This is known as the 20 Points Lesson Plan. From studying the score and the possible tendencies in a middle school band, the second document highlights those problems. The lesson plan is based upon those potential problems. Being through one revision, the highlighted areas are newly added content while the old are crossed out.

MUED 304/393 Lesson Plan

National Standards

- (1) Singing, alone and with others, a varied repertoire of
- (2) Performing on instruments, alone and with others, a
  varied repertoire of music.
- (5) Reading and notating music.
- (6) Listening to, analyzing, and describing music.
- (7) Evaluating music and music performance.

New York State Standards

- (2) Knowing and using arts materials and resources.
- (3) Responding to and analyzing works of art.


The students will be able to learn new rhythm patterns within the 4/4-meter through the use of macro and micro beats.

The students will also be able to follow the conductor through dynamic and tempo changes throughout the pick-up into mm. 17 up until the third beat of mm. 48.


1) “As Summer Was Just Beginning” score and instrumental parts, 2) Whiteboard, 3) Marker, 4) Piano for modeling, 5) Metronome, 6) Perc. Instr.: Timpani (3), Sus. Cym., Bells, Vibraphone

Procedures: (Rehearsing: pick-up into mm. 17- mm. 48)

- Students will take a tuning note from the Euphonium (who will be tuned first) at a concert B-flat pitch. Start from the bottom up.
- After pointing out that the following rhythm occurs in everyone’s parts:
- Have the students feel the macro beat (quarter note equals 68) in their heels and the micro beat in patsching.
- Create a call-and-response to break down this rhythm, giving them time to process after I say it. Use Takadimi rhythmic syllables.
- Once it’s comfortable incorporate the rhythm into a concert B-flat scale.
- Start from the beginning and play up until the downbeat of mm. 16.
- Have those raise their hands if they had the rhythm from the warm-up in their parts.
- Have A. sax and F. horn play it. Also explain that this is the main melody of the piece. Have others become a little more quiet.
 Watch for pitch accuracy. Model on Piano if needed. *follow procedure from hhi20 points*
  - Ask their class how the intonation was with a thumb-up/-down.
  - Try it till satisfactory.
- Bring back the rest of the band and have them watch me for any dynamic changes and the rit. at mm.13.
- Play from mm.17-25.
- Remind the cornet players to keep blowing warm air through their instruments to prepare themselves for the high partial entrance.
- Have the clarinets play on their own to see how they are doing with the eighth-note patterns and notes. *Refer to 20 points for
- Have the bells and flute play together to see how their intonation was.
- Thumbs-up/-down evaluation.
  - Watch out for intonation with the flute and bells together.
- Work both sections back together again. Play until the cornet solo is heard.
- If the soloist is having trouble with their starting pitch, have them drop the first two notes down an octave to see if it works.
- If the soloist is still having trouble starting the solo, show him the alternate that is written on the board. (The solo will be written
  down an octave.)
- Make note of the rit. at mm. 23 and the double fermatas at mm. 24. Will probably need to run that a few times to make sure it’s
- Also make those aware of the rhythm that was practiced in the warm-up that it does show in certain parts in mm. 24. Ask who
  they are (clarinets, A. saxes, 2nd and 3rd cornets, horns, and trombones) and have them play it for you.
  - Ask the rest of the band to see if they stuck to the rhythm according to the tempo.
   - “Were they on beat?” Use thumbs-up/-down evaluation.
- Play back from pick-up into mm. 21 to incorporate their playing as well as the rest of the ensemble, keeping note on how well the
  perform the rit. and the two fermatas with clear distinction. Make sure they hold until cut-off.
- Make sure cut-off and cue for beat 4 for the A. saxes and horns are clear.
- Rit. starting at mm. 29.
- Another note at mm.33 with the new key change to concert E-flat Major, making sure the transition is played with the correct
  - If they are having a hard time making that transition, remind them they have it! Have them circle the key change to make it
   more concrete and call on a few members to see what’s different about their key signature.
- Mm. 35 and 43, watch out for the 3rd and 4th beat accidental in the B. sax (F-sharp) and tuba (A-natural).
- Watch for the range of the 1st clarinet as well as the new change in pitch for the timpani at mm.39. (Bb to C)

Prior Knowledge and Experiences:

- The student must be able to play at a NYSSMA level 2.
- The students must also know their concert E-flat Major scale and their concert B-flat Major scale, and the pitches within.

Indicators of Success:

- The alto sax and the F. horn were able to play with better intonation, possibly after hearing a model. Both being evaluated by
  themselves as well as the rest of the ensemble.
- The students were able to identify and perform the crescendo as well as slowing down with my tempo, individually as well as a

Transfer of Learning:

- The students can apply the rhythms used in the warm-up to their instrumental parts of this piece. They are now aware of the
  dotted-quarter, eighth note pattern.
- The students will be able to apply the concert B-flat scale and its pitches into the piece, hopefully improving intonation.