John Johnston

Dr. Lemons
Music Teaching & Learning II
10/21/14

New Standards Lesson Plan Band Rehearsal

I. John Johnston: 10/21/14, 9th Period: Grades 9-12 Symphonic Band.
II. Rehearse, Evaluate, and Refine. EU: To express their musical ideas, musicians analyze,
evaluate, and refine their performance over time through openness to new ideas, persistence,
and the application of appropriate criteria.
III. Learning Outcome Students will be able to both conceptualize the directors interpretation
of and play the swing section of Leroy Andersons Sleigh Ride in a rehearsal setting.
IV. Students prior knowledge: Students (Ss.) have played Sleigh Ride both individually for the
teacher (T.) and in the full symphonic band previously. In addition, a professional recording of
Sleigh Ride has been played for Ss. in a previous rehearsal.
V. National Standards to be addressed: MU:Pr5.3.E.Ia
VI. Materials:
1. Score for Sleigh Ride
2. Conducting baton
3. Trumpet, Trombone & Oboe (for demonstration)
VII: Teaching Procedure (note: for purposes of demo lesson plan, specific measure #s are
omitted.)
1. T. greets Ss. and begins scalar warmup. T. notes to Ss. that these scalar warmups,
which consist of the full scale and patterns of seconds and thirds, are in the same key as Sleigh
Ride.
2. T. asks Ss. to turn to the swing section of the piece. After an initial run through the
section, T. explains that they will be working through each foundational piece of the swing
section, including the trumpet melody, the woodwinds trilling back-time, and the brass bass
line. T. asks Ss. to focus on fingering through their parts when they are not being worked with.

3. T. begins with trumpets, evaluating where stylistic instruction needs to be given. T.

reiterates previously explained concepts of swing and the styles effect on articulation. T.
demonstrates the part on trumpet in order to give an aural cue to the explanation.
4. Similar instruction is given to the woodwind sections, this time being demonstrated
by T. on oboe. T. will take note of any trills that are not coming through and check for alternate
fingerings.
5. Similar instruction is given to the brass bass line; demonstration is given on trombone
to give an aural demonstration of the idiomatic bass line progression.
6. Finally, all the parts are put back together; T. asks Ss. to keep in mind the specific
instruction given when put back into context.
7. Comments are given based on the quality of the in-context ensemble performance.
VIII. Post-lesson reflection