High School Choir Lesson Plan

High School Choir Lesson Plan
1/26/15, 1:15 PM

by Catherine Knopf
Lesson Overview
Classroom Dynamics
Title of Lesson:
Grade: Mostly 9th

Date: 2/11/2014
Number of students: 52
Unit/Theme: "How Can I Keep From Singing"
Course/Subject: Cecilian Singers (Beginning Female Choir)
Where in the unit does this lesson occur? (underline one)
Period/Time: 8th Period; 2:20-3:10
Beginning of the unit
Estimated Duration: 50 minutes
Relevant characteristics of students that need to be considered when

developing plan (non-IEP/504 plan students):
Structure(s) or grouping for the lesson (underline all that apply)
Whole class
There is one student in the class who is blind. She receives a Braille
copy of the lyrics when the class is given a new piece, and she spends
the first couple of rehearsal times just listening so she can hear what
her part sounds like. My co-operating teacher has informed me that she
is very good at picking up the music by ear.
List the needs of students with IEPs:

Braille copies of the music lyrics.
List the needs of students with 504 plans:
N/A
NOTE: Attach all documents related to this lesson

Lesson Philosophy
Central Focus
The central focus is the long-term goal. It does not have to be accomplished within this one day's lesson. The central focus can be
described in terms of student behavior, or it can be presented as a concept.
Explain in detail the central focus of this lesson as it relates to the whole unit of study.
The students will be interpreting the phrasing of passage D in their music by incorporating the crescendos, diminuendos and dynamic
contrast present within this section.
Rationale/ Context
https://college.livetext.com/doc/9588482?print=1
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Why this lesson at this time; how does it connect to previous or succeeding lessons?
The students are preparing this piece to sing on the spring concert with the preservice teacher as their conductor. The students have
learned the first two pages of their music (the beginning through section C) and will now be learning the "D" section as the next step in
learning the music. The perservice teacher will then point out to the students that section "D", "G" and "I" are all identical so the students
will have 80% of the song learned by the end of this lesson.
Prior Learning and Experiences

What knowledge, skills and/or academic language must students already know to be successful with this lesson?
Prior knowledge and Experiences:
The ability to read standard music notation.
Prior Skills:
The ability to interpret the written music and perform it using their voices.
Prior Academic Language:
Identify & Evaluate.
Learning Standards
IL.26.A.3d > Music: Read and interpret traditional music notation in a varied repertoire.
Academic Language Demands

Vocabulary (required):
Crescendo
Diminuendo
Language Function (required):
Perform a vocal line while incorporating a crescendo and diminuendo to shape the phrase.
Syntax and/or Discourse:
Using gestures to shape the phrase and portray crescendos and diminuendos.
Objective 1 and Assessment Strategies

Assessment Strategy:
Objective 1
Tell how you will assess whether or not students have met objective 1.
Formative:
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Objective 1 is assessed as the students practice singing their voice

Students will be able to: correctly read and perform the notes of their
vocal line at passage "D".
parts with the accompanist and preservice teacher. I will know if

students have met objective 1 if they are able to sing their voice parts
correctly on their own with the accompaniment added to the
performance.
Evidence and Assessment of Student Learning: How will you know whether students are making progress toward learning objective 1, and how
will you assess the extent to which they have met objective 1?
I will know whether the students are mastering learning objective 1 by how many attempts it takes the ensemble to accurately sing their voice
line and perform one unified response as a group.
Expectations for Student Learning: What are your expectations for performance for objective 1? Specifically, describe expectations for each of
the following types of performances: Exceeds expectations, meets expectations, and below expectations performance.
Exceeds: Students sing the correct notes of their voice parts with exceptional support, tone and vowel formation.
Meets: Students sing the correct notes of their voice part using a supported tone.
Below Expectations: Students do not sing their voice parts correctly or sing with poor quality tone.
Objective 2 and Assessment Strategies

Assessment Strategy:
Objective 2
Tell how you will assess whether or not students have met objective 2.
Formative:
Students will be able to: correctly read and perform the dynamics and
Objective 2 is assessed when the students fill out a worksheet where

they are required to write in the phrasing and dynamic markings within
phrasing markings of their vocal line at passage "D".
passage "D" and explain why they chose those specific phrasing
markings to contribute to their musical interpretation of the piece.
Evidence and Assessment of Student Learning: How will you know whether students are making progress toward learning objective 2, and how
will you assess the extent to which they have met objective 2?
I will know if students have met objective 2 if they are able to incorporate phrasing and dynamics on their voice line with the accompaniment
added to the performance.
Expectations for Student Learning: What are your expectations for performance for objective 2? Specifically, describe expectations for each of
the following types of performances: Exceeds expectations, meets expectations, and below expectations performance.
Exceeds: Students sing the passage with proper phrasing and dynamics.
Meets: Students sing the passage with proper phrasing or dynamics.
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Below Expectations: Students do not sing their voice parts with neither proper phrasing or dynamics.
Support for Student Learning

Introduction
For each section of the lesson sequence below provide a detailed, step-by-step listing of how you will implement the instructional plan. Describe
what you will do in each segment of the lesson, including 1) instructional methods you will use; 2) transition statement you will make throughout
the lesson; 3) questions you will ask, etc. Describe what your students will do in each segment of the lesson.
Introduction: Identify how you are going to introduce the concept, skill, strategy or task in a way that gains the students' attention and engages
them. What questions, texts, inquiry, modeling, and/or other techniques will you use to engage students? How will you draw on prior
knowledge? How will this lesson be meaningful to the students and connect to their lives? How does this lesson connect to previous lessons?
Students Do
I Do
Physical
Lead the students through physical stretches and shoulder rolls.
Instruct students to form a massage train in their rows.
Vocal
Instruct students to spread out back to their designated spots in the
classroom and lip trill on a 1-54321 pattern by demonstrating on an "oo"
vowel.
Physical
Stretch arms up, to the right, to the left.
Bring arms down while keeping the ribcage lifted.
Roll shoulders forwards and backwards, shrug upwards and then
release the tension.
Massage Train
Vocal
Move back to regular singing spots and lip trill on a 1-54321 descending
Instruct students to sing the pattern 5 4 3 2 1 staccato on "Ho, Ha" while
pattern starting on A major
flicking each syllable.
Instruct students to sing the following pattern alternating a slurred "ee"
and "oo" vowels: DM RF MS FR MD RT D using the crescendo &
diminuendo phrasing gestures.
Sing "Ho, ho ho ho ho ha" on a 54321 staccato pattern while flicking

each syllable.
Sing the following pattern alternating a slurred "ee" and "oo" vowels:
DM RF MS FR MD RT D starting on C major, ascending and
Instruct students to sing the extended "Veh-ah" exercise while bending
descending using the crescendo & diminuendo phrasing gestures.
at the knees on the high notes.
Students will sing a major scale while incorporating the crescendo and
diminuendo phrasing and gestures.
Demonstrate Solfege Interval exercise with hand signs (DR DM DF...)
starting on B.
Sing the extended "Veh-ah" exercise starting on Bb major and

ascending, while bending at the knees at the high notes.
Sing a major scale while incorporating the crescendo and diminuendo
phrasing and gestures.
Sing Solfege Interval exercise with optional hand signs.
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Instructional Sequence
What content are you teaching? What instructional strategies will you use? How will students engage with ideas/texts to develop
understanding? What questions will you ask? How will you promote question generation/discussion? How will you address the academic
language demands? Detail your plan.
Differentiation: How will you differentiate content for a variety of learners? How will you differentiate process for a variety of learners? How will
you differentiate products(s) for a variety of learners? Detail differentiation within your instructional sequence.
I Do
Have the students run the beginning through section C on words to
refresh their memory on the piece.
Have the students read through section D slowly on words with the
accompanist playing their parts along with them.
Have all second sopranos sing through their line, with some of the piano
accompaniment.
Ask the students why phrasing is important to this section of the piece.
Instruct all voice parts to sing the second soprano line while
Students Do
Get music out of their folders and sing the beginning of the piece
through section C to refresh memory on the piece.
Sing through section D slowly on words.
incorporating the crescendo/diminuendo gestures from the warm ups.

Second sopranos sing through their line.
Have soprano ones sing their voice part by themselves with help from
the accompanist.
Students discuss why phrasing is important to this section of the piece.
All parts sing the second soprano line while incorporating the
-If the intervals are difficult, have the whole choir sing the interval warm crescendo/diminuendo gestures from the warm ups.
up from earlier in the class. Then have first sopranos find each of the
intervals that they sing measure by measure.
Soprano ones sing their part as a section with help from the
accompanist,
-If rhythm is difficult, give first sopranos 30 seconds to write in which

beat they change notes on for section D, and review the answers
measure by measure verbally while drawing their attention to the
pattern.
-If intervals are difficult, sing the interval warm up from earlier in class.
Then identify each interval sung in their voice part measure by
measure.
Have the soprano ones then by sing their voice part by themselves
-If rhythm is difficult, write in which beat the notes change in this section.
while the piano plays the accompaniment, and singers use the phrasing
Soprano ones sing their voice part by themselves using the phrasing
gestures.
gestures while the piano plays the accompaniment.
Instruct soprano twos to join soprano ones, and have the piano double
their vocal lines. Then repeat the same lines but with piano
accompaniment while using the phrasing gestures.
Soprano ones and twos sing their parts together with the piano doubling
their lines, than by themselves with piano accompaniment while using
the phrasing gestures.
Have the altos sing their line as a section with the piano doubling their
part. Ask the alto section what are some ways to make it easier to sing Altos sing their line as a section with the piano doubling their part. Altos
then discuss how to use proper technique to make the performance of
this passage. Model low pitched speaking voice on an exhale.
this passage easier.
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-If rhythm/entrances are an issue, have the students speak their
1/26/15, 1:15 PM
-If rhythm/entrances are an issue, altos will speak their rhythmic line and
rhythmic line and raise their hand when their phrase starts over (beat 2 raise their hand when the phrase starts over.
of measure 45 and beat 2 of measure 47).
Students work on the phrasing assessment worksheet.
Have the students sit and pass out the phrasing assessment worksheet.
Verbally explain the directions that are also written on the classroom
Students participate in a "think-pair-share" discussion where they talk
white board. Give the students 7 minutes to complete both sides of the about their rationale for the work they completed on the worksheet.
worksheet.
Students engage in a whole class discussion where they share their
Have the students turn to their neighbor and participate in a "think-pair- rationale with the other voice sections.
share" discussion where the students share the rationale that they wrote
about on the back of their worksheet for why they chose the specific
expression markings that they did.
Have the ensemble regroup and have the students share with the class
one response from each voice section.
Then perform passage D alone with piano accompaniment

while incorporating the phrasing gestures.
Discuss which melodic line is the most important, then all parts sing
together while using the phrasing gestures.
Then perform passage D alone with piano accompaniment while

incorporate the phrasing gestures.
Ask the students which melodic line is the most important, and then
remind them to make sure they can hear the altos at all times. Have all
of the voice parts sing together with the accompanist doubling their
parts. Then repeat this same exercise with the accompanist playing the
piano part while using the phrasing gestures.
Closure
How will you bring closure to the lesson? Explain how students will share what they have learned in the lesson (include questions you will ask to
begin the discussion). Describe how you will connect this content to the students' lives and future lessons.
I Do
Ask the students to look through their music and see where else we
have the "la" section (section G and I).
Explain to the students that since they have now mastered the "la"
section, they have 80% of the piece learned.
Students Do
Look through their music to find similar sections.
Run through the entire piece on words, singing "loo" on the passages
Have the students run through the entire piece on words, singing "loo" that they have not learned yet.
on the passages they have not learned yet and implementing the "3
second" rule (where students are only allowed to look at their music for
3 seconds before looking back at the conductor).
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Support/Challenge
How does the lesson plan you provide for successful access to the key concepts by all of the students? Refer back to the first section of this
plan where you talk about the relevant characteristics of students that need to be considered. Remember that you are to consider a variety of
student learning needs, not just those students with IEPs and 504 plans.
Students with IEPs:

I will do my best to leave the podium and walk among all of the sections and sing along with them, so that the Blind student and the struggling
students will have the opportunity for me to model their parts directly.
Students with 504 Plans: N/A
All other students - English language learners, struggling students, underperforming students or those with gaps in academic knowledge, and/or
gifted students:
I will work to engage all students by having specific rows sing their part as an accountability measure for the students.
Reflection on Student Learning & Lesson Plan

Student Feedback
How will you provide students with feedback?
A. What kind of feedback will you provide to students? Provide and label examples of oral and/or written feedback.
Oral example: "Altos, that was a really good first try. It is important that you really sing out because your line is the most interesting and the
driving force in this section. Let's try it again while starting at a mezzo piano and growing to a forte."
B. How will your feedback guide students' further learning?
The students will know what aspect of their vocal line to focus on for their next attempt and how to sing more productively.
What Ifs: Be proactive- Consider what might not go as planned with the lesson; what will you do
about it?
If the lesson runs longer than expected, I will not run the piece in it's entirety, I will only run the beginning through section D.
If the lesson takes less time than I expected, I may go on to starting to work on section E.
Resources and Materials

List and cite your sources for the resources and materials used in this lesson. Use APA style for your citation style.
"How Can I Keep From Singing". Quaker Hymn, arranged by Gwyneth Walker. Revised 2004 edition by the composer, for SS(A)A and
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Piano. Copyright 2000 by E. C. Schirmer Music Company.
Created with LiveText - livetext.com
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High School Choir Lesson Plan

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