Advanced Treble Choir

Student Teaching Lesson Plan

10/15/2019

Goals and Objectives: Today we will be warming up as usual with a focus on intonation and resonant
vowels. Following our warm up, we will do some solfege work and sight-singing on one of the Christmas
carols for their holiday tour. After sight-singing, we will be having solo auditions and reviewing Down in
the River to Pray to check for any trouble spots, go over breathing, and add dynamic contrast to the
piece. If time allows, we will also run our other two pieces at the end of class.

“I can” statements:
 I can sing with proper posture and good breath support in my mixed voice (FCPS FA.C04.4.b.1,
FA.C04.4.b.2, FA.C04.4.b.3)
 I can decipher intervals in major tonality through the use of solfege syllables and hand signs
(FCPS FA.C05.1.a.2)
 I can sight-sing full pieces of music in 3-part harmony (FCPS FA.C07.2.a.2)
 I can apply expression to my singing in a choral setting and blend with the voices around me
(FCPS FA.C05.4.c.2, FA.C05.5.a.1)

Detailed Procedure:
 Warm Up Sequence:
o Stand, stretch, shake it out
o Do-re-mi-re-do
 Start in B-flat on a hum, open to bigger vowels every few scales
 Ascend chromatic, descend whole steps
o Vizo – start in E-flat (I IV V I progression, move up chromatically)
 Solfege and Sight Singing
o Have students “standing from the waist up”
o Two-hand solfege exercise
 Use “do” from they key of the sight-singing
 Student volunteer to try guiding them through it?
o Take out sight-singing carol
 Normal procedure (identify key, identify do, find starting pitches, give 2 minutes
to write in solfege, sing through a scale together, read)
 Fix major issues and sing again on solfege
 Sing through at a faster speed on text
 Down in the River to Pray
o Sing through solo chunk at the beginning all together
o Invite anyone who wants to audition to come forward and sing the solo part together,
followed by singing it on their own one-by-one
o Run, fix, run
 During fix time, answer student questions, talk about the feelings of the piece,
and add musical phrasing and shaping

Assessment: Teacher will assess sight-singing and solfege work by walking around and asking students
questions/looking at their work. Assessment of performance will take place through observation and
listening to students as we work on the musicality in their repertoire.