Lesson Plan: M odeling with W estwind Overture Goals Students will understand the concepts of antiphony and parallel

periods in music (NS6) 1. Antiphony is the effect of call and response in music. 2. Parallel periods are composed of two similar phrases that act like a question and answer. Objectives 1. The students will play with good tone and good posture 2. The students will play long tones with consistency on the Bb scale in unison and in rounds 3. The students will demonstrate correct fingering for concert Ab 4. The students will play in a call and response style with the instructor and within the band M aterials 1. Score for Westwind Overture 2. Standard of Excellence (pg. 81) 3. Trombone for modeling 4. Baton Sequence 1. Greet class, tell them to have Standard of Excellence and W estwind Overture ready 2. Introduce lesson topic: As youre getting ready, I want you to think of a good joke. - Knock knock jokes? - Why are bassoons better than oboes? They make bigger bonfires - Then what are oboes good for? Starting the fires Were going to be dealing with questions and answers today. 3. Ask class to offer examples of questions and answers in music. Use leading questions: Anything from history class? a. Work songs, slave spirituals b. Military running cadences (ask class to repeat after teacher) Birdie, birdie in the sky, Whyd you do that in my eye? I wont worry; I wont cry Im just glad that cows dont fly. 4. Have class echo simple rhythms (one-bar phrases) on ta, while keeping pulse with fingertips (Im going to question you, and youll be answering by repeating what I do) a. Ta-ta-ta-ta b. Titi-ta-titi-ta c. Titi-titi-ta d. Titi-titi-ta-ta e. Ta-ta-ta 5. Have class sing, echoing Frre Jacques on la (go to piano and play ostinato accompaniment on BbM chord) a. Bb-C-D-Bb b. D-Eb-F c. F-G-F-Eb-D-Bb d. Bb-F-Bb 6. Have class play Frre Jacques on their instruments echoing teacher. Ask class if they recognize the song, and ask for translation of title.

7. Find Frre Jacques (p. 81) in SoE. a. Divide class in half b. Left group plays first, right group answers 8. Now Im going to play the beginning of Westwind Overture, and I want you to follow along in your parts and listen to see whether this sounds more like a question or an answer. Teacher plays melody to end of measure 4 9. Ask class to play and listen to the ensemble as a whole a. FIRST, Have class hold up fingerings: i. ALL: concert Ab 1. Fl/Ob/Bsn: G# Key 2. Cl: pinch/1st finger 3. Sax: 1st finger 4. Hn: 2nd finger 5. Tpt/Bar/Tba: 1st finger ii. Clarinets: C# (C# key) iii. Horn: F# (2nd finger) b. Then have class play at measure 5 (have them stop on third beat of m. 8) 10. Ask class, Is it the same or is it different? How? 11. Teacher plays first four bars and stops; students play right on m. 5 12. Use same groups. Left group plays mm. 1-4, right group plays mm. 5-8 13. Switch sides so answering group questions and vice versa. Have the class focus on matching articulations and dynamics 14. Transition to mm. 9-17. Ask class to make note of how questions and answers are portrayed in this section. Tell class to stop on the downbeat of m. 17 (make sure to cue this) 15. Prompt class to offer their ideas. 16. Have class play piece from the top to downbeat of m. 17. Reinforce the different aspects of call and response in music 17. Recap lesson and reintroduce concepts by describing: a. Phrases and periods = question and answer b. Antiphony = call and response Assessm ent 1. The teacher will listen for good tone and watch for good posture 2. The teacher will confirm correct Ab fingerings 3. The teacher will listen to class during call and response to ensure that they can match tempo and style correctly.

Reflection: M odeling with W estwind Overture 1. Did I meet my objectives? Yes. The students demonstrated correct fingerings, played with good tone and posture, and they were able to play in a question/answer and call/response style. 2. Did I adhere to my lesson plan? For the most part, I was able to follow the steps I had written down. 3. What would I do differently if I taught the lesson again? In general, I would slow down because I felt like I was going really fast the entire time. Also, I would use a better classroom voice because I did not project as much as I could have. In the call/response section (mm. 9-17), I could have the different sections play their respective parts instead of singing them. This would get everyone playing, and it would be a more accurate representation of the piece. 4. Were the students actively involved in the learning process? If so, how? If not, how could the lesson be revised to better engage the students? The students were actively involved because I kept asking them questions to check their understanding, as well as to make sure they were paying attention. As I said above, I could have the different sections play alone and have those not playing listening for specific things in the music. 5. Did the students have a musical experience? Explain. The students had a musical experience because they were able to relate what they were playing to something non-musical (questions and answers, jokes). 6. What do you feel were the overall strengths of the lesson? Weaknesses? I feel like I had very good transitions between activities; there was nowhere I could find that felt disjointed. I outlined the lesson material so the students knew exactly what to expect, and had I gotten to the end of the lesson I would have been able to introduce a new concept that I could cover in a later lesson. Vocal projection was a problem throughout the lesson, as was the use of words unsuitable for the age group. Things like divisi or collectively would just confuse third graders. I need to work on making things a little less smart.