Lesson Sequence Part 1

Candidate: Anne OFarrell

Date: November 9, 2015
Lesson Part
Formal PreAssessment
(Sequence Start)

Field Supervisor: Benjamin Helton

Grade Level: 7
Mentor: David Gear

Activity Description/Teacher Does

Pre-assessments for this learning sequence
included a written self-assessment of individual
playing (strengths and weaknesses), goal
setting (ensemble and individual) and an
informal pre-assessment through performance in
the classroom as an ensemble (i.e. rehearsal)
and in group lessons.

Students Do
1.

2.

3.
4.

Title
State Standards

Written/Surveyed selfassessment of musicality

(i.e. note/rhythmic accuracy,
style, phrasing, dynamics,
intonation, articulation,
balance and blend.)
Teacher and student
collaboration to address
individual feedback on selfassessment forms and
establish learning goals.
Perform in a rehearsal
setting
Students listen to a
recording of themselves as
an ensemble and set group
goals for upcoming
performances.

Lesson 1: Musicality in Performance: Balance and Blend

25.A.3c Music: Identify and describe changes in elements and expressive qualities (e.g.
crescendo, ritardando, fermata, meter, sforzando).
26.B.3c Music: Sing or play with expression and accuracy a variety of music
representing diverse cultures and styles.

National
Standard

Central Focus
(CF)

MU: Pr4.3.E.8a: Demonstrate understanding and application of expressive qualities in a

varied repertoire of music
Students will examine musicality in performance through balance, blend, dynamics,
phrasing, and articulation by demonstrating a synthesis of the terms as they refer to the
sound of a wind band ensemble through the use of a visual aid, descriptive language,
and performance.
Students will identify their instrument part within the Balance Pyramid

Learning Target
(LT)

Students will explain the visual of the Balance Pyramid in terms of dynamics and voicing
(i.e. High, middle, low).
Students will demonstrate an understanding of the Balance Pyramid by contrasting
balanced and unbalanced dynamics as an ensemble.

Academic
Language

Examine, identify, define, explain, Balance Pyramid, dynamics, voicing

Prior to the beginning of class, the teacher will prompt
students to pick up an Exit slip that is to be filled out during
class and turned in when students exit the classroom at the
end of the period.

As students enter
classroom they will take
an Exit Slip that is to be
filled out at times
prompted during class

and turned at the end of

the period.
Instruction &
Inquiry
(Warm up and
introduction)

Teacher begins class with warm up of Concert Bb Major

Scale in whole notes at 80bpm.

Students play their

Concert Bb Major Scale
together as ensemble to
facilitate in sound
production and create
focus within the
classroom.

Teacher asks students to raise their hands and define, in their

own words, what the terms balance and blend mean, while
providing visuals and examples. Divide the white board at the
front of the classroom into two sections, Balance and
Blend.

Students respond using

prior knowledge from
other classes and preassessment lessons to
define the terms
balance and blend.

As students respond, take key words/phrases and write them

on the board under the respective vocabulary words. Key
words or phrases can be realized as synonyms, examples, or
illustrations.
After this short activity, the teacher presents students with a
formal definition of Balance and Blend as they refer to wind
band ensemble sound. Supplement formal definition with Key
Words/Phrases as much as possible.
[Balance refers to the strength of various sections (i.e. flute,
trumpet, saxophone, clarinet, and tuba) and the extent to
which these sections tend to dominate the band as a whole.
A well balanced band is not achieved if everyone plays at the
same dynamic level.
Blend refers to the process of merging the sounds of
instruments of contrasting tone colors (across sections, such
as Saxophones and French horns) as well as those of similar
tone color (within the section, such as all Flutes).]
5-8 Minutes
Practice/Support
Activity

Students fill out the first

question on their Exit
Slip. [Define the
following terms as they
refer to band/ensemble
sound: Balance, Blend]

Teacher will both display and read out loud the definitions of
Balance and Blend, as well as prompt students to fill out
the first question on their Exit Slip.
Teacher displays a blank Balance Pyramid on the white
board. Teacher then begins to explain the figure on the board
as the Balance Pyramid of Sound. From pre-assessment
lessons, this figure should look familiar to students. The
pyramid is a triangle that is divided into 3 horizontal sections.
The bottom is for low instruments, the middle is for middle
instruments, and the top is for high instruments.
Teacher asks students to raise their hand if they believe their
instrument is identified with the bottom, or low instruments.
Then reveal/write the sections that belong on the board in the
bottom third of the pyramid, Tuba, Baritone Saxophone,
Bass Clarinet, Trombone, and Baritone/Euphonium.
Repeat the above for both the middle and top sections of the
pyramid.

Students fill out the

second question on the
Exit Slip [Identify each
part of the Balance
pyramid using low,
middle, high.]

Middle: Tenor Saxophones, French Horns, Alto Saxophones

Top: Clarinets, Trumpets, Flutes, Oboe
Teacher prompts students to answer the third question on the
exit slip, which asks them to identify their instrument within
the balance pyramid.

Students answer the

third question on the
Exit Slip. [Circle the part
of the pyramid where
your instrument
belongs.]

8-10 Minutes
Informal
Assessment

As students raise their hands for the different sections of the

pyramid, teacher will survey the room to see what students
know before revealing the instruments that belong to the
different sections of the pyramid.
Additionally, as students are periodically filling out their Exit
Slip, Teacher can see who is participating/engaged in the
activity.

Application

Teacher asks students if they know what the Balance

Pyramid visually represents. Can someone tell me what this
means?
Together with students help construct the meaning of the
balance pyramid in terms of dynamics and voicing. The
Balance Pyramid is a visual representation of dynamics and
voicing to show that a balanced band ensemble sound is not
achieved by everyone playing at that same dynamic, rather to
achieve a nice, dark and balanced sound, it is preferred to
have the lower voices be more dominant over the higher
voices.

Students construct
meaning to the balance
pyramid as well as
answer the fourth
question on the Exit Slip
that asks them to
explain what the
Balance Pyramid
means in terms of
dynamics (loud/soft)
and voicing
(high/middle/low).

Teacher directs students to play a concert Bb scale using and

keeping in mind the Balance pyramid; low voices are playing
fortissimo (loudest), middle voices are playing forte/mezzo
forte (loud/medium loud), and high voices are playing mezzo
piano (medium soft).
Teacher introduces the concept of inverting the pyramid: high
voices are loud and low voices are soft. When the teacher
has arms together (finger tips touching, elbows apart) in the
shape of a pyramid, the students are directed to play
balanced according to the Balance Pyramid. When the
teacher has elbows together and hands spread apart like an
inverted, or upside down, pyramid, the students are directed
to play unbalanced, low voices being the softest and high
voices being the loudest.
Have the students sustain the first note in the scale (Concert
Bb: Bb for Flute, Oboe, Trombone, and Tuba. C for Clarinet,
Bass Clarinet, Trumpet, Tenor Sax, and Baritone/Euphonium.
G for Alto Sax and Bari Sax. F for French Horn.) Teacher
uses hand/visual cues to have students play between
balanced and unbalanced ensemble sound.
8-10 Minutes

Repeat the above activity with woodwinds only, then brass

only. Teacher should address blend and listening through the

Students play their

instruments following
visual cues from the
teacher, distinguishing
between loud and soft,
showing an awareness
of other sections
dynamics.

Informal
Assessment

Extension and
Closure/
Reinforcement

8-10 Minutes

sections and to each other.

During the above application activity, monitor students
reactions to the contrasting sounds between balanced and
unbalanced. Teacher should ask students if they hear a
significant difference between the two sounds.
Teacher rehearses students in concert repertoire. Have
students play then sustain the chord together. Extend the
balanced/unbalanced exercise to this chord. Using the hand
signals and visual cues, have students play balanced and
unbalanced according to the chord within the piece.
Reinforce the idea that a good balanced sound is best
achieved when we use our ears and new knowledge of the
Balance Pyramid. Put chord in context with the rest of the
composition.

Students should be able

to demonstrate dynamic
contrast and an
awareness of ensemble
sound.
Students play the chord
and demonstrate a
dynamic contrast and
awareness of ensemble
sound in terms of
balanced and
unbalanced sounds.

Teacher will use exit slips to reinforce ideas within Lesson 1

and address misconceptions in Lesson 2 prior to introducing
newer concepts (Review and Inquiry).

Lesson Sequence Part 2

Lesson Part

Title
State Standards

Activity Description/Teacher Does

Students Do

Lesson 2: Musicality in Performance: Dynamics

25.A.3c Music: Identify and describe changes in elements and expressive qualities (e.g.
crescendo, ritardando, fermata, meter, sforzando).
26.B.3c Music: Sing or play with expression and accuracy a variety of music
representing diverse cultures and styles.

National
Standard

Central Focus
(CF)

MU: Pr4.3.E.8a: Demonstrate understanding and application of expressive qualities in a

varied repertoire of music
Students will examine musicality in performance through balance, blend, dynamics,
phrasing, and articulation by demonstrating a synthesis of the terms as they refer to the
sound of a wind band ensemble through the use of a visual aid, descriptive language,
and performance.
Students will define dynamic terms by their abbreviation.

Learning Target
(LT)

Students will demonstrate an understanding of dynamic markings by showing a contrast

between each dynamic level.
Students will listen and use descriptive language to create meaning for each dynamic
marking.

Academic
Language
Review and
Inquiry

Dynamics, fortissimo, forte, mezzo, piano, pianissimo, crescendo, decrescendo, define,

demonstrate, create
Teacher reviews previous lesson by reinforcing the concept
Students participate in
of the Balance Pyramid. Teacher asks students to raise their
raising their hands for
hand if they belong in the bottom of the pyramid, middle, and
the different parts of the
then top. Teacher asks class as a whole As we go from
pyramid and respond to

bottom to the top of the pyramid, do we get louder or softer?

and As we go from top to bottom of the pyramid, do we get
louder or softer.

teachers questions
collectively.

Reinforce any misconceptions found within the assessment

of Lesson 1.
3-5 Minutes
Informal
Assessment

Preview and
Inquiry
(Warm-up and
Introduction)

For the Review and Inquiry of Lesson 1, Teacher should

encourage all students to participate in the short activity,
while taking note of students faces and reactions to the
review. The purpose of the review is to reinforce and address
misconceptions. Teacher should feel a sense of
understanding in the classroom before moving on.
Teacher will prompt students to pick up Exit Slip upon
entering the classroom.
Teacher leads class in a warm-up using the Concert Bb Major
Scale. Preface the scale by telling students to play at a nice,
balanced medium loud dynamic.
Teacher reminds students of balance pyramid, even though
Teacher is asking for mezzo forte, it does not mean everyone
will play at a mezzo forte. Use the balanced/unbalanced
exercise to help achieve a balanced sound before moving on.

5-8 Minutes
Instruction and
Inquiry

Teacher assesses ensemble dynamic and helps students

achieve a mezzo forte (medium loud) ensemble dynamic by
having the ensemble sustain a concert Bb and guiding them
with arm motions (as hand/arm goes up the band gets louder,
as hand/arm goes down the band gets softer). When a
mezzo forte is achieved let students know.
Teacher displays a table on the white board. On the left-most
column are the abbreviations for common dynamics (ff, f, mf,
mp, p, pp).

Teacher asks students what each abbreviation stands for.

Together with student collaboration, fill out the second
column of the table titled Italian Word.

5-8 Minutes
Practice/Support
Activity

While students are

entering the room they
will pick up a half-sheet
Exit Slip.

Teacher prompts students by saying, If piano means soft,

forte means loud, mezzo means medium, and issimo means
very. What do these Italian words mean? Teacher has
students raise their hands to answer for each dynamic
marking.
Teacher introduces the Example column of the table.
Teacher gives an example of loudness for each dynamic
marking. Fortissimo is like outside voices, or shouting. Forte
is like announcements or presentations. Mezzo forte is like
talking to the teacher. Mezzo piano is like inside voices or
talking to the person next to you. Piano is like whispering.
Pianissimo is like talking to yourself quietly. Teacher gives
students some examples then asks students to get with
people in their section to come up with other examples of
loudness from everyday situations.

Students are actively

participating in creating
a balanced mezzo-forte
ensemble sound.
Students are
responding and
adjusting to what they
hear as well as
feedback from the
Teacher.
Students actively
participate in answering
questions from the
Teacher.
Students fill out the
Italian Word column
on their Exit Slip which
contains the same
table.
Students fill out the
Meaning column on
their Exit Slip.
Students will get into
their assigned groups to
discuss and create an
example for each level
of loudness.

5-8 Minutes

Informal
Assessment
2-3 Minutes
Instruction and
Inquiry

After students have had enough time, Teacher asks students

to present their examples to the class.
Teacher asks students to play the first phrase of a chosen
piece (I will be using Lexington March by John Edmondson).
Teacher has students play the phrase beginning with a
baseline of mezzo forte (medium loud). Going down to
pianissimo (as soft as you can). Then going up to fortissimo
(as loud as you can while still making good sounds).
Teacher transitions by asking students, What about getting
louder and getting softer? Do we have terms for those? Can
someone please raise their hand and tell me, what is the
musical term for gradually getting louder and can you come
and draw it on the board?

Students will write down

their examples on their
Exit Slips.
Students will play the
beginning phrase with
contrasting dynamics.

Students raise their

hands and one of them
goes to the board to
answer the question.
All students answer
question number two on
their exit slip regarding
crescendos.

Teacher asks Can someone please raise their hand and tell
me, what is the musical term for gradually getting softer and
can you come and draw it on the board?

3-5 Minutes
Practice/Support
Activity

Teacher reinforces the vocabulary by writing on the board as

well as its abbreviations.
Teacher displays a series of whole notes on the board. The
exercise has a series of dynamic markings under the whole
notes.
Before playing the exercise, Teacher walks students through
the dynamic markings, directing questions to students
regarding the name, meaning of each dynamic marking,
whether it is softer or louder than the previous marking, and
whether it is a sudden or gradual change in dynamic.

3-5 Minutes
Informal
Assessment

Teacher directs students to play whole notes on a Concert Bb

and to follow the dynamic markings.
Teacher displays a second exercise that is a series of whole
notes on the board. The exercise is similar to the one before
it; however, the dynamics are different.
This time, Teacher directs students to play the exercise on
the board without prompting of dynamic markings beforehand.

2-3 Minutes
Application and
Closure

10-12 Minutes

Teacher rehearses students on Lexington March by John

Edmondson. The piece is full of dynamic changes and
markings. While rehearsing the piece, have students identify
dynamic markings and describe their meanings. Additionally,
Teacher asks students periodically (especially at moments of
dynamic change) whether or not they have heard a dynamic
contrast.

Students raise their

hands and one of them
goes to the board to
answer the question.
All students answer
question number three
on their exit slip
regarding crescendos.
Students actively
participate in the activity
on their instruments,
playing the dynamics
marked in the exercise,
differentiating between
the levels of dynamics
with teacher assistance.

Students actively
participate in the activity
on their instruments,
playing the dynamics
marked in the exercise,
differentiating between
the levels of dynamics
without teacher
assistance.
Students play and selfassess according to
prompting questions by
the teacher.

Lesson Sequence Part 3

Lesson Part

Title
State Standards

Activity Description/Teacher Does

Students Do

Lesson 3: Musicality in Performance: Phrasing and Expression

25.A.3c Music: Identify and describe changes in elements and expressive qualities (e.g.
crescendo, ritardando, fermata, meter, sforzando).
26.B.3c Music: Sing or play with expression and accuracy a variety of music
representing diverse cultures and styles.

National
Standard

Central Focus
(CF)

Learning Target
(LT)

MU: Pr4.3.E.8a: Demonstrate understanding and application of expressive qualities in a

varied repertoire of music
Students will examine musicality in performance through balance, blend, dynamics,
phrasing, and articulation by demonstrating a synthesis of the terms as they refer to the
sound of a wind band ensemble through the use of a visual aid, descriptive language,
and performance.
Students will use their knowledge of phrasing to plan breathing points within a given
excerpt of music.
Students will connect musical phrasing to sentence structure.
Students will demonstrate an understanding of musical phrasing by using crescendos,
decrescendos, and breathing points appropriately within The Irish Pipers arranged by
John OReilly.
Students will analyze a familiar melody for phrasing and expression.

Academic
Language
Review and
Inquiry

Plan, demonstrate, analyze, phrasing, expression, crescendo, decrescendo, climax

Teacher asks, With your neighbor, write inside your binders
in order of loudest to softest, the six common dynamics that
we talked about last time we were together.

Students discuss and

write down the
dynamics in order of
loudest to softest.

Teacher brings students focus back together as a class to

reinforce the activity as a whole. Teacher then asks
Beginning with the loudest dynamic, can someone tell me
which dynamic is loudest?

5-6 Minutes

As students respond, the Teacher will write the dynamics on

the board in order from top to bottom and say each dynamics
name out loud. Teacher will then inquire, What does this
mean in English? Teacher continues with this discourse until
all common dynamics are on the board.

Students respond and

recall the names and
meanings of common
dynamic markings.

At the end of the activity, have students play a Concert Bb on

their instruments, continue to stress having a nice balanced
sound as they learned in Lesson 1. As teacher points to each
dynamic (in order as well as jumping around), students are to
play at that dynamic level.

Students synthesize
each dynamic marking
by demonstrating them
as an ensemble.

Preview and
Inquiry

3-5 Minutes
Practice/Support
Activity

Teacher begins reading a short story, taking breaths at

strange places within the story, running through each
punctuation as if they did not exist, and speaking in a
monotone voice. Teacher then asks students what was wrong
with the way the story was delivered? What could have been
better?
Teacher then asks students why did she this demonstration
for them. How does it relate to music? Teacher will prompt
students to think about breathing and expression.
Teacher writes a few sentences on the board. Batman is my
favorite hero because despite being only human he saves
people in the city He is fast He is smart He is strong
Batmans friend is named Robin Together they fight crime in
the city of Gotham
Teacher reads the sentences aloud, taking no pauses,
running each word right into the next. Teacher asks students
What is missing?

Students respond to the

question of missing
punctuation.

Teacher reinforces answer by repeating it and connecting

punctuation to breaths or pauses. Commas are short pauses,
quick breaths and periods are bigger pauses, longer breaths.
Teacher has students work in groups of 2-3, finding places of
missing punctuation.
Teacher asks a student to come up to the board and show
where the punctuation (commas and periods) should be.
5-8 Minutes.
Instruction and
Inquiry

5-8 Minutes
Informal
Assessment

Students work together

to analyze sentences to
find places of missing
punctuation.

Teacher reads the sentences again with the new punctuation,

and asks students which way was better: the first time the
sentences were read or the second time.
Teacher connects sentence structure and punctuation to
musical phrasing. Music is also a language. As we read and
play music, there are also sentences known as musical
phrases and ways for us to show expression. If we played
music like robots with no phrasing, no dynamics, and no
expression, would that sound interesting?
Teacher has students play their concert Bb major scale.
That was pretty boring, wasnt it?
Teacher then asks students to play their concert Bb major
scale again, crescendo as they go up the scale and
decrescendo as they go down the scale.
Wasnt that a little more interesting? We created some
expression and musicality in our boring concert Bb major
scale.
Teacher has students play the scale a third time, this time
watching the conductor for tempo changes.
We just took a boring scale and made it much more
interesting!

Students play their

concert Bb major scale.
Students create
dynamic contrast within
their concert Bb major
scale.
Students watch and
respond to tempo
changes given by the
conductor.

Teacher askes students, What made our boring scale more

interesting the second and third time we played it? What did
we do differently each time?

Students compare and

contrast the previous
activity to discover tools
for creating expression.

Practice/Support
Activity

Teacher has students play The Irish Pipers starting at

measure 16 ending on the down beat of measure 24,
prompting students to think about where each phrase ends
and begins.
Teacher then prompts students to play the excerpt again,
stopping after where they think the first phrase is. Continue
exercise until each phrase is identified within the excerpt.
At each phrase beginning/ending, teacher prompts students

to draw a breath mark ( ) in their music to remind them to

take a breath there.
With the new adjustments to the music, teacher has students
play the excerpt again.
8-10 Minutes
Application,
Closure, and
Extension

Teacher reinforces that musical phrases are like sentences in

a story. Breath marks and double bar lines are like
punctuation.
Lets take this another step further
Teacher asks, What did we do with our concert Bb scale that
made it more interesting?
After students respond, teacher says Lets crescendo at the
beginning of every phrase and lets decrescendo at the end
of every phrase. Teacher then prompts students to write the
crescendos and decrescendos in their music.

8-10 Minutes

Formal
Assessment

Students play their

instruments while using
their knowledge of the
melody to make
judgements on where
each phrase begins and
ends.
Students make breath
marks in their music
according to musical
phrases.
Students play musical
excerpt applying
planned breathing
points.
Students recall and
respond according
concert Bb activity from
earlier in the lesson.
Students write in
dynamic changes into
their music according to
the beginning and
ending of each phrase.

Teacher then directs students do what they have written in

their music. This may take a few repetitions for students to
achieve desired dynamic contrast.

Students apply dynamic

contrast to the excerpt.

Teacher directs students to play the excerpt an additional

time. Students are reminded to watch the conductor for
tempo changes.

Students respond to
expressive changes
given by the conductor.

Teacher summarizes todays lesson by identifying the

qualities of expressiveness (phrasing, breathing, dynamics
and tempo changes).
As a formal assessment, students are given an assignment
to be completed at home.
Teacher gives sheet music for Happy Birthday to students.
The music contains the melody and lyrics. Teacher instructs
students to identify beginning and ends of phrases with
breath marks. Additionally, students are to expressive
markings (e.g. dynamics: crescendo, decrescendo) to the
song.

Students will analyze a

familiar melody and add
phrasing and dynamics
where appropriate.

Lesson Sequence Part 4

Lesson Part

Activity Description/Teacher Does

Students Do

Title
State Standards

Lesson 4: Musicality in Performance: Staccato vs. Legato

25.A.3c Music: Identify and describe changes in elements and expressive qualities (e.g.
crescendo, ritardando, fermata, meter, sforzando).
26.B.3c Music: Sing or play with expression and accuracy a variety of music
representing diverse cultures and styles.

National
Standard

Central Focus
(CF)

Learning Target
(LT)
Academic
Language
Review and
Inquiry

3-5 Minutes
Informal
Assessment

Preview and
Inquiry
(Warm-up and
Introduction)

MU: Pr4.3.E.8a: Demonstrate understanding and application of expressive qualities in a

varied repertoire of music
Students will examine musicality in performance through balance, blend, dynamics,
phrasing, and articulation by demonstrating a synthesis of the terms as they refer to the
sound of a wind band ensemble through the use of a visual aid, descriptive language,
and performance.
Students will demonstrate an understanding of staccato and legato articulations by
differentiating note lengths, entrances, and releases.
Students will use expressive qualities and descriptive language to listen and respond to
different works of music.
Demonstrate, compare, create, articulations, staccato, legato
Teacher begins class with a summary of expressive elements
within the lesson sequence so far (balance/blend, dynamics,
phrasing, ritardando/accelerando)
Musicality in performance is not just notes and rhythms.
What are the different ways we can make music more
musical?

Students use
knowledge from
previous lessons to
respond to teachers
inquiry.

Teacher directs students to play a chorale from Twelve

Chorales for the Developing Band by Quincy C Hilliard.
Teacher reminds students of balance/blend, dynamics,
phrasing, and expression. Teacher has students play chorale
2-3 times, providing feedback for improvement each time.
While students are playing the chorale, teacher is evaluating
their playing for dynamic contrast, phrasing, balance, and
expressiveness. Teacher is listening for improvement each
time the chorale is played in terms of these expressive
qualities.
Teacher directs students in a warm-up of long tones to further
develop a balanced, warm ensemble sound.

Students play the

chorale and employ
expressive qualities
from previous lessons.

Teacher directs students to play a Concert Eb Major scale in

4/4 time, quarter notes equals 90 bpm. Teacher reviews key
signature of Concert Eb Major for each transposing
instrument group. Then, teacher prompts students to play the
scale normally.
Teacher draws a quarter note with a staccato marking and
asks students what the articulation is called. As students
respond, Teacher writes the term on the board. Teacher asks
students to repeat the term, then asks students what the term

Students demonstrate a
synthesis of expressive
qualities from previous
lessons.
Students play Concert
Eb Major Scale in whole
notes at a balanced
mezzo-forte.
Students play a Concert
Eb Major Scale.

Students engage in
discourse with teacher,
responding to leading
questions and repeating

means. Again, as students respond, Teacher writes Staccato

= Short, light on the board.
Teacher reinforces definition by asking students What does
Staccato mean?

5-8 Minutes
Practice/Support
Activity

Teacher draws a second quarter note on the board, this time

with a tenuto (legato) articulation. Teacher repeats discourse
and asks students what the symbol is called. As students
respond, Teacher writes tenuto on the board, then asks
students to say Tenuto. Next, teacher asks students what
the term means. As students respond, teacher writes Tenuto
= long, connected. Finally, teacher asks students what
Tenuto means.
Teacher displays an exercise of quarter notes with varying
articulations (staccato and legato). The exercise is in 4/4 time
with quarter notes.
Teacher uses dit and doo syllables to create a sense of
sound of note length to each articulation, engaging in
discourse that links dit to staccato and doo to
tenuto/legato.
Teacher prompts students to do the exercise on the board
using the vocal syllables for staccato and tenuto/legato notes.

3-5 Minutes
Informal
Assessment
Application

8-10 Minutes
Practice/Support
Activity

vocabulary terms and

their definitions.

Teacher prompts students to play the exercise on a concert

Eb (F for Bb instruments, C for Eb instruments, Bb for F
instruments).
While students are playing the Staccato Vs. Legato exercise,
teacher evaluates students for differentiation between note
lengths, providing feedback and conducting with appropriate
style.
Teacher plays a recording of Somerset Holiday by Andrew
Balant. Teacher prompts students to follow along in their
music while listening to the recording. Teacher asks students
to think about the note length, style, and articulations
(staccato vs. legato). Teacher prompts students to be active
listeners and to circle phrases that are staccato and box
phrases that are legato. The recording will be paused to give
students an opportunity to evaluate and write in their music.

Students play exercise,

varying between both
articulations,
differentiating between
note lengths.

Students use dit and

doo vocal syllables to
distinguish between
staccato and tenuto
note articulations.

Students identify
staccato vs. legato
passages.
Student actively listen
by marking sections of
staccato and legato
phrases.

After the activity, teacher prompts students to discuss their

findings.

Students engage in
discussion of staccato
vs. legato within
Somerset Holiday.

Teacher begins rehearsal of Somerset Holiday emphasizing

note lengths (short/long) and having students identify
articulations throughout the piece, employing dit
articulations to staccato (short) notes and doo articulations
to legato/tenuto (long) notes.

Students rehearse
Somerset Holiday
applying knowledge of
articulations and note
lengths.

Using passages within Somerset Holiday, teacher models

certain phrases using dit and doo. For example, a phrase
that has many short, staccato notes will use the vocal syllable
dit, while a phrase that is legato and has many tenuto
markings will employ the doo vocal syllable.

Teacher will model then ask students to repeat. Teacher will

repeat activity a few times prior to asking students to play
what they have vocalized.
5-8 Minutes
Formal
Assessment

8-10 Minutes

Formal PostAssessment
(Sequence End)

10-15 Minutes

Closing activity/Exit Slip:

On a sheet of paper, in their own words (utilizing descriptive
words from the lesson: short, light, long, full-length, etc.),
Teacher has students define staccato and tenuto/legato
articulations based on note length and style. Exit slip will ask
student to also draw the articulation markings and identify
corresponding vocal syllable.

Post-assessments for this learning sequence

includes a written formal assessment, a written
reflection, and a playing assessment.

Students will fill out the

Exit Slip at the end of
class as a formal
assessment activity of
the knowledge and skill
outcomes of the lesson.

Students will recall, define, and

reflect on terms learned
throughout the learning
sequence.
Students will use their
knowledge gained throughout
the learning sequence to play
and interpret an excerpt for
musicality. Students will be
assessed by tone quality,
articulation, dynamics, and
expression, as well as note and
rhythmic accuracy.