Concert Choir Lesson Plan

Name: Karen Bond

Date of Lesson: September 10,2014
Ensemble: Concert Choir (7th and 8th)
Primary Goal: Review m. 21-36; learn m. 57-69 in this Shall Be for Music. Review m. 14-29 in Jentends la
Moulin; learn m. 32-40. Discuss key change to A minor; discuss concept of cannon.
TEKS:
117.36-(c) Knowledge/ Skill;
(1) Perception. TSW analyze and describe musical sounds and demonstrate artistry.
(A) Demonstrate characteristic vocal timbre individually and in groups
(C) Identify music forms presented aurally and through notation
(2) Creative Expression/ Performance: TSW sing individually and in groups performing varied
repertoire of music.
(A) Perform independently with accurate intonation and rhythm, demonstrating
performance technique.
(3) Creative Expression/ Performance: TSW read and write music notation.
(A) Sight read in treble and in bass clef in various keys and meter
(C) Interpret various notes and symbols in regards to dynamic
(5) Historical/ Cultural: TSW relate music to cultures.
(C) Perform music relating to many different cultures
117.39-(c) Knowledge/ Skill;
(1) Perception. TSW analyze and describe musical sounds and demonstrate artistry.
(A) Demonstrate characteristic vocal timbre individually and in groups
(C) Identify music forms presented aurally and through notation
(2) Creative Expression/ Performance: TSW sing individually and in groups performing varied
repertoire of music.
(A) Perform independently with accurate intonation and rhythm, demonstrating
performance technique.
(3) Creative Expression/ Performance: TSW read and write music notation.
(A) Sight read in treble and in bass clef in various keys and meter
(C) Interpret various notes and symbols in regards to dynamic.
(5) Historical/ Cultural: TSW relate music to cultures.
(C) Perform music relating to many different cultures

Materials/ Resources:
Warm up:
Albrect, S. (2003). The choral warm-up collection: A sourcebook of 167 choral warm-ups contributed by 51 choral
directors. S.l.: Alfred.

Sight reading:
Own example in Key of F (main street F) featuring half notes and eighth notes with skips from C
to A and A to F.
Repetoire:
Jentends le Moulin by Emily Crocker, This Shall Be for Music by Mark Patterson
Warm ups:
Needed: Albrect, S. (2003). The choral warm-up collection: A sourcebook of 167 choral warm-ups
contributed by 51 choral directors. S.l.: Alfred.

1. Exercise #1: 5 note descending scale starting on D4.

a. Objectives: to develop tone, and core sound; To reinforce tall space in mouth and tall
vowels.
b. Assessment: As we move through the warm up, remind the students to be thinking of their
mouth space and lip shape. Mention the concept of the cave space in the mouth and
rounded lips.
2. Exercise #2: Breathing exercise that involves the students holding their arms out in front of the
and holding a beach ball and inflating it and pressing of it when breathing out. Breath in on 4
and breath out on a shh on different counts of 4,8,12, and 16.
a. Objectives: to bring attention to where the students are supposed to be drawing breath
from and how much they can use the entire breath.
b. Assessment: breathing in on 4 and out on 4 and calling attention to the excess air that the
students may have. Being able to use that air to sing an entire phrase.
3. Exercise #3: 5 note ascending and descending scale on zeee- yah
a. Objectives: Singing through the scale using the entire breath and singing with tall vowels
and core sound.
b. Assessment: Calling attention to the vowel and having the students place their hands on the
side of their jaw to sing with tall vowels.
4. Exercise #4: Sing zah-zeh-zee-zoh on the same note and singing zoo on a descending scale
a. Objectives: to develop a sense of the relationship from vowel to vowel and how there
shouldnt be a drastic change from one to the next.
b. Assessment: having the students sing the vowels in a bad way and them having the correct
it. Using the movements to reinforce the vowel and shape of the mouth.
Sight-Reading:
Needed: Sight-reading on the board in the key of F with simple skips, and stepwise motion using half,
quarter and eight notes.
1. Sight-reading on the white board:
a. Objective: having the students sight read in the key of F while they have been reading in the
key of g for the past week. To reinforce the spatial relationship of the solfege pitches on the
staff. To reinforce the 4 steps of sight-reading.
b. Process:
i.
Silent study: studying through the sight-reading silently while studying hand signs
and moving mouth for the solfege syllables.
ii.
Chanting: loud & proud; chanting through the solfege together in rhythm.
iii.
Audiate: Sing on mute; sing the tonic chord for them and have them audiate. Spot
check through-out the sight-reading and sing notes to give them a check point.
iv.
Sing: Sing through the sight-reading, listen for mistakes and go back a step or two if
needed.
c. Anticipated mistakes: not holding the half notes long enough or holding the eighth notes too
ling; not singing the correct interval for the skips.
d. Assessment: Point out the difference in the intervals between a step and a skip. Chant
rhythm to point out the note values and why we have to hold them longer or shorter.
Rehearsal:
Needed: This Shall Be for Music- Mark Patterson; Jentends le Moulin- Emily Crocker
This Shall Be for Music
1. Objective: Review m. 5-20; singing through m.21-36
2. Strategies: sing through with some rote teaching (rote remembering), Chanting through solfege
(its already written in), standing up to help with singing, breathing, and posture.

3. Anticipated mistakes: rhythm mistakes; singing straight quarter notes when it is dotted quarter
note-eighth notes and Vis versa. Interval mistakes at the 8ve, intervals mistakes with la-fa-re-doti-so in m. 23. BAD POSTURE. Always watch for everyone to be sitting up.
Jentends le Moulin
1. Objective: m. 14-29; Discuss key change to key of A and how do moves. Introduce the concept
of cannon to them. Learn m.32-40.
2. Strategies: Sing through with rote teaching (rote remembering), standing up to help with
singing, breathing, and posture.
3. Anticipated mistakes: Incorrect rhythm, solfege leaps from low mi-la, not being able to put the
parts together, BAD VOWELS.