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Hobson 12 February 2013 Trombone Sectional 9th Grade Band Concept: Articulations: marcato, staccato, legato and unmarked National Standards: (w/content standards) 2. Content Standard: Performing on instruments, alone and with others, a varied repertoire of music a. perform with expression and technical accuracy a large and varied repertoire of instrumental literature with a level of difficulty of 4, on a scale of 1 to 6 b. perform an appropriate part in an ensemble, demonstrating welldeveloped ensemble skills 5. Content Standard: Reading and notating music a. demonstrate the ability to read an instrumental or vocal score of up to four staves by describing how the elements of music are used 6. Content Standard: Listening to, analyzing, and describing music a. analyze aural examples of a varied repertoire of music, representing diverse *genres and cultures, by describing the uses of elements of music and expressive devices b. demonstrate extensive knowledge of the technical vocabulary of music 7. Content Standard: Evaluating music and music performances a. evolve specific criteria for making informed, critical evaluations of improvisations and apply the criteria in their personal participation in music c. evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions Materials: iPod- Csardas, recorded Christian Lindberg lesson plan trombone portable speakers Behavioral Objectives: 1. With teacher questioning, students will be able to articulate the differences between marcato, staccato and legato articulations, in terms of the hardness of the attack and the general shape of the note. 2. When given specific examples, students will be able to play notes in the correct articulation style. 3. When listening to examples of articulations on their instrument, students will be able to correctly choose the articulation style that the performer is using. Procedures: 1. The teacher will re-introduce himself and ask for students names.

2. The teacher will tell students the objective of the lesson: to use msrs. 90- 127 of The Last to Defend to work on their articulation skills. 3. Students will play through the section previously discussed, to provide teacher with opportunity for formative assessment. UDL: Teacher will play along with part for students who need extra structure 4. Students and teacher will engage in a discussion about types of articulation that can be found in this section. Questions may include: How do articulations affect the music? What types of articulation can be found in this section? (marcato, legato, unmarked) How are these articulations different from each other? How does the style change from 124-125 to 122-123? (marcato to no marks) So then, does 122-123 have no style? What determines it? How do you think we should play these? Does anyone want to model? ELL: Teacher will pass out worksheet with visual representations of articulation styles for students and point to them while discussion occurs. 5. Students will play msrs. 107-114 (uses legato, marcato, and non-marked artic.) 6. Students will discuss how these articulations should be played within the context of the music. Particular attention will be paid to legato, and the difference between non-marked at piano and forte dynamics. ELL: Teacher will use gestures to show possible articulation styles. Students will decide which gestures best show the music, and will be encouraged to create their own gestures. ELL: Students will be transfer their gestures into sounds, playing articulation styles as they interpret. 7. The teacher will play a trombone solo on the iPod, Csardas, with instructions for students to listen for different styles. Guided listening will be enforced: the music will stop at style changes, to allow for a brief question- answer format: What type of articulation do you think the artist is using here? Would it sound different/better/worse if he used ___ articulation style instead? Why or why not? UDL: Students will also be given a visual listening guide which contains a pictoral representation of the piece. The teacher will use a number system to make clear where everyone is in the listening. 8. Students will put this listening experience in context, discussing articulations in 118-121 9. Students will try playing music with incorrect articulations (118-125). 10. Students will put in correct articulations. Voila! The sound doesnt hurt! 11. Students will play the entire section, focusing on articulations.

 UDL: Students will fill out a rubric grading themselves about their attentiveness, self-discipline, and other self-regulatory skills during this specific lesson. Additional material (Plan B): 12. Students will be asked about dynamics. How do they impact the music? Are there any ties between dynamics and articulations? Why should we worry about this when were playing music? ELL: Teacher will play selection with and without dynamics. Students will describe the music with hand gestures. Then, students will fill out a pictoral rubric about which style was their favorite. 13. The teacher will play a portion of Csardas again. How does the performer in this recording use dynamics? What do you think it would be like without them? Do certain dynamics usually line up with certain articulations? Are there places in which you think he should use different dynamics? 14. Students will play 90-127 again, paying attention to dynamics. 15. Students will provide verbal feedback on their usage. ELL: Students will provide nonverbal feedback on their usage as well, through use of a pictoral rubric. 16. Teacher will augment students feedback. 17. Students will incorporate feedback into final performance. ELL: UDL: Students will engage in a short journal activity, describing the two kinds of articulations discussed, and dynamics. This will provide assessment, writing integration, and help students to reflect on their learning. Assessment: Informal: The instructor will formatively assess students based on their first run of the section of music. In addition, students discussion of articulations will be used for both formative and summative assessment, depending on the placement within the lesson. Particularly, formative assessment will of course be used throughout the lesson to fine-tune the course of the lesson, and summative assessment will be used to determine the lessons overall efficacy. Formal: This lesson will not involve involve any formal assessment, due to its nature as a sectional, and as a stand-alone lesson. Follow up: In subsequent lessons, which could deal with any other concepts, the teacher will occasionally take a moment to ask students what type of articulation the music calls for. In addition, follow-up lessons in a unit could be used to add additional styles such as tenuto, staccatissimo, or detache articulations to the students vocabularies. In addition, articulation comprehension would be more formally assessed in playing tests or even a written quiz.