CMP Teaching Plan Using St.

Pauls

Suite
For the Advance High School Orchestra, the students need exposure to large, strings only repertoire with multiple movements. The movements are contrasting in style and include familiar folk tunes. This composition was written by Gustav Holst (1922, Goodwin & Tabb Ltd.)

Assessment
Assessment will take place throughout the rehearsal process and performance of St. Pauls Suite. Students will be assessed through discussions, journals, and performance Before: Students will listen to the suite in its entirety at the beginning of the unit (either in class or outside of class). There will be an in-class discussion that focuses on questions that highlight the differences and similarities between movements. During: Students will be asked to find a YouTube video that is of a jig (dance) that could be applied to the first movement. There will also be periodic playing quizzes that include melodic motives and harmonic tuning (double stops). There will also be a group project where students must add another folk melody above the jig melody that is a part of the suite, which will be performed in class. As a class, students will discuss other styles that contrasting but could create a unique aesthetic. Students will also be asked to decide what type of minor scale the melody in the third movement most likely originates. After: Following the performance, the students will listen to a recording of the concert and assess their growth as an ensemble and individual in their journals. They will be able to draw on their recordings of assessments and the performance recording.

Music Selection
St. Pauls Suite will teach students the ways that composers can use basic compositional techniques to create new combinations. This is illustrated through the juxtaposition of Green Sleeves with a jig melody and the development of an ostinato in the second movement. There is also an opportunity in the third movement for ear training for students to identify the minor scale.

Analysis
St. Pauls Suite is comprised of four movements that are bookended by a common jig melody. The second movement is driven by an ostinato and a constantly flowing eighth note line. The third movement highlights a solo violin and a soli from the front stand of each instrument. There is a fast section that is a sudden change in tempo, then return to the original tempo, which is then repeated a couple times. The harmonies are mostly diatonic, but with some Middle Eastern nuances and American-style enthusiasm.

Outcomes, Strategies, and Assessment

Outcome: The students will discover a common melody between the first and last movements. Strategy: Students will: listen to a recording of St. Pauls Suite in its entirety and will journal in what movements the jig is present listen specific sections of the suite chosen by the teacher and will raise their hands when they hear the jig melody look through their parts and circle where the jig melody is present and discuss with other students in different sections to discover where the jig appears

Assessment: Students will turn in a journal entry that describes the prevalence of the jig within their own part as well as in the parts of other instruments.

Outcome: Students will create a counter melody above the jig that is either a folk melody or a new composition and perform for the classroom Strategy: Students will: use music notation software to notate a counter melody, this will allow student to hear the composition before rehearsals create chamber ensembles (3 or more different instruments) with their peers and have rehearsal time perform the compositions during class or bring in a live recording write journal entries discussing the creative and rehearsal process of their own compositions

Assessment: Students will be graded on their time put into their composition, their performances, and their journal entries.

Outcome: Students will assess their progress through various journal entries. Strategies: Students will: write an initial journal entry describing their performance and their personal goals continue to write weekly entries describing the concepts discussed in class and assess their progress write a final journal entry describing how the performance was for him/her individually, as an ensemble, and assess how well they achieved their personal goals

Assessment: Students will be graded on their content, adherence to guidelines, and timeliness of journal entries.

CMP Teaching Plan Using Simple

Symphony
Students must learn about the different types of musical forms. Benjamin Brittens piece Simple Symphony displays a bourre, pizzicato movement, sarabande, and symphonic finale (1934, Chester).

Assessment
Students will be assessed throughout the rehearsal, performance, and post-performance process. Before: Students will listen to the symphony on their own (either in the library or at home) and write a short story for their favorite movement. During: There will be worksheets and instruction on dance styles of a bourre and sarabande. Students will also compose their own short dance movement with a Britten-like style. Students will identify where Britten quotes himself within specific movements. After: After the performance, students will assess their own performance as well as the entire ensemble.

Music Selection
This piece will be able to show students how dance movements can be set orchestrally in a unique way. Students will be able to play typical movements from dance suites that are clear and concise. The movements are all unique and musically different than the others. This piece will also give students experience playing 20th century music composed by an English composer.

Analysis
Simple Symphony is a four movement piece. The first movement is a bourre, which is a French dance from the 17th century. The second movement is totally played in the pizzicato style and the third movement is a sarabande, another 17th century dance. This dance, however, has an emphasized second beat and is much slower than the bourre. The finale quotes motives from the previous three movements. Throughout this symphony, Britten quoted his older works.

Outcomes, Strategies, and Assessment

Outcome: Students will be able to write a short story based on a movement of their choice. The best story for each movement will be featured in the program. Strategies: Students will:

listen to the movement of their choice and take notes during and after listening to develop a story develop multiple drafts to present to the teacher and the class present their stories to the class and decide which story will be featured in the program

Assessment: Students will be graded on their development of their ideas, timeliness of drafts, and presentation

Outcome: Students will be able to describe the style elements of a bourre and a sarabande Strategies: Students will: find examples of other bourres and sarabandes on YouTube and give short summaries complete worksheets in class that explain the general characteristics of the two dance styles write short melodies based on either the bourre or sarabande style

Assessment: Students will be graded on their completion and understanding of the bourre and sarabande style through their video summaries and worksheets. Students will also be graded on their compositions according to how well they display their understanding of the dances

Outcome: Students will discover how composers can use quoted music in new compositions Strategies: Students may choose from the following projects: create a roadmap of where Britten quotes his own music a score of their chosen movement and list of quoted pieces will be provided to students attend the intermediate middle school orchestra concert and notate what folk songs were quoted in Name Those Tunes by John Edmondson (arr.) choose a Charles Ives piece from a given list and create a roadmap of American folk songs used for all projects, a class presentation is required (either in class or via a YouTube video)

Assessment: Students will be graded on their presentation and the content of their presentation according to a teacher-given rubric.