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Teacher: Lindsey Lorefice Subject: Band Date: 4-19-2014

New Content/Rehearsal

New Content/Skill: Staccato
Listen to me.
- Demonstrate staccato
What can you tell me about the quality of the notes? Were they long and connected
or short and detached?
- Ask students about the quality of the notes
Yes, short and detached. Short and detached notes are called staccato notes. Long
and connected notes are called tenuto notes. Listen to me as I play 4 tenuto notes
and then 4 staccato notes.
- Define staccato
o Play four tenutos and then four staccatos
Now, its your turn to play 4 staccato notes.
- Band: Play four staccato quarter notes

Repertoire: ContredanseLarry Clark
Content: Style
Goal: Students will accurately play staccatos in Contredanse. National Standard #2:
Performing on instruments, alone and with others, a varied repertoire of music.

Procedures
Now, lets turn to Contredanse by Larry Clark. Please go to measure 33. Based on
our previous exercise, can anyone tell me what we are working on today?
- Ask students to guess what we are working on based on the previous
exercise
Lets play through measures 33-36. Trumpet players can play the clarinet line in a
comfortable octave.
- Play measures 33-36
Great job, ladies and gentlemen. Can someone tell me a difference between playing
these measures and playing measures 64-67?
- Discuss difference in performance of measures 64-67
Excellent! Lets play measures 64-67 so that we get a feel for how marcato playing
sounds like.
- Play measures 64-67
Outstanding job, everyone! Lets play measures 33-36 again in order to compare
them.
- Play measures 33-36 again
What are the major differences between these two articulation styles?
- Compare the articulation styles




Assessment
Now, lets have everyone partner up and one person will play measures 33-36 and
the other person will give them feedback on their staccato playing. Then you will
switch. You have 30 secondsgo!
- Students will assess each others staccato length by playing measures 33-
36 for a partner and receiving feedback from that partner. Then the
partner that listened will then play measures 33-36 and receive feedback
from the other student who first played.

Repertoire: ContredanseLarry Clark
Content: Expression
Goal: Students will accurately play in tune measures 64-67 of Contredanse. National
Standard #6: Listening to, analyzing, and describing music.

Procedures
Now, lets go back to measures 64-67 again.
- Play measures 64-67 again
We never want to slide into a note, we want it to be in tune immediately. Lets think
of playing the note in tune as soon as our air enters the horn. Singing the pitches
helps us hear how each note is related to the next. Singing in tune will help us play
in tune.
- Discuss Intonationwe never want to slide into a note, we want to be in
tune immediately
- Sing measures 64-67 on solfegeSinging the pitches helps us hear how
each note is related to the next. Singing in tune will help us play in tune.
Now, lets play the measures. Remember what I said about playing in tune
immediately as your air enters the horn. I will conduct each note and point my
finger up for you to raise the pitch and point my finger down for you to lower the
pitch.
- Play measures 64-67 and the teacher will conduct each note and point a
finger up to show the students to raise the pitch and point a finger down
to show the students to lower the pitch until it is in tune
Good job, everyone! Lets play it up to speed now.
- Play measures 64-67 again in the correct tempo

Assessment
You listened really well to each other and that helped with your intonation.
- Teacher will listen to ensemble to evaluate if intonation improved and
provide feedback
Give me a thumbs up if you think you were in tune or a thumbs down if you think
you were out of tune.
- Students will assess themselves by giving a thumbs up for playing in tune
or thumbs down for playing out of tune after playing the passage
Thanks for your hard work, everyone!


Score Analysis

Key: Bb Major
Tonality: Major
Ranges:
Flute: A4-Bb5
Oboe: D4-F5
Bb Clarinet: G3-A4
Bb Bass Clarinet: G2-A3
Eb Alto Saxophone: E4-G5
Bb Tenor Saxophone: E2-B3
Eb Baritone Saxophone: F2-G3
Bb Trumpet: B3-D5
Horn in F: C4-C5
Trombone/Baritone/Bassoon: Bb2-C4
Tuba: Bb1-C2
Mallet Percussion (Bells): Bb3-F5
Timpani: F2-Bb2
Percussion I (Snare Drum, Bass Drum): N/A
Percussion II (Crash Cymbals, Tambourine, Triangle): N/A

Challenge Notes: F5 for the Oboehard to keep in tune; E2 for the Tenor
Saxophonehard to get the note to speak since it is so low

Meter: 4/4
Rhythmic Feel: in 4/4, strong downbeats catapult the piece
Rhythms That Need Attention: four 8
th
notes in a rowtendency to rush
Form: A-B-A-C-B-D-C-A-C
Harmonic Structure: Frequent I-V chord changes
Difficult Chords: Final Chord of the piece will be hard to keep in tune since there is a
sforzando marking above it and the students will play the note very harshly.

Style: march-like
Dynamics: p, mp, mf, f, ff, crescendos, decrescendos
Articulations: staccato, marcato, sforzando, slurs
Performance Practice: performed at a tempo in which people can dance the
contredanse effectively.
Related Piece: I would suggest that the students listen to Douglas Akeys Wild
Dance since the piece was based on a dance. Wild Dance exhibits the same
articulation styles as Contredanse, so the students will be able to listen and
compare/contrast the sounds they make with the recording they listen to in class.