Objectives

Students will be able to perform proper bowing

styles throughout the Sarabande based on a
Romantic interpretation. Skill Outcome, Blooms Taxonomy
Level III
Students will be able to compare the A and B
sections of the Sarabande, and define the emotional
difference between the cello theme and violin theme.
Affective outcome. Blooms Taxonomy Level IV
Students will be able to journal on musicality, and
compare their own playing to that of
professionals.Cognitive Outcome, Blooms Taxonomy Level II

Pennsylvania State
Standards
9.1.12.A: Know and use the elements and principles of each art
form to create works in the arts
9.1.12.B: Recognize, know, use, and demonstrate a variety of
appropriate arts elements and principles to produce, review and
revise original works in the arts
9.1.12.C: Demonstrate and apply advanced vocabulary
9.1.12.D: Demonstrate specific styles in combination through the
production or performance of a unique work of art
9.1.12.F: Analyze works of arts influenced by experiences or
historical and cultural events through performance
Strategies
Students will be able to perform proper Romantic
bowing styles.
The teacher will play the Sarabande as the students enter the room
and lead a discussion on Grieg and the time period of his life.
Students will play scales in G major and G natural minor in time
with bowing patterns such as down-down-up pattern, legato, marcato,
or sul tasto .
Students will recognize and circle Romantic style bowings, phrasings,
and ornamentations in their parts.
Students will perform for their stand partner, who will offer suggestions
based on bow weight, bow speed, and proper articulations. Violin I,
mm 5-8, Violin II, mm 1-4, Viola, mm 1-4, Cello, mm 13-16.
Assessment
Each stand will play a measure of the piece.
Students will go down the line of stands and play
chronological measures. Measures 25- 32.
The teacher will watch for proper bowings, and listen
for phrasings and intonation.Grace notes slurred to the
first beat, marcato, crescendo at frog, decrescendo at tip.
The teacher will record the students names and
score. Bowings- 8 Points. Phrasings- 4 Points. Intonation- 2
Points.
Strategies
Students will be able to compare the A and B sections
of the Sarabande, and define the emotional difference
between the cello theme and violin theme.
Students will journal, and describe the musical differences between
section A and section B, in terms of instrumentation, dynamics,
phrasing.
Students will draw pictures in their journals to describe the images
they imagine while listening to each section.
Students will play from the beginning of the piece through section B,
and convey the drawings in their journals through their playing of the
sections.
Assessment
The teacher will record the students playing the
beginning of the Sarabande through the end of the B
section. Mm. 1-9.
The teacher will play the recording, and the students
will complete a graded journal entry describing the
ensembles emotional contrast. The students must
use the concepts of bowing styles, phrasing, vibrato,
and balance. Journal graded out of 20 points. Discussion of
bowings- 5 Points. Discussion of phrasing- 5 Points. Analysis
of vibrato- 5 Points. Analysis of balance- 5 Points.
Strategies
Students will be able to write a journal relating other
romantic pieces to the Holberg Suite.
The students will discuss the stylistic choices Grieg composed
for the Sarabande.
Students will listen to professional recordings of other pieces,
and journal about their phrasing. Ravel, Le Tombeau de Couperin,
Bach, Orchestral Suites 1-4, Grieg, Peer Gynt Suites 1 and 2.
Students will integrate the professional interpretations into the
Sarabande.
Students will complete a collaborative paper with their section
on what they plan to integrate into their playing, and where
specifically they will utilize it.

Assessment
Individual sections will turn in their journals.
The ensemble will play through the Sarabande four
times.
The teacher will grade each section based on if their
phrasing matched the way they described in the
journal. Scored out of 20 points. Specific measure numbers-
5 Points. Specific techniques- 5 Points. Use of techniques in
those measures- 10 Points.
Listening Examples
J.S. Bach: Orchestral Suites, English Suites
Benjamin Britten: Simple Symphony
Edvard Grieg: Peer Gynt Suites 1 and 2, Piano Concerto
in A Minor
Sergei Prokofiev: Classical Symphony
Maurice Ravel: Le Tombeau de Couperin
Ottorno, Respighi: Ancient Airs and Dances Suite No. 3
Igor Stravinsky: Pulcinela
Resources
OToole, Patricia Ann. (2003). Shaping Sound Musicians:
An Innovative Approach to Teaching Comprehensive
Musicianship through Performance. Chicago, IL: GIA
Publications.
Littrell, David. Racin, Laura R. (Ed). (2001). Teaching
Music Through Performance in Orchestra. (Volume 1).
Chicago, IL: GIA Publications, Inc.
(August 2013). Florida Orchestra Association Required
Music List. Retreived from
http://www.myfoa.org/sites/default/files/mpamusic/FOA_
MPA_Music_list%202014Classification.pdf .