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Huggins Unit Plan-Music
Huggins Unit Plan-Music
Unit Plan
Grade 12 AMU4M
Overview:
This unit will center on American Jazz history. The unit will focus on four
primary topics that will develop student comprehension of most avenues of
the genre. The areas of study will be the origins of the style, improvisation
techniques, transcription, and jazz evolving through the decades. Content
will be delivered initially through teacher lead activities and will transfer to
student directed tasks and performances. By the end of the unit, students
will be able to understand the social issues behind the origins of jazz, and
perform improvisation to a degree of comfort. Students will also recognize
the variations of jazz eras.
Resources:
Feldman and Contzuis. (2011) Instrumental Music Education: Teaching with
the Musical and Practical in Harmony. Routledge, New York.
Teaching Resources:
Jazz Method Book selections included in Appendix 1
Band arrangements available at school. If unavailable teacher
transcribes.
Handouts for scales Appendix 2
Computers/Ipads for independent student research and transcription
assignment
Backing track App Woodshedr, iReal Pro (both paid, will depend on
school board)
Lesson Description Number of
Classes
1 -Early Jazz Origins 1
-Introduction to the Blues Scale and improv
Lesson 1:
Classes: 1
Overview:
This lesson plan is intended to open the jazz unit. The students have some
experience with aural training, specifically playing by ear. Students will be
introduced to Jazz music through accepted standards, learn the origins of
jazz music through New Orleans, and begin exploring the Blues Scale and
rhythmic and three note improv.
The aim of this lesson is to spark student interest and begin scaffolding
improvisation.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
75 minutes
Teaching Have Joplin Maple Leaf Rag and Robert Johnson I 10
objective believe Ill Dust My Broom playing as class enters minute
1: No instruments at this time s
Hook Ask students what they know about jazz music? Can
they name any artists?
Play Duke Ellington It Dont Mean a Thing, Count
Basie One Oclock Jump, Dixie Jazz Band One-Step
o Have students identify key elements in each i.e.
were there clear solo lines, what instruments do
they hear?
Teaching Early Jazz teaching points: 30
objective Originated in New Orleans: mixing of cultural minute
2: origin traditions. European and French instruments and s
story harmonic strength, African call and response,
B1.4, improvisation.
B2.1, Musical Roots: ragtime (Joplin, Jelly Roll Morton MLR),
B2.2, military band (i.e. Lieut. Jim Europes Infantry Band
B2.3, Memphasis Blues), blues (Johnson)
C2.1, C2.2 New Orleans: sea port (lots of migrants, lots of social
activity and interactions), liberal laws in terms of
social scene (less segregation), military bands
present.
Performance Practices: small group instrumentation,
instruments fulfilled set musical roles (tpt melody, cl
flourish legato melody, trb chord tones, collective
improv. rhythm section guitar/banjo strum beats,
tubas/bass two-beat style)
Pianos stride (James P. Johnson Carolina Shout) or
comping (James P. Johnson Charleston)
Louis Armstrong:
From New Orleans
Primarily received as an entertainer (not musician)
Solos were so good he changed jazz to soloistic
playing. More complete musical structures
Potato Head Blues: Lil Hardin FIRST MAJOR WOMAN
JAZZ INSTRUMENTALIST (pianist, composer, singer,
manager, promoter, band leader), also heard in King
Oliver Creole Band
Teaching Instruments 30
Objective Teach blues scale by ear minute
2: Handout Appendix 2 blues scale s
Blues
Scale and
Improv
A1.1,
A2.2, A3.1
Conclusion Exit Card: answer the following 3 questions: 5
1. Who was the first major woman jazz minute
instrumentalist? s
2. Give one defining feature of early jazz?
3. Why was Louis Armstrong so important?
Lesson 2:
Classes: 3
Overview:
The goal of this class is to have students explore the major jazz eras. The
students will be split into groups to work together over the 2 class days. They
will research elements such as: instruments in bands, influences, key figures,
recording and performance practices, and stylistic features. On the second
day the groups will present their findings to their peers, along with handing
in a one-page informational handout of findings.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
75 minutes
Teaching Have Lil Hardin Brown Gals playing as students 10
objective 1: enter minute
Refresh No instruments at this time s
Review content from yesterday
Teaching Students will be divided into heterogeneous groups. 150
objective 2: They will select a genre (first come first served) and minute
Student complete research to the same degree as modeled s
Inquiry by instructor yesterday. Students will generate a
B1.3, B1.4, one-page handout of their findings to share with
B2.1, B2.2, their peers. Also, they will give a low impact
B2.3, C2.1, presentation about the information and their song
C2.2 selections.
Success Criteria:
When did the era begin/end? Rough dates are
acceptable
What was the style and influences of this era?
What were the characteristics of the music?
Identify 3 major players of this era. One must be
male and one must be female.
Where were musicians performing?
Who was being recorded? Did all musicians have
access to recording studios?
Select 3 recordings to highlight the genre. One
must be male and one must be female.
Hardin: https://www.youtube.com/watch?v=yF9tt_jm-Ek
Lesson 3
Classes: 2
Overview:
The goal of this classis to move to the students to collective improvisation on
the blues scale, introduce major scales and major seventh chords, ii-V-I
progression, and to incorporate collective improve into exercises in the
method book.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
150 minutes
Teaching Have Count Basie Lester Leaps In and Ella 10
objective 1: Fitzgerald How High the Moon playing as minute
Refresh students enter s
Review content from yesterday
Teaching Instruments 90
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale s
A3.1, C1.1 Scaffold rhythmic, then pitch collective improv
o Lead them through simple musical words,
singing then playing
o Stepwise to start, then introduce leaps
Lesson 4
Classes: 2
Overview:
The goal of this class is to have students explore the women in jazz. The
students will pair off by instrument and research a female jazz music that
plays their instrument. They will examine her musical education, musical
influences, bands/groups she was associated with, what era of jazz she
played, and how her talent was received.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
150 minutes
Teaching Have Lil Hardin Just for a Thrill playing as students 5
objective 1: enter minute
Refresh No instruments at this time s
Review content from yesterday
Teaching Students will choose their pairs within their 90
objective 2: instrument family. They will research a female jazz minute
Student musician of their instrument. The students will s
Inquiry generate a one-page handout for their peers about
B1.3, B1.4, their findings. Also, they will give a low impact
B2.1, B2.2, presentation about their musician, and share a
B2.3, C2.1, sampling of her music.
C2.2 If student has a particular interest in arranging, or
there is a large number of 1 instrument, may
research arrangers/composers.
Hardin: https://www.youtube.com/watch?v=Vvu0bYVLkX8
Lesson 5:
Classes: 1
Overview:
The goal of this classis to move to the students to have the students is
comfortable with call and response improvisation introduced at the end of
the previous performance class. Also, the mixolydian scales and dominant
seventh chords will be introduced. Students will form small combos to work
on improvisation while the teacher completes formative assessments of the
transcriptions to check in with progress.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
75 minutes
Teaching Have Marian McPartland Stranger in a Dream and 10
objective 1: Billie Holiday Blue Moon playing as students minute
Refresh enter s
Review content from yesterday
Teaching Instruments 30
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale, major scales, major 7th chords, s
A3.1, C1.1 ii-V-1
McPartland: https://www.youtube.com/watch?v=wcujQyX8nyA
Holiday: https://www.youtube.com/watch?v=ntDnwBiORu8
Lesson 6:
Classes: 2
Overview:
The goal of this class is to have students explore how the change of Jazz
musician practices in the Bebop Era forever linked Jazz with protest,
particularly the Civil Rights movement. In small groups, students will be
assigned a jazz work to research. They will create a one-page handout for
their peers, along with giving a low-impact presentation on their findings.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
B3.1 analyze and assess the impact of the study of music on their self-
awareness, their expressive capabilities, their awareness of social
issues, and their understanding of others
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
150 minutes
Teaching Have Duke Ellington Jack the Bear and Mario 10
objective 1: Bauza El Manicero playing as students enter minute
Refresh No instruments at this time s
Review content from yesterday
Teaching Students will be divided into heterogeneous groups. 90
objective 2: They will select a genre (first come first served) and minute
Student complete research to the same degree as modeled s
Inquiry by instructor yesterday. Students will generate a
B1.3, B1.4, one-page handout of their findings to share with
B2.1, B2.2, their peers. Also, they will give a low impact
B2.3, B3.1 presentation about the information and their song
C2.1, C2.2 selections.
Success Criteria:
When was this chart composed? Which era of jazz
does it belong to?
When did it become linked to social justice and
protest?
Who was the composer/arranger? Who made it
famous
Which artist is linked to the chart as protest?
Who was listening to the chart?
Where was the chart performed?
Provide specific examines as to how the chart tells
about its associated social justice issue. (i.e. what
are the lyrics, instrumentation etc.) OR why its
creation is associated with social justice and
protest
Select one recording to share with the class that
you feel highlights its strengths.
Chart options:
Louis Armstrong 1929: (What Did I Do To Be So) Black
and Blue?
https://www.youtube.com/watch?v=2LDPUfbXRLM
-Played for White Audiences but sang racially charged
songs.
Benny Goodman 1934: Lets Dance
https://www.youtube.com/watch?v=M7HYVow1kHQ
-First to hire an A.A musician to be part of his
ensemble.
-This performance arrangement by Fletcher
Henderson, a prominent A.A bandleader.
Ellington: https://www.youtube.com/watch?v=xJafglIOymw
Bauza: https://www.youtube.com/watch?v=fmVKWnUdW4o
Lesson 6:
Classes: 1
Overview:
This class will act as wrap up for the unit. This class will focus on
performance, both large group and small combo. Transcription assignments
are due. Students can volunteer to share their transcription video with the
class. If the class has access to the solo transcription charts, they will
perform those works.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
75 minutes
Teaching Have Lambert, Hendricks and Ross Cloudburst 10
objective 1: and Billy Strayhorn Blood Count playing as minute
Refresh students enter s
Review content from yesterday
Teaching Instruments 30
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale, major scales, major 7th chords, s
A3.1, C1.1 th
ii-V-1, mixolydian and dominant 7 chords.
Large
ensemble Warm up with method book standards incorporating
collective and call and response soloing.
Transcription Assignment:
Students will research a jazz musician of their instrument. They will select
one solo from this musician and transcribe it for their playing. The solo must
be in one of the styles we examined in class. The goal of this activity is to
expose students to artists of their instrument, develop aural skills, and show
real world application of improvisation techniques explored in class.
Both the notation and performance will be evaluated. The performance can
be solo or performed with a backing track.
Timeline:
Class 2: introduce transcription assignment
Class 3-4: independent work time. Teacher provides solos as necessary for
identified students in need of accommodation.
Class 5: formative assessment check-in
Class 7: project due
Artist:
Name: Instrument:
Solo Selected:
Artist:
Reflect on your process to of writing the
transcription. Identify two aspects in your practice
that were successful and two that need
improvement.