Cheryl Kim

EDUC-M343: Choral Methods

November 27, 2017

Brainteaser 9-4: Comparing and Contrasting Choral Curriculum Guides

Day 1:

Grade Level and Name of Choir: (St. Charles 7th & 8th grade choir)

State Standards: 7.5.3 Read and perform simple melodies in a variety of key signatures in

treble and bass clefs, using solfège, note names, or numbers. They sight-read music using a

consistent method.

Instructional Objective: Students will be able to sight-read a portion of Bonse Aba (mm. 13-

16) in their appropriate octave, using a consistent method.

Materials needed: Piano, Bonse Aba (Victor C. Johnson, 3-part mixed)

Previous Knowledge: Students know solfege syllables, and the takadimi system.

Motivating Opening or Script: Instruct students to sit in a circle, and read the performance

notes together as a class, having each student read a sentence (allows students to pay more

attention compared to when the teacher reads it all for them). (3 minutes)

Procedure (10 minutes):

Rhythm

1. “What is the time signature? And the starting beat?” (2/4, beat 1)

2. “Any sets of rhythm that repeats or are similar?”(mm. 13 and 15 same rhythm, first half

of m.14 same as the second half)

3. Set a tempo and chant the rhythm using the takadimi system.

4. Note any errors, and repeat to correct

Pitches

5. Identify the key signature, tonality, and starting pitch (on movable-Do system): “What is

the key? Is it in major or minor? If we are in the key of F Major, what is the starting

solfege?” (Key of F Major, starting solfege = sol)

6. “Any set of melodic patterns that are the same or similar?” (mm. 13 & 15 same)

7. Teacher will play I-IV-V-I very quickly before students sing the tonic chord and starting

pitch on solfege syllables.

8. Set a tempo and sing in the movable-Do system solfege in comfortable octave.

9. Note errors, and repeat to correct.

Summative Assessment: Have each row sing measures 13 to 16 on a movable-Do system

solfege.

Extension: Identify and notate solfege syllables for students’ own parts and sing measures 17 to

20 without the teacher’s help.

Day 2:

State Standards:

 7.5.3: Reading, notating, and interpreting music: Students read and interpret vocal scores.

 H.1.2 Sing accompanied and a cappella historical and contemporary repertoire from

Western and non-western traditions in a variety of languages, and using traditional and

non-traditional notation.

 H.3.1 Improvise call and response conversations in vocal warm-ups.

Instructional Objective: Students will be able to sing a portion of Bonse Aba (mm. 13 to ~44)

with a neutral syllable and recognize that they are singing a “call and response.”
Materials needed: Piano, Bonse Aba (Victor C. Johnson, 3-part mixed), PowerPoint

Previous Knowledge: Students have sight-read measures 13 to 16 of Victor C. Johnson’s Bonse

Aba on solfege syllables.

Warm-up (5 minutes):

 Sing the F major scale in comfortable octave with solfege syllables.

 On the PowerPoint, teacher will provide several 2-beat rhythmic patterns that come up in

Bonse Aba.

 Students will repeat after the teacher’s 2-beat melodic pattern using one of the rhythms

shown on the board. Let students know that this is a “call and response”

 Ask for volunteers to come up and do a “call” for the rest of the class to “respond.”

Instruct students to use the rhythm shown on the PowerPoint.

Motivating Opening or Script: Play https://www.youtube.com/watch?v=pxTPHScoyd8 twice.

(2 minutes per play, omit the second listen if there is limited time)

Procedure (10 minutes):

1. When students listen to the recording the first time, they will simply follow their score.

2. The second time they listen, they will hum their part while following their music. (Omit

this if time is limited)

3. On the neutral syllable “ba,” students will sing their part slowly, starting at measure 13,

up to measure 28.

4. Note any errors, and repeat to correct, or if successful, take it at a faster tempo.

a. Potential Errors: m.19 Part I going down from A to F

b. Possible Solution: isolate the issue and part, and then add Part II and sing together

in context
 5. “What is similar between measures 29-36 and measures 37-44?” (Point out similarities as

a class: rhythm and general melodic idea stays the same, but the role of “call” changes

from Part I to III. Also Part III does the call and sings the response tutti.).

6. On the neutral syllable “ba,” students will sing their part from measure 29 to 44 at a

slower tempo. (Teacher will stop the students if necessary)

7. Note any errors, and isolate sections that need some work. Sing in context when isolation

of a section is repeated enough times.

a. Potential Errors: changing notes in measure 31 (page break makes it difficult to

notice); measure 37 part III: the call part changes

b. Possible Solution: let students know that the note changes (sing together or

demonstrate then sing after)

8. Run through without stopping from measure 13 to 44.

Summative Assessment: Make small triplets or sextets of random students and have them

perform in front of the class. Listen for rhythm and pitch accuracy, and listen for vocal points to

work on and address it in the warm-up in the next class. (Make sure students applaud and show

support for their classmates.)

Extension: The teacher will speak the text phrase by phrase and students will echo after her.

Day 3:

State Standards:

 7.5.3: Reading, notating, and interpreting music: Students read and interpret vocal scores.
  H.1.2: Sing accompanied and a cappella historical and contemporary repertoire from

Western and non-western traditions in a variety of languages, and using traditional and

non-traditional notation.

 H.1: Singing alone and with others: Students sing repertoire representing various styles

and culture. They sing accurately and expressively from a score… [using] proper vocal

technique. They sing independently and in large and small ensembles, and they respond

to the cues of a conductor.

Instructional Objective:

 Students will be able to sing a portion of Bonse Aba (mm. 13 to ~44) with given text.

 Students will be able to interpret and realize different sections of the piece in Bonse Aba.

Materials needed: Piano, Bonse Aba (Victor C. Johnson, 3-part mixed)

Previous Knowledge: Students have read and sung through measures 13 to 44 of Victor C.

Johnson’s Bonse Aba on a neutral syllable “ba.”

Motivating Opening or Script: Read the Zambian text to students, and ask if they can guess or

get clues from the score of the meaning of the Zambian text. (Guide students to look at the

performance notes again.) (3 minutes)

Procedure (12 minutes):

1. Lightly speak and model small chunks of the text in rhythm, from measure 13 to 28, and

have students repeat after the teacher. Gradually speak the entire excerpt (mm. 13-28) in

the rhythm written.

2. Sing the first section (mm. 13-28) with text at a slow, steady tempo for optimal

concentration.

3. Note any errors, and repeat to correct, or if successful, take it at a faster tempo.
 a. Potential Errors: Measure 14 for Part III, and measure 18 for Part I and II –

“pokelela” might be difficult to say at first.

b. Possible Solution: Isolate just that word, and have the students echo after the

teacher’s demonstration. First, speak the text in rhythm, then add melody.

4. Repeat procedure 2 and 3 for measures 29 through 44.

5. Teacher will sing measures 45 to 48. “Did we hear anything similar before? What

measure did we hear a similar set of call and response?” (measure 13-16 exactly the

same, but in treble clef.)

6. After identifying the similar section, instruct students to mark A at measure 13, and A’

(A prime) at measure 45. (Explain why it is A prime, not A.)

Summative Assessment: Have students stand in a circle and perform from measure 13 through

44 with text; the teacher will go around the circle, listening to individual voices. Listen for

rhythm and pitch accuracy, and listen for text accuracy (pure vowels and clear articulation of

text).

Extensions: Identify and notate solfege syllables for students’ own parts and sing measures 49 to

52 without the teacher’s help. Students who are on Part I will identify Part II’s solfege and sing

together for now.