Ci Unit Plan Ed 3601-1

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Grade-9 Choir
Folk Song and Performance Unit Plan
Education 3601

By,
Michelle Holowaty
Professional Semester II
Spring 2014
March 4 April 16

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Table of Contents
FOLK SONG UNIT MIND MAP .................................................................................................................................................................................................... 3
UNIT PLAN OUTLINE .................................................................................................................................................................................................................... 4
GENERATIVE TOPIC: .............................................................................................................................................................................................................................................. 4
SYNOPSIS: ................................................................................................................................................................................................................................................................ 5
ESSENTIAL QUESTIONS: ........................................................................................................................................................................................................................................ 6
SPECIAL CONSIDERATIONS ................................................................................................................................................................................................................................... 8
SUMMARY OF LESSONS ........................................................................................................................................................................................................................................ 10
SAMPLE LESSONS & REFLECTIONS ....................................................................................................................................................................................... 23
SAMPLE LESSON #1............................................................................................................................................................................................................................................. 23
SAMPLE LESSON #2............................................................................................................................................................................................................................................. 27
SAMPLE LESSON #3............................................................................................................................................................................................................................................. 34
ANALYTICAL REFLECTIVE CRITIQUE ................................................................................................................................................................................... 41
EXIT SLIP ........................................................................................................................................................................................................................................ 43
STUDENT SELF-EVALUATION ................................................................................................................................................................................................. 44
PART-TESTING RUBRIC ............................................................................................................................................................................................................ 45
SCORES.............................................................................................................................................................................. ERROR! BOOKMARK NOT DEFINED.
FAREWELL, MY OWN TRUE LOVE .........................................................................................................................................................ERROR! BOOKMARK NOT DEFINED.
NINE HUNDRED MILES ...........................................................................................................................................................................ERROR! BOOKMARK NOT DEFINED.
AYA NGENA ...............................................................................................................................................................................................ERROR! BOOKMARK NOT DEFINED.
JAMBO.........................................................................................................................................................................................................ERROR! BOOKMARK NOT DEFINED.
BIBLIOGRAPHY ............................................................................................................................................................................................................................ 46

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Folk Song Unit Mind Map

Mind Map website: https://bubbl.us
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Unit Plan Outline
Generative Topic. Topics that are interesting to both students and teacher and have the capacity to generate further learning by stimulating
questions, thinking, discussion, activity, curiosity, and creativity and that enable students to make connections with what is important within a topic
or domain (i.e. big idea).
Generative Topic:
Folk Songs
Unit Title (Based on a Generative Topic):
Folk Songs - Performance based
Synopsis. Summarizes the unit (i.e. the unit in a nutshell) and lists the
following information:
a. Central focus, theme, topic, big idea, generative topic;
b. Grade, musical program of study (i.e., band, orchestral, guitar, etc.);
c. Time allotment (minutes/hours/periods) for the unit; and
d. Rationale explaining its relevance to achieving the aims and goals of
the provincial music curriculum.
Culminating Activity/Products.
Briefly describe the culminating activity and products (e.g. a
composition, performance, recording) explaining how these are
authentic performance tasks and how they bring the unit to an
appropriate closure.
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Synopsis:
For the grade-9 choral unit, our focus will be on enhancing
performance technique and appreciation of Folk songs. We will
be looking at music from North America (mainly the United
States) as well as from Africa. Through performance of such
pieces, students will assess how Folk songs are different than
mainstream choral pieces, as well as identify the similarities.
Through the selected pieces students are able to experience music
from different origins and that has been passed on, and have
different stylistic features, which relates to the Alberta Programs
of Study; Students will understand, evaluate and appreciate a
variety of music.

Students will be able to develop confidence and self-discipline as
well as the ability to work with others. Through the
development of technique students are able to improve their
skills that will encourage them to continue to develop musically.

For the first three weeks I had five 20-minute lessons with these
students. On the week of Kiwanis festival I only had 10-minutes
with them. The last two weeks I had them the full 40-minute
lesson five times a week.
Culminating Activity/Products:

A performance of one folk-song piece, Farewell, My One True
Love, will be at the Kiwanis festival within a set of other non-
folk music. Here students will be able to identify how Folk
music is different in some respects, but also has a place within
21
st
Century choral repertoire and festivals.

For a more final performance, the grade-9 choir will perform
their folk song repertoire for the grade-9 band which has their
class at the same time in the adjoining room. Many students are
in both of these classes so this will be a great opportunity to
share their work with their peers.

Aim/big idea. A concept, theme or issue that gives meaning and connection to facts and skills and leads to deeper understandings and
appreciations. Based on a generative topic.
Aim/big idea: By the end of the unit, students will understand . . .

Students will understand what components make up folk songs and how they are passed along by generation. They will understand
that folk songs are an important aspect of heritage and that there are many different folk songs that originate from many areas of the
world, and are equally important as one another
Essential questions. (Two to five per unit) Important, overarching, thought-provoking questions that guide the inquiry throughout the unit.
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Essential questions:
1. How does Folk music fit in to the standard repertoire of choral music?
2. What is Folk music, how is it different, and why is it important?
3. Why is it important to understand and appreciate different styles and genres of music?
4. What are the similarities between folk songs, regardless of their origin?

Desired Results/Learning Outcomes (Scope & Sequence)
General & Specific Musical Learner Expectations/Outcomes

By the end of the course students will . . .
Unit Learner Expectations (Goals)

By the end of the unit, students will be
able to . . .
Assessment/Evaluation
(Summative i.e. assessment
of learning at the end of
the unit)
GLE/GLO: 1
Develop skills in listening, performing and using notational systems
SLE/SLO: 1.1
Understand and demonstrate musical phrasing

ULE: 1.1.1
Shape music by using phrasing
techniques focused on breathing and
not breathing, as a member of the
choir
- Performance in
rehearsal
- Final performance for
another group of
students
SLE/SLO: 1.2
Successfully perform his or her part in a two-, three-, or four-part
selection
ULE: 1.2.1
Successfully perform his or her part
in FOUR three-part selections of
music
- Performance in
rehearsal
another group of
students
ULE: 1.2.2
Confidently sing his or her part
against other parts in four selections
of repertoire
- Final piece
assessment: trio
singing
another group of
students
-
SLE/SLO: 1.3
Identify and perform phrases, achieving musical sensitivity
through stylistic practices
ULE: 1.1.1
Shape music by performing
dynamics and word colouring to
- Final piece
assessment: trio
singing
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musically enhance a piece as a
member of the choir
- Final piece
assessment: trio
singing
another group of
students
GLE/GLO: 2
Understand, evaluate and appreciate a variety of music
SLE/SLO: 2.1
Demonstrate properly formed vowels and consonants

ULE: 2.1.1
Perform each folk song with the
correct vocal technique (vowel
production whether dark or bright)
as according to that culture
- Final piece
assessment: trio
singing
another group of
students
GLE/GLO: 3
Strive for musical excellence and positive attitudes individually and as members of groups.
SLE/SLO: 3.1
Develop proper breath control
ULE: 3.1.1
Apply correct breathing technique
(stagger breathing) to achieve
musical phrasing as a member of the
choir
- Final piece
assessment: trio
singing
another group of
students

Master List of Major Learning Activities and Experiences
1. Full rehearsals / practicing / performing music
2. Sight-reading
3. Quiz on repertoire
4. Listening to music
5. Making musical decisions

6. Class discussions
7. Kiwanis festival perform one piece of folk music
8. Discussions on the music of different cultures
9. Discussions on components that make up a folk song
10. Final unit performance: Performance for an audience
Master List of Materials, Equipment, and Resources
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Scores:

1. Gray, R.M. (2011) Aya Ngena U.S.A.: Alfred Music Publishing

2. Harrison, T.K. (2013) Jambo. U.S.A.: Santa Barbara Music
Publishing

3. Silvey, P. (2004) Nine Hundred Miles California: Santa
Barbara Music Publishing

4. Winebrenner, T. (2013) Farewell, My Own True Love U.S.A.:
BriLee Music Publishing

Music Clips:

1. Lake Park High School Choir: Nine Hundred Miles. [Video
file]. Retrieved from
https://www.youtube.com/watch?v=l9FdRFcFmPM

2. Unknown artist: Jambo. [Video file]. Retrieved from
http://www.jwpepper.com/sheet-music/media-
player.jsp?&type=audio&productID=10394008
3. Unknown artist: Farewell, My Own True Love [Video file].
Retrieved from http://www.jwpepper.com/sheet-music/media-

4. BSU Bemidji Choir: Aya Ngena [Video file]. Retrieved from
https://www.youtube.com/watch?v=oOR6M8ya0bM

Equipment and other resources:

1. Karen Hudson

2. Music stands

3. Drums

4. Flute

5. Piano
Special Considerations
Modifications and accommodations for learners with special needs/Adaptive strategies.
Strategies used to accommodate the needs of exceptional learners. For example musically gifted,
ADD, ADHD, Asperger, or Tourette Syndrome. Identify and briefly describe the diagnosed
condition and the strategies you will use to meet the needs of these student and why.
Social context issues. How you will address
any relevant social context issues in your
planning. For example,
Students unable to dance or perform or
listen to patriotic or particular religious
music for religious and/or cultural
reasons
School is a faith-based institution
Large number of FNMI students
A large number of ESL students
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Inner-city issues, etc.
Modifications accommodations to be made for learners with special needs/Adaptive
strategies in the teaching of this unit:
I have a student in class who has a form of high-functioning autism. He shows a large
interest in music; he plays the piano and is a relatively strong member of the bass
section. He carries with him a notebook where he writes down things, however no one is
allowed to look at it. In class he is allowed to take some time to write things down when
he feels the need to. Sometimes he will concentrate too much on this notebook and
usually a simple call of his name will bring him back into the lesson.
There are also times when he will just blurt things out. If they are disruptive, I will
either ignore the comment or quickly acknowledge and move on.

As far as learning the music and performing, I have been told that there is no issue there
and I am to teach how I would normally.
(My Teacher Associate provided me with some of his routines).

There is another student with ADHD that he does not usually get along with, however
they happen to be in almost all of the same classes and generally sit by each other as they
both make up the bass section in choir. If a problem occurs I will separate them until
they have both calmed down and explain that choir class is not the place for arguments
because it needs to be a safe environment for everyone. If need be, I will allow either of
these students to take some personal time to get a drink or give another task to help
alleviate tension in the room.

With the student with ADHD, he is not medicated and therefore often disrupts class by
moving around and fooling around with others beside him. He is a very talented singer
but unless his attention is kept 100% of the time he can become disruptive. For this
student I will try to keep him as busy or engaged as possible when he is not singing by
having him follow along with the soprano or alto parts. He can be an extra pair of
eyes on the music to make sure I do not miss anything when it comes to notes for the
women. I will have to be firm with this student, letting him know that it is now time to
get to work and to not fool around with the other boys beside him.

Description of strategies to be used or
steps to be taken to address social
context issues in the teaching of this
unit:

There were no students who were unable
to participate due to the selection of
repertoire. The school consists mostly of
middle class students with little ethnic
diversity (within the grade-9 choir).
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Summary of Lessons
Lesson Topic Learning Objectives
By the end of this lesson
TSWBAT . . .
Assessment/Evaluation
Formative &/or Summative
(i.e. assessment as, of, for
learning).
Learning Activities/ Instructional Strategies
1
Tuesday
March 4
40 min
Getting to
Know You
activity / rules
and
expectations /
Run through of
Farewell My
Own True
Love
1. Sing Farewell, My Own
True Love as a member of the
choir

1. Observing participation
in our Getting to Know
You activity
2. Observe participation in
discussion on rules and
expectations
3. Observe where students
are at in Farewell My Own
True Love
1. Getting to Know You activity
- Two Truths One Lie
2. Discussion of rules and expectations
3. Run through of Farewell, My Own True
Love
- Take notes of what they do well and
what we needs to be improved on
2
Wednesday
March 5
20 min
Review of
rules and
expectations /
Farewell, My
Own True
Love & Jambo
1. Shape Farewell, My Own
True Love through by through
phrases without breathing.
2. Speak the rhythms in Jambo
as a member of the choir
1. Observe participation in
discussion on rules and
expectations
2. Observe students
applying breath marks
3. Observation of ability to
sight-read in Jambo
1. Review of rules
- What were the most important
points?
2. Warm-up & stretch
3. Sing Farewell, My Own True Love
- Mark our breath marks and where
we are singing through
4. Run through the first 2 pages applying
breath marks
5. Listen to Jambo on YouTube
6. Sight read through Jambo
7. Speak the rhythm of Jambo on doo
- Stand up and walk the beat to feel it
8. Sing the first section of Jambo with the
piano for help
- Each section sing by themselves first,
then all together
3
Thursday
Review of
rules and
1. Stylistically enhance
Farewell, My Own True Love
1. Observe ability to sing
pieces and shape them
2. Review of rules
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March 6
20 min
expectations /
Farewell, My
Own True
Love & Jambo
by using dynamics as a
member of the choir
2. Successfully sing the new
section of Jambo as a member
of the choir
musically by using
dynamics and breathing
(from last class)
sight-read
3. Observe confidence in
new section of music
- How can we make this piece more
interesting?
- Review of mens notes at the end
4. Review Jambo
5. Sigh-read next parts in Jambo on doo
- Learn parts separately, then bring
them back together
6. Back up to the beginning of the piece
and through to then end of the new section
4
Friday
March 7
25 min
Farewell, My
Own True
Love & Jambo
1. Phrase Farewell, My Own
True Love by applying
breathing techniques
2. Successfully sing their parts
in Jambo
3. Sing Jambo with the text
musically
sight-read
3. Observe pronunciation
of text
2. Review of rules
3. Review of Jambo
- Learn the words by having
students repeat them after I say
them (a few at a time, then by
phrase)
4. Learn new section in Jambo
- All sing it together first to hear
how it goes (with piano helping)
- Break apart and learn by voice
part
- Have all three parts sing the new
section together, with piano still
helping
6. Review breathing
- Make sure students dont breath in
the middle of phrases
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Monday
March 10
20 min
Farewell, My
Own True
Love & Jambo
1. Speak the rhythm in Jambo
2. Confidently sing Jambo as a
member of the choir
2. Continue to add phrasing
Farewell, My Own True
Love and shape musically
2. Find a breathing spot if
2. Review of Farewell, My Own True Love
- Continue phrasing on the first
page (this is different to how their
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and emotion into Farewell, My
Own True Love
unable to sing through the
phrase
3. Pronunciation of the
words in Jambo
4. Ability to learn the new
section in Jambo
teacher taught them so they are
having issues changing what they
know)
3. Review of Jambo
- Word pronunciation and how the
language fits into the rhythm in
Jambo (students are having some
difficulties fitting it all in)
- Stand up and walk the beat and
speak the text in rhythm
5. Sing through Jambo while standing and
continuing to walk on the spot for beat
support
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Tuesday
March 11
20 min
Farewell, My
Own True
Love & Jambo
1. Demonstrate dynamics while
singing Farewell, My Own
True Love as a member of the
choir
2. Sing the ending of Farewell,
My Own True Love confidently
2. Sing transitions securely in
Jambo
musically
2. Observe how well
students watch me for
phrasing cues
3. Ability to move from
one section in Jambo to
another (transitions)
2. Review of Farewell, My Own True Love
3. Work on the ending
- Fermata and cues
- Dynamics are ff
4. Run through learned sections in Jambo
5. Work on the transitions from learned
sections
- With help from the piano
6. Make sure each voice part is confident in
notes
- Run through the first couple pages
a few times for security
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Wednesday
March 12
20 min
Farewell, My
Own True
Love and intro
to Nine
Hundred Miles
1. Sing with a focused tone by
demonstrating proper posture
2. Sing with expression in
by showing it on their faces
3. Sight-read through Nine
1. Observe ability to sight
read Nine Hundred Miles
2. Observe dynamics and
facial expressions for
Love
3. Observe posture
2. Review Farewell, My Own True Love
3. Continue work on the last section
- Cues, dynamics
- Watch me for the fermata
4. Listen to Nine Hundred Miles from
YouTube
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Hundred Miles as a member of
the choir
throughout rehearsal 5. Work on rhythm on the first two pages
by speaking it
6. Sing through the first two pages with
help from the piano
- Sing again, this time leaving out
the oos and just pass around the
melody
- Notice how every voice part gets a
chance to sing it?
- Make it sound the same, like the
same voice part is singing it the
entire opening
- Have each voice part learn their
notes by themselves
7. Run through the beginning again, all
voices with help from the piano
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Thursday
March 13
20 min
Nine Hundred
Miles & Jambo
1. Sing with more confidence
in Nine Hundred Miles
2. Sing confidently through the
transitions in Nine Hundred
Miles
3. Sing the ending of Jambo
through transition in Nine
Hundred Miles
sight-read the ending of
Jambo
2. Review learned areas in Nine Hundred
Miles
3. Learn the next section in Nine Hundred
Miles
- Each voice part sing by
themselves
- Have them all sing together
4. Back up and start from the beginning
through new section
- Stop on the first note from the
new section (it changes key)
- Continue on
5. Sight read the ending of Jambo
6. Work on the ending of Jambo
- Rhythms, words, rits
9 1. Confidently sing Nine 1. Observe ability to 1. Warm-up & stretch
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Friday
March 14
50 min
Nine Hundred
Miles & Jambo
the choir
2. Sing the ending of Jambo
with confidence as a member
of the choir
3. Speak the text of Jambo
with correct pronunciation
confidently sing notes and
perform rhythm in learned
areas in Nine Hundred
Miles
2. Observe ability to sight
read a new section
3. Observe how well
students remember the
ending in Jambo from
yesterday, as well as
confidence singing it
2. Review of learned areas in Nine
Hundred Miles
3. Review of specific passages in each
voice part against other voice parts
4. Work on the new section
- Sing all together first
- Break apart by voice part
- Put back together and have all
voice parts sing
- Back up to the beginning and sing
through new section
5. Review ending in Jambo
6. Work on confidence
- Rhythm and notes
7. Review of the words and pronunciation
8. Sing through the entire piece, piano still
helping for parts
10
Monday
March 17
20 min

Nine Hundred
Miles & Jambo
1. Sing transitions confidently
in Jambo as a member of the
choir
2. Sing their starting pitches at
transitions without the piano
3. Confidently sing Nine
the choir
1. Observe students note
memory in Jambo
2. Observe remembrance
of pronunciation of words
3. Observe students sight
reading skills on the new
section
2. Sing through Jambo
3. Stop on down beats in transitions
- Note security
4. Review words at the end of the piece
5. Sight read the next section in Nine
Hundred Miles
- Sing all together first
- Break apart by voice part
- Put back together and have all
voice parts sing
6. Back up and sing up to page 7
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Wednesday
March 19
20 min
Farewell, My
Own True
Love & Nine
Hundred Miles
1. Phrase Nine Hundred Miles
by adding dynamics as a
member of the choir
1. Observe dynamics and
notes in the first 7 pages of
Nine Hundred Miles
2. Observe Farewell, My
2. Review of Nine Hundred Miles
3. Work on problem notes and rhythm up
to page 7
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True Love by memory as a
member of the choir
Own True Love my
memory
- Review soprano notes
4. Sing Farewell, My Own True Love with
accompaniment and looking at music
5. Sing Farewell, My Own True Love from
memory
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Thursday
March 20
20 min
Farewell, My
Own True
Love & Jambo
1. Sing with more soul in
Jambo as we begin in bring in
more of how it would sound
from that country
2. Confidently sing in tune
1. Observe students
putting accents on the
correct syllables
2. Observe vowel
matching with the other
sections
through transitions
4. Observe soprano tuning
5. Observe breathing / not
breathing in the middle of
a phrase
2. Run through of Jambo
3. Review word emphasis which syllable
requires more
4. Sing through middle section listening to
the other sections and matching vowels
5. Review of transitions
Love
7. Sopranos: sing on ah for tuning
8. Discussion about breathing and where
NOT to breathe
9. Practice sections where this is an issue
10. Run through piece again
13
Monday
March 24
10 min
Farewell, My
Own True
Love
1. Demonstrate proper
technique while performing
2. Perform Farewell, My Own
True Love with expressiveness
1. Observe students ability
to follow the teacher for
stylistic directions
2. Observe emotion on
their faces
3. Observe sopranos
tuning and how well ah
is working
Love
3. How do YOU think we can make this
better?
- Discussion
4. Work on breathing
- Some of us are still breathing
where we shouldnt be
- Sing the first page a few times
concentrating on singing through
the phrases
5. Sopranos: tuning
- Think higher and give your tone
16
more energy
- Better posture also will help
6. Run through all together
14
Tuesday
March 25
10 min
Farewell, My
Own True
Love
True Love, using dynamics,
phrasing, cutoffs, entrances as
listed in music as well as
directed.
2. Breath in a more silent,
unobtrusive manner
3. Know what they enjoy about
to connect to the piece
2. Observe sopranos
application of quiet
breathing
3. Observe execution of
words that contain
diphthongs
2. What does Farewell, My Own True Love
mean to you
3. Work on loud breathing
- Fade out, dont just stop the
breath
4. Discussion on diphthongs
- miles, thousand, while
5. Run through of beginning and middle
section
15
Wednesday
March 26
10 min
Farewell, My
Own True
Love
True Love by memory as a
member of the choir
True Love with feeling and
emotion
3. Match intensity and tone
with the other sections by
improved posture and
breathing habits
1. Observe phrasing and
emotional connectedness
2. Observe students
memory
3. Observe vowel and tone
matching between voice
parts
Love
3. Men: run through of the middle section
- Open your mouths to let the sound
out
- Stand and face the women to
match their sound
4. Run through middle section in context
5. Review middle section and run through
to the end
16
Thursday
March 27
10 min
Farewell, My
Own True
Love
True Love using dynamics to
contrast the different sections
within the piece
2. Be emotional and connected
with Farewell, My Own True
Love
3. Execute diphthongs
correctly
to connect to the piece
2. Observe breathing and
carrying through in the
middle of a phrase
3. Observe execution of
words that contain
diphthongs
Love
3. Fix the ending
- Keep the dynamic high until I tell
you to decrescendo
4. Review of diphthongs
- Miles hold the ah the
longest
17
- Make sure we all change vowels
at the same time
17
Friday
March 28
10 min
Farewell, My
Own True
Love
True Love using dynamics to
contrast the different sections
within the piece
1. Observe dynamic
changes and contrasts
2. Observe emotion on
students faces
Love
3. Review of dynamic contrasts
4. Women: middle section dynamics
5. Review in context with the men
6. Back up and sing through
18
Monday
March 31
10 min
Farewell, My
Own True
Love
True Love, using dynamics,
phrasing, cutoffs, entrances as
listed in music as well as
directed.
2. Sing their part while a flute
part in added
1. Observe full run
through of a performance
2. Observe dynamics,
breathing, and shaping as
members of the choir
through the piece while
other instrumentation is
added
Love with the flutes
- Do this a couple times so students
become familiar with how it sounds
- Cue the flutes
3. Concentrate on dynamics on the first
page of music
4. Run through first page of music in
context
19
Tuesday
April 1
10 min
Farewell, My
Own True
Love
1. Perform Farewell, My Own
True Love as will in
performance in festival
1. Observe full run
through of a performance
2. Observe dynamics,
breathing, facial
expressions and shaping
Love
3. Discussion: show the audience what this
piece means to you
4. Review last 2 pages of music
20
Wednesday
April 2
15 min
Discussion on
performance /
Jambo
1. Understand and explain
what components make up a
folk song
2. Sing Jambo with confidence
3. Bring elements of that
culture into the singing of
Jambo
1. Observe singing of
Jambo
2. Observe understanding
and student explanations
of why Jambo is a folk
song
to bring in cultural
2. What did you think about yesterdays
performance?
- Have students fill out a self-
evaluation
3. Discussion: What makes Jambo a folk
song?
4. Run through of Jambo with piano
18
elements helping for parts
5. Can we sound less pretty while
singing this piece?
6. Review of middle section soprano
feature
21
Thursday
April 3
40 min
Nine Hundred
Miles
1. Sing through Nine Hundred
Miles as a member of a choir
2. Bring phrasing into Nine
Hundred Miles by using
dynamics and word painting
3. Identify why Nine Hundred
Miles is a folk song
1. Observe run through of
Nine Hundred Miles
2. Observe phrasing by
dynamics in Nine Hundred
Miles
3. Observe student
answers as to why Nine
Hundred Miles is a folk
song
2. Why is Nine Hundred Miles a folk song?
3. Run through of Nine Hundred Miles to
the end with piano helping for notes
4. Review notes at the middle section
5. Learn the next section of music
- Have each section sing by
themselves
6. Review learned section in context
7. Back up to a previous section of music
and run through to the end of the new
section
22
Monday
April 7
40 min
Introduce Aya
Ngena / Nine
Hundred Miles
1. Sight read through Aya
Ngena
2. Describe what features make
Aya Ngena a folk song
3. Sing Nine Hundred Miles as
a member of a choir
4. Begin to shape Nine
Hundred Miles by adding
dynamics
1. Observe sight singing in
Aya Ngena
2. Observe rationales as to
why Aya Ngena is a folk
song
Nine Hundred Miles
4. Observe dynamics in
Nine Hundred Miles
2. Thinking about what you know, how is
Aya Ngena a folk song?
3. Listen to Aya Ngena on JW Pepper
- Students follow along in their
music
4. Sight read through Aya Ngena with
piano helping on doo
- Notice the repeats
- Notice dynamic markings
5. Learn the first section
- Each voice part by themselves
- Put back all together
6. Sing through middle to end of Nine
Hundred Miles
7. Soprano confidence in notes
19
- Review notes and split
- Remember to add dynamics
8. Run through middle to end all together
23
Tuesday
April 8
40 min
Aya Ngena and
Jambo
1. Confidently sing Aya Ngena
2. Sing through Jambo
demonstrating proper rhythms
1. Observe confidence
regarding words in Aya
Ngena
2. Observe notes in Aya
Ngena
2. Observe clear rhythms
in Jambo

2. Learn words and pronunciation in Aya
Ngena
3. Learn the next section of music all
together
- Break apart voices if having
difficulties
4. Back up to previously learned section
and sing through all together
5. Back up to the beginning and sing
through to the end with piano for help
6. Run through Jambo with no help from
the piano
7. Work on word emphasis
- Jambo, bwana, wageni
9. Run through Jambo with the drums
incorporating word stresses
- Stop if students are not giving
enough and make them do that
section again
24
Wednesday
April 9
40 min
Aya Ngena and
Nine Hundred
Miles
1. Sing Nine Hundred Miles as
a member of a choir
2. Begin to shape Nine
Hundred Miles by adding
dynamics
3. Sing Aya Ngena as a
member of the choir
Nine Hundred Miles
Nine Hundred Miles
Aya Ngena
both pieces
2. Run through Nine Hundred Miles
3. Work on dynamics and contrasts
4. How can we find our notes from the
piano?
- Have the piano play a couple bars
before entrances so students can
hear their notes in the piano
- Have students stop on their first
notes
20
5. Review the middle section
- Soprano split and crescendo
6. Review of words in Aya Ngena
7. Run through the first half of Aya Ngena
with the piano helping for parts
- Work on dynamics
8. Run through including dynamics and
demonstrating correct pronunciation
25
Thursday
April 10
40 min
Nine Hundred
Miles and
Jambo

1. Shape Nine Hundred Miles
by using dynamics and
phrasing
2. Perform Jambo with drums
and no help from the piano

1. Observe performance of
Nine Hundred Miles and
inclusion of dynamics
Jambo

- Piano helping for parts
- Call out dynamics as needed
3. Review mens notes (for students in
band all week)
- Run through the entire piece
4. Review middle section with all parts
- Listen to the piano for your notes
- What is the dynamic?
- Work on dynamic contrasts as
according to the music
5. Run Jambo with drums and no piano
6. Fix transitions
- Stop on your first notes
7. Run through the first half
8. Pick three students (one from each voice
part) to sing by themselves to get ready for
tomorrows part test
26
Friday
April 11
50 min
Aya Ngena,
Jambo test and
Nine Hundred
Miles
1. Perform Jambo as a member
of a trio
2. Perform Jambo as a member
of the choir
3. Confidently sing and shape
Nine Hundred Miles by using
1. Observe performances
of Jambo as a member of a
trio
2. Performance of Nine
Hundred Miles
2. Run through Jambo as a group with the
piano
3. Separate students into groups of three
- Have each group sing a section of
the piece
21
dynamics and phrasing

Nine Hundred Miles 4. Sing Jambo as a group
- Work on transitions and issues
found from testing
5. Run through Nine Hundred Miles with
help from the piano
6. Review mens notes
7. Review sopranos parts
8. Run through middle to the end in context
27
Monday
April 14
40 min
Aya Ngena,
Nine Hundred
Miles, &
Jambo
1. Perform Aya Ngena as a
member of the choir
2. Confidently sing and shape
Nine Hundred Miles by using
dynamics and phrasing Sing
3. Farewell, My Own True
Love with emotion as
demonstrated in their faces
Aya Ngena
Hundred Miles
3. Observe transitions in
Jambo
4. Observe facial emotions
in Farewell, My Own True
Love
2. Review words in Aya Ngena
3. Run through Aya Ngena with piano
helping for notes
- Work on dynamics and phrasing
- Add in clapping and drums
4. Run through Nine Hundred Miles with
the accompaniment
5. Check alto notes in the middle of the
piece
6. Run through the middle to the end in
context
7. Review soprano notes at the ending
8. Work on the ending
- Dynamics phrasing
- Watch for cues
9. Back up to the middle and run through
to the end
10. Run through Jambo if have time
11. Work on transitions
- Stop on your first notes (without
piano)
28
Tuesday
April 15
40 min
Farewell, My
Own True
Love, Nine
1. Run through Farewell, My
Own True Love in a
performance setting as a
1. Observe mock
performance of Farewell,
My Own True Love
2. Run through of the four pieces
3. Run through of Aya Ngena
22
Hundred
Miles, Aya
Ngena and
Jambo
member of the choir
2. Run through Nine Hundred
Miles in a performance setting
3. Run through Aya Ngena in a
member of the choir
4. Run through Jambo in a
member of the choir
- Technique, dynamics,
words
2. Observe mock
performance of Nine
Hundred Miles
words
3. Observe mock
performance of Aya Ngena
words
4. Observe mock
performance of Jambo
words
- Make sure that we are clapping in
the proper places
- Try singing from memory
4. Add in drums
- At the drummers leisure
5. Work on the ending of Nine Hundred
Miles
- Double check notes for men and
sopranos
- Run through cues again
6. Sing through the ending in context
7. Back up to the middle and run through
to the end
29
Wednesday
April 16
40 min
Farewell, My
Own True
Love, Nine
Hundred
Miles, Aya
Ngena and
Jambo

True Love in a performance
setting
2. Sing Nine Hundred Miles in
a performance setting
3. Sing Aya Ngena in a
performance setting
4. Sing Jambo in a
performance setting
1. Performance of
Love
Hundred Miles
3. Performance of Aya
Ngena
4. Performance of Jambo
2. Run through any last minute issues
regarding music
3. Invite grade 9 band to choir room
4. Performance of:
- Farewell, My Own True Love
- Aya Ngena
- Nine Hundred Miles
- Jambo
5. Last day rendezvous
6. Exit slips

23
Sample Lessons & Reflections

Sample Lesson #1
Exemplar 8.4
Music Lesson Plan Template: Matrix

Class: Choir 9
Date: March 31
Time: 10:59 11:40 (I have a 10 min
lesson with students)
Location: LCI choir room
Unit: Folk songs and Performance
Lesson # within unit: 18
Topic: Farewell, My Own True Love for
Kiwanis festival
Materials/Resources/Equipment:
1. Piano
2. Music stand
3. Pencil
4. Farewell, My Own True Love
5. Karen Hudson

Housekeeping:
1. Announcements
Tomorrow is Kiwanis, so we need to make this rehearsal really
good
2. Assignment(s) due today
N/A
3. Next Assignment
Kiwanis Festival Tomorrow
4. Collect/distribute materials
Rationale (i.e. relevance to achieving goals
of Alberta Curriculum):

Through the study of this folk song,
students are able to experience and perform
a different genre of music, which works
towards the GLE that students will
understand, evaluate and appreciate a
variety of music. Because students are so
close to performance, aspects such as
reaching musical excellence as an
individual and a group are being enhanced
as well throughout various lessons.
Program of Studies:
By the end of the course, students
will . . .
GLO/GLEs
1. Develop skills in listening,
performing, and using notational
systems
2. Strive for musical excellence and
positive attitudes individually and
as members of groups
3. Understand, evaluate and
appreciate a variety of music.
SLOs/SLEs
1. Successfully perform his or her
part in a two-, three-, or four-part
selection
2. Identify and perform phrases,
Learning Objectives:

By the end of this lesson,
students will be able to . . .

True Love with feeling and
emotion

2. Breathe through phrases
correctly as a member of the
choir

3. Begin phrases all together
as a choir

4. Use dynamics to contrast
phrases
Assessment/
Evaluation:
(Informal or formal, formative
or summative, assessment as, of,
for learning)
Did we accomplish what we set
out to do?

1. Observe phrasing using
dynamics and breathing

2. Observe beginnings and
cutoffs

3. Observe emotion on singers
faces as well as how they bring
it in to their singing
24
achieving musical sensitivity
through stylistic practices.
Unit Learning Expectations (ULE)
By the end of the unit, students will
be able to . . .
1. Understand and explain the
aspects of a folk song
2. Perform at least 4 different folk
songs
Procedure What the teacher does What the students do Timeline Assessment
Classroom management & leadership
strategies/considerations
1. Call students over to their seats
2. Quiet students down to get ready
to begin rehearsal
3. Food and cellphones away
1. Get music and go to their
seats
2. Put away distractions
- Diagnose musical
problems/prescribe
solutions
- Check for
understanding/
mastery
- Questioning
- Provide feedback,
etc.
I. Introduction/Warm up:
o Gain students attention: set/focus
o Inform learners of the objectives
o Hook stimulate interest
o Motivate and/or . . .
o Review previous related learning/stimulate
recall
o Musical warm ups to prepare the mind and
body to function musically
1. Take attendance
2. Tomorrow is the Kiwanis
Festival, so I need your full
attention today
3. Please stand up and lets stretch
- Expand arms and rotate in circles,
forwards, then backwards.
- Roll the neck down, then to one
side, back down, and to the other
side. Repeat.
- Stretch arms up, and then bend
down to touch the ground. Slowly
roll back up.
4. Make a chain and give the person
in front of you a backrub
5. Vocal warm-up
- They the (1-5-4-3-2-1) going
down the piano
1. Greet teacher

2. Students stand and
participate in the stretch

3. Students remain standing
and participate in the vocal
warm-up

5 min 1. Observe
student
participation in
the warm-up and
stretch

25
- Nah (1-3-3-5-5-8-8-5-5-3-3-1-
1) going up the piano
1. Lets be a bit more quiet and
concentrate on the stretch
2. Demonstrate proper posture and
ask students to do the same no
hands in pockets, standing tall
3. Demonstrate and remind students
to keep their mouths open so
clenching is not an issue (on the
higher notes)
1. Some talking might take
place while we stretch
- Students will quiet down
2. Students will copy
standing posture
3. Students will open their
mouths as they sing
(particularly on the higher
notes)

Procedures for transition from
Intro/Warm up to Activity 1/Repertoire
1
Please remain standing and get
ready to sing Farewell, My Own
True Love

II. Body/Development
a. Activity 1/Repertoire 1
Learning activities described step by step:

i. Presenting stimulus material (e.g.
modeling/demonstrating, questioning,
discussing, explaining)

ii. Eliciting desired behaviors (e.g.
singing/playing, imitation, exploration,
creation, drill & practice, questioning,
discussion)
1. Run through of Farewell, My
Own True Love
2. All: lets make sure that we are
making these sections contrasting
- The dynamic raises as we move
throughout the piece, then comes
back down at the end
- Make sure that we arent attacking
any words and that appropriate
emphasis is given
3. Are we breathing in the
appropriate spots? as marked in
teachers copy of music
- Stop if someone breathes where
we are going through and have
them repeat the section, then move
on
4. How are our entrances?
- Make sure beginning consonants
are crisp but not forceful
- Make sure we are starting
1. Students sing through

2. Students sing using
dynamic changes

3. Students breathe at the end
of phrases or stagger breathe
throughout the phrase

4. Students begin phrases
altogether

5. Men sing with their
mouths open and not tight

10 min
1. Observe
students ability
to apply dynamic
changes

2. Observe when
students are
breathing
(sopranos)

3. Observe crisp
diction and
togetherness for
entrances and
cutoffs

4. Observe
students opening
their mouths on
the higher notes
26
altogether
5. Men: make sure that you open
your mouths so the sound isnt
spread
6. Start the beginning again,
making sure our entrances are
precise
1. Lets all concentrate up here and
not fool around with those around
us
2. Hands to yourself, face forwards
1. Students will be
concentrated on the music
and not fooling around

Enrichment/extensions/sponge (i.e.
optional activities (if time permits):
For students who have mastered assigned work.
Or short, self-contained additional/optional
activities planned in the event that there is time
remaining at the end of the lesson for the whole
class or ensemble.
1. N/A

N/A

III. Closure:
Summary/review/conclusion/linkages, preview
of whats to come, student reflections, clean up,
and/or announcements & assignments, and
assessment.
1. Kiwanis is tomorrow, please
wear all black
2. Are there any last minute
questions?
3. Thank you for all of your hard
work

1. Students put music away
2. Students ask any last
minute questions

Post-Lesson Reflections (teacher): Comments re: teaching Comments re: learning
Teacher assesses effectiveness of the teaching,
learning, and music making that just occurred
in this lesson. What went well? Why?
What could have gone better? Why?
What will I do differently next time?
This lesson went well even though I
only had 10 minutes with them.
They were very responsive to what
I was saying which made it easy to
fix any last minute details. There
were a couple issues with one
student who was fooling around
and wasnt able to concentrate for
very long. Keeping him busy by
having the basses singing even
though I was fixing a soprano issue

Students were very responsive today so I can assume that
learning took place. I just hope that it lasts for Kiwanis Festival
tomorrow
27
seemed to help a bit. I think they
are in really good shape for
Kiwanis!

Sample Lesson #2
Exemplar 8.4

Class: Choir 9
Date: April 3
Time: 10:59 11:40 (Full 40 min)
Unit: Folk songs
Topic: Folk songs and theory
1. Piano
2. Music stand
3. Pencil
4. Theory pages
5. Nine Hundred Miles
6. Aya Ngena
7. Sight reading exercises
Housekeeping:
1. Announcements
N/A
2. Assignment(s) due today
N/A
3. Next Assignment
N/A
4. Collect/distribute materials: Theory pages/sight reading pages
Rationale (i.e. relevance to achieving
goals of Alberta Curriculum):

Through the performance of Jambo and
Nine Hundred Miles, students will be
addressing the SLE; successfully
perform his or her part in a two-, three-,
or four-part selection.
Students will also be learning about
music from other cultures, which
addresses the GLE; how students will
Program of Studies:
By the end of the course, students will
. . .
GLO/GLEs
1. Develop skills in listening,
performing, and using notational
systems
2. Strive for musical excellence and
positive attitudes individually and as
members of groups
3. Understand, evaluate and appreciate


1. Bring phrasing into Nine
Hundred Miles by using
dynamics and word painting

2. Sight read through Aya
Ngena
Assessment/
Evaluation:
for learning)
out to do?

1. Observe phrasing by
dynamics in Nine Hundred
28
appreciate a variety of music. It is also
good for them as a musician to be
exposed to the different styles that
different cultured music can bring.
a variety of music.
SLOs/SLEs
1. Successfully perform his or her part
in a two-, three-, or four-part selection
2. Identify and perform phrases,
achieving musical sensitivity through
stylistic practices.
By the end of the unit, students will be
able to . . .
1. Understand and explain the aspects
of a folk song
2. Perform at least 4 different folk
songs
Miles

2. Observe sight singing in Aya
Ngena

2. Quiet students down to get ready to
begin rehearsal
seats
- Check for
understanding
- Questioning

o Gain students attention: set/focus
o Inform learners of the objectives
o Review previous related
learning/stimulate recall
o Musical warm ups to prepare the mind
and body to function musically
1. Take attendance
- Expand arms and rotate in circles,
forwards, then backwards.
- Roll the neck down, then to one side,
back down, and to the other side.
Repeat.
- Stretch arms up, and then bend down
to touch the ground. Slowly roll back
up.
3. Vocal warm-up
- ng-ah 5 notes down
- Nah (1-3-3-5-5-8-8-5-5-3-3-1-
1) going up the piano
- Try doing lunges or walking on the
spot to get the air moving and help
with breath support
1. Greet teacher


warm-up

5 min
1. Observe
student
participation in
the warm-up and
stretch
29
1. Lets be a bit more quiet and
concentrate on the stretch
2. Demonstrate proper posture and ask
students to do the same no hands in
pockets, standing tall
3. Demonstrate and remind students to
keep their mouths open so clenching is
not an issue (on the higher notes)
1. Some talking might take
place while we stretch
standing posture
mouths as they sing
(particularly on the higher
notes)

Procedures for transition from
Intro/Warm up to /Repertoire 1
We are going to be doing some theory
almost every class for about a week, so
please bring a pencil


ii. Presenting stimulus material (e.g.

discussion)
1. Talk about the staff: 5 lines where
music is written
2. Notes have names, the first 7 letters
of the alphabet so they are easy to
remember: A B C D E F G
- Each note gets placed somewhere
different on the staff
3. Draw staff lines and insert a treble
clef
- The treble clef tells us where the G is
on the staff, and so that is how we
know where the other notes are
- There is also a trick to figure out
where the notes go
- Every good boy does fine or
Every good boy deserves fudge,
which ever you like more.
- This tells us the notes on the lines of
the treble clef
- Face in the space F A C E, tells us
the notes in the spaces of the treble
clef
4. Insert bass clef
1. Student engagement

2. Students pay attention and
ask questions as they need

3. Students provide answers
as asked

4. Students participate and
repeat the sayings for note
placing

5. Students name notes
according to the line pointed
to

10 min
1. Observe
involvement

2. Observe how
much students
know already

3. Observe how
well students are
able to name
notes
30
- This clef tells us where the F is
-Good boys deserve fudge always
tell us the notes on the lines
-All cows eat grass is the most
common for the notes in the spaces
5. Point to a line and ask for the name
of the notes that belongs there
6. Pass out theory sheets and ask
students to complete to the bottom of
page 19
7. Please remember to put your names
on the sheets
1. Lets see how long we can
concentrate for!
2. Can we focus that great energy on
singing and paying attention?
3. Move chair and body forward
3. Remove option of sitting on chairs
make students stand most of the lesson
1. Students are attentive and
respectful towards teacher
and other students
2. Students pay attention to
the learning

Transition from Repertoire 1 to
Repertoire 2
Take out Nine Hundred Miles
b. Activity 2/Repertoire 2


discussion)
1. What makes this a folk song?
- Originating from the people in an
area that has been passed on
- No set composer (usually)
- More than one arrangement
2. All: run through what we have
leaned so far (up to m.30)
3. Learn m.32 to m.44
4. Altos: m.32 to m.35 its not
too exciting, but
- Make sure to put some emphasis
on miles
- Miles vowel is more of an aw
when holding
1. Students ponder the
question and answer

2. Students sing through up
to m.30

sing through m.32 to m.44

10 min
1. Observe
student answers

2. Observe
memory of Nine
Hundred Miles

3. Observe sight
31
- Dont put the s on too early
- Crescendo on home
- Lets make the second one bigger
to give it more contrast
5. Men: m.32 to m.35
- Crescendo on home
- Make sure we are matching
vowels on home
- Lets bring out the second from
home more
- Add the altos
- Bring out your moving notes
6. Sopranos: m.32 to m.35
- Who is going to sing the top note
and lower note?
- It says start at mf but I want it to
go somewhere do dont just start at
mf, build up to it
- Make the second time different
give it more intensity
7. All: m.32 to m.34
- Make sure that we crescendo on
home
- Are all of our vowels matching?
- Pure oh sound
- Lets give the second one more
intensity
- Men, bring out your C because it
clashes with the sopranos Bb
8. Altos: m.38 to m.44 slower at
first, then accelerating
- It isnt very interesting note wise,
but its important; you are like the

4. Men are compliant and
sing their parts

5. Sopranos sing their part
and differentiate it as
instructed

6. Students sing and begin to
shape the parts

reading skills

4. Observe vowel
formation

5. Observe
dynamic contrasts
and growth

32
wheels on the train
- It says piano, but give it some
intensity
9. Lift, not necessarily breath, but
lift at the end of each measure
- Rit and crescendo at m.43
1. Please pay attention. If you waste
my time, I will waste your lunch time
2. Have sopranos stand if they are
having tuning issues
3. Have men sing along when working
with the sopranos to avoid boredom
cooperative

Transition from Repertoire 2 to
Repertoire 3
Hand out Aya Ngena
c. Activity 3/Repertoire 3

discussion)
1. Here is the last folk song I will be
giving to you
- Take a look through it
- What makes a folk song?
- What are the features?
2. Speak the words and have students
repeat them back
- Use your pencil and write in any
pronunciations
- Say a couple words first, then make
the sentence longer
- Make sure students are comfortable
before moving on
3. Lets sing through, using the words
and help from the piano on parts
4. Men: m.5 to m.8
- Attention to the rhythm
- Have them clap the beat if needed
5. Altos: m.9 to m.12
- Make sure they are comfortable with
the words and the rhythm
- Add the men
1. Students look through and
answer question

2. Students say back the
words using correct
pronunciation

3. Students sing through the
piece with words

4. Men sing through to m.8

5. Altos sing their part
- Men sing with the altos

15 min
1. Observe
answers from
students

2. Observe
student
pronunciation

3. Observe the
sight read run
through

4. Observe ability
to sing the correct
33
6. Sopranos and altos: m.13 to m.16
- Shouldnt need to do this more than
once
- Add the men
7. Sopranos and altos at pick up to
m.21 to m.23
- Clap the beat
- Sing twice through
- Separate sections as needed (though
should be fine)
8. Men: pick p to m.25 to m.27
- Clap out the beat
- Add the altos, then add the sopranos
9. Everyone start at the beginning and
sing to m.27

6. Students sing selected
measure by each part

rhythms

5. Observe ability
to hold their part
against the others
1. Pay attention. If you waste my time,
I will waste your lunch time
2. Remove the option of sitting on
chairs make students stand most of
the lesson
1. Students will be attentive
and participate in the
learning

Enrichment/extensions/sponge (i.e.
optional activities (if time permits):

1. Sight reading sheets
- Talk about solfege
- Run through the first few exercises
1. Students participate in the
sight reading exercise

1. Observe
students sight
singing abilities
III. Closure:
Summary/review/conclusion/linkages,
preview of whats to come, student
reflections, clean up, and/or announcements
& assignments, and assessment.
1. Are there any questions?

Post-Lesson Reflections (teacher): Comments re: teaching Comments re: learning
Teacher assesses effectiveness of the
teaching, learning, and music making that
just occurred in this lesson. What went
well? Why?
Today went pretty well. We did a run
through of Nine Hundred Miles at the
end with the piano. This is definitely a
difficult piece but they are slowly
getting it. Entrances are still rough
and some melodic lines are not there
yet so we will have to do more work

Other than the students being a bit lazy. I think they learned
a bit. Sight-reading is good for them, so if nothing else they
learned how to sight-read

34
on those next time. I feel like some of
then want to be hand fed the notes and
dont want to think for themselves;
they want to hear the notes before they
sing them, even if they are a semitone
apart! I wouldnt let the sopranos hear
it first, I made them sing and
guessand they were right might I
add! Sight-reading is good for them,
and when it is that easy (and some of
those girls are in singers so I KNOW
they can sight read at least a little) I am
not going to spoon feed them.
Other than that it was a pretty good
rehearsal, but there is still a lot of work
to be done for Nine Hundred Miles

Sample Lesson #3
Exemplar 8.4

Class: Choir 9
Date: April 11
Time: 10:59 11:40
1. Piano
2. Music stand
3. Pencil
Housekeeping:
1. Announcements: N/A

2. Assignment(s) due today: N/A
35
Unit: Folk songs
Topic: Folk songs and theory
4. Theory pages
5. Aya Ngena
6. Jambo
7. Nine Hundred Miles

3. Next Assignment: N/A

4. Collect/distribute materials: Theory pages/sight reading pages
Rationale (i.e. relevance to
achieving goals of Alberta
Curriculum):

By singing folk songs,
students are developing an
appreciation for a variety of
music as specified by the
GLE; Understand, evaluate
and appreciate a variety of
music. Students are
developing techniques related
to singing and performing
different styles of music
Program of Studies:
By the end of the course, students will . . .
GLO/GLEs
1. Develop skills in listening, performing, and
using notational systems
2. Strive for musical excellence and positive
attitudes individually and as members of groups
3. Understand, evaluate and appreciate a variety
of music.
SLOs/SLEs
1. Recognize and interpret simple meter
2. Recognize and interpret compound time
signatures
3. Identify and perform phrases, achieving
musical sensitivity through stylistic practices.
By the end of the unit, students will be able to . .
.
1. Understand and explain the aspects of a folk
song
2. Perform at least 4 different folk songs


1. Confidently sing and
shape Nine Hundred Miles
by using dynamics and
phrasing

2. Sing Jambo in a trio

3. Perform Aya Ngena as a
member of the choir

Assessment/
Evaluation:
for learning)
out to do?
1. Performance of Nine Hundred
Miles

2. Performance of Aya Ngena

3. Trio performance on Jambo

Classroom management &
leadership
2. Quiet students down to get ready to begin
rehearsal
seats
- Check for
understanding/
mastery
- Questioning
- Provide feedback,
etc.
o Gain students attention:
set/focus
o Inform learners of the
objectives
1. Take attendance
- Expand arms and rotate in circles, forwards,
then backwards.
- Roll the neck down, then to one side, back
1. Greet teacher


5 min
1. Observe
student
participation in
the warm-up and
stretch
36
o Review previous related
learning/stimulate recall
o Musical warm ups to prepare
the mind and body to function
musically
down, and to the other side. Repeat.
- Stretch arms up, and then bend down to touch
the ground. Slowly roll back up.
3. Vocal warm-up
- 2 triads and up and down a 5 note scale on ee
- Noo: 1-3-3-5-5-8-8-5-5-3-3-1-
1 going up the piano
- Try doing lunges or walking on the spot to get
the air moving and help with breath support
warm-up

2. Observe
student behaviour

leadership
1. Lets be a bit more quiet and concentrate on
the stretch
2. Demonstrate proper posture and ask students
to do the same no hands in pockets, standing
tall
3. Demonstrate and remind students to keep
their mouths open so clenching is not an issue
(on the higher notes)
1. Talking might take place
while we stretch
standing posture
mouths as they sing
(particularly on higher notes)

Procedures for transition
from Intro/Warm up to
Activity 1/Repertoire 1

Now we are going to have our Jambo quiz

Learning activities described step
by step:

iii. Presenting stimulus
material (e.g.
modeling/demonstrating,
questioning, discussing,
explaining)

ii. Eliciting desired behaviors
(e.g. singing/playing, imitation,
exploration, creation, drill &
practice, questioning, discussion)
1. Run through Jambo with the piano
- Pick three members (from previously decided
groups)
- Stand at the front facing away from the other
students and looking at me
- No music
- Women solo at the beginning
- Go through different groups
2. Once everyone has gone through it, sing
together as a group
- With drums
3. Dont sing so pretty!
4. Go back to the beginning without the drums
- Lets all stop on our beginning notes after the
solo
1. Students sing in their pods

2. Student perform Jambo as
a group

3. Students sing with a sharp
rhythm

4. Students bring in emotion

20 min
1. Assess students
using rubric

2. Observe Jambo
now as a group

3. Observe
rhythms

4. Observe tone
quality
37
- Hold Ja at m.9
5. Keep going and hold Ja at m.17
6. Make sure that our rhythm is sharp and not
mushy
- Emphasis on the words Jambo, Bwana,
Sana
- Make sure we are all attacking the J at the
same time
7. Run through from m.9 to m.24
- Correct emphasis and sharp rhythms
- Make the unison part interesting!
- Are we cutting off the dotted eighth note fast
enough?
8. Continue on to m.32
- Sopranos, lets try to be really crisp with our
diction
- Dont be so pretty floaty over top have some
more direction
-. Go over m.25 to m.32 again
9. Men at m.32 forte dynamic!
- Ladies lets make sure that that we are lifting
right on the 4
th
beat
10. Back up and run through to m.40
and soul into the piece

leadership
1. There is a little too much talking going on,
please quiet down so we can get work done
2. Other students will be at their seats following
along, quietly, with the music.
1. Students will be quiet and
respectful to other students

Transition from Repertoire
1 to Repertoire 2
Please take out Aya Ngena
b. Activity 2/Repertoire 2
by step:

ii. Presenting stimulus material
(e.g. modeling/demonstrating,
explaining)
1. Review of words
- Say some words and have students repeat
2. Run through the first half of Aya Ngena with
the piano helping for parts
3. Lets incorporate some dynamics into our
phrasing to make it more interesting
4. Dont sing so pretty!
1. Students repeat words
back

2. Students sing through Aya
Ngena

15 min
1. Observe
pronunciation

2. Observe run
through

38

- Smile when you sing!
- Move around and clap
5. Start at the beginning
- The men bring us in and then the rest of us
come in by part
- How can we make that more interesting?
- Focused tone with lots of energy, like
something really cool is going to happen
afterwards
6. Sopranos when you come in at m.17, it says
mf
- You start on the same note, so make it loud and
proud
- Practice stopping on the starting note if they
are having troubles

3. Students incorporate
dynamics while singing

4. Students sing with a
focused and energized tone

3. Observe
dynamics

4. Observe the
energy in their
tone

leadership
1. Lets be quiet and respectful to the other parts
while they are working
2. Lets concentrate please
3. Have students stand up if they are getting
restless need to keep energy level up
1. Students will be quiet and
respectful to their classmates
cooperative

Transition from Repertoire
2 to Repertoire 3
Please take out Nine Hundred Miles
c. Activity 3/Repertoire 3
by step:
ii. Presenting stimulus material
(e.g. modeling/demonstrating,
explaining)

- Piano helping for parts
- Go over the mens section
2. Start at m.32 to m.35
- Sopranos first
- Crescendo into your split
- Start just at that same dynamic and crescendo
even more into the second split at m.35
3. Put all three parts together from m.32 to m.35
- Altos and men, you have to crescendo too, its
not just the sopranos who have that crescendo
above their part
- Repeat a couple time for security
1. Students sing through Nine
Hundred Miles

2. Sopranos sing confidently
though their split

3. Students sing m.32 to
m.35
15 min 1. Observe run
through of Nine
Hundred Miles

2. Observe
dynamics

3. Observe
confidence in the
39
4. Continue on, with accompaniment (m.36)
from m.38 to m.44
- Altos, how do you find your starting note?
- What is the piano playing, does that help you?
5. Men, when you come in, you start with the
note in between the notes that the altos are
singing
6. It says accel (accelerando), which means
what do you think?
- Speed up!
- So lets do that you have to follow me
7. Then we slow down again at m.43, dont try
to slow down earlier
8. Sopranos, this is the same motif you were
singing earlier, I expect it to be strong
9. Review m.38 to m.44
- Fix major issues
- Men finding their note can you hear it from
the piano?

4. Students use the piano to
find their next notes

5. Students speed up singing
as music says

6. Students sing through the
section again
soprano split

4. Observe how
well students can
find their note
from the piano

5. Observe how
well students
follow as we
speed up

6. Observe how
well students sing
through the
section again
using what we
talked about
leadership
1. Lets concentrate please, I dont want to
spend anymore time on this then we have to
2. Move chairs and/or bodies forward a row
cooperative

Enrichment/extensions/spo
nge (i.e. optional activities
(if time permits):
For students who have mastered
assigned work. Or short, self-
contained additional/optional
activities planned in the event
that there is time remaining at the
end of the lesson for the whole
class or ensemble.
1. Today we are going to continue what we
talked about yesterday and the week regarding
counting the beats and rests
- First, are there any questions about what we
have gone over so far?
- Time signatures?
2. Put a rhythm on the board include ties
- Can we count it out?
- How do we count the ties?
3. Lets clap out the rhythm speaking out the
beats
- Is everyone getting it or do we need to back up
a little?
4. Please complete the last page in the theory
ask questions as they come
up

2. Students count out the
beats

3. Students clap out rhythm

4. Students complete the last
page in the theory book
1. Observe
students counting
out the beats

2. Observe
students clapping
the rhythm

3. Theory booklet
40
booklet
III. Closure:
Summary/review/conclusion/link
ages, preview of whats to come,
student reflections, clean up,
and/or announcements
1. Are there any questions?
2. Have a good weekend!
1. Students ask any questions
they might have

Post-Lesson Reflections
(teacher):
Comments re: teaching Comments re: learning
Teacher assesses effectiveness of the
teaching, learning, and music making
that just occurred in this lesson. What
went well? Why?
Testing went ok today some of them seemed
pretty freaked out but most of them did pretty
well. There was an issue getting a couple
students in the room and so they were late. And
one student was recording other students on his
phone. I talked to him after class and made him
show me him phone to make sure that the
recordings were not still on there. They all were
a bit noisier than usual today so we didnt get as
much done as I just couldnt get them to stay
focused.
We didnt really work on Jambo afterwards, we
actually jumped right to Nine Hundred Miles
because there was only about 15 minutes left by
the time we finished testing (rowdy kids
today) and we have the most work to do on that
piece in order to get it ready for Wednesday.

By the time we got to Nine Hundred Miles students were settles
down a bit. We got some good work done on pages 8 10

41
Analytical Reflective Critique

PS II Reflection

PS II has been the best growing experience out of my practicums thus far. I feel that because I was lucky to be placed in a high
school, I have had the opportunity to feel it out and grow adequately in that type of environment that I would eventually love to teach
full time in.

There have been many experiences I will take away from this practicum, such as working with parents (fundraising), talking
with the principal about a student, sending a student to the office, teaching students with exceptionalities, and going on field trips (and
the many forms that go with that).

The first week and a half was slightly intimidating. Though I was excited beyond belief to be involved in high school choir,
and a high school at all, for reasons unknown my confidence level dropped while in front of some students. While I knew what I was
teaching (in choir, CALM was a learning experience) and I was excited to be there, I was affected by the facial expressions of the
students. By nature I am a people pleaser and if people look like they are not enjoying what I am saying or appear to not be paying
attention, I begin to feel doubtful. Unfortunately I did not realize right away that this is just how most teenagers naturally look:
unimpressed and bored.

My teacher associate and I sat down and had a heart to heart about confidence and it really seemed to help. Realizing that I
was not being entirely true to myself when I was at the front of the choir was a bit of an eye opener and really made me reflect on who
I am and what I want to accomplish as a music teacher. I have had some great mentors in my musical journey and I did not realize
that I was trying to emulate their teaching style. Though not a sudden change, I could feel my confidence growing during every class,
and I decided that I did not care what my students facial expressions told me (to some extent) as I am the teacher and what I have to
say is important. This has helped me immensely, and though I know that I still have to work on some things, I am on the right track, I
am aware of it, and I really feel like I am growing now.

I am really happy about what I have learned through choir. I taught two different choir courses: Choir 9, and Choir 10-20-
30. Both were very different in maturity and ability. It was a great learning experience to be involved with both of these groups
because they both taught me different things related to classroom management, communication, and even rehearsal techniques.

42
My folk song unit was for my grade 9s. It was easy to get started because they had a folk song class at the Kiwanis festival so
we were able to concentrate on at least one of the pieces for a long time. There were four pieces that made up this unit, and though I
did not think that would be challenging enough, I am glad that I did not include any more. If I had to do this unit again, I would have
introduced Nine Hundred Miles before Jambo, as it proved to be much more difficult than anticipated. By the end of my practicum it
was getting a little tight for time as I only ended up having two weeks worth of 40-minute rehearsals with them (due to festival) to
finish my unit.

As far as lesson planning I do not think I would change much because I was pretty specific about what I wanted to accomplish
during class and I did my best to tailor the learning to the grade 9s ability level. Most learning strategies tended to work but I am still
working on developing more and I think that that comes more from experience. I did tend to over plan but that was mostly as a buffer;
I would much rather over plan than under plan. I believe that the students enjoyed the pieces in the unit, especially the African folk
song Jambo.

I believe that I was prepared for every lesson. I studied the music, learned each voice part, marked breaths, phrasing,
pronunciation, dynamics, and tone specific to that piece in all of my music. I was able to demonstrate the vocal tone I wanted them to
produce and helped them achieve that by specifically telling them where to send their tone (roof of their mouth, behind their teeth, to
the wall like a laser), where and how to breath for better air support (we did some exercises to help with the feeling), and proper
posture while sitting and standing. I knew what I wanted to accomplish during that lesson and included strategies to help my students
achieve that goal. There were a couple lessons where I did abandon my lesson for a specific piece or went off script for a while
because a new more important issue presented itself, or my planned strategy was not working for them.

Addressing behaviour was only an issue for a few students. I was able to tell students right from the start that they were
talking too much or that they needed to concentrate better. Most of the time I would need to remind them no more than two times.
There were some behavioural issues in my mens section though which challenged me. My ADHD student had a gift for fooling
around and taking his friend who sat beside him with him on the distracted train. Some days were good and we could get through
class without much disruption, but towards the end of my practicum it seemed to escalate as I was forced to address the issues during
class more often, and I had to keep them both after class another time to discuss behaviour. Having said this, it was a good learning
experience for me, and overall I feel pretty lucky to have worked with these students, as they are a good group of kids.

PS II has definitely been a learning journey for me. I have learned the importance of thorough lesson planning, that it is okay
to be human in front of your class, I have learned more about my teaching style and what I need to continue to work on for PS III, and
I have learned how to really be me and to be comfortable and confident. I feel blessed to have had this amazing experience and so
lucky that I was able to work with some amazing teachers and mentors.
43
EXIT SLIP
1 thing I liked from today:

1 thing I learned from today:

1 thing I would like to know more about:

Comments:

44

Student Self-Evaluation
Post-Performance Self-Evaluation

1. What did you find challenging about the performance?

2. The best part about our performance was

3. Something I could have done better was

4. My overall performance was (circle the best answer):
a) Excellent
b) Very good
c) Good
d) Fair
e) Poor

5. Any other comments:

45
Part-Testing Rubric

4 3 2 1
Accuracy Always on-pitch
and sings the
correct notes

Rhythm sung
correctly
Always on pitch
with a few
incorrect notes

Most rhythms
are accurate
Usually on-
pitch with a
few incorrect
notes
Some minor
rhythm
problems,
generally a
steady beat
Rarely on-pitch
with many
incorrect notes
Rhythmic
mistakes, some
changes in beat

Text Always sings
text clearly
Mostly clear
with most
ending and
beginning
consonants
Usually clear
but missing a
few consonants
Unclear text
and mumbling
Memorization Entire piece is
memorized
including notes
and words
Mostly
memorized
A few phrases
missing from
memory
No evidence of
memorization
46

Bibliography

BSU Bemidji Choir. [noer1mel]. (2013, November). Aya Ngena [Video]. Retrieved from
https://www.youtube.com/watch?v=oOR6M8ya0bM

Gray, R.M. (2011). Aya Ngena U.S.A.: Alfred Music Publishing.

Harrison, T.K. (2013). Jambo. U.S.A.: Santa Barbara Music Publishing.

Lake Park High School Choir. [Lake Park Choir]. (2011, December). Nine Hundred Miles [Video]. Retrieved from
https://www.youtube.com/watch?v=l9FdRFcFmPM

Silvey, P. (2004). Nine Hundred Miles. California: Santa Barbara Music Publishing.

Unknown artist. (n.d.). Jambo [Video]. Retrieved from http://www.jwpepper.com/sheet-music/media-

Unknown artist. (n.d.). Farewell, My Own True Love [Video]. Retrieved from http://www.jwpepper.com/sheet-music/media-

Wasiak, E.B. (2013). Teaching Instrumental Music in Canadian Schools. Ontario: Oxford University Press.

Winebrenner, T. (2013). Farewell, My Own True Love U.S.A.: BriLee Music Publishing.

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