performance different than a rehearsal?
representing diverse genres and The teacher will listen to the
Listening to and
styles Why is producing a good performance important? students’ perform 15-20 measures
analyzing music helps
of musical selections in groups of
to develop an Why do non-musical things like behavior affect the
2.11/E-Perform in groups with 4-6 students. The groups will have
appreciation of how quality performance?
blend and balance the opportunity to select a section
music relates to a
of the piece that they are
person’s environment Why is it important to perform for others?
2.12 P/E-Perform expressively comfortable with. The teacher will
and culture.
with phrasing, dynamics and What do you want the audience to feel when you are also have each student sing the
stylistic interpretation Understanding and performing? selection individually. Singing
refinement of basic assessments on sight-reading in
2.13P/E-Perform a repertoire playing techniques to What manners are expected by a performer? ALL MAJOR/MINOR KEYS with
of instrumental literature with enhance performance. What s the role of the conductor, and what must the Solfege
expression and technical accuracy performance do to ensure they are following the
on a pitched or unpitched Ensembles must listen
to each other as they conductor?
instrument
play to ensure blend How are balance and blend achieved within the
and balance. ensemble?
Certain behaviors and How do expressive elements communicate an idea
skills may contribute and/or feeling in a song?
to producing a good
performance
Learning Targets:
Musical elements such Learn to show respect for others’ improvising and
as articulation, composing
dynamics, and tone
quality are necessary Develop performance goals
for a good
performance. Being a responsible and contributing member at every
rehearsal.
Demonstrate proper posture and playing position for
their own particular instrument.
Reacting appropriately at various musical activities and
events.
Perform scales in select rhythm pattern and tempo
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Standards Alignment Unit Concept Essential Questions Assessments
Big Ideas Student Learning Targets
Identify note duration for select rhythms
Breathe in time and in unison with ensemble
Approach and leave the performance area in silence
Demonstrate proper stage presence and etiquette.
Follow conductor cues and gestures.
Attach notes together, hold notes for proper duration,
release notes in unison.
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Delaware Model Unit Gallery Template
Students will learn the foundations for reading musical notation in both the Treble and Bass clef. They
will be introduced to the musical solfege system, and through use of hand signs, will discover how to
apply solfege syllable to a C Major Scale. Students have already been introduced to basic rhythms.
Big Idea(s)
Reading and notating music.
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Knowledge and Skills
Written Quiz on identifying notes both in the Treble and Bass clefs, as well as a quiz on applying
Solfege to the C Major Scale
Sight-Singing Rubric
Unacceptable Poor Fair Good Excellent
0 pts 1 pt 2 pts 3 pts 4 pts
Pitch Incorrect pitches Incorrect pitches Incorrect pitches Incorrect pitches rarely Pitches are
consistently occur frequently occur occassionally occur occur without consistently accurate
significantly detracting detracting from the detracting from the detracting from the as notated enhancing
from the overall overall performance. overall performance. overall performance. the overall
performance. performance.
Pitches generally
Pitches generally unrecognizable. Professional level
unrecognizable. pitch accuracy.
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Note Name Note names are never Note names are rarely Note names are usually Note names are Note names are
Accuracy accurate, significantly accurate, detracting accurate, but detracting usually accurate consistently accurate.
detracting from the from the overall from the overall without detracting
overall performance. performance. performance. from the overall
performance.
Solfege Solfege syllables are Solfege syllables are Solfege syllables are Solfege syllables are Solfege syllables are
Accuracy never accurate, rarely accurate, usually accurate, but usually accurate consistently accurate.
significantly detracting detracting from the detracting from the without detracting
from the overall overall performance. overall performance. from the overall
performance performance.
Other Evidence
Informal assessment of student’s performance
Use of questioning during whole group instruction
Introduce the musical staff, and indicate the 5 lines and 4 spaces.
Draw the Treble Clef, and have students practice drawing them on the first line of the staff paper.
Observe and make corrections.
Teach students the saying Every Good Boy Does Fine and FACE, and explain how it applies to the
notes and spaces on the staff.
Write EGBDF and FACE from bottom left to top right on the lines and spaces respectively.
Show students that as notes go up the staff, they go line – space – line – space, etc.
Show students that as you go up the staff from line to space, that it is like going up stairs and you go
up your alphabet in order.
Draw a series of different “line” notes on the board, and assess students randomly, one at a time, by
having them verbally identify the notes.
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Draw a series of different “space” notes on the board, and assess students one at a time by having
them verbally identify the notes.
Explain to students that notes can get higher and higher by drawing extra lines – ledger lines.
On their staff paper, have students draw a quarter note on each of the lines, and label them
appropriately.
Have students take a short quiz at the end of class identifying notes on the Treble clef Staff. For
homework, give them a worksheet to complete (self created) for next class.
Introduce the musical staff, and indicate the 5 lines and 4 spaces.
Draw the Treble Clef, and have students practice drawing them on the first line of the staff paper.
Teach students the saying Great Big Dogs Fight Animals and All Cows Eat Grass and explain how it
applies to the notes and spaces on the staff.
Write GBDFA and ACEG from bottom left to top right on the lines and spaces respectively.
Reinforce to students that as notes go up the staff, they go line – space – line – space, etc, , and that
as you go up the staff from line to space, that it is like going up stairs and you go up your alphabet in
order.
Draw a series of different Bass Clef “line” notes on the board, and assess students one at a time by
having them verbally identify the notes.
Draw a series of different Bass Clef “space” notes on the board, and assess students one at a time by
having them verbally identify the notes.
Reinforce to students that notes can get higher and higher by drawing extra lines – ledger lines.
Have students take a short quiz at the end of class identifying notes on the Bass clef Staff. For
homework, give them a worksheet on Bass Clef Notes to complete (self created) for next class.
Give quiz the next class on Treble, and Bass Clef Notes.
Play the song “Do Re Mi” for students. Tell them the song comes from the musical The Sound of
Music.
Sing several times, having students sing as much as they can remember.
Show how the hand signs correlate to the steps of the scale.
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As you use the hand signs, make sure to place them spatially high and low as they correspond to the
scale.
Add the hand signs as you sing the song this time.
You may want to use a recording of the song for students to sing along with so that you can help them
with the hand signs.
Have students echo patterns of hand signs. Sing and sign. Start with So-Mi.
Pair students up, and have them practice drilling each other using hand signs. Observe their
performance.
This will be an ongoing skill practice. It may take several lessons to be able to echo all the intervals of
the major scale.
Use of echoing hand-sign patterns should be done as a drill over a long period of time.
You will get to a point where you can use this skill to teach songs.
Tell students that the term scales refer to a series of notes that go in an ascending and descending
manner.
Have students echo hand signs Do, re, mi, fa, sol, la, ti, do.
Inform them that what they just sang, was the C Major scale.
Explain to students the students that the major scale is the foundation from which all other scales
are formed.
Explain to students that a C major scale begins with a C and ends with a C.
Have them echo hand sign patterns to the major scale again, this time substituting note names for the
syllables.
Create various hand-sign patterns as the students continue to echo using note names instead of
syllables.
Put them in pairs, and have them drill each other using hand-signs.
In the book The Choral Warm-up Collection by Sally Albrecht, teach the students exercise #85.
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After students have learned the exercise on syllable, have them perform it on note names.
As an exit ticket, write a series of random letters from the C Major scale on the board, and have
students identify the solfege syllable to the note names of the Major Scale.
Give each student a copy, and have them look at exercise #1.
Ask them to look the exercise over, and in their heads determine the note names of each note in the
exercise.
After 1 minute, play the starting pitch for them, and as a class sing through the exercise on NOTE
NAMES. Observe students as they sing, to ensure they are following.
Next, ask them to look the exercise over, and in their heads determine the solfege syllable of each
note in the exercise.
After 1 minute, play the starting pitch for them, and as a class sing through the exercise on solfege
syllables. Observe students as they sing, to ensure they are following.
Assess each student individually on exercise 4. Like earlier, give them a minute look it over to
determine note names, and a minute for solfege. Use rubric from stage three.
This process should be continued for 2 weeks, using the exercises on subsequent pages. After two
weeks, cut the time they have to look over it to 30 seconds, and then after four weeks, cut it down to
15 seconds. Assess students once a week to track progress.
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Resources and Teaching Tips
Resources:
Centennial Songbook, or other source for Do Re Mi
Piano
Recording of Do Re Mi on cassette or CD
” The Choral Warm-up Collection” by Sally Albrecht
Melodia-A Course In Sight-Singing by Samuel Cole and Leo Lewis
Differentiation
Work in pairs to support learning
Students use the visual, auditory, and kinesthetic learning styles during this unit.
While students are in pairs doing hand-signs, it allow teacher to differentiate his/her time, moving
between groups as the students need support.
Technology Integration
The ability to responsibly use appropriate technology to communicate, solve problems, and access,
manage, integrate, evaluate, and create information
As written, this unit does not make use of a great deal of technology. However, if the teacher wished
to extend the unit, students could certainly go online and search for lessons that drill note reading.
Content Connections
Content Standards integrated within instructional strategies
Social Studies – Learning about non-western cultures. Teacher could extend the unit with a short
comparative study on texture from cultures around the world.
ELA – The musical composing process is similar to written composition.
Math – Dividing time with measures, beat, syncopation
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Delaware Model Unit Gallery Template
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Big Idea(s)
Musical performance
A voice is a tool which when used according to the rules and apart from the rules can move others‟
emotions
and/or communicate meaning.
In order to engage in an ensemble one must be both a performer and a listener with the ability to
react.
To become a skilled performer requires persistence.
Dance requires an entire repertoire of movement.
The dancer utilizes music for rhythm and tempo.
A musical performance is not only about sounding good, it is about looking good as well.
Participating in a choir and using knowledge of musical skills in a singing performance can help build
self- esteem and confidence.
Demonstrating respect for a performance, both on and off the stage, can foster a deep appreciation
for other performers.
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Students will be able to…
Exhibit good singing posture
Follow a conductor
Use facial expressions effectively while singing
Perform with proper performance manners and etiquette
Exhibit proper breathing while singing
Produce lighter and darker, fatter and thinner vocal qualities through shaping lips and mouth.
Identify their voice part by range sung and follow that part in a score
Perform with proper balance within a choir
Perform with proper blend within the choir
Shape vowels correctly while singing
Students will use dance to accompany musical performances
Performance Rubric
Following Unacceptable Poor Fair Good Excellent
Conductor Student is never Student rarely Student is Student is usually Student is
watching/following watches/follows occasionally watching/following consistently
conductor, conductor, watching/following conductor, without watching/following
detracting from detracting from conductor, but detracting from the conductor,
the overall the overall detracting from overall detracting from
performance. performance. the overall performance. the overall
performance. performance.
Professional level
following
Etiquette Unacceptable Poor Fair Good Excellent
Etiquette is never Etiquette is Etiquette is usually Etiquette is usually Etiquette is
appropriate, rarely appropriate, but appropriate, consistently
significantly appropriate, detracting from without detracting appropriate.
detracting from detracting from the overall from the overall
the overall the overall performance. performance. Professional level
performance. performance. etiquette
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Facial Unacceptable Poor Fair Good Excellent
Expression
Effective facial Effective facial Effective facial Effective facial Effective facial
expressions are expressions are expressions are expressions are expressions are
never employed rarely employed mostly accurate usually employed consistently
within the within the within the within the employed within
ensemble, ensemble, ensemble, ensemble without the ensemble
significantly detracting from detracting from detracting from the enhancing the
detracting from the overall the overall overall overall
the overall performance. performance. performance. performance.
performance.
Professional level
expression
Posture Unacceptable Poor Fair Good Excellent
Correct posture is Correct posture Correct posture is Correct posture is Correct posture is
never employed, is rarely often employed, usually employed, consistently
significantly employed, but detracts from without detracting employed
detracting from detracting from the overall from the overall enhancing the
the overall the overall performance. performance. overall
performance. performance. performance.
Other Evidence
Exit tickets
Reflection of performance as a classroom discussion
Use of questioning during whole group instruction
Explain to the group that proper singing technique begins with good posture, setting up the body to
produce the best sound possible.
Have students stand in a circle facing each other, and give them the following instructions. Circulate
around the circle and correct any problems:
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Have students place feet shoulder length apart, one foot slightly ahead of the other, weight evenly
distributed and toward your toes. Instruct them to rise up on tiptoes, and lower back down slightly so
heels are barely touching the ground.
Have them slightly bend their knees so that they can feel it, but no one can see it. Instruct them to
wiggle knees forward and back to feel how relaxed they are while still standing tall.
Instruct them to raise chest slightly, creating a lift throughout the middle of their body. Have them tap
on sternum to feel the area that should be lifting (show them where sternum is).
Indicate that in raising your chest you should feel a tilt in your ribcage, rotating upward from the
sternum.
Have them relax and lower shoulders comfortably, parallel to chest. Instruct them to raise shoulders
to ears, and then lower them to the ground. Then have them take a deep breath, relax, and try to
lower them an inch more.
Have them place their arms at their sides, hanging them in a relaxed position. Instruct them to shake
their hands out and let their fingers hang.
Tell them to imagine their chin resting on a table, parallel to the ground.
Ask each group to demonstrate their version of correct body posture for the group. Class members are
encouraged to evaluate group performance in a positive, constructive way.
To further emphasize correct alignment, the teacher asks students to find a blank wall space and
stand with their backs against the wall. Students place their heels, buttocks, shoulder blades, and
back of the head (with chin parallel to the ground) against the wall. The teacher points out that this is
the "standing tall" posture we're looking for. Students are then instructed to move 6 inches away from
the wall, keeping this posture alignment.
In a final step, students are asked to rise up on their tip-toes, and lower slightly so that their heals
are barely touching. This will create the weight shift desired.
While this lesson should be ongoing throughout the year, when concert time comes, teacher should
bring the students on stage to the risers; have them arrange themselves in concert order. They will
then display appropriate posture while singing a selection chosen by the teacher.
Teacher will video tape performance, and have students evaluate themselves using the “posture”
portion of the performance rubric.
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Lesson Two: Following a conductor
Have students write down what they believe a choir conductor is communicating when conducting a
choir.
Explain how the first beat of the baton is usually downward and is known as the "ictus," or
"downbeat.", the second beat the baton continues inward toward the conductor's body, beat three
moves outward, away from the body. and finally, the conductor moves his baton upward to signify the
final beat of the measure (the "upbeat" or "prep beat").
Explain how this four beat conducting pattern is repeated throughout the entire piece of music,
helping all members of the ensemble know where they are at in the overall performance simply by
keeping one eye on the conductor's baton.
Inform them that other kinds of music with different meters and beats per measure are conducted in
different ways, but the ictus and the upbeat will always be done with the same basic motions, with the
upbeat immediately preceding the ictus.
Have students sing “My Country „Tis Of Thee”, while watching you conduct. Explain to them the
importance of watching, and following the tempo they are given. Vary the tempo dramatically
throughout, and keep a close eye on who is following correctly. Kids love this activity, and it really
shows them the power the conductor has.
Explain to the class that the conductor does much more than simply keep a beat, however. The
conductor is solely responsible for making the chorus sing the music exactly as he or she feels is
appropriate, at varying dynamic levels. Large motions often signify loud, smooth passages. Small,
gently motions will accompany soft, delicate passages.
Have students sing “My Country „Tis Of Thee” again, and this time vary large, and small motions, and
tell students to adjust their dynamic level based on the conductors gestures.
Also discuss that the conductor will also express articulations through his or her gestures. Choppy,
short motions go along with bouncy, choppy rhythms, while bigger, flowing motions will signify
smooth, legato passages.
Have students sing once again, this time stressing different articulations.
Finally, have students sing one last time, and combine varied dynamics, tempo, and articulations.
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This lesson is continuous, in the sense that the teacher should vary his/her conducting on a daily basis
to get students accustomed to following a conductor.
Ask students to write down reasons why facial expressions are important in singing.
Have students discuss their answers in groups of 3-5, and then share with the entire class.
Stress to the class the importance of facial expressions, and the importance that they convey the
mood of the text.
Explain how face and body are very vital to your song delivery, in that appropriate facial expressions
can make a song come alive!
Discuss/demonstrate the importance of the raising (slightly) of the eye/eyebrow area as this technique
will enhance the use of facial expressions while adding more depth and expression to the singing tone.
Throughout the semester, spend time analyzing lyrics with the students. What is the song about?
What mood is the composer trying to convey? Teacher should encourage students to “feel” the lyrics,
and be aware of using effective facial expression while singing.
Video tape the class during rehearsal, and then have the class evaluate their facial expression by
watching their performance, and answering the following questions:
Are you just moving your lips, or are you gradually moving your mouth to accommodate the
vowels in the song?
Are you lifting your eyebrows?
Do the facial expressions of the singers convey the mood of the text?
Have students jot down what they believe are elements of proper performance etiquette.
Demonstrate to students the proper way to file on and off the risers. Stress the importance of
maintaining singing posture from the moment they enter the stage, till the moment the exit the stage.
Discuss the importance of remaining quiet while filing on and in between selections.
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Run through 30 seconds of each song.
Have them bow as a group, and exit the risers.
Two weeks before the 1st performance, video tape the “practice run” and evaluate students
using the “Etiquette” portion of the rubric.
This lesson should be revisited many times throughout the year.
Differentiation
Students use the visual, auditory, and kinesthetic learning styles during this unit.
Technology Integration
The ability to responsibly use appropriate technology to communicate, solve problems, and access,
manage, integrate, evaluate, and create information
The teacher makes use of video by recording the chorus and having them evaluate their own
performance skills.
Content Connections
Content Standards integrated within instructional strategies
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Delaware Model Unit Gallery Template
Big Idea(s)
Musical Expression
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Unit Enduring Understanding(s)
Singing in a choir is different from singing as a soloist.
Choirs must listen to each other as they sing to ensure blend and balance.
Expression of a song is demonstrated through the use of tone and changes in vowels
and dynamics.
Teacher will choose 15-20 measure sections from selections currently being studied. The
teacher will listen to the students’ perform these sections in groups of 4-6 students. The
groups will have the opportunity to select a section of the piece that they are
comfortable with. The teacher will also have each student sing the selection individually.
The following rubric will be used to assess each student.
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Vocal Performance Rubric-
Other Evidence
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Responds to questioning during whole group instruction
Informal assessment during class when students are rehearsing
As they breathe, explain that this area should expand first when they breathe in and
then spread upwards until chest is expanded.
Observe and make sure students don't lift their shoulders or push their stomach out.
Have the students lay flat on their backs, and place their hands on waists, fingers
pointing towards your belly button. (If you have access to the stage at your school, this
is a great place to do this exercise.)
Tell them to focus on filling up your stomach from the bottom to the top taking a slow
deep breath.
Inform them that the aim is not to fill themselves to bursting but to inhale enough air so
that you can feel the difference between a shallow breath taken when breathing from
the chest.
Make sure that their stomach rises and their hands rise gently up and outward until they
feel their chest expanding.
Indicate that the expansion is not only at the front of the body but also to the sides and
back as well.
Have them breath out in slowly for a count of 8, hold for a count of 4, and then exhale
slowly for a count of 8.
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Observe each student and correct any issues you may see.
Tell the students that the next step is to practice breathing while singing.
Have the students stand up tall with proper singing posture (previously taught).
Explain that when breathing standing up, they should have the same feeling they had in
their lower body while lying down.
Have them breath out in slowly for a count of 8, hold for a count of 4, and then sing the
“oo” vowel for a count of eight.
Repeat the exercise several times, observing for proper posture and breathing.
Repeat the exercise, but increase the counts they are singing to 16. Have students raise
their hands when they run out of air.
Eventually try to work up to 24+ counts with students continuing to raise their hands
when they run out of air. This will help you to assess who needs extra-help.
These breathing exercises should be continued throughout the year, and the technique
should be incorporated in each piece being studied.
Teacher will explain the definition of dynamics and talk to students about how the
degree of loudness or softness of music affects the mood of the music. Play examples
for the students. These examples should "catch their attention," so make sure to choose
examples that they will enjoy.
As the students listen to each sample, have them write down a word or two to describe
what they are hearing. Then go around the room and have each student share his/her
word.
After listening to the examples, lead discussion with students on how they think the
dynamics affect the music. Tell them to get out their musical selections that they are
working on and sing the pieces, dividing them into sections of dynamic contrast.
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After singing each section, have the students discuss how these dynamics effect the
mood of the music and why they think the composer used these dynamics in these
sections.
Go back to the music and have individuals sing specific sections of the music to
individually demonstrate the varying dynamic levels. To differentiate, with the more
experienced singers, pick the more challenging sections; for the less experienced
singers, pick a section that they are capable of performing effectively to demonstrate the
dynamic contrast.
Alternatively, let the students pick which section they want to sing and this will lead to
"volunteers" singing individually. After allowing time for individuals to sing, have the
choir sing through the piece and record it. Have class listen to the recording.
Have students reflect on the performance by completing the “dynamic” section of the
rubric above.
Teacher will provide class with an overview of the topics of Balance and Blend.
Teacher will instruct the soprano section to sing one or two short phrases from a
selection in unison and then ask other choir members for a response.
Teacher will do the same with the alto, tenor, and bass sections individually.
Teacher will then have the sopranos and altos sing together. Then ask the male voices,
was there an acceptable balance, or did the alto section dominate the others?
The process will then be repeated with the boys performing, and asking the ladies the
same questions.
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Because the above approach risks embarrassing weaker singers, it is usually best to
avoid singling out particular students, even when their shortcomings are obvious. Focus
instead on the need for the section as a whole to overcome any weaknesses, and
encourage those listening to give positive as well as negative comments.
By moving systematically through the choir in this way and summarizing the findings of
the group in a kindly and encouraging manner, the choir director can do much to raise
awareness within the ensemble of the basics of intonation, breathing, balance and blend.
It will also help produce a much better sound from the choir as a whole.
Resources:
Various repertoire of musical selection chosen by teacher
Differentiation:
Work in small groups and pairs to support learning.
When dividing up students to sing some students with learning disabilities may benefit
from being in a group with stronger singers.
Students use the visual, auditory, and kinesthetic learning styles during this unit.
Students choose which passages to sing during evaluations.
Technology Integration
The ability to responsibly use appropriate technology to communicate, solve problems,
and access, manage, integrate, evaluate, and create information
As written, this unit does not make use of a great deal of technology. However, if the
teacher wished to extend the unit, students could certainly go online and search for
samples of music that exhibit proper balance/blend. The teacher could also download a
video of a choir singing and talk about the singing fundamentals being used.
Content Connections
Content Standards integrated within instructional strategies
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