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1.:1 Berklee
Name: Abi Varsos
(L XU. \Lt, V'-'(

Date: 10/2/2019
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Lesson Plan
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Grade:? Class Type: Anatomy of the Score

1. Measura,b le Objective(s):
• S~.uclents will identify the different elements of a basic lead sheet (time signature, key
~gnature, measures, systems, chord names, tempo markings) by analyzing a score as a class
and taking notes on a vocab sheet.
• Students will be able to perform "Red River Valley," singing on text.
• IN THE NEXT CLASS, students will be able to perform "Red River Valley, both singing on text
and ~ing the chords on the ukulele.

2. Requir/~ Prior Knowledge and Skills:

• .tnglish literacy skill
\ • . Ability to match pitch
~ · Basic level of music literacy
o Interval identification and a sense of Maj or tonality
o Rhythmic identification (quarters, halves, whol es, dotted notes)
o Understanding of basic time signatures
. ;:.:::::--.
3. Review Needed: / / \) . / .' '--
• This initial lesson is intended t0/gage whether or not stu dertts holda b~sic understanding of
these topics by holcl_ing them re~ -~n.sible for th e infor matio~': Ask..the'm to tell the class what
they know about a topic before providing students with answers.
• If students don't recogm e or understand certain topics, take the time to explain elementary
aspects of each element an sav~he more complex info rmation fo r futu re classe_s.

4. Materials, pertoire, Equipment needed:

• Cop· s of"Red River Valley"
• D cucam
peaker
White board

• Copies of vocab sheet

• Ukulele
• Piano

5. Agenda:
• What is Sc re Analysis?
• Lookin at scores
• List ing to "Red River Valley"
o Professionally recorded version
o Playing exactly what's on the page
o Trying it as a class
• Initial observations
• Breakdown of key elements
• Singing through it
• Wrap-Up and Homework

6. Lesson Sequence (be sure to list time in the pacing section)

1
A. Brief Opening:
• Greet the class as they enter
• Introduce the concept of score analysis 1
o "In this class, we are learning how to break down a piece of music to it's
core elements, of which we will learn how to find, identify, and respond to in
our own performances. As a class, we will be introduced to a new score and
will be responsible for analyzing and, in most cases, playing through it. Once
co leting our analysis, we will add it to our portfolios and move on to the
ext score. Some pieces may be familiar to you, others not as much, but
through navigation of the written score, we will develop music literacy skills
that will allow us to read, analyze, and p~rm· newmateliQ!__on our own."
• Present the new piece (with a twist): Show the class--4-dif(erent pieces'from 1
throughout the curriculum starting from the end of the course anci"working b~ { l
until the piece for this first lesson, "Red River Valley." \ ~) \
o It is un erstood that by the end of the course, students :Viii be analyzing \ l.,)J;
comp x orchestrations, so the range in which to show 1s: 1:'( n IQ_.. _
• i. orchestration ~,
contrapuntal piano work
piano-vocal score
iv. lead sheet (aka "Red River Valley," the piece that will be reviewed
in this class)
o This gives students insight as to where they will be at the end of the
course. Additionally, having seen far more difficult scores, this should
help to ease any intimidation felt by stude nts upon seeing the score of the
day.

B. Learning Activities: / \ 1 t l1 (u1.

• Complete initial listening. / (;Jrl 1 I ( '
1
o Play the f Bowing: htt s: voutu.be 9evSozXHU 34 2
■ Allow this first listening to be absorbed without any distraction.
Have students close their eyes and listen, and instruct them to
start thinking about the various things they hear.
■ The first recording is a fully fle shed out ve rsion of the piece, not
just what is on the page. This is because our score is a lead sheet
which would typically be used as a skeletal guide to a piece and
will lack specific detail beyond the vocal melody and chord
names.
o As the teacher, perform the piece for the class on ukulele 2
■ his point, instruct students to follow along in their score
while listening and start making observations connecting what
they see to what they hear.
■ This allows students to hear exactly what is on the page (chords
and melody) and begin to really internalize and learn from their
initial observations, whether that be pitches, words, chords,
tempo, etc.
o Try to sight read e piece as a class. 4
■ Thee ectation is not perfection. This is a chance for students to
m e an attempt at the piece using their own internal
( /instrument; their voices.
\._t( This step allows them to explore the contour of the melodic
structure and encourages them to pick up on details and
elements they may not have noticed through listening alone.
■ If needed, spot check specific measures for melodic and rhythmic
accuracy.

2
• Ask the class for general observations of the piece. Use this as a way of vetting the
amount of knowledge students bring to the class and as a way to see what you 2
need to go over more and what doesn't need review.
• Walk thro h ke elements circling them on the score with different colors. At
this poi , the vocab sheet should be handed out, allowing students to write any
notes 1ey may have on them. Be sure to continuously be reviewing ("Alright, so
we ve the time signature, the key signature, and systems down. What else can you
n ice?'}
■ Clef= pencil
• "Our piece today is written on one staff in treble clef, 1
which is also known as Gclef. ft gets this name because it
loops around the 'g' line. Can we try drawing a treble clef!
let me show you how on the board."
■ time signature = yellow
• "So we have this 'c' with a line through it. Does anyone
know what that's telling us? To figure it out, let's take a
2

step back. If we were to see a 'c' without a line through it,

what would that stand for? The answer is 'common' time.
This is another way of saying 4/4, which is the most
commonly used time signature in Western music. Now,
what do the numbers mean within 4/4? 4 beats per
measure, quarter note gets the beat. If we were to cut
those numbers in half, we would get 2/2, or 2 beats per
measure with the half note getting the beat. Basically,
what it means is that the measures are the same length,
but the strength of the beats, or the beats that we want to
emphasize more are where the half note falls in the
measure (in 4/4 time this would be beats 1 and 3). "
■ key signature = hot pink
• "We have 1 sharp in the key signature. Does anyone know 2
what that means? Hint: think about the sound of the
melody and look at the note and chord name we end on.
Does that Gsound like 'do' let's try starting on that note
and playing a scale using the sharp indicated in the key
signature. Does that sound like a major scale? So, we are
in G major. Again, the way to find it is my checking your
key signature and finding 'do'."
■ systems = teal
• "When we read music, we read it the same way as a book;
left to right, top to bottom. Sometimes we have multiple
1

lines that are played at the same time like this (refer back
to examples from the begi nning of class) For tha t reason,
we refer to each grouping of lines that are played together
as 'systems."'
■ bar lines = electric li me
• "l et's go through and mark measure numbers above every
bar line." 1
■ dou ble bar lines= primrose
• Not applicable to today's piece si nce it doesn't have any
■ dotted bar lines= red
• "So what is this indicating? We have one here in m. 5 and 1
another in the fina l measure, plus we have a bunch of
verses. This symbol is meant to represent repeats.
Typica lly, you would repeat back to the original dotted
doub le bar line."

3
 ■ tempo marking(s) = sea foam
• "In this piece, we have very little to go off of in terms of l
tempo, also known as the speed and feel of a song. We're
told that the song should be performed 'sadly. ' What does
that mean to you all?Slowly? Mournfully? How should
that marking affect our interpretation of the piece?"
■ lyrics= blue lagoon
• "We 're going to go over the history of this piece in our next 2
class, but are there any volunteers to read the verses? Are
there any words that anyone doesn 't know?"
■ phrases= battery charged blue
• "Can anyone identify the different phrases, or musical 3
ideas, within the melody? If we look at the lyrics, we can
see that every verse has a refrain, meaning every verse, no
matter the words, will eventually end the same way before
we move on to the following verse. Let's write 'Refrain '
into our score over where we agree that phrase begins."
o Verse= 2nd System m. 1 to 5th System m. 3
o Refrain = 5th System m. 4 to 9th System m. 4
1

• "Did anyone notice anyth ing about our two big phrases?
While they may have different words, the notes of the
melody are the same! Let's try to divide our big phrases
even more. Where can we take breaths? Are th ere any
indications on the page?"
o Note the punctuation in the lyrics : most of the
time it corresponds with a pause in the melody.
Th is is pur poseful. We're meant to take pauses
and breaths in the music th e way someone
would when speaking.
o This concept is not uni versal, how ever. There
are a few exa mples of pun ctuation that don't
serve as indicators for breaths

o
■ "Now, alas, must my ... " System 3 m. 4,
Verse 2
Keep in mind that beats are like birthdays and
should be held for th eir full amount. The breath
G·, )
t~
v /

. should fall where the fin al 16th note of the held

pitch would normally be to maintain the
integrity of the long note and still keep good
breath support.
■ chord names = tropical violet
• "This is also a topic we will address in more detail next l
class, but these letters indicate what chords we should
play. We'll start to learn how to play these on ukulele in
our next class."
o Note: the only element not to be circled are the notes to prevent crowding
the score itself and to allow writing within measures.

h the iece a ain - Instruct students to use the different elements 2

written on the page as indicators of how to perform the piece on voice. At this
point, they should be actively trying to read, not just listening and singing by ear.

4
 o As the teacher, you should sing along with them to get them started, but
drop out a few measures in to be able to hear what students are singing.
• Assign homework - Instruct students to take the piece home and to continue
exp ing it. They should come in next class with their own notated scores having
p cticed the melody.

D. Closing/Wrap-up:
• "What are the different elements of the score that we looked at today?" 1
o Time signature
o Key signature
o ystems
Bar lines
Double bar lines
Dotted bar lines
o Tempo marking(s)
o Lyrics
o Phrases
o Chord names
• "Next class, we will talk about the history of this piece and how that affects the way
we perform it. Additionally, we will start getting into analysis of chords. We will take
out the ukuleles and start to learn some basic chords on them as well."

E. Assign
• Se "Assessment" for description of assignment
o Hand out score
o Encourage students to practice the melody
o Inform them that their piece will be checked fo r analytical markings

7. Accommo<\ations: (a. Special Needs, b. ELL etc.)

• Autisfu spectrum - Work from the top of the vocab page down, explaining different concepts
se'l£entially and succinctly. Be prepared to rephrase explanations in shorter phrases and
ry6re to the point. Additionally, avoid using colored markers for each element and instead
l)Se an erasable neutral writing tool and only have one element circled at a time.
1
\ ; Gifted and Talented - If one or more students show a high level of understanding, have them
walk the class through their thinking on topics. Allow them to explain the various elements
that they have a higher understanding of, b.ut don't allow this to take over the class. Possibly
have them fill out the vocab form on their own and turn it in so that you, as the teacher can
be sure their information is accurate.

8. T:•cher f ction/Self-Evaluation:

I
9. Natiopal Standards:
U:Pr4.2.7a Explain and demonstrate the structure of contrasting pieces of music selected
r performance and how elements of music are used.
U:Pr4.2.7b When analyzing selected music, read and identify by name or function standard
symbols for rhythm, pitch, articulation, dynamics, tempo, and form.
• MU:Pr4.3. 7a Perform contrasting pieces of music demonstrating their interpretations of the
elements of music and expressive qualities (such as dynamics, tempo, timbre,
articulation/style, and phrasing) convey intent.
• MU:Pr5.l.7a Identify and apply collaboratively developed criteria (such as demonstrating
correct interpretation of notation, technical skill of performer, originality, emotional impact,
and interest) to rehearse, refine, and determine when the music is ready to perform.

5
 • MU:Pr6.1.7a Perform the music with technical accuracy and stylistic expression to co nvey
the creator's intent.
• MU :Re7.2.7a Classify and explain how the elem ents of musi c and expressive qualities relate
to the structure of contrasting pieces.
• MU:Re9.1.7a Select from teacher-provided criteria to evaluate musical works or
performances.
• MU:Cr2.1.C.Ib Identify and describe the development of sounds or short musical ideas in
drafts of music within simple forms (such as one-part, cyclical, or binary).
• MU:Cr3.1.C.lla - Identify, describe, and apply selected teacher-provided or personally-
developed criteria to assess and refine the technical and expressive aspects of evolving
drafts leading to final versions.
• MU:Cr3.2.C.la Share music through the use of notation, performance, or technology, and
demonstrate how the elements of music have been employed to realize expressive intent.

S.M.01.07 Sing with expression and technical accuracy a repertoire of vocal literature
1th a level of difficulty of 2, on a scale of 1 to 6 (level 3 for choral ensemble), including some
songs performed by memory.
~ / ARTS.M.02.06 Read and sing at sight simple melodies and intervals in both the treble and
\/ bass clefs.
• ARTS.M.02.07 Identify, define, and use standard notation symbols for pitch, rhythm,
dynamics, tempo, articulation, and expression.
• ARTS.M.05.01 Perceive, describe, and respond to bas ic elements of music, including beat,
tempo, rhythm, meter, pitch, melody, texture, dynamics, harmony, and form
• ARTS.M.05.06 Describe and demonstrate audience skills of listening attentively and
responding appropriately in classroom, rehearsal, and perfo rmance settings.
• ARTS.M.05.09 Demonstrate knowledge of th e basic principles of meter, rhythm, tonality,
intervals, chords, and harmonic progressions in an analysis of music

6
Name _ _ _ _ _ _ _ _ __

Score Analysis Vocabulary

As we go through our in-class analysis of this initial piece, write down any information that
stands out or is new to you about the following musical elements :

Clef-

Time Signature -

Common Time -

Cut Time -

Key Signature -

System -

Dotted Double Bar Lines -

Tempo/Expression Markings -

Phrasing/Form -
J6 J7
The Red River Valley
Traditional A merican Cowboy Song
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Sadly
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Do you think D7
of the val - ley you're le av - ing? 0 how

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They w ill bur y me where you have wan - de red , _ __

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Near the

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cow - boy who loved you so true.

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r
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sw ee t word s you n ev e r would say. Now, al -
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