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Unit Plan: Music Rehearsals

Musical Theatre 15/25/35


Rationale

The first word in Musical Theatre is music. Thus, the logical starting point for the

rehearsal process and first unit following auditions is music rehearsals. Unlike choir, once

music is learned we dive into the process of developing character through song, adding

another dimension. This requires an effort from performers to make text and melody second

nature earlier in the process to allow for enough time to add character and create mood.

We begin with larger chorus works, ensuring that student engagement is maximized.

Gradually we move to smaller ensembles, eventually working solos privately. During these

private coaching’s, one of two teachers will continue to work with chorus. This will help

solidify and tighten up chorus works.

Much like choir, students will be assessed on pieces based on accuracy of rhythm and

melody, phrasing, and diction. The point of difference comes with assessment of character

choice as all students, regardless of role, will have to develop a character. Formative

assessment is done in the second run of chorus music to check on how many are comfortable

with memory, as the expectation is to be fully memorized. Chorus are expected to have a

majority of music memorized for the final music run through.


Unit Plan Grid Organizer

Unit Topic: Music Grade Level: 10/11/12 Strand: Musical Theatre 15/25/35
GLEs in full:

Preparation/Rehearsal
 Make effective use of rehearsal time
 Develop self-discipline to use undirected time to advantage
Performance
 Pick up cues effectively
 Distinguish between oneself as a performer and character
 Memorize required text, music, and choreography
Reflection/Evaluation
 Critique performance of self and others
 Identify dominant mood of a scene/score
 Examine the historical context of Musical Theatre selections

SLEs in full:

Music

 Technique
o Understand the use and care of the vocal instrument
o Understand the need for and the daily practice of correctly produced vocal warm-ups for healthy vocal development
o Demonstrate proper use of the breath by ensuring that sufficient breath is used to accommodate the full functioning
of the voice, particularly in the high range
o Demonstrate breathing appropriate to text
o Demonstrate appropriate posture for singing
o Demonstrate vowel sounds and properly formed consonants
o Understand and demonstrate proper musical phrasing
o Demonstrate attacks and releases
o Project to audience through focus of sound and energy
o Recognize when the voice is in tune with instruments or other voices
o Demonstrate ability to maintain correct rhythm throughout a given piece of music
o Hear other voices and control the voice to achieve the desired tone for either group or solo
o Recognize the individual’s part in a score as a solo or as an ensemble part
o Demonstrate an understanding of vocal classification specific to Musical Theatre such as lead, solo, duet, trio,
quartet, and principals
o Perform in large ensembles, small ensembles, and solo
 Interpretation
o Demonstrate use of articulation, diction, dialect, word coloration, dynamics and variety of tempi in song, that is
appropriate to character and dramatic situation
o Communicate mood and emotion through voice
o Interpret the score to communicate changes in mood or emotion
o Sing in the style appropriate to the character

Music/Materials to be learned in the lesson: Fiddler on the roof act 1 and 2

Lesson Plan Summaries

Lesson SLEs: Learning Instructional Strategies/ Assessments and


Title and (Abbrev.) Objectives Methods/Activities/Resources Evaluation
Day B=Behaviour FA=Formative
P=Proficiency Assessment
M=Method SA=Summative
Assessment
Oct. 10 Technique  Perform (B) rhythms  Warm up- stretch, then run scale, FA-observation during
1-5, 10-12 accurately (P) within arpeggiation, and breath support rehearsal (pre-
exercises. assessment-knowledge
larger chorus works of  Play No.1 for company. Have them of music prior to
Fiddler on the roof (M) follow along. Following a listening, have rehearsals)
 Exemplify (B) proper them sight read, concentrating on
breath support and control accurate rhythms and notes. Do this for
(P) during music rehearsal No.5 and 15 as well.
(M)  No.1: Prologue- Tradition (Full
Company)
 No.5: Sabbath Prayer (Full Company)
 No.15: Wedding Dance No. 1 (Full
Company)
Oct. 11 Technique  Perform (B) rhythms  Stretch, then run scale, arpeggiation, and FA- observation during
1-12 accurately (P) within breath support exercises. Put emphasis rehearsal, questioning
larger chorus works of on proper support and posture. individuals about music
Fiddler on the roof (M)  Play each song for the company, having
 Exemplify (B) proper them follow along in their scores. Work
breath support and control each song after listening.
(P) during music rehearsal  No.6: To Life (Full Company minus
(M) Tevye’s wife/daughters/motel)
 No.11: The Dream (Full Company)
 No. 14: Sunrise, Sunset (Full Company)
Oct. 12 Technique  Perform (B) rhythms  Stretch, then run scale, arpeggiation, and FA-
1-12 accurately (P) within breath support exercises. observation/questioning
larger chorus works of  Play each song for the company, having
Fiddler on the roof (M) them follow along in their scores. Work
 Exemplify (B) proper each song after listening.
breath support and control  No.25: The Rumor (Chorus)
(P) during music rehearsal  No.30: Chava Sequence
(M) (Tevye+Chorus)
 No.31: Anatevka (Chorus)
Oct. 15 Technique  Identify (B) proper vs  Stretch, and lead various vocal warm-ups FA-progression of
1-13 improper concentrating on breath support, diction, knowledge of music
melodies/rhythms (P) of and vocal range.
chorus music in Fiddler  Run chorus music: No. 1, 5, 6, 11, 14,
on the Roof (M) 15, 25, 30, 31 (Full Company)
 Perform (B) rhythms  If students cannot get through the
accurately (P) within entirety of the song, stop and restart. If it
larger chorus works of happens again, skip over and go back to
Fiddler on the roof (M) it after running everything.
 Exemplify (B) proper  Work any other troubled areas where
breath support and control notes or rhythms were off.
(P) during music rehearsal
(M)
Oct. 16 Technique  Create (B) mood through  Choose a student to lead the physical FA-observation of
1-15 musical expression (P) in warm-up. character development,
Interpretation solo and chorus work (M)  Run a quick vocal warmup to get the questioning on
1-4  Express (B) character voice moving- Scales, arpeggiations, character background,
traits (P) in solo work (M) diction. chorus self/peer
 Demonstrate (B) accurate  Split first principal coaching and chorus assessment
attacks and releases (P) in to go work music.
chorus music (M)  Begin with running to check accuracy of
notes/rhythm. Transition to work on
phrasing and dialect/diction if time
permits.
 When principals finish their coaching,
have them join chorus rehearsal.
 No. 3: Matchmaker (Tzeitel, Hodel,
Chava)-30 min
 No. 4: If I Were a Rich Man (Tevye)-30
min
 Polish rhythms and notes on chorus
songs 1,5, and 6.
 Begin working on dialect (common
vowels) and attacks/releases in these
songs with chorus.
Oct. 17 Technique  Create (B) mood through  Have student lead physical warm-up FA-observation of
1-15 musical expression (P) in  Lead a vocal warm up with company, character development,
Interpretation solo and chorus work (M) this time adding in a diction exercise to questioning on
1-4  Express (B) character work on diction with character’s accents. character background,
traits (P) in solo work (M)  Split into chorus and solo rehearsals. chorus self/peer
 Execute (B) proper  No. 10: Miracle of Miracles (Motel) assessment
phrasing (P) in chorus  No. 22: Now I Have Everything (Hodel,
music (M) Perchik)
 Chorus work through 11, 14, 15 during
principal coaching’s. Continue work on
dialect, attacks/releases, and phrasing.

Oct. 18 Technique  Express (B) character  Have student lead physical warm-up. FA-observation of
1-15 traits (P) in solo work (M)  Lead vocal warm up character development,
Interpretation  Demonstrate (B) accurate  No.23: Tevye’s Rebuttal (Tevye) questioning on
1-4 attacks and releases (P) in  No. 24: Do You Love Me? (Tevye, character background,
chorus music (M) Golde) Observation of vocal
 Execute (B) proper  No. 26: Far From the Home I Love: development, check in
phrasing (P) in chorus (Hodel) on sections individually
music (M)  Chorus work through 25, 30, 31 during
principal’s coaching’s, still polishing as
 well as work on dialect/common vowels,
attacks/releases, and phrasing.
Oct. 22 Technique  Demonstrate (B) uniform  Lead quick physical and vocal warm-up FA-checking how
3-13 vowel and consonant with full company. many students are
Interpretation comfortable off book,
1-4 sounds (P) in Fiddler  Run chorus music No. 1, 5, 6, 11, 14, 15, observation, self-
chorus music (M) 25, 30, 31 (Full Company) assessment
 Perform (B) rhythms and  Encourage students to sing off book if
melodies accurately (P) in they are comfortable enough.
Fiddler chorus music (M)
 Demonstrate (B) proper
phrasing (P) in Fiddler
chorus music (M)

Oct. 23 Technique  Create (B) mood through  Lead physical and vocal warm up with FA- questioning,
1-15 musical expression (P) in full company observation
Interpretation solo and chorus work (M)  Remind students there is going to be
1-4  Demonstrate (B) character small group chorus singing tests to check
dialect (P) in Fiddler for learning.
solo/chorus music (M)  Break into chorus and individual
coaching.
 Tevye- No. 4, 23
 Golde/Tevye- No. 24
 Motel- No. 10
 Chorus work numbers as needed from
previous week. Work towards
memorization, still polishing phrasing,
dialect, and general musicality of pieces.
Oct. 24 Technique  Create (B) mood through SA-chorus music
1-15 musical expression (P) in  Lead physical and vocal warm up with singing tests
Interpretation solo and chorus work (M) full company
1-4  Demonstrate (B) character  Tzeitel, Hodel, Chava-No.3
dialect (P) in Fiddler  Hodel- No. 26
solo/chorus music (M)  Hodel/ Perchik- No. 22
 Run through pieces with chorus that will
be tested on
 Following these quick runs, break
students into smaller ensembles of 2 per
part and choose several phrases for them
to sing with accompaniment.
Oct. 25 Technique  Perform (B) music  Lead physical and vocal warm-up FA- observation of
1-15 according to character  Run Act 1-all solo and company songs. soloists and chorus in
Interpretation interpretation (P) in Encourage students to sing off book if run
1-4 Fiddler act 1 run-through they feel comfortable enough.
 Create (B) mood through
musical expression (P) in
solo and chorus work (M)
 Demonstrate (B) character
dialect (P) in Fiddler
solo/chorus music (M)
Oct. 26 Technique  Perform (B) music  Lead physical and vocal warm-up FA-Observation of
1-15 according to character  Run Act 2-all solo and company songs. soloists/chorus in vocal
Interpretation interpretation (P) in Encourage students to sing off book if run.
1-4 Fiddler act 2 run-through they feel comfortable enough.
 Create (B) mood through
musical expression (P) in
solo and chorus work (M)
 Demonstrate (B) character
dialect (P) in Fiddler
solo/chorus music (M)

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