1

JimmyHartmann
ElementaryChoralMethods
12/15/2014
FinalProject

PhilosophyofMusicEducation:

Originally,myinspirationforbecomingamusiceducatorcamefrommyhigh

schoolexperiencesinbandandchoir.Havingreceivedanamazingeducationfromtwo

highlyachievedteachers,IfeltthatIjustwantedtobelikethemsomeday.Alotofthis

stillresonateswithinme.Butsincemyjourneyincollege,myideologyofmyfuture,and

beingamusiceducatorspecificallyhaschanged.Ihavecometorealizethatitisall

aboutthestudent.Nomatterwhat,thestudentalwayscomesfirst.Inmyexperiencein

publicschooling,someteachersgetsocaughtupinthecurriculaandmeetingtheir

expectations,whichareimportant,butarenotasimportantasthestudent.

Inmymusicclassroom,Iintendtocreateanopenenvironmentforalltolearn.It

isveryimportanttomethatallstudentsfeelcomfortableandabletoexpress

themselvesinamusiceducationenvironment.Musicisaverypersonaltopic.Itopens

yourbodyonanentirelydifferentlevelthandailyconversationorwritingoranyother

methodofcommunication.Musicissuchadenseformofdeliveringamessage.Each

notionofmusicthatisinteractedwithcanaffecteachpersoninmanydifferentways.

ThisiswhyIfeelthathavingaopenandfree,nojudgement,musiceducation

environmentisveryimportant.Oncethisiscreated,thenstudentswillfeelfreeto

expressthemselvesandletmusictakeitscourseintheirlife.

Thereisnothingmoreimportantthatthestudentintherealmofeducation.As

educators,wearethereforthestudentsandtohelpthestudentsdevelopskillstohelp

theminlife.Asamusiceducator,itisnotourjobtocreatethenextYoYoMaorRenee
 3

Fleming.Itisourjobtonurtureourstudentsandleadthemtothebestpathpossible

andhavethemachieveasmuchastheycan.Nothingwilleverbemoreimportantthan

thestudent.

DescriptionofChoralProgram:

Mychoralprogramisveryrichbecauseofcommunityinvolvement.Theparents

ofthestudentsareveryinvolvedintheirstudentsmusiceducationsandalwaysattend

concerts.Notonlydotheyattendconcerts,buthavealsoadvocatedfortheprogram

becauseofthetraditionofgreatnessthattheprogrambrings.Sincerecentbudgetcuts,

somemusicteachersinthedistricthavegottentheirjobsinjeopardy,notbecauseof

anythingtheydidbutbecausetheyarethelowestonthetotempole.Thecommunity

hasbeenverysupportiveinadvocatingtotheboardofeducationandtheuniformed

communityonhowimportantmusiceducationisimportanttothisdistrict,andtheworld.

Becauseofbudgetcuts,mydistricthasalsosufferedfundingforschoolmusicalsand

plays.Thecommunityhasbeenveryresponsiveandraisedmoney(withcooperation

withtheschoolboard)tosufficeforthosecutsfunds.

Atmyschoolwhichisgrades6th8th,thereisanonauditionedchoirwhichany

gradecanjoin,whichistaughtbymycolleague.Iteacha7thand8thgradeauditioned

choiraswellas6th8thgeneralmusic.Theauditionedchoirischoseninthe4thquarter

ofeveryschoolyear.Theauditionprocessisasfollows(inchronologicalorder):A

majorandnaturalminorscalesungacappellawithsolfegeandhandsigns.Range

check,(drmfsfmrd)forascendingand(sfmrdrmfd)fordescending.8measure

tonalsightreadingexample(studentsaretoldtheyareallowedtoaccomplishthis

anywaytheywantedtobutpitchandrhythmarewhatsbeingassessed,solfegeis

preferred).Forstudentsthathavedyslexia,thesightreadingwillbecolorcodedbypitch
 5

Choirsaredeterminedbeforethestudentsgoawayforsummervacation.The6th8th

gradenonauditionedchoirmainlyperformseasytointermediate2partmusic.The

7th8thgradeauditionedchoirperformsintermediatetoadvanced2partmusicand

some3partmusicdependingonrangebecauseofthechangingmalevoice.

Myroomwillbedecoratedinsuchawaythatcreatesapositivelearning

environment.Therewillbeinspirationalpostersaboutworkinghardandsuccess,but

alsopostersthatpromotemusicalgreatness.Thingssuchas,therearenowrongnotes,

andtodoyourbestandplay/singout.Myclassroomwillbecolorfulandnotboring,it

willalsoincludeanyawardswehavereceivedandpicturesofpreviouschoirsfromprior

years.Iftheroomisnotcarpeted,thenIwouldplantohavesomethrowrugsaroundto

makethespacemorecomforting.

Myroomwillphysicallybesetupinawaythatisefficientandsimple.Myroom

hastwodoors,eachoneonoppositesidesoftheother.Onedoorwillbedesignatedas

theenterdoor.Thiswillpromotesmoothtrafficflowinthetransitionalperiods.Asthe

studentsenter,theirfoldercubbieswillberightthere.Astheygrabtheirfoldertheywill

headtowardtheirchaironthetiers.Theseatingarrangementwillbesopranosonthe

left,meninthemiddle,andaltosontheright(lookingfromtheconductorspointof

view).Mydeskwillbetuckedinacorneroutofthewayofanytrafficflow.Apianowill

befacingthechoirforthemajorityofourrehearsals.Asclassisdone,studentswillput

theirfolderawayandexiteitherdoor.

Overall,itisveryimportanttomethatthespaceprovidedcreatesapositive

learningenvironment.Ibelievewiththephysicalsetupofmychoirroomaswellasthe
 6

supportivenatureofthecommunityandparentsofthestudents,andwithmysupport

andloveformusicasateacherthiswillcreateaconglomerateofcareaboutmusic

educationandcreatethebestlearningenvironmentforthestudents.

ClassRulesandProcedures:

Whenastudentwalksintomyclassroomtheycanexpectanopenenvironment

formusicalparticipation.Whateverlevelthestudentwouldliketoparticipateinmusic,

theyaremorethanwelcometodosoinmyclassroom.Moreimportantthanjustmusic,

Ifeelthatmyclassroomwillbeanenvironmentforthestudentstobringanyoftheir

problemandstruggles.Asstatedinmyphilosophyofmusiceducation,thestudentis

themostimportant.

Atypicaldayinmyclassroomwouldlooklikethefollowing:AsstudentsarriveI

greetthematthedoor.Theywalkinandgrabtheirchoirfolderfromtheirfolderslotthat

isinacabinetrightbythedoor.Studentsthenassumetheirseatandplacetheirbags

underneaththeirchairs(althoughtheroomistiered).Therewillbesomesortofwarm

upexercisewrittenontheboardforthestudentstostartlookingatandworkingonuntil

alltheotherstudentsarrive.Thewarmupactivitywillgoabout3minutesintolegitimate

classtime,andthenwewillgooveritasaclass.Theseactivitiescouldbefinding

somethingintheirrepertoireandlearningitwithsolfegeandhandsigns,oritcouldbea

sightreadingexampleontheboard,ormaybeevenasmallgroupactivitydiscussing

themeaningofthetextofsomeofourrepertoire.Afterthiswewilldoashort5minute,

bodybreathvoicewarmupexercisewhichvariesrehearsaltorehearsalandthenjump

intorehearsingrepertoireforamajorityoftheclassperiod.Withafewminutesleftinthe

period,Itypicallywrapuptheperiodtalkingaboutwhatwehaveaccomplishedand

whatwestillhavelefttodosothestudentsandIareonthesamepage.
 8

Thefirstdayofclasswouldbeatypicalcomparedtoanormalrehearsalday.

ThefirstdayIwoulddothenormal,syllabusandclassroomexpectationspielbutwould

alsodevotethetimethatwouldnormallybeforrehearsingrepertoiretogettingtoknow

eachotherandcreatingateamenvironmentthatissupportiveandcaringforeach

other.Thisisimportantinanymusicensemblebecausewithoutthecooperationofthe

group,rehearsalsandperformancecanbequiteboringandpointless.Ifan

environmentiscreatedwhereallthestudentswanttobethereandtheycareabout

whattheyaredoingandfortheirpeers,thenrehearsalsandperformanceswillbenefit

fromtheclassesenthusiasmandambition.

ThereisonegroundrulethatIwouldimplementonthefirstdayrespect.Ifeel

thatrespectistheultimaterulethateverythingcanbeendrawnbackto.Respectforthe

teacher,otherstudents,classroom,school,etc.Essentiallyanythingcanbedrawn

backtorespect.Ontopofrespect,Ihaveasinglemusicalexpectationforthestudents

aswell.Tryyourbest.Inthemusicclassroom,thereisalotofpressuretodotheright

andcorrectthing.Butifastudenttriestheirbest,thatisallthatyoucanaskfor.

Encompassedinthenotionoftryingyourbestisthatthereisnowrongnotes.This

notioncreatesanenvironmentthatmistakesareperfectlyokayandthereisnothing

wrongwiththemandtheyareopportunitiestobelearnedfrom.

Accomodations:

Forthetwostudentsinmyclassthathavedyslexia,accommodationsneedtobe

madetosupporttheirlearningdisabilityandgivethemequalopportunitytosucceedin

theclassroom.VickiR.LindstatesinherarticleAdaptingChoralRehearsalsfor

StudentswithLearningDisabilities,...thefirststepistohelpthepersonunderstandthe

importanceofmusicreading.PersonswithSpLDwillbemorelikelytoworkthrough

theirfrustrationsiftheyfeeltheendresultsareworthwhile.

Colorcodingseemstohelpmydyslexicstudents.Theuseofcolorcodingdiffers

fromstudenttostudenttho.Sometimescoloringdifferentthematicsectionsinmusicis

helpfulorsometimesitsnotebynotesoeachpitchisdifferentiatedfromanother.The

useofcolorcodingcanverybeneficialinmanydifferentways.Ingeneral,theconcept

seemstobetohelpthestudentwithdiscrimination.Colorcanbeusedtodiscriminate

pitch,dynamics,rhythm,essentiallyanymusicalelement.Evenjusthighlightinga

studentsentirepartcanbeveryhelpful

Anotheraccommodationthatseemstoworkwithdyslexiaistomakecardsthat

haveaslotinthemsothestudentcanjustfocusononespotatatime.Thesecards

canbesimplymadefromanindexcardbycuttingaviewingareainit.Inmusic,there

canbesomuchgoingonatonetimeonapage.Theseindexcardscutdownthe

crazinessoutsideofthestudentsownpart,forexample,itcancoverupthe

accompanimentaswellastheotherchoralpartssothestudentcanjustfocusontheir

ownpart.
 10

DuringoneofthefirstdaysofschoolItalkindividuallywitheachstudentwho

needsaccommodationinmyclassastowhatexactlyIcandoforthemandwhatis

mostbeneficialtothem.Thisconversationshouldhaveapositiveeffectonthe

studentteacherrelationshipandshouldfosterpositiveresultsbecausethestudent

knowswhatworksforthembestandhowexactlytheycanbehelped.

 11

Repertoire:
(inconcertorder)

Title:DownCalypsoWay
Composer:arr.ChristiCaryMiller
Key:DMajorthenEMajor
Form:Medley
Length:2:50
Range:Part1B3E5,Part2B3C#5
Why: Thispiececouldcontributetoaworldmusicthemedconcert.Thepartstothis
piecearequiteeasytolearnandwouldbeagoodopenertotheconcert.Wecould
learnaboutcalypsomusicanditsbackgroundandinfluence.

Title:OMusic
Composer:LowellMason
Key:GMajor
Form:Round
Length:2:30
Range:B3E5
Why:Thispiecewouldbebeneficialbecauseitteacheswhataroundis.Thiswouldbe
agoodpiecetoteachfirstbecausethereisessentiallyonlyonemelodytolearnand
thenitjustentersstaggeredeverytime.Thispiecewouldbeeasytoaccommodatemy
dyslexicstudentsaswell.

Title:DreamsofThee
Composer:EricWilliamBarnum
Key:GMajor
Form:ABA
Length:5:45
Range:SopranoC4D5,AltoB3D5,BaritoneC3D4
Why: Thispieceisquiteanexquisitelovesongthatportraysmanyfeelings.Thissong
canbeaneffectivewayofgettingthestudentstofindtheirownpersonalmeaningtothe
songandreallyconnectingwithitanddemonstratingitthroughtheirpersonalmusical
decisionsaswellaswhatisactuallywrittenonthepage.DefiniteuseofaCinstrument
toaddanicetimbre.

 12

Title:TheDrinkingGourd
Composer/Arranger:Traditional,arr.AndreThomas
Key:DMinor
Form:ABA
Length:approx.3:00
Range:Part1A3F5,Part2A3D5
Why: Thispiececanteachmanydifferentthings.Withitsrichhistoricalcontext,
studentscanlearnaboutslaveryandtheundergroundrailroadandhowthathas
affectedAmericaspastandpresent.Thispiecealsocontainsmusicchallengessuchas
borrowedrhythmsandawiderangeofpitches.Possibleuseofaflute.

Title:HomewardBound
Composer:MartaKeen,arr.JayAlthouse
Key:Ebmajor
Form:Strophic
Length:2:55
Range:SopranoBb3Eb5,AltoBb3C5,BaritoneG3D4
Why:Thispieceisverygoodforthemalechangingvoice.Thepartonlyhasarangeof
afifthsoitwouldbeagoodintroductionto3partsinging.Ifeelthissongwouldbe
goodpenultimatepiecefortheprogram.

Title:OSifuniMungu
Composer/Arranger:Maddux,McCall,Mulongoy,andMukalay,arr.RogerEmerson
Key:FMajor
Form:ABA
Length:4:25
Range:Part1D4F5,Part2C4C5
Why: Thispieceteachesculture.Itisanafricantraditionalcombinedwithpopmusic
style.Itisverycatchyandupbeatandwillbeahitwiththestudents.Itwillbegood
experienceforthestudentstosinginadifferentlanguageaswell.

 13

LongRangeLessonPlan:

Jan.6
5minuteswarmup
20minutesOMusic,Melodyonsolfegeandhandsigns,talkaboutLowellMason,addpart2
ifthereistime
20minutesHomewardBound,Melodyonsolfegeandhandsings(m.110),talkthroughtext
andcreateameaning

Jan.8
5minuteswarmup
20minutesHomewardBound,Reviewmelodyandaddharmonyfromm.126,oncepitch
andrhythmaregoodmoveon
20minutesDownCalypsoWay,LearnallofMaryAnnpitchandrhythmsperfect

Jan.13
5minuteswarmup
20minutesOMusic,Revieworiginalmelody,teachpart2and3,tryalltogetherifthereis
time
20minutesTheDrinkingGourd,learnm.124allpitchesandrhythms,goonifyoucan

Jan.15
5minuteswarmup
20minutesTheDrinkingGourd,reviewm.124,learnm.2452,addalltogether
20minutesDownCalypsoWay,Talkaboutcalypsomusic,learnMangoWalk,allpitchesand
rhythms

Jan.20
5minuteswarmup
20minutesOSifuniMungu,learnm.146,addaccomp.
20minutesOMusic,learnpart3,colorcodepartsandtryrunentirepiece

Jan.22
5minuteswarmup
20minutesDreamsofThee,m.132onsolfegeandhandsigns,addaccomp.
20minutesOMusic,wrapup.Adddynamicsandexpressionwithineachline,run.

Jan.27
5minuteswarmup
20minutesTheDrinkingGourd,reviewm.152,learn52end.Iftherestime,combineand
run?
20minutesDreamsofThee,m.3964,veryambitiousbutdoable.doallonsolfegefirstand
thenaddwords
 14

Jan.29
5minuteswarmup
20minutesDownCalypsoWayReviewfirsttwotunes,addTingaLayoandmaybeBanana
Mansongifpossible
20minutesOSifuniMungi,discovercontextofthesong,reviewm.146,addm.4770,runif
possible

Feb.3
5minuteswarmup
20minutesDreamsofTheereviewm.164,add77end.solfegewithhandsignsandthen
withwords
20minutesHomewardBoundreviewm.124,addm.2944,goonifpossible

Feb.5
5minuteswarmup
20minutesTheDrinkingGourdreviewentirepiece,runthroughandcleanuppitchesand
rhythmsstarttoaddexpressionandtalkabouthistoricalcontext
10minutesRunOMusicandkeepitclean,addexpression
10minutesDownCalypsoway,finishlearningpiece,runhalfwaytotheend

Feb.10
5minuteswarmup
20minutesDreamsofTheereviewentirepiece,cleanupallpitchesandrhythms,run.Add
expressionifallisgood
20minutesHomewardBound,workm.45end,talkaboutmeaningandpersonalconnection,
runiftime

Feb.12
5minuteswarmup
20minutesTheDrinkingGourdrunpiece,gothroughandaddexpression
20minutesOSifuniMungum.72110,learn.Restofthesongisrepetitionindifferentkey.
Understandtexttranslation.

Feb.17
5minuteswarmup
10minutesRunOMusic
10minutesRunTheDrinkingGourd,cleanupandperfectexpression
20minutesOSifuniMunguRunentirepieceandseewhereitisat,addexpressionafteritis
cleanedup

 15

Feb.19
5minuteswarmup
20minutesDownCalypsoWayrunpieceandcleanuppitchesandrhythms,addexpression
20minutesDreamsofTheeSpottouch,findtroublespotsandgothroughthem,continue
addingexpressionandgettingitclean

Feb.24
15minutesRunOMusic,rehearseandmakesureitsclean,fixanyspots,moveonASAP
15minutesRunHomewardBound,sameasabove
15minutesRunOSifuniMungu,sameasabove

Feb.26
15minutesRunDownCalypsoWayrehearseandmakesureitsclean,fixanyspots,move
onASAP
15minutesRunDreamsofTheesameasabove
15minutesRunTheDrinkingGourdsameasabove

Mar.3(pianistjoins)
Runallpieces

Mar.5(Inschooldressrehearsalonstage)
Runallpieces

 16

SUNY Fredonia Music Education

Lesson Plan Template
Content Area: Candidate: Date:
Music Jimmy Hartmann 1/6/15
Grade Level: Central Focus:
7th Grade Develop students musical skills and apply them to choral contexts. This
will include learning about the backgrounds of each piece as well as
performing them historically accurate.
Pre-instructional Planning:
Students know that choir will enhance their understanding of music as well develop their skills as a musician.
Standards:
MU:Pr4.2.7c
Identify how cultural and historical context inform performances and result in different music interpretations.
This will be addressed by the students coming up with their own interpretation of Homeward Bound.
MU:Pr6.1.7a
Perform the music with technical accuracy and stylistic expression to convey the creators intent.
Although this standard will be addressed with the overall performance of all of the pieces for the upcoming
concert, students will directly relate to this standard in this lesson by performing the notes and rhythms accurately
while looking for musical ways to express their classes understanding of each song.

Common Core Standards:

2. Determine a theme or central idea of a text and analyze its
development over the course of the text; provide an
objective summary of the text.

Grade 7, Reading standard #2, this will be addressed by the students reading and analysing the text of Homeward
Bound and creating their own class understanding of the piece.

Learning Objectives (SWBAT):

Students will be able to sing in tune and correct rhythms.
Students will be able to use solfege and hand signs to figure out simple melodies independently and with
moderate teacher help.
Students will be able to connect to the text of a song and come up with their own meaning.

Language Function:
Students will use their language analysis skills to come up with their our meaning of a piece and use it to make
musically expressive decisions.

Additional Language Demands:

Students will need to have a previous knowledge of solfege and hand signs, as well as standard notation. They will
get these previously stated demands from their experiences in the non-audition choir which they must be in for at
least one year as well as general music class.

Academic Language and Language Supports: (Early Childhood)

Solfege, Hand signs, melody, harmony, expression
 17

Materials and Resources: Technology (check all boxes that apply)

Piano
Whiteboard
Audio speakers
Video Recorder
Computer(s)
DVD Player
Projector
Interactive Whiteboard
Internet Connection
Printed Materials/Media:
Copies of O Music by Lowell Mason
Homeward Bound by Marta Keen
Learning Environment Preparation:
Write the warm up instructions on the board. Make sure new music is in the choir folders.
Internet Resources:
Indicate web addresses (URLs), if any, that support the lesson.
Other:
Color coded scores of main melody in O Music for dyslexic students
Introduction:
Students will be used to the normal procedures of every choir class. Walking in, grabbing their folder, placing their
bag underneath their assigned seat and immediately getting started on the warm up exercise that will be written
on the board while I greet students at the door and reinforce the routine procedure.
Procedure:
1. Students will enter the classroom. Warm up will be on the board. Grab your folder and open O Music,
and figure the solfege and hand signs for measures 2-14. Be prepared to sing it! The first 5 minutes of
class will be devoted to this.
2. We will go over the warm up exercise. First with teacher playing the piano along with the class on the
pitches and then eventually without.
3. Before singing, class will do a few sirens to warm up voices.
4. The warm up activity will lead right into the rehearsing of O Music. After the page is learned, pitch and
rhythm-wise, add words and accompaniment. The entire class will be singing in unison.
5. Give students 2 minutes to look at part 2, measure 16-28. Have students figure out solfege and hand
signs as best as they can and then go over same as the warm up and add words after the pitches and
rhythms are decent.
6. Talk about Lowell Mason and how he is the father of Music Education in America and is essentially why
we have choir class in school.
7. Transition to Homeward Bound, have students switch sheet music from their folders.
8. Teach melody on measure 1-10 phrase by phrase with solfege and hand signs in call and response. m.2-6,
m.6-10
9. Put two phrases together with solfege and hand signs
10. Add words to measures 2-10
11. Have a student read the entire text of the piece.
12. Ask the class What does this mean to you? Brainstorm ideas and write them on the board.
13. Create a story as a class that the class can connect to as a whole, so there is one unified meaning of the
piece.
14. Ask students How can we implement our ideas and understanding of this text into our musical choices?
15. Brainstorm more ideas and write them down on the board and record them for future use.
 18

Instructional Choices for Whole Class and Accommodations for Individual Differences: (i.e.,
exceptionalities, ethnic, racial, gender, socioeconomic, language, learning styles, and religion)

For my students with dyslexia, I will be using viewfinder index cards that allow them to focus on one part of the
music at a time. With the warm up exercise, I will create a color coordinated excerpt by pitch that is the main
melody of O Music so they can have equal opportunity compared to their classmates.
Closure:

Explain to the students what we have accomplished this class period. With O Music, we learned the main melody
that governs the entire piece and are already of the way through. With Homeward Bound, we also learned the
main melody as well as came up with our own understanding of the piece that will help us to express later on.
Student Assessment:

I plan to assess my students on their solfege and hand sign proficiency in this lesson. After working on the the
warm up by themselves, I will play the part out with them on the piano while they sing solfege and use hand signs.
The second time, I will let them sing 2 times a cappella with hand signs and solfege so I can assess their
proficiency.

3- Student is proficient in the use of solfege and hand signs.

2- Student is somewhat proficient in the use of solfege and hand signs but could use some work.
1- Student needs a lot of work with solfege and hand signs.
Your Evaluation of the Lesson: (Reflections after teaching the lesson)
Using the student assessment data, reflect on your teaching and student learning by responding to the following:
What worked and what didnt? For whom? Why? Were the objectives/learning targets accomplished completely
with all the students? What might you do differently? How was the pacing effective/not effective? What was the
ratio of positive to negative feedback? How much time was spent on teacher-directed instruction versus student
engagement?
Adapted from lesson plan template posted on Ohio Wesleyan University Department of Education
website: http://education.owu.edu/departmentForms.html

 19

SUNY Fredonia Music Education

Lesson Plan Template
Content Area: Candidate: Date:
Music Jimmy Hartmann 1/8/15
Grade Level: Central Focus:
7th Grade Develop students musical skills and apply them to choral contexts. This
will include learning about the backgrounds of each piece as well as
performing them historically accurate.
Pre-instructional Planning:
Students know that choir will enhance their understanding of music as well develop their skills as a musician.
Standards:
MU:Pr4.2.7c
Identify how cultural and historical context inform performances and result in different music interpretations.
This will be addressed by the students coming up with their own interpretation of Homeward Bound. In this
lesson they will add to their previously formed ideas about the meaning of the text and directly connect their
musically expressive choices.

MU:Pr6.1.7a
Perform the music with technical accuracy and stylistic expression to convey the creators intent.
Although this standard will be addressed with the overall performance of all of the pieces for the upcoming
concert, students will directly relate to this standard in this lesson by performing the notes and rhythms accurately
while looking for musical ways to express their classes understanding of each song.

Common Core Standards:

2. Determine a theme or central idea of a text and analyze its
development over the course of the text; provide an
objective summary of the text.

Grade 7, Reading standard #2, this will be addressed by the students reading and analysing the text of Homeward
Bound and creating their own class understanding of the piece. This will lead to applying musical ideas to the
piece in this lesson.

Learning Objectives (SWBAT):

Students will be able to sing in tune and correct rhythms.
Students will be able to use solfege and hand signs to figure out simple melodies independently and with
moderate teacher help.
Students will be able to connect to the text of a song and come up with their own meaning and make musical
decisions based off of them.

Language Function:
Students will use their language analysis skills to come up with their our meaning of a piece and use it to make
musically expressive decisions.

Additional Language Demands:

Students will need to have a previous knowledge of solfege and hand signs, as well as standard notation. They will
get these previously stated demands from their experiences in the non-audition choir which they must be in for at
least one year as well as general music class.

Academic Language and Language Supports: (Early Childhood)

Solfege, Hand signs, melody, harmony, expression
 20

Materials and Resources: Technology (check all boxes that apply)

Piano
Whiteboard
Audio speakers
Video Recorder
Computer(s)
DVD Player
Projector
Interactive Whiteboard
Internet Connection
Printed Materials/Media:
Copies of Down Calypso Way arr. by Cristi Cary Miller
Homeward Bound by Marta Keen
Learning Environment Preparation:
Write the warm up instructions on the board.
Internet Resources:
Indicate web addresses (URLs), if any, that support the lesson.
Other:

Introduction:
Students will be used to the normal procedures of every choir class. Walking in, grabbing their folder, placing their
bag underneath their assigned seat and immediately getting started on the warm up exercise that will be written
on the board while I greet students at the door and reinforce the routine procedure.
Procedure:
1. Students will walk into class with the understanding of the normal procedure
2. The warm up will be written on the board, Look at your part in Homeward Bound from pickup to
measure 11-18 and be prepared to sing your part on solfege and use hand signs.
3. After about 3 minutes after the bell has rang we will go over the warm up exercise as a class.
4. Do a few sirens before singing. Teacher will play parts while students do solfege and handsigns, two
times and then students will do it a cappella.
5. This will lead right into rehearsal time on Homeward Bound. Review melody from the beginning and put
all learned parts together from measure 1-18.
6. Talk to students about their ideas of the text and what they chose for musical decisions are start to
implement them into what is already learned.
7. This could potentially mean dynamics, diction, and articulations.
8. Go over part by part from measure 19-26. Start from bottom up (B,A,S).
9. Once each part has their section by themselves then add B and A together
10. And then have all 3 parts sing together from 19-26 with accomp.
11. If time have students sing all parts together from the beginning with accomp.
12. Transition to Down Calypso Way, have students change music from their folders.
13. Try to sight read measures 9-22 on solfege, no hand signs. Informally assess class as a whole.
14. Give students 5 minutes to figure out the solfege and hand signs for measures 9-22 on part 2.
15. Once the 5 minutes is up go over the pitches, students sing on solfege and use hand signs while teacher
plays on the piano
16. Try without the piano, possibly accomp.
17. Teach Part 1 their part by call and response by phrase.
18. Put both parts together from measure 9-22.
19. Have students look at 2nd ending for a minute and then have them try and sing it from measure 9 the
 21

second time.

Instructional Choices for Whole Class and Accommodations for Individual Differences: (i.e.,
exceptionalities, ethnic, racial, gender, socioeconomic, language, learning styles, and religion)

For my students with dyslexia, I will be using viewfinder index cards that allow them to focus on one part of the
music at a time. With the warm up exercise, I will create a color coordinated excerpt by pitch that is the main
melody of Homeward Bound so they can have equal opportunity compared to their classmates.
Closure:

Explain to the students what we have accomplished this class period. With Homeward Bound, we reviewed what
we learned last class. We also added on to our knowledge that we had of this piece already and added some
expression. With Down Calypso Way, we sightread what could and then went back and shaped up what was
wrong and we essientially learned of the entire piece! Next week we will review O Music , as well as take a look
at a new one!
Student Assessment:

In this lesson, I plan to informally assess the classes sight reading skills in general. I will do this by implementing
opportunities for the students to just sing the music without previously having time to go through and try with
hand signs or solfege. This will take place during Down Calypso Way, for measures 9-22 as well as the second
ending.
Your Evaluation of the Lesson: (Reflections after teaching the lesson)
Using the student assessment data, reflect on your teaching and student learning by responding to the following:
What worked and what didnt? For whom? Why? Were the objectives/learning targets accomplished completely
with all the students? What might you do differently? How was the pacing effective/not effective? What was the
ratio of positive to negative feedback? How much time was spent on teacher-directed instruction versus student
engagement?
Adapted from lesson plan template posted on Ohio Wesleyan University Department of Education
website: http://education.owu.edu/departmentForms.html

 22

SUNY Fredonia Music Education

Lesson Plan Template
Content Area: Candidate: Date:
Music Jimmy Hartmann 1/13/15
Grade Level: Central Focus:
7th Grade Develop students musical skills and apply them to choral contexts. This
will include learning about the backgrounds of each piece as well as
performing them historically accurate.
Pre-instructional Planning:
Students know that choir will enhance their understanding of music as well develop their skills as a musician.
Standards:
MU:Pr4.2.7c
Identify how cultural and historical context inform performances and result in different music interpretations.
In this lesson, the students will have an informal understanding of what The Drinking Gourd is about and why
it is an important song from our history.

MU:Pr6.1.7a
Perform the music with technical accuracy and stylistic expression to convey the creators intent.
Although this standard will be addressed with the overall performance of all of the pieces for the upcoming
concert, students will directly relate to this standard in this lesson by performing the notes and rhythms accurately
while looking for musical ways to express their classes understanding of each song.

Common Core Standards:

2. Determine a theme or central idea of a text and analyze its
development over the course of the text; provide an
objective summary of the text.

Grade 7, Reading standard #2, this will be addressed by the students reading and analysing the text of Homeward
Bound and creating their own class understanding of the piece. This will lead to applying musical ideas to the
piece in this lesson.

Learning Objectives (SWBAT):

Students will be able to sing in tune and correct rhythms.
Students will be able to use solfege and hand signs to figure out simple melodies independently and with
moderate teacher help.
Students will be able to sing in a round.

Language Function:
Students will use their language analysis skills analyse the phrases of O Music and see how they fit as a round.

Additional Language Demands:

Students will need to have a previous knowledge of solfege and hand signs, as well as standard notation. They will
get these previously stated demands from their experiences in the non-audition choir which they must be in for at
least one year as well as general music class.

Academic Language and Language Supports: (Early Childhood)

Solfege, Hand signs, melody, harmony, expression, round
 23

Materials and Resources: Technology (check all boxes that apply)

Piano
Whiteboard
Audio speakers
Video Recorder
Computer(s)
DVD Player
Projector
Interactive Whiteboard
Internet Connection
Printed Materials/Media:
Copies of O Music by Lowell Mason
The Drinking Gourd arr. Thomas
Learning Environment Preparation:
Write the warm up instructions on the board.
Internet Resources:
Indicate web addresses (URLs), if any, that support the lesson.
Other:

Introduction:
Students will be used to the normal procedures of every choir class. Walking in, grabbing their folder, placing their
bag underneath their assigned seat and immediately getting started on the warm up exercise that will be written
on the board while I greet students at the door and reinforce the routine procedure.
Procedure:
1. Students will walk into class with the understanding of the normal procedure
2. The warm up will be written on the board, Review the original melody of O Music and be able to sing it
just like we did a week ago.
3. Once the bell rings, we go immediately into an elongated warm up including stretching, sirens, and
scales.
4. Immediately following the warm up, rehearse the main melody of O Music with all the expressive
choices that were made in the class a week prior, when this piece was last rehearsed.
5. Give the students 2 minutes to look at part 2 at measure 16 and see if they notice any differences.
6. Students should not recognize any difference in the music since it is the same material, just staggered.
7. Tell students that this is called a round.
8. Demonstrate by teaching Frere Jacques. Notation and solfege will be on the board.
9. Now that the students understand the concept, it will now get applied with O Music.
10. Try to do all 3 parts in a round multiple times.
11. Go back and look at measure 1 and analyse phrase by phrase and color code. 1-4, 4-8, 9-12 (each a
different color
12. Transition to The Drinking Gourd, have students switch sheet music.
13. Start on page 3 and speak the text in rhythm in 2 measure phrases echoing the teacher until the bottom
of page 4 while keeping a steady beat on their body.
14. Everyone on Part I line, singing the pitches with text, still in 2 measure phrases and repeating after the
teacher. (play part along with them)
15. Go through until everyone can sing Part 1 until the bottom of page 4.
16. Have sopranos and tenors sing part 1 while part 2 is chanted by the altos and basses. (play part 1)
17. Demonstrate the staggered entrance by having part 2 listen while teacher sings part 2 alone against
18. Have the students try to sing and practice until it is correct.
 24

19. Once up through page 4 is all correct, move on to measure 16.

20. Speak text in rhythm first in time and in 2 measure phrases while keeping a steady beat.
21. Everyone sing one the part 1 line in response to the teacher. Teacher sings the same phrasing and makes
the class echo after. (play part along with them)
22. Go through until everyone can sing part 1 from measure 16-24

Instructional Choices for Whole Class and Accommodations for Individual Differences: (i.e.,
exceptionalities, ethnic, racial, gender, socioeconomic, language, learning styles, and religion)

For my students with dyslexia, I will be using viewfinder index cards that allow them to focus on one part of the
music at a time. In O Music we will be color coding each phrase so they are easier to identify while in a round on
the standard notion. This will make it much easier to follow in the music.
Closure:

Explain to the students what we have accomplished this class period. Today in class we have essentially completed
O Music! Wow! We color coded each phrase so it is easier for us to see what part we are singing at what time. We
also started a really cool piece called The Drinking Gourd. This song has a really cool story behind it that we will
be learning about very soon. Next class we will look more at The Drinking Gourd and Down Calypso Way.
Student Assessment:

In this lesson, I plan on assessing my choirs ability to sing in a round. As well as their analysis skills and
understanding of musical phrases. By the answers they give me for what musical phrase is which, I will then know
what their ideas are on what an actual musical phrase is.

Your Evaluation of the Lesson: (Reflections after teaching the lesson)

Using the student assessment data, reflect on your teaching and student learning by responding to the following:
What worked and what didnt? For whom? Why? Were the objectives/learning targets accomplished completely
with all the students? What might you do differently? How was the pacing effective/not effective? What was the
ratio of positive to negative feedback? How much time was spent on teacher-directed instruction versus student
engagement?
Adapted from lesson plan template posted on Ohio Wesleyan University Department of Education
website: http://education.owu.edu/departmentForms.html

 25

Reflection:

Thisassignmentwasactuallyquiteenjoyableforme.AlthoughIdid

procrastinatealittlebit,Iultimatelyfounditrewardingtoseehowfarmyteachinghas

come.Duringtheprocessofwritingmylessonplans,Ilookedbackonsomeofmyfirst

twolessonplansfortheclassandrealizedhowmuchIhavegrownsincethenandhow

efficientIamnow.Thelongrangelessonplanwasveryinteresting.Ittookmeawhile

tofigureouthowtoplaneverythingtofit.Istillthinkthatitmightnotbethatrealistic

withtherealitiesofworkinginapublicschoolandtryingtopulloff6piecesofmusic

fromscratchin8weeks,butwhoknows?Icertainlywouldntyet.Thethreelesson

planswereactuallyquiteeasyformetodobecauseofalltheotherworkthattheproject

entailed.Therestoftheprojectessentiallysetsupthe3lessonplanssobythatpoint

youarejustspewingwhatisalreadyinyourhead.

Thisassignmentwillmostdefinitelyinformmyfutureteachinginseveralways.

Firstly,Ihastaughtmetoalwaysbeawareofthebigpicture.Weallgetstuckinthe

nittygrittythingsalot,andthereforelookingatthebigpictureandwhatisactually

importantiscrucial.Secondly,thisprojecthastaughtmethatthestudentsalways

comefirst.PriortothisprojectIbelievedtohaveadecentunderstandingofthisbut

nowthattheprojectisdone,Icanhonestlysayitisallaboutthekids.Removingany

personalstigmaornotionfromteachingcanbeaveryhardthing,butitisalsovery

rewarding.Knowingthatwhatyouaredoingcanimpactmultiplechildrenslivesisquite

amazing.
 26

Overall,thisprojecthasbeensomethingthatIhavehappilycompleted.That

feelsweirdformetosaybecauseitishomework,butitmakesmefeelaccomplished

andthatIcanactuallydothisthingformyfuture!