Student Teacher Name: Krystina Rodkey Lesson Topic and Grade: Symphonic Band 9-12 National Standards of Music

Student Teacher Name: Krystina Rodkey Date: 9/25/19
Lesson Topic and Grade: Symphonic Band; 9-12
National Standards of Music:

 MU:Pr4.1.E.8a Select a varied repertoire to study based on music reading skills (where appropriate), an understanding of
formal design in the music, context, and the technical skill of the individual and ensemble
 MU:Pr5.3.E.IIa Develop and apply appropriate rehearsal strategies to address individual and ensemble challenges in a varied
repertoire of music, and evaluate their success.
 MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised
performances of a varied repertoire of music.
Instructional Objectives:
 Students will play with good tone and rhythmic accuracy
 Students will play expressively
 Students will play with good balance, while listening across the ensemble
 Students will follow accurate dynamics
Materials:
 Instruments
 Adventum
 Music stands
 Chairs
 Conducting baton
 Conductor’s podium
 Conductor’s stand
 White board with marker
Opening/Introduction Activity
 Warm Up
a. Concert F
b. “F stretches”
c. Scales
1. Concert F major
2. Concert Bb major
3. Concert G minor (play the accidentals of concert Bb, but start on concert G – go through the ensemble and clarify if
they look confused)
a. Articulation on concert G minor
1. One octave scale up and down, rhythm = quarter note, two beats of 8th notes
2. Look to me for dynamics through the exercise
d. Tune
e. Chord exercise
1. Separate ensemble into 3 groups based on instrument
2. Play a G minor scale, do not start playing until I point to you or hold up your group number
3. (Create 1st inversion chord by bringing in second group when group 1 reaches ^4 and when bringing in group 3 when
group 2 reaches ^3)
Learning Opportunities/Procedure:
 Adventum
A. Play from beginning-42
B. Chords at measure 10
1. Balance
a. Listen across the ensemble. Move together, blend your sound into each other. Listen down to the lowest voice
b. As a group, build the crescendo into measure 17
1. Pyramid of sound – low voices crescendo first, high voices last
C. Measure 17
1. More presence
2. Louder dynamic, but only forte – don’t blast. Think more weight instead of just more sound
a. Bring out accents in mid voices
D. Big build into measure 29 (work on rhythm in measure 28 if needed)
E. New rhythms – if you have 16th notes, bring them out. We haven’t had those yet
F. Again, conserve your sound. This is only forte, don’t give the exciting moments away by playing all loud all the time
G. Run beginning – 42
1. Things to remember: Balance (listen to what is going on around you), moving notes and new rhythms (bring them
out), dynamics (don’t give it away; the audience doesn’t know what it says on your page, don’t tell them until you
absolutely need to)
H. 42-end
1. Start with just percussion
2. Get groove going, so winds have a fighting chance to follow tempo
3. Clarinets in measure 50 – add lift off of beat two – think like we’re in one (heavy on beat one, gradual lift on other
beats)
4. We are just adding more material in all the time – if you have new material, bring it out. It is what the audience’s ear
will be drawn to, make sure they can hear it
5. 8th notes at 74 in alto and vibes – really solid tempo, lead the crescendo/build into 78
6. 78 – accents on all downbeats – really place these notes. Think like a very intense waltz, where you are stomping
your foot down on beat down on beat one and floating on beats 2 and 3
7. 82 exaggerate the mf – come down more than you think you need to so you can make the build more noticeable. Do
this for both mf<
a. Instruments with fp< - really hit the forte and IMMEDIATELY come down
b. Everyone – backload the crescendo (draw what you mean on the board)
8. 126 – same deal as 78
9. Listen for intonation of concert B natural from 138-end
Closing Activity
a. Run entire piece, time permitting
Specific Differentiation Strategies:

 The 8th note runs in the mallet parts may be difficult if they are uncomfortable with the piece. While they are still learning,
they can play only the beats if it is easier. This will help them keep time and will in turn help the winds as well.
Assessment:
 There will only be a portion of the band here today. I will be able to hear if they are not playing with a balanced sound or if
their rhythm is inaccurate. I will be diligent in listening for these things and will be stopping to fix it, even if the students
think it may be tedious.
Reflection:

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Student Teacher Name: Krystina Rodkey Date: 9/25/19

Lesson Topic and Grade: Symphonic Band; 9-12

National Standards of Music:

Specific Differentiation Strategies:

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