Secondary Unit - Marcel Williams

“Even When He Is Silent”
Kim Andre Arnesen

Walton Music - GIA
Publications
11th-12th Grade
Marcel Williams
Music 670 - Secondary Unit 
MUSIC 670 !1
Secondary Unit Plan 3
Score Analysis 5
Concept Lessons 9
Assessment 19
Warm-up Strategies 25
Resources 26
Student Guide 28
Assessments 32
MUSIC 670 !2
Secondary Unit Plan
“Even When He Is Silent”
Arr. by Kim Andre Arnesen
Difficulty: Moderate-Advanced
Publisher: Walton Music
About The Composer:

Kim André Arneson grew up in Trondheim, Norway, and began his career at the music
school at the age of six playing the piano. At age ten, he started singing in the Nidaros Cathedral
Boys’ Choir. He was later educated at the Music Conservatory in Trondheim.
As a Composer, he had his first performance in 1999 with the Boys’ Choir. Since then, He
has written music that has been performed by choirs all around the world. Arnesen is an elected
member of the Norwegian Society of Composers. In 2010, his first large-scale work, Magnificat,
was commissioned and premiered by the Nidaros Cathedral Girls’ Choir. The premiere got
overwhelming feedback and led to several new commissions. The Magnificat was released on CD
in 2014 on the record label 2L. In 2011, Arnesen’s choral piece “Even When He Is Silent” had its
premiere during the St. Olav Festival in Trondheim. The piece was commissioned by he festival,
and since its premiere has been performed numerous times around the world.
Learning Goals and Instructional Objectives:

Students will sing in an 8-part divisi and develop a greater sense of independence within their
sections.
Students will explore the concept of balance.
Students will read the “About” section and explore the historical context of the poem.
Students will write in the solfeggi for their own part with limited guidance from the instructor.
Students will discuss the historical context of the piece and speculate why the composer made
certain musical decisions.
Students will speak the rhythm of “Even When He Is Silent” with 3 mistakes or less.
Students will “count-sing” “Even When He Is Silent” with 3 mistakes or less.
Students will explore the harmonic structure of a specific excerpt from the piece through
digital music software.
MUSIC 670 !3
National Standards:
MU:Pr6.1.E.IIa Demonstrate mastery of the technical demands and an understanding of
expressive qualities of the music in prepared and improvised performances of a varied
repertoire representing diverse cultures, styles, genres, and historical periods.
MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.
MU:Re7.2.E.IIIa Demonstrate and justify how the analysis of structures, contexts, and
performance decisions inform the response to music.
MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, (when
appropriate) the setting of the text, and personal research.
MU:Cr2.1.E.Ia Preserve draft compositions and improvisations through standard notation and
audio recording.
Identify expressive qualities in a varied repertoire of music that can be demonstrated through
prepared and improvised performances.
MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire of
music, and evaluate their success using feedback from ensemble peers and other sources to
refine performances.
MU:Cr1.1.T.Ia Generate melodic, rhythmic, and harmonic ideas for compositions or
improvisations using digital tools. 
MUSIC 670 !4
Score Analysis
Melodic & Harmonic
This piece keeps most of the melodic phrases within the soprano line. The lower three voices
however, are equally as important. The composer would often use the sopranos to demonstrate
the part of the soul that is experiencing the circumstances around them within the horrors of
the concentration camp (see historical context) while using the other three parts or sometimes even
two harmonically to demonstrate the part of the soul that is recalling the foundations of their
beliefs. There is much imagery within the metaphors within the text as well as the harmonic
structure of the chords being sung. Many of the chords include the 9th degree so as to leave
the sound feeling as if it is yet to resolve. The individual voice is not as significant here as
harmony is the core foundation of this piece.
Rhythmic
Rhythmically this piece offers few challenges. The range of notes include eighth, quarter, half,
whole, with limited occurrences of dotted rhythms. Altogether the most difficult part of this
piece is that the ensemble must break the bar-lines and leave the meter at times. We cannot be
ruled by a tempo so students must learn the many visual cues that come from watching a
conductor. We must learn to breathe as one voice and watch the end of our phrases.
Some challenges include: 
-Breathing together at the beginning of phrases. 
-Ending phrases together. 
-Aligning our consonants especially if they are percussive or end with an ’s’. 
-Staying aligned with the conductor as they break the meter in specific places.
There are many areas of dynamic contrast within this piece but they all occur fairly quickly
and are always leading us into a new area of contrast. The difficulty here will be making sure
all sections change their dynamics at the same speed so as to arrive (crescendo) and part
(decrescendo) at the same time.
MUSIC 670 !5
Form
ABA 
Measures Qualities/Texture Most important part
mm. 1-10 Equally balanced. All parts 

One voice mm. 7 (Sopranos)
Text emphasis is “I believe in the
sun, even when its not shining.” At
this point the author is stating
mostly facts as if to convince
himself of what he is truly trying
to believe. He is tying the hope to
fact.
mm.11-13 Duet Soprano, Altos
mm. 13-15 Duet Tenor, Basses
mm. 15-22 (beat 2) Lower 3 parts are accenting the Sopranos

core belief and expressing that
they have hope while the sopranos
are the ones going through the
experience and growing weary
through the “suspensions”
mm. 22-26 New concept of believing in love All parts
in correlation to the sun. The
author will later describe love
being there even when they don’t
feel it.
mm. 26-28 Short duet Tenors, Basses

Bases and tenor 2s remain
incredibly stable while tenor 1s
move.
mm. 29 Quick alignment before we move All parts

back to only the foundation of
lower parts which is then echoed
by the Sops and Altos with some
manipulation.
mm. 30-37 Parts echo eachother Tenors and Basses with the
Sopranos and Altos echoing.
mm. 37-41 With more strength all parts sing All parts
“I believe in love, even when I
don’t see it” as if they are
reminded of the hope that comes
from this belief and knowing it
exists.
The triplets express either a hint
of instability or rather a push to
stability of rhythm.
Symbolizes the author fighting.
MUSIC 670 !6
mm. 41-45 At this point the author was Sopranos and Altos
fighting for what they believe in Tenors and Basses Align on beats 1
but is being stripped down by and 3
whatever force is coming against
them. The result comes in the
following measures.
mm. 46-57 This is the point where the author Sopranos

has been stripped of everything
except his core belief. Nothing else
remains but this last belief that
cannot be taken away even though
everything else has been taken
away from them. That belief is
sung as “I believe in God, even
when He is silent.”
mm. 58-66 Most important excerpt to All Parts (Soprano)
balance. Be considerate that the
soprano part is evident but blends
with the whole chord. The part
should come through naturally
since it is harmonically the highest
in pitch at this point.
At this point in the song we
imagine that the author of the
text has seen the worst of their
experience but is refusing to give
up their core belief that they
believe even when they can’t hear
God.
Timbre & Texture

SATB divisi
Homophonic
Warm, “with hope”, slow, pleading, softly.
Text
I believe in the sun even when it’s not shining. 
I believe in love even when I feel it not. 
I believe in God even when He is silent.
The text was found written on a wall at a concentration camp after world war II. Imagining what that person
went through makes the words so powerful. As I read them, it was a Credo—when everything is dark and difficult
in life you might wonder where God is, or if God is there at all. This is about keeping faith in God, love and hope.
MUSIC 670 !7
I think of the sun as a metaphor for hope. Even without thinking of metaphors, the text was a deep meaning. Even
if people take away your freedom, your friends, the people you love - they cannot take God away from you.
Historical/Cultural Analysis
The text was found written on a wall at a concentration camp after world war II.
Imagining what that person went through makes the words so powerful. As I read them, it was a
Credo—when everything is dark and difficult in life you might wonder where God is, or if God is
there at all. This is about keeping faith in God, love and hope. I think of the sun as a metaphor
for hope. Even without thinking of metaphors, the text was a deep meaning. Even if people take
away your freedom, your friends, the people you love - they cannot take God away from you.
The term concentration camp refers to a camp in which people are detained or confined,
usually under harsh conditions and without regard to legal norms of arrest and imprisonment
that are acceptable in a constitutional democracy.
World War II: Sep. 1, 1939 - Sep. 2, 1945 
MUSIC 670 !8
Concept Lessons
Lesson 1 - History Introduction
Standards Being Addressed:
Materials of Instruction: KWL Charts, laptop, projector, audio.
Entry Activity/Transition: Welcome student’s into the room with the music playing “Even When
He Is Silent”.
Activity #1 Objective: Students will identify at least five or more concepts in the “learned”
section of their KWL chart.
1. Students will enter the room and the teacher will hand them a KWL chart.
2. As students are entering they will be listening to a recording of Even When He Is Silent.
3. Teacher will hand students KWL chart and instruct them to fill out what they “Know” and
what they “Want” to know sections.
4. Proceed to play historical videos from resources section.
4.1.https://youtu.be/_O4Lf9qyuFo (Short overview)
4.2.https://youtu.be/449ZOWbUkf0 (Drone over Auschwitz)
4.3.https://youtu.be/5PwPAGwUqNg (WWII Veteran recalls liberation)
4.4.https://www.theguardian.com/world/2015/jan/27/auschwitz-short-history-liberation-
concentration-camp-holocaust (A short history of Auschwitz)
5. During this time students are filling out the “Learned” section of the KWL.
6. Have students alternate reading the paragraphs included in the score by the composer that
refer to the historical context of the text.
Assessment:
MUSIC 670 !9
Students will fill out and turn in KWL chart.
Short discussion on their thoughts as they were given historical context.
Transition/Closure:
End class by playing the song sung by the St. Olaf Choir as the students pack up and prepare
to leave.
MUSIC 670 !10

Name _______________________________________________ Date ______________________
KWL Chart
Before you begin your research, list details in the first two columns. Fill in the last column
after completing your research.
Topic
What I Know What I Want to Know What I Learned
Copyright © Houghton Mifflin Company. All Rights Reserved.
MUSIC 670 !11

Lesson 2 - Sectional Solfege/Solfege Recordings
audio recording.
Identify expressive qualities in a varied repertoire of music that can be demonstrated through
prepared and improvised performances.
MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire of
music, and evaluate their success using feedback from ensemble peers and other sources to
refine performances.
improvisations using digital tools.
Materials of Instruction: Sheet music, white board, markers, solfege completed, recording
devices, pencils.
Entry Activity/Transition: Warmups based around solfege exercises. Most technical warmup will
be centered on the key of Even When He Is Silent.
Activity #1
Objective #1: Students will solfege their part in a group sectional using peer assistance with
limited guidance from the instructor and less than three mistakes.
1. Teacher will lead students through several solfege warm-up activities.
2. Teacher will display a few sight-reading examples on the board in the key of A minor and as
a class students will sing with fewer than three mistakes.
Objective #2: Students will record themselves as a section singing from mm. 1 - mm. 10 on
solfege using recording devices.
Objective #3: Students will listen to another sections recording assigned by the instructor
and offer constructive peer feedback.
1. As students provide feedback the instructor will guide the discussion to promote accurate and
positive feedback.
2. Each section will pick one thing they want to improve on, write it on a notecard and turn it
in.
MUSIC 670 !12

3. Perform mm.1-10 as an ensemble. RECORD ENSEMBLE DISCRETELY
Assessment: Students will turn in their notecard and their music for the instructor to check
solfege.
Transition/Closure: Good work today everybody! I’m excited for us to dive into the rest of this
piece together!
MUSIC 670 !13

Lesson 3 - Harmonic Balance and Intonation
Materials of Instruction: Piano, scrap paper, pencil
Entry Activity/Transition: Chord warm up
Activity #1 Objective: Students will analyze chord structures for measures 20-26 and
justify how to balance the chord they are on.
1. Students and instructor will identify the chord.
2. Ask students what notes are most important.
3. Have them sing through the chord (sustained)
4. Ask how the balance felt and help lead the in the right direction.
5. Make a rubric with students for grading balanced chords
6. Split students up into octets
7. Perform for eachother
8. Peer assessment using rubric
Assessment: Peer assessment through rubric. Turn into instructor.
Transition/Closure: Excellent. Next we will begin to focus on adding more musicality!
MUSIC 670 !14

Lesson 4 - Poetic and Harmonic Elements
audio recording.
Materials of Instruction: Piano, music
Entry Activity/Transition:
Activity #1 Objective: Students will demonstrate and justify how the analysis of structures,
contexts, and performance decisions inform their response to the music.
1. Sing through the section “I believe in the sun” and analyze certain sections where there are
dissonances and harmonic resolutions.
2. Sing through the section “I believe in love”. Analyze and have students speculate on why the
composer made certain musical decisions based on what they know about the historical
context. Pay special attention to mm.20-26.
3. Sing through the final section “I believe in God even when He is silent”.
4. Have students sing this last section again but do not conduct them. Have them make their
own musical decisions as an ensemble. (Circle up and encourage eye contact)
5. Next have the students raise their hand as they justify their performance decision and how
they were informed to make that decision.
MUSIC 670 !15

Assessment: Verbal assessment through dialogue with students as instructor assesses their ability
to justify their decisions.
Transition/Closure: Good work. Tomorrow we are going to be working together in small groups. 
MUSIC 670 !16

Lesson 5 - Small Ensemble Recordings
audio recording.
improvisations using digital tools.
Materials of Instruction: Piano, recording devices, music, list of groups
Entry Activity/Transition: Break into your groups around the room. Class warms up in rounds
of solfege and chord balancing.
Activity #1 Objective: Students will use recording software (i.e. GarageBand) to record
themselves performing in a small ensemble.
1. Assign each student to a group.
2. Groups of 2-3 per part.
3. Rehearse all together as a choir but have small ensembles stand together and circle up.
4. Leave the last 30 minutes of class for the small ensembles to use to record their run-throughs
of the piece.
5. Students will turn in recordings to you (one per group).
6. Next class period you will play all small ensembles anonymously for the class and students will
write down which group best emulates the sound we want to pursue as an ensemble.
MUSIC 670 !17

7. The instructor will then assess all group recordings on their own time and use to assess
ensemble needs and progression thus far.
Assessment: Using GarageBand each small ensemble will turn in a recording of their group
singing through “Even When He Is Silent”.
Transition/Closure: Good work today. 
MUSIC 670 !18

Assessment 
MUSIC 670 !19

Name _______________________________________________ Date ______________________
KWL Chart
Topic
MUSIC 670 !20

Peer Evaluation - SECTIONAL RECORDINGS
Name:___________________________
Date:____________________________
INSTRUCTIONS:
Answer the following questions with approximately 3-5 sentences. Turn in at the
end of class.
1. What was one thing you felt the section you listened to did well?
2. What is one thing this section could improve on?
3. What differences did you notice when you compare their part to yours? Were
there any similarities? 
MUSIC 670 !21

Peer Evaluation - ENSEMBLE RECORDING
Name:___________________________
Date:____________________________
INSTRUCTIONS:
end of class.
1. What was one thing you felt we did well as an ensemble?
2. What is one thing that we could improve on as an ensemble?
3. What differences did you notice when you listened to the recording vs. what you
may have heard during the live performance. 
MUSIC 670 !22

Reflection Sheet - Garage Band - SMALL ENSEMBLES
Name:___________________________
Date:____________________________
INSTRUCTIONS:
end of class.
1. What was different about performing as a small ensemble? What adjustments

did you have to make if any?
2. What is one thing you could take from the small ensemble experience and bring
into your larger ensemble experience.
3. What did you enjoy about about performing in a small ensemble? What did you
dislike? 
MUSIC 670 !23

Lesson 3 1 2 3
Balance Students sing with no Conscious decision to Chord is balanced well

reference to balancing the balance chord but the with the doubled note not
chord. wrong notes are quite as prominent as the
emphasized. 7th or 9th.
MUSIC 670 !24

Warm-up Strategies
Do 
Do, Re, Do 
Do, Re, Mi, Re, Do 
etc… 
This warmup could be used as a round between either sections, rows, or individually.
Chord Balancing 
All sections sustain on one note of a chord as we try to lock in our tuning and intonation.
Instructor will have sections move by semitones or whole steps when cued.
Missing Scale 
Use this warmup by having students sing up the scale just like they do in the first warm up
listed above but have them leave out certain notes such as Mi and Sol. This creates a lot of
mental engagement and doesn’t allow very much “auto pilot”
i - iv - V 
Students will pick a note within one of these chords and sustain it or pulse a beat with the
conductors hands. When cued they will switch to another note of the chord as signaled by the
conductor. 
MUSIC 670 !25

Resources
Glossary
Dynamics:
Piano:
Forte:
Mezzo-forte:
Crescendo:
Decrescendo:
2/4:
3/4:
Poco rit.:
A tempo:
Meno mosso:
Recordings
https://youtu.be/hYwYMngq4II (St. Olaf Choir)
https://youtu.be/b6O14aXbK2Y (Highpoint University Chamber Choir)
Videos
https://youtu.be/_O4Lf9qyuFo (Short overview)
https://youtu.be/449ZOWbUkf0 (Drone over Auschwitz)
https://youtu.be/5PwPAGwUqNg (WWII Veteran recalls liberation)
https://www.theguardian.com/world/2015/jan/27/auschwitz-short-history-liberation-
concentration-camp-holocaust (A short history of Auschwitz)
Online Resources
https://www.kimarnesen.com 
MUSIC 670 !26

Student
Guide 
MUSIC 670 !27

Student Guide
Learning goals:
Students will sing in an 8-part divisi and develop a greater sense of independence within their
sections.
Students will explore the concept of balance.
Students will read the “About” section and explore the historical context of the poem.
Students will write in the solfeggi for their own part with limited guidance from the instructor.
Students will discuss the historical context of the piece and speculate why the composer made
certain musical decisions.
Students will speak the rhythm of “Even When He Is Silent” with 3 mistakes or less.
Students will “count-sing” “Even When He Is Silent” with 3 mistakes or less.
Students will explore the harmonic structure of a specific excerpt from the piece through
digital music software.
Instructional guidance and activities for:

Historical/Cultural Analysis
The text was found written on a wall at a concentration camp after world war II.
Imagining what that person went through makes the words so powerful. As I read them, it was a
Credo—when everything is dark and difficult in life you might wonder where God is, or if God is
there at all. This is about keeping faith in God, love and hope. I think of the sun as a metaphor
for hope. Even without thinking of metaphors, the text was a deep meaning. Even if people take
away your freedom, your friends, the people you love - they cannot take God away from you.
The term concentration camp refers to a camp in which people are detained or confined,
usually under harsh conditions and without regard to legal norms of arrest and imprisonment
that are acceptable in a constitutional democracy.
World War II: Sep. 1, 1939 - Sep. 2, 1945
MUSIC 670 !28

Text
The text was found written on a wall at a concentration camp after world war II. Imagining what that person
went through makes the words so powerful. As I read them, it was a Credo—when everything is dark and difficult
in life you might wonder where God is, or if God is there at all. This is about keeping faith in God, love and hope.
I think of the sun as a metaphor for hope. Even without thinking of metaphors, the text was a deep meaning. Even
if people take away your freedom, your friends, the people you love - they cannot take God away from you.
Rhythm: Expose rhythmic challenges making connection to the concepts in common with visual
arts and/or other disciplines.
Melodic & Harmonic

This piece keeps most of the melodic phrases within the soprano line. The lower three voices
however, are equally as important. The composer would often use the sopranos to demonstrate
the part of the soul that is experiencing the circumstances around them within the horrors of
the concentration camp (see historical context) while using the other three parts or sometimes even
two harmonically to demonstrate the part of the soul that is recalling the foundations of their
beliefs. There is much imagery within the metaphors within the text as well as the harmonic
structure of the chords being sung. Many of the chords include the 9th degree so as to leave
the sound feeling as if it is yet to resolve. The individual voice is not as significant here as
harmony is the core foundation of this piece.
Rhythmic
Rhythmically this piece offers few challenges. The range of notes include eighth, quarter, half,
whole, with limited occurrences of dotted rhythms. Altogether the most difficult part of this
piece is that the ensemble must break the bar-lines and leave the meter at times. We cannot be
ruled by a tempo so students must learn the many visual cues that come from watching a
conductor. We must learn to breathe as one voice and watch the end of our phrases.
Some challenges include: 
-Breathing together at the beginning of phrases. 
-Ending phrases together. 
-Aligning our consonants especially if they are percussive or end with an ’s’. 
-Staying aligned with the conductor as they break the meter in specific places.
MUSIC 670 !29

There are many areas of dynamic contrast within this piece but they all occur fairly quickly
and are always leading us into a new area of contrast. The difficulty here will be making sure
all sections change their dynamics at the same speed so as to arrive (crescendo) and part
(decrescendo) at the same time.
Form
ABA 
mm. 1-10 Equally balanced. All parts 

One voice mm. 7 (Sopranos)
Text emphasis is “I believe in the
sun, even when its not shining.” At
this point the author is stating
mostly facts as if to convince
himself of what he is truly trying
to believe. He is tying the hope to
fact.
mm.11-13 Duet Soprano, Altos
mm. 13-15 Duet Tenor, Basses
mm. 15-22 (beat 2) Lower 3 parts are accenting the Sopranos

core belief and expressing that
they have hope while the sopranos
are the ones going through the
experience and growing weary
through the “suspensions”
mm. 22-26 New concept of believing in love All parts
in correlation to the sun. The
author will later describe love
being there even when they don’t
feel it.
mm. 26-28 Short duet Tenors, Basses

Bases and tenor 2s remain
incredibly stable while tenor 1s
move.
mm. 29 Quick alignment before we move All parts

back to only the foundation of
lower parts which is then echoed
by the Sops and Altos with some
manipulation.
mm. 30-37 Parts echo eachother Tenors and Basses with the
Sopranos and Altos echoing.
MUSIC 670 !30

mm. 37-41 With more strength all parts sing All parts
“I believe in love, even when I
don’t see it” as if they are
reminded of the hope that comes
from this belief and knowing it
exists.
The triplets express either a hint
of instability or rather a push to
stability of rhythm.
Symbolizes the author fighting.
mm. 41-45 At this point the author was Sopranos and Altos
fighting for what they believe in Tenors and Basses Align on beats 1
but is being stripped down by and 3
whatever force is coming against
them. The result comes in the
following measures.
mm. 46-57 This is the point where the author Sopranos
has been stripped of everything
except his core belief. Nothing else
remains but this last belief that
cannot be taken away even though
everything else has been taken
away from them. That belief is
sung as “I believe in God, even
when He is silent.”
mm. 58-66 Most important excerpt to All Parts (Soprano)

balance. Be considerate that the
soprano part is evident but blends
with the whole chord. The part
should come through naturally
since it is harmonically the highest
in pitch at this point.
At this point in the song we
imagine that the author of the
text has seen the worst of their
experience but is refusing to give
up their core belief that they
believe even when they can’t hear
God.
Timbre & Texture

SATB divisi
Homophonic
Warm, “with hope”, slow, pleading, softly. 
MUSIC 670 !31

Assessments 
MUSIC 670 !32

Peer Evaluation - SECTIONAL RECORDINGS
Name:___________________________
Date:____________________________
INSTRUCTIONS:
end of class.
1. What was one thing you felt the section you listened to did well?
2. What is one thing this section could improve on?
3. What differences did you notice when you compare their part to yours? Were
there any similarities? 
MUSIC 670 !33

Peer Evaluation - ENSEMBLE RECORDING
Name:___________________________
Date:____________________________
INSTRUCTIONS:
end of class.
1. What was one thing you felt we did well as an ensemble?
2. What is one thing that we could improve on as an ensemble?
3. What differences did you notice when you listened to the recording vs. what you
may have heard during the live performance. 
MUSIC 670 !34

Name _______________________________________________ Date ______________________
KWL Chart
Topic
MUSIC 670 !35

Reflection Sheet - Garage Band - SMALL ENSEMBLES
Name:___________________________
Date:____________________________
INSTRUCTIONS:
end of class.
1. What was different about performing as a small ensemble? What adjustments

did you have to make if any?
2. What is one thing you could take from the small ensemble experience and bring
into your larger ensemble experience.
3. What did you enjoy about about performing in a small ensemble? What did you
dislike? 
MUSIC 670 !36

Lesson 3 1 2 3
Balance Students sing with no Conscious decision to Chord is balanced well

reference to balancing the balance chord but the with the doubled note not
chord. wrong notes are quite as prominent as the
emphasized. 7th or 9th.
MUSIC 670 !37

Glossary
Dynamics:
Piano:
Forte:
Mezzo-forte:
Crescendo:
Decrescendo:
2/4:
3/4:
Poco rit.:
A tempo:
Meno mosso:
MUSIC 670 !38

Secondary Unit - Marcel Williams

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Secondary Unit - Marcel Williams

Uploaded by

Copyright:

Available Formats

“Even When He Is Silent”

Kim Andre Arnesen

About The Composer:

Learning Goals and Instructional Objectives:

mm. 1-10 Equally balanced. All parts

mm.11-13 Duet Soprano, Altos

mm. 13-15 Duet Tenor, Basses

mm. 15-22 (beat 2) Lower 3 parts are accenting the Sopranos

mm. 26-28 Short duet Tenors, Basses

mm. 29 Quick alignment before we move All parts

mm. 46-57 This is the point where the author Sopranos

Timbre & Texture

Materials of Instruction: KWL Charts, laptop, projector, audio.

MUSIC 670 !10

What I Know What I Want to Know What I Learned

Copyright © Houghton Mifflin Company. All Rights Reserved.

MUSIC 670 !11

MUSIC 670 !12

MUSIC 670 !13

Materials of Instruction: Piano, scrap paper, pencil

Entry Activity/Transition: Chord warm up

Transition/Closure: Excellent. Next we will begin to focus on adding more musicality!

MUSIC 670 !14

Materials of Instruction: Piano, music

MUSIC 670 !15

MUSIC 670 !16

Materials of Instruction: Piano, recording devices, music, list of groups

MUSIC 670 !17

Transition/Closure: Good work today.

MUSIC 670 !18

MUSIC 670 !19

What I Know What I Want to Know What I Learned

Copyright © Houghton Mifflin Company. All Rights Reserved.

MUSIC 670 !20

2. What is one thing this section could improve on?

MUSIC 670 !21

1. What was one thing you felt we did well as an ensemble?

2. What is one thing that we could improve on as an ensemble?

MUSIC 670 !22

1. What was different about performing as a small ensemble? What adjustments

MUSIC 670 !23

Balance Students sing with no Conscious decision to Chord is balanced well

MUSIC 670 !24

MUSIC 670 !25

MUSIC 670 !26

MUSIC 670 !27

Instructional guidance and activities for:

MUSIC 670 !28

Melodic & Harmonic

MUSIC 670 !29

mm. 1-10 Equally balanced. All parts

mm.11-13 Duet Soprano, Altos

mm. 13-15 Duet Tenor, Basses

mm. 15-22 (beat 2) Lower 3 parts are accenting the Sopranos

mm. 26-28 Short duet Tenors, Basses

mm. 29 Quick alignment before we move All parts

MUSIC 670 !30

mm. 58-66 Most important excerpt to All Parts (Soprano)

Timbre & Texture

MUSIC 670 !31

MUSIC 670 !32

2. What is one thing this section could improve on?

MUSIC 670 !33

mm. 1-10 Equally balanced. All parts 

Transition/Closure: Good work today. 

mm. 1-10 Equally balanced. All parts 