Teacher Name: Michelle Frownfelter
Title of Composition: Come, Join In Singing
Behavioral Objectives: Students will use the skills they used in the warm-up to learn their parts. 
Students will use their knowledge of solfege syllables to read their parts. 
Students will learn their parts by rote from the teacher and be able to sing them alone and eventually with other parts. 
Students will be able to sing the A section a cappella with the use of solfege syllables.  Students will be able to sing the A section on text, a cappella.
Procedures:
Exercise: Have the students sing scale on solfege. 
Introduce the scale degrees and hand signs for Fi and Te. 
Have the students sing solfege as teacher instructs through the hand signs. 
Emphasis patterns used in the piece: do-sol, do-la, sol-mi, ti-sol, la-te, sol-fi, do-fa, fa-re, sol-re-sol
Rehearsal of literature:
Sing first phrase of the A section to the sopranos.  Have them repeat after the teacher.  Sing the second phrase to them and have them repeat it.  Have the students use hands signs along with the teacher as they sing.
Have the altos and baritones look at their part while the sopranos are singing.  The should look for any altered scale degrees and identify what scale degree they are.  Once they have done this, encourage them to hum along if they choose.
Sing first phrase of the A section to the altos.  Have them repeat after the teacher.  Sing the second phrase to them and have them repeat it.  Have the students use hands signs along with the teacher as they sing.
Have the altos and sopranos sing section A together on solfege.  If they find it helpful they may still use hand signs.
Sing first phrase of the A section to the baritones.  Have them repeat after the teacher.  Sing the second phrase to them and have them repeat it.  Have the students use hands signs along with the teacher as they sing.
Have the baritones and the sopranos sing section A together on solfege.  If they find it helpful they may still use hand signs.
Have all three parts sing together on solfege.  If they find it helpful they may still use hand signs.
If needed, correct parts, otherwise sing section A on text. 
Have students look at measures 17-24.  Ask what similarities and differences they see.  The text is the only difference.  So they should be able to sing this.  Have them sing this section on text together.
Have the students look at the B sections, the remainder of the piece.  They are similar but not exactly the same.  There are no altered pitches in these sections.  Most of it is either stepwise motion or triad motion.  They should be able to read this.  If time permits have them read the B sections as a group but independent of other sections of the piece. 
Have the students read the entire piece.  Some sections may be an initial read for them, but they should be the easier sections they are having to read.

Michelle Frownfelter

MUSD356

April 23, 2001

Lesson Plan for April 24, 2001

SWBAT recognize the similarities between measures 52 through 59 to a previous section.

SWBAT sing measures 51- end with their parts being played.

SWBAT sing these same measures with accompaniment.

· Play measure 51-59, just their parts. Does this sound familiar to anyone? When it does raise your hand. Who can tell me where they’ve seen it?

· Play just the soprano (1and 2) part from “for our” in mm. 48 through 52 so they get the measure they don’t know. Play and sing it to them. Have them sing it back to you.

· Do the same for alto. Tenor. Bass.

· Have them sing 48-59. Playing their parts if needed.

· Starting in mm.59 sing and play their parts through 61. Do Soprano, Alto, Tenor, Bass. If they are getting the notes, try to do two parts at one time. Otherwise teach them one at a time.

· Have them sing 48- 61. Playing their parts if needed.

· Sing and play mm. 64-end for each part. Soprano, Alto, Tenor, Bass.

· Have them start at 59- end. Play parts as needed.

Have them sing 48-end with accompaniment. If they aren’t comfortable with this have them sing with their parts being played.