Crossgate Lesson Plan

Summary/Overview: ​This is a class of intermediate-level band students, and today we are

working on rhythms in preparation for our piece, “Crossgate” by James Barnes. To internalize
these rhythms and link them with melodies, they will use improvisation to understand the
relationship between melodic and rhythmic themes.

Objectives:

● Students will learn/play the main melodic and rhythmic themes, regardless of their
instrument
● Students will improvise their own notes over the written rhythm

Relevant ​Virginia Standards of Learning​:

The student will demonstrate musicianship and ensemble skills at a beginning level.
a) Identify the characteristic sound of the instrument being studied.
b) Blend and balance instrumental timbres.
c) Make adjustments to facilitate correct intonation.
d) Match dynamic levels and playing style.
e) Respond to conducting patterns and gestures.
f) Maintain a steady beat at various tempos in the music literature being studied.
g) Begin to use articulations, dynamic contrasts, and phrasing, as a means of
expression.

Relevant ​National Standards​:

MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how knowledge of
formal aspects in musical works inform prepared or improvised performances.

Required Materials and Visual Aids:

Please include links to/images of any visual aids you would imagine designing for this lesson.

Procedures:
● Rhythmic theme (1) will be introduced to the class through call and response clapping in
small sections
● Class will split, with one half clapping the rhythm and the other half stomping the
downbeats, then switching
● Moving on to melody -- from measure 31-37-- learning by call and response singing, with
notated music projected as well
 ● Once students can sing the melody confidently, bring in instruments and have students
take a minute and figure out the fingering/notes that they learned aurally
○ Step in and provide fingerings as students request help
● After a few minutes, bring everyone back together and have students play the melody
tutti, and then the rhythm
● Have the class stand in a circle, split the class and have one half play rhythm while the
other half plays melody, switch
● Leave spaces between melody and the students that were playing it get to improvise as
long of a riff as they want over the rhythm, going down the line, with melody added in
between people, then switch so one half plays rhythm while the other plays
melody/improvises

Assessment:
Students will be assessed based on their response to the opportunity to perform improvisation
in a “sharing circle,” or with a peer, alternating between actual melodic part and student
improvisation.

Extensions:
We will continue to explore the piece as a class and focus on aural/rhythmic elements that
appear in various sections. ? In your next class? Over next month? The rest of the school year?
Beyond?

Adaptations:

● Size:
○ Instrument accommodations to help with mobility if needed, including smaller
tubas, etc.
● Pacing:
○ Learning only parts of the melody and playing them when that part occurs
○ Learning a simplified version of the rhythm

Winding:

● Back:
○ If the rhythm is too tricky, they can play/clap just the downbeats or one beat per
measure
○ Option to play just the rhythm and vary the pitches
 ○ Instead of having to improvise, students can choose to skip and just play the
melody and/or rhythm
○ Option to improvise just on do, mi, and sol

● Forward:
○ Students bored when they aren’t improvising can add embellishments to the main
melody or change the pitches of the rhythmic accompaniment.