Post on 18-Feb-2021
Weihnachten (#1 of Sechs Spruche, Op 79) Composer: Mendelssohn-Bartholdy, Felix
Voicing: SSAATTBB
Style: Sacred
Genre: Motet
Language: German
Instruments: A Cappella
License: CPDL (www.cpdl.org)
Published: Mendelssohn ’s Werke (1874-1877)
Teacher Handbook For Weihnachten (#1 of Sechs Spruche, Op 79)
By Felix Mendelssohn-Bartholdy (1809-1847)
Created by Becca Cline
National Standards:
Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations and accompaniments. Standard 4: Composing and arranging music within specific guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7: Evaluating music and music performances. Standard 8: Understand relationships between music, the other arts, and disciplines outside of the arts. Standard 9: Understanding music in relation to history and culture. Learning Objectives:
1. Students will demonstrate their sight‐singing ability by applying correct solfege syllables to their music with 4 or fewer mistakes. (Standards 1,5,6)
2. By the end of this activity, 85% of students will: a. Accurately perform their part using correct solfege syllables, pitches, and
rhythms.(Standards 1,6) b. Students will create a creative and coherent journal entry analyzing their
experience (using terminology discussed in class.) (Standards 6,7) 3. Students will create a coherent and creative journal using content discussed in class to
reflect on their group rehearsal. (Standard 6,7) 4. By the end of this lesson, at least 85% of the class will accurately:
a. Show the phrasing of the piece using body motion b. Aurally identify the phrase structure of the piece (Standards 5,6)
5. Students will compose and perform a warm‐up to demonstrate their knowledge of the harmonies of the piece. (Standards 1,3,5,6)
6. By the end of this activity students will
a. Create a Pinterest board detailing information about the composer of the piece (including biographical information, historical events from the early Romantic period, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten).
b. Teach their peers about the composer, based on their findings. i. During this, the students being taught must record notes in their
journals. (Standards 6,7,8,9) 7. Students will compose a new rhythm based on the text of the piece (Standard 4) 8. Students will complete a WebQuest activity, guiding them to compose a new melody
based on observed art and the text of the piece. (Standards 3,4,5,8,9)
Score Study of Weihnachten Element Information
Composer: Felix Mendelssohn‐artholdy
Felix Mendelssohn was born in Hamburg, on February 3rd, 1809. In 1843 he founded the Leipzig Conservatory, and was named director of the Music Section of the Academy of Arts in Berlin by King Frederick of Prussia. And though his schedule was quite full, it was during this time that he wrote the Ruy Blas overture, stage music for Shakespear’s “A Midsummer Night’s Dream” (which contains the now world‐famous “Wedding March”, and “The Scottish Symphony”, which was the third of five symphonies he wrote in his life time.
Style: Motet
Sacred: This is a sacred motet written as part of a set of six pieces outlining the church calendar. The text is based on Psalm 98
Key: The key remains in G Major throughout
Texture: Eight‐part, SSAATTBB. Homophonic throughout.
Form: Ternery form (ABBA)
Meter: The piece typically begins at a moderato (around 110) and gradually retards throughout, until the end approaches adagio.
Text: The text is based on Psalm 98 and is one of six pieces written to follow the church calendar. This particular piece was written in celebration of Christmas, and was actually completed on Christmas day of 1843.
Rhythm: Mostly homorhythmic throughout, the song begins with the women declaring “Rejoice, all ye people!”, and the men come in at the close of that first statement by the women (measure 2), and have their own text and rhythms until measure 6 at which time the choirs sing homorhythmically until measure 13. At this point each line has something different until measure 18 at which point the
parts come together again rhythmically until measure 22, and then the women come together in the pick‐ups to measure 29. The men have their own individual rhythms until they all join together in measure 30. All parts end in a triumphant fermata.
Melody: The melody is expressed by the women in unison at the beginning and end of the piece, otherwise the emphasis lies in the homorhythmic harmonies.
Harmony: This piece is extremely harmonically interesting. We begin in unison until mm 2, and then we see several ii and ii7 chords throughout in mm 13, 15, 16,17, 20, 24, 25, 26, and 28 and a V7/ii going to ii in mm 7. There are also a few other secondary dominants in mm 7, 11, and 22. The first B section brings an interesting tonality that plays with the resolution to tonic, but we don’t actually resolve until mm 19, which also brings in the second B section. The second A brings the return of women in unison, but this time the baritones and bases are supporting the root, while the tenor twos add the 7th of our V chord, and then resolve down as we all reach our tonic. We then return to V, with the tenor ones sustaining a G which adds a brief 9th to our chord, and our baritones have the 7th. We once again resolve to tonic, then to a IV 9 (alto ones have the 7th, and soprano twos have the 9th) and finally we all arrive back at tonic.
Phrasing: Short, but legato lines, usually 4‐5 measures long. There are obvious places to breathe, but students will absolutely be recording any markings I have indicated in the score that allow for good breath to support the line. (One example of this is mm 10; students will make the second half note of this measure into a quarter note, and add in a quarter rest. This will allow them to cut off, end their word, and begin the new section cleanly.
Dynamics: This piece is entirely written in forte, which is written as a reminder at the beginning of each new section, and again for the final halleluja.
Text Translation:
Frohlocket, ihr Völker auf Erden, und preiset Gott!
Rejoice, ye people of the earth, and praise God!
Der Heiland ist ershienen, den der Herr verhißen.
The redeemer is come, whom the Lord has promised.
Er hat seine Gerechtigkeit der Weld offenbaret. Hallelujah!
He has revealed his justice to the world. Hallelujah!
Text is said to be based on Psalm 98 which says: “Sing to the Lord a new song, for he has done marvelous things; his right hand and his holy arm have worked salvation for him. 2 The Lord has made his salvation known and revealed his righteousness to the nations. 3 He has remembered his love and his faithfulness to Israel; all the ends of the earth have seen the salvation of our God. 4 shout for joy to the Lord, all the earth, burst into jubilant song with music; 5 make music to the Lord with the harp, with the harp and the sound of singing, 6 with trumpets and the blast of the ram’s horn— shout for joy before the Lord, the King. 7 Let the sea resound, and everything in it, the world, and all who live in it. 8 Let the rivers clap their hands, let the mountains sing together for joy; 9 let them sing before the Lord, for he comes to judge the earth. He will judge the world in righteousness and the peoples with equity. “
Activity #1 Instructional objective: Students will demonstrate their sight‐singing ability by applying correct solfege syllables to their music with 4 or fewer mistakes. (Standards 1,5,6) Instructional materials, resources, and technology needed:
• Sheet music • Piano • Pencil
Modalities addressed: Visual, Kinesthetic, and Tactile Warmup: Students will sing the solfege ladder (do, do‐re‐do, do‐re‐mi‐re‐do, etc). Students will then sight‐sing melody cards located at the front of the room (which contain melodic sections from their music) using solfege. Activity: Using their knowledge of solfege, students will write the solfege for their individual part into their music, and then sing the piece using the solfege syllables. This will ensure that students understand solfege, and can use solfege as a tool to develop their aural skills, and better understand their music. Below is an example of what an alto’s score should look like after writing in their solfege.
Assessment: The students will turn in their score for the teacher to examine. The teacher will check for correct solfege and completion. This assessment will ensure that students understand and can correctly apply solfege.
Activity #2 Instructional objective: By the end of this activity, 85% of students will:
• Accurately perform their part using correct solfege syllables, pitches, and rhythms.(Standards 1,6)
• Students will create a creative and coherent journal entry analyzing their experience (using terminology discussed in class.) (Standards 6,7)
Instructional materials, resources, and technology needed: • Sheet music • Piano • Journal and pencil • Computer with recording software, or some other recording device • Access to internet to email their recorded work to the teacher • If internet is not available, a flash drive or SD card with the video/audio recording
Modalities addressed: Aural and Kinesthetic Warmup: Students will sing the solfege ladder again. This time when they get to the top, sopranos will stay on high do, altos on la, tenors on fa, and basses and baritones on re, and then ask the students to move up a half step or down a half step as you indicate, and finally, ask the students to resolve to tonic. This is a great exercise to get the students really listening. Activity: Students will video or audio record themselves singing their parts on the solfege syllables discovered in their last assignment. This activity will help the students develop individual ownership of their parts, and will give them an opportunity to practice their parts outside of class. They will also listen to their recording and comment about their experience, what they had difficulties with, and what they found helpful about the process Assessment: The assignment will be graded by the following rubrics: Recording Elements 3 2 1 Pitch Pitches were very
accurate with 1 or 2 mistakes
Pitches were mostly accurate, with 3 or 4 mistakes
Pitches were inaccurate, with 5 or more mistakes
Rhythm The beat is secure, and rhythms accurate, with 1 or 2
The beat is secure, and rhythms accurate, with 3 or 4
Beat was unsteady and/or rhythms were sporatic, with 5 or
mistakes mistakes more mistakes Solfege The solfege is
applied correctly The solfege is mostly correct with 1 or 2 mistakes
The student did not sing with solfege, or 5 or more mistakes were made.
Comments/ total score
Journal Elements
4 3 2 1 0
Content Answers use the proper terminology discussed in class.
Answers use some of the terminology discussed in class
Answers use little of the terminology discussed in class
Answers are irrelevant to class discussion
No journal entry completed
Coherency Student’s response is directly in line with the prompt
Student’s response strayed from the prompt in places, but returned to topic
Student’s response is frequently off topic of the prompt
Student’s response is irrelevant to the subject of the prompt
No journal entry completed
Creativity Journal entry shows strong creativity and unique thoughts throughout
Journal entry shows strong creativity and unique thoughts through most of the writing.
Journal entry shows some creativity and unique thought, but little effort was displayed
Journal entry shows little effort. Creativity and uniqueness are low
No journal entry completed
Activity #3 Instructional objective: Students will create a coherent and creative journal using content discussed in class to reflect on their group rehearsal. (Standard 6,7) Instructional materials, resources, and technology needed:
• Student Journals • A pencil
Modalities addressed: Aural and Kinesthetic Assessment: Informal assessment will take place by verbal response to guided questions, and class participation Activity: At the end of rehearsal students will receive a note card with a prompt: Evaluate your singing. Note three things that you did well today, three things the group did well today, one thing that you can improve on, and one thing the group can improve on. The students will use the space on the card to respond to the prompt and then leave the card in a designated area at the front of the room on their way out of class.
Assessment: The students will be graded by the following rubric: Journal Elements
4 3 2 1 0
Content Answers use the proper terminology discussed in class.
Answers use some of the terminology discussed in class
Answers use little of the terminology discussed in class
Answers are irrelevant to class discussion
No journal entry completed
Coherency Student’s response is directly in line with the prompt
Student’s response strayed from the prompt in places, but returned to topic
Student’s response is frequently off topic of the prompt
Student’s response is irrelevant to the subject of the prompt
No journal entry completed
Creativity Journal entry shows strong creativity and unique thoughts throughout
Journal entry shows strong creativity and unique thoughts through most of the writing.
Journal entry shows some creativity and unique thought, but little effort was displayed
Journal entry shows little effort. Creativity and uniqueness are low
No journal entry completed
Activity #4 Instructional objective: By the end of this lesson, at least 85% of the class will accurately:
• Show the phrasing of the piece using body motion • Aurally identify the phrase structure of the piece (Standards 5,6)
Instructional materials, resources, and technology needed: • The sheet music and a pencil • Computer with internet access and projector to show youtube video of Weihnachten
performance • The room will need to be set up with plenty of space for movement. • On the board will first be written the letter A
Modalities addressed: Visual, Aural and Kinesthetic Activity: Students will stand in a circle around the room. We will start by ‘marching’ clockwise around the room. When we stop, a student will give a suggestion for another motion (note that the motions must represent a steady beat). We will then listen to a recording of the piece (the Youtube video, which also displays the notated music as the choir sings). As we listen, we will begin marching around the room. When a new musical idea is introduced, we will stop and do the second motion (and we will add the letter B to the board). We will stop the motion and have students listen, and state whether they think the next musical idea is the same or different. (We will write the letter B on the board again as it is identified.) We will then do the same for the last idea (adding the final A to the board as well). When this has been done, we will listen to the piece start to finish, performing the motions that accompany each of the ideas. Once the activity
is complete, we will identify the form as ABBA (Ternery) and students will write this into their music. Assessment: Informal assessment will occur throughout the lesson, emphasizing the correct body motion as related to phrase identification.
Activity #5 Instructional objective: Students will compose and perform a warm‐up to demonstrate their knowledge of the harmonies of the piece. (Standards 1,3,5,6) Instructional materials, resources, and technology needed:
• Blank notation paper and a pencil for each group • A K Q J will be written on the board before class • Each group will have a copy of just their section of the score.
Modalities addressed: Visual, Aural and Kinesthetic Activity: Students will be given a playing card as they enter the room (Ace, King, Queen or Jack). They will then go to the board and write their name under the indicated card name (A,K,Q, orJ) and place their cards in a pile on the piano on their way to their seats. Students will be divided into four groups as follows: Aces are the first A section, Kings are the first B section, Queens are the second B section, and Jacks are the final A section. The students will have a copy of the song with only their selected section printed. They will then be asked to compose on their blank notation paper a warm‐up using the chords (but not necessarily the rhythms) from their section. (If unsure, they may ask for the teacher’s assistance, as the teacher will be monitoring the room). They will perform these for the class, and submit both their composition and their groups section score to the teacher. Assessment: Points will be given based on a checklist: Did the students correctly identify the chords of their selection?
Yes/No
Did the students compose a warm‐up using the notes provided in their section?
Yes/No
Did the student accurately perform their warm‐up for the class?
Yes/No
Activity #6 Instructional objective: By the end of this activity students will
• Create a Pinterest board detailing information about the composer of the piece (including biographical information, historical events from the early Romantic period, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten).
• Teach their peers about the composer, based on their findings. o During this, the students being taught must record notes in their journals.
(Standards 6,7,8,9) Instructional materials, resources, and technology needed:
• Journals • Computers with internet access
Modalities addressed: Visual and Tactile Activity: Students will each create a Pinterest board. These boards must contain several pins covering the background of the piece, including: biographical information about Mendelssohnn, historical events of the early Romantic period that may have impacted the music, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten.) When boards are complete, the students will be sorted into pairs, the students will then teach their partner their information (including why they chose that particular information.) The student being taught should record the information (including his or her partner’s rationale) into his or her journal. Assessment: Teacher will check all boards for inclusion of each topic, and journals for coherent rationale behind each pin.
Activity #7 1. Instructional objective: Students will compose a new rhythm based on the text of the
piece (Standard 4)
Instructional materials, resources, and technology needed: Instructional materials, resources, and technology needed:
• Rhythm worksheet • Writing utensil • The sheet music
Modalities addressed: visual and tactile Activity: Students will be given the following worksheet
Name_____________________
I. Pick one stanza of this piece (one set of four lines). You will be composing a new rhythm for this stanza.
Stanza Chosen:
II. Break the words apart syllabically (sei-ne Ge-rech-tig-keit). This will allow you to better create your rhythmic line.
• Line 1: __________________________________________________________________
• Line 2: __________________________________________________________________
• Line 3: __________________________________________________________________
• Line 4: __________________________________________________________________
Use these rhythmic bars (no staff, just a line) to write out the rhythmic line. Each vertical line represents a bar line. This piece must remain in 4/4, but you can take liberties with how it will be rhythmically represented.
|-------------------------|----------------------------|--------------------------|----------------------------|
|-------------------------| ----------------------------|--------------------------|----------------------------|
|-------------------------|----------------------------|--------------------------|----------------------------|
Assessment: Student worksheets will be graded based on the following checklist:
Did the student identify the stanza used?
Yes/No
Did the student break apart the syllables of the words in their indicated lines?
Yes/No
Did the student identify the new rhythm?
Yes/No
Activity #8 Complete the webquest in class
Weihnachten (#1 of Sechs Spruche, Op 79) Composer: Mendelssohn-Bartholdy, Felix
Voicing: SSAATTBB
Style: Sacred
Genre: Motet
Language: German
Instruments: A Cappella
License: CPDL (www.cpdl.org)
Published: Mendelssohn ’s Werke (1874-1877)
Student Handbook For Weihnachten (#1 of Sechs Spruche, Op 79)
By Felix Mendelssohn-Bartholdy (1809-1847)
Created by Becca Cline
National Standards:
Standard 1: Singing, alone and with others, a varied repertoire of music. Standard 2: Performing on instruments, alone and with others, a varied repertoire of music. Standard 3: Improvising melodies, variations and accompaniments. Standard 4: Composing and arranging music within specific guidelines. Standard 5: Reading and notating music. Standard 6: Listening to, analyzing, and describing music. Standard 7: Evaluating music and music performances. Standard 8: Understand relationships between music, the other arts, and disciplines outside of the arts. Standard 9: Understanding music in relation to history and culture. Learning Objectives:
2. Students will demonstrate their sight‐singing ability by applying correct solfege syllables to their music with 4 or fewer mistakes. (Standards 1,5,6)
3. By the end of this activity, students will complete with 80% accuracy: a. Accurately perform their part using correct solfege syllables, pitches, and
rhythms.(Standards 1,6) b. Students will create a creative and coherent journal entry analyzing their
experience (using terminology discussed in class.) (Standards 6,7) 4. Students will create a coherent and creative journal using content discussed in class to
reflect on their group rehearsal. (Standard 6,7) 5. By the end of this lesson, at least 85% of the class will accurately:
a. Show the phrasing of the piece using body motion b. Aurally identify the phrase structure of the piece (Standards 5,6)
6. Students will compose and perform a warm‐up to demonstrate their knowledge of the harmonies of the piece. (Standards 1,3,5,6)
7. By the end of this activity students will a. Create a Pinterest board detailing information about the composer of the piece
(including biographical information, historical events from the early Romantic period, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten).
b. Teach their peers about the composer, based on their findings.
i. During this, the students being taught must record notes in their journals. (Standards 6,7,8,9)
ii. journals. (Standards 6,7,8,9) 8. Students will compose a new rhythm based on the text of the piece (Standard 4) 9. Students will complete a WebQuest activity, guiding them to compose a new melody
based on observed art and the text of the piece. (Standards 3,4,5,8,9)
Score Study of Weihnachten Element Information
Composer: Felix Mendelssohn‐artholdy
Felix Mendelssohn was born in Hamburg, on February 3rd, 1809. In 1843 he founded the Leipzig Conservatory, and was named director of the Music Section of the Academy of Arts in Berlin by King Frederick of Prussia. And though his schedule was quite full, it was during this time that he wrote the Ruy Blas overture, stage music for Shakespear’s “A Midsummer Night’s Dream” (which contains the now world‐famous “Wedding March”, and “The Scottish Symphony”, which was the third of five symphonies he wrote in his life time.
Style: Motet
Sacred: This is a sacred motet written as part of a set of six pieces outlining the church calendar. The text is based on Psalm 98
Key: The key remains in G Major throughout
Texture: Eight‐part, SSAATTBB. Homophonic throughout.
Form: Ternery form (ABBA)
Meter: The piece typically begins at a moderato (around 110) and gradually retards throughout, until the end approaches adagio.
Text: The text is based on Psalm 98 and is one of six pieces written to follow the church calendar. This particular piece was written in celebration of Christmas, and was actually completed on Christmas day of 1843.
Rhythm: Mostly homorhythmic throughout, the song begins with the women declaring “Rejoice, all ye people!”, and the men come in at the close of that first statement by the women (measure 2), and have their own text and rhythms until measure 6 at which time the choirs sing homorhythmically until measure 13. At this point each line has something different until measure 18 at which point the parts come together again rhythmically until measure 22, and then the women come together in the pick‐ups to measure 29. The men have their own individual rhythms until
they all join together in measure 30. All parts end in a triumphant fermata.
Melody: The melody is expressed by the women in unison at the beginning and end of the piece, otherwise the emphasis lies in the homorhythmic harmonies.
Harmony: This piece is extremely harmonically interesting. We begin in unison until mm 2, and then we see several ii and ii7 chords throughout in mm 13, 15, 16,17, 20, 24, 25, 26, and 28 and a V7/ii going to ii in mm 7. There are also a few other secondary dominants in mm 7, 11, and 22. The first B section brings an interesting tonality that plays with the resolution to tonic, but we don’t actually resolve until mm 19, which also brings in the second B section. The second A brings the return of women in unison, but this time the baritones and bases are supporting the root, while the tenor twos add the 7th of our V chord, and then resolve down as we all reach our tonic. We then return to V, with the tenor ones sustaining a G which adds a brief 9th to our chord, and our baritones have the 7th. We once again resolve to tonic, then to a IV 9 (alto ones have the 7th, and soprano twos have the 9th) and finally we all arrive back at tonic.
Phrasing: Short, but legato lines, usually 4‐5 measures long. There are obvious places to breathe, but students will absolutely be recording any markings I have indicated in the score that allow for good breath to support the line. (One example of this is mm 10; students will make the second half note of this measure into a quarter note, and add in a quarter rest. This will allow them to cut off, end their word, and begin the new section cleanly.
Dynamics: This piece is entirely written in forte, which is written as a reminder at the beginning of each new section, and again for the final halleluja.
Text Translation:
Frohlocket, ihr Völker auf Erden, und preiset Gott!
Rejoice, ye people of the earth, and praise God!
Der Heiland ist ershienen, den der Herr verhißen.
The redeemer is come, whom the Lord has promised.
Er hat seine Gerechtigkeit der Weld offenbaret. Hallelujah!
He has revealed his justice to the world. Hallelujah!
Text is said to be based on Psalm 98 which says: “Sing to the Lord a new song, for he has done marvelous things; his right hand and his holy arm have worked salvation for him. 2 The Lord has made his salvation known and revealed his righteousness to the nations. 3 He has remembered his love and his faithfulness to Israel; all the ends of the earth have seen the salvation of our God. 4 shout for joy to the Lord, all the earth, burst into jubilant song with music; 5 make music to the Lord with the harp, with the harp and the sound of singing, 6 with trumpets and the blast of the ram’s horn— shout for joy before the Lord, the King. 7 Let the sea resound, and everything in it, the world, and all who live in it. 8 Let the rivers clap their hands, let the mountains sing together for joy; 9 let them sing before the Lord, for he comes to judge the earth. He will judge the world in righteousness and the peoples with equity. “
Activity #1 Instructional objective: Students will demonstrate their sight‐singing ability by applying correct solfege syllables to their music with 4 or fewer mistakes. (Standards 1,5,6) Instructional materials, resources, and technology needed:
• Sheet music • Piano • Pencil
Activity: Using your knowledge of solfege, you will write the solfege for your individual part into the music, and then sing the piece using the correct solfege syllables. Using solfege is a means to help you sight read better, and to help you better understand your music! Below is an example of what an alto’s score should look like after writing in their solfege.
Assessment: You will turn in your score for me to examine. The assignment should have 4 or
fewer mistakes! If you have questions, asks your peers or myself for help!
Activity #2 Instructional objective: By the end of this activity, students will complete with 80% accuracy:
• Performance of their part using correct solfege syllables, pitches, and rhythms.(Standards 1,6)
• Students will create a creative and coherent journal entry analyzing their experience (using terminology discussed in class.) (Standards 6,7)
Instructional materials, resources, and technology needed: • Sheet music • Piano • Journal and pencil • Computer with recording software, or some other recording device • Access to internet to email their recorded work to the teacher • If internet is not available, a flash drive or SD card with the video/audio recording
Warmup: You will sing the solfege ladder again. This time when you get to the top, sopranos will stay on high do, altos on la, tenors on fa, and basses and baritones on re, and then move up a half step or down a half step as indicated, and finally, resolve to tonic. This is a great exercise to get you listening, and paying attention to the other parts! Activity: You will video or audio record yourselves singing your parts on the solfege syllables discovered in the last assignment. This activity will help you develop individual ownership of your parts, and will give you an opportunity to practice their parts outside of class. ;) You will also listen to your recording and journal about your experience, what you had difficulties with, and what you found helpful about the process Assessment: The assignment will be graded by the following rubrics: Recording Elements 3 2 1 Pitch Pitches were very
accurate with 1 or 2 mistakes
Pitches were mostly accurate, with 3 or 4 mistakes
Pitches were inaccurate, with 5 or more mistakes
Rhythm The beat is secure, and rhythms accurate, with 1 or 2 mistakes
The beat is secure, and rhythms accurate, with 3 or 4 mistakes
Beat was unsteady and/or rhythms were sporatic, with 5 or more mistakes
Solfege The solfege is applied correctly
The solfege is mostly correct with 1 or 2 mistakes
The student did not sing with solfege, or 5 or more mistakes were made.
Comments/ total score
Journal Elements
4 3 2 1 0
Content Answers use the proper terminology discussed in class.
Answers use some of the terminology discussed in class
Answers use little of the terminology discussed in class
Answers are irrelevant to class discussion
No journal entry completed
Coherency Student’s response is directly in line with the prompt
Student’s response strayed from the prompt in places, but returned to topic
Student’s response is frequently off topic of the prompt
Student’s response is irrelevant to the subject of the prompt
No journal entry completed
Creativity Journal entry shows strong creativity and unique thoughts throughout
Journal entry shows strong creativity and unique thoughts through most of the writing.
Journal entry shows some creativity and unique thought, but little effort was displayed
Journal entry shows little effort. Creativity and uniqueness are low
No journal entry completed
Activity #3 Instructional objective: Students will create a coherent and creative journal using content discussed in class to reflect on their group rehearsal. (Standard 6,7) Instructional materials, resources, and technology needed:
• Student Journals • A pencil
Modalities addressed: Aural and Kinesthetic Assessment: Informal assessment will take place by verbal response to guided questions, and class participation Activity: At the end of rehearsal students will receive a note card with a prompt: Evaluate your singing. Note three things that you did well today, three things the group did well today, one thing that you can improve on, and one thing the group can improve on. The students will use the space on the card to respond to the prompt and then leave the card in a designated area at the front of the room on their way out of class. Assessment: The students will be graded by the following rubric: Journal Elements
4 3 2 1 0
Content Answers use the proper terminology discussed in class.
Answers use some of the terminology discussed in class
Answers use little of the terminology discussed in class
Answers are irrelevant to class discussion
No journal entry completed
Coherency Student’s response is directly in line with the prompt
Student’s response strayed from the prompt in places, but returned to topic
Student’s response is frequently off topic of the prompt
Student’s response is irrelevant to the subject of the prompt
No journal entry completed
Creativity Journal entry shows strong creativity and unique thoughts throughout
Journal entry shows strong creativity and unique thoughts through most of the writing.
Journal entry shows some creativity and unique thought, but little effort was displayed
Journal entry shows little effort. Creativity and uniqueness are low
No journal entry completed
Activity #4 Instructional objective: By the end of this lesson, at least 85% of the class will accurately:
• Show the phrasing of the piece using body motion • Aurally identify the phrase structure of the piece (Standards 5,6)
Instructional materials, resources, and technology needed: • The sheet music and a pencil • Computer with internet access and projector to show youtube video of Weihnachten
performance • The room will need to be set up with plenty of space for movement. • On the board will first be written the letter A
Activity: You will stand in a circle around the room. We will start by ‘marching’ clockwise around the room. When we stop, a student will give a suggestion for another motion (note that the motions must represent a steady beat). We will then listen to a recording of the piece (the Youtube video, which also displays the notated music as the choir sings). As we listen, we will begin marching around the room. When a new musical idea is introduced, we will stop and do the second motion (and we will add the letter B to the board). We will stop the motion and have students listen, and state whether they think the next musical idea is the same or different. Assessment: Informal assessment will occur throughout the lesson, emphasizing the correct body motion as related to phrase identification.
Activity #5 Instructional objective: Students will compose and perform a warm‐up to demonstrate their knowledge of the harmonies of the piece. (Standards 1,3,5,6) Instructional materials, resources, and technology needed:
• Blank notation paper and a pencil for each group
• A K Q J will be written on the board before class • Each group will have a copy of just their section of the score.
Activity: You will be given a playing card as you enter the room (Ace, King, Queen or Jack). You will then go to the board and write your name under the indicated card name (A,K,Q, orJ) and place your cards in a pile on the piano on your way to your seats. You will be divided into four groups as follows: Aces are the first A section, Kings are the first B section, Queens are the second B section, and Jacks are the final A section. You will have a copy of the song with only your selected section printed. You will then be asked to compose on your blank notation paper a warm‐up using the chords (but not necessarily the rhythms) from your section. (If unsure, you may ask for my assistance, I will be monitoring the room). You will perform these for the class, and submit both your composition and the group’s section score to the teacher. Assessment: Points will be given based on a checklist: Did the students correctly identify the chords of their selection?
Yes/No
Did the students compose a warm‐up using the notes provided in their section?
Yes/No
Did the student accurately perform their warm‐up for the class?
Yes/No
Activity #6 Instructional objective: By the end of this activity students will
• Create a Pinterest board detailing information about the composer of the piece (including biographical information, historical events from the early Romantic period, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten).
• Teach their peers about the composer, based on their findings. o During this, the students being taught must record notes in their journals.
(Standards 6,7,8,9)
Instructional materials, resources, and technology needed: • Journals • Computers with internet access
Activity: You will each create a Pinterest board. These boards must contain several pins covering the background of the piece, including: biographical information about Mendelssohnn, historical events of the early Romantic period that may have impacted the music, information about the Romantic Era of music, and videos or recordings of music from Sechs Spruche (including Weihnachten.) When boards are complete, you will be sorted into pairs, you will then teach your partner your information (including why you chose that particular information.) The student being taught should record the information (including his or her partner’s rationale) into his or her journal. Assessment: Teacher will check all boards for inclusion of each topic, and journals for coherent rationale behind each pin.
Activity #7 1. Instructional objective: Students will compose a new rhythm based on the text of the
piece (Standard 4)
Instructional materials, resources, and technology needed: Instructional materials, resources, and technology needed:
• Rhythm worksheet • Writing utensil • The sheet music
Activity: Students will be given the following worksheet:
Name_____________________
2. Pick one stanza of this piece (one set of four lines). You will be composing a new rhythm for this stanza.
Stanza Chosen:
3. Break the words apart syllabically (sei-ne Ge-rech-tig-keit). This will allow you to better create your rhythmic line.
• Line 1: __________________________________________________________________
• Line 2: __________________________________________________________________
• Line 3: __________________________________________________________________
• Line 4: __________________________________________________________________
Use these rhythmic bars (no staff, just a line) to write out the rhythmic line. Each vertical line represents a bar line. This piece must remain in 4/4, but you can take liberties with how it will be rhythmically represented.
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Assessment: Student worksheets will be graded based on the following checklist:
Did the student identify the stanza used?
Yes/No
Did the student break apart the syllables of the words in their indicated lines?
Yes/No
Did the student identify the new rhythm?
Yes/No
Activity #8 Complete the webquest in class