“Fanfare for a Celebration”

Summary/Overview:

This lesson is for students that are beginning to apply a basic understanding of music such as
different rhythms and scalar patterns to reading sheet music. This lesson plan is designed for
7th-8th grade band students, or students that have one to two years of experience on their
instrument. The students also will have an understanding of rhythm and meter, and knowledge
of their Bb major scale. This lesson is structured to allow students to begin to become
comfortable in the music reading and rehearsal setting. The learning process will function for all
student’s needs so that students are able to be as successful as possible in the learning
environment. The purpose is for students to apply their music knowledge to reading music on
the page, and explore deeper into the music. As the teacher I will help guide students when they
need it so that they are able to have a confident understanding of reading the music.

Objectives:

Students will be able to understand and read the piece “Fanfare for a Celebration.” By the end
of the lesson, students will be able to understand the different rhythms and play them
appropriately in the correct key. Students will begin to develop an understanding of why
composers might include certain things in music and what it might add or contribute to the
music.

Relevant ​Virginia Standards of Learning​:

MII.12​ The student will demonstrate music literacy.

a) Identify, define, and use standard notation for pitch, rhythm, meter, articulation,
dynamics, and other elements of music.
c) Sing independent parts selected from the music being studied.
d) Echo, read, count (using a counting system), and perform rhythms and rhythmic
patterns, including sixteenth notes, eighth-note triplets, dotted eighth notes,
corresponding rests, and syncopations.
e) Identify, read, and perform music in 2/2 (alla breve or cut time) and 6/8 meters.
g) Define and apply music terminology found in the music literature being studied.
MII.13​ The student will identify and demonstrate half-step and whole-step patterns in order to
read, notate, understand and perform scales, key signatures, and/or chords.
a) Wind/percussion student—concert C, F, B-flat, E-flat, A-flat, and G major scales; g
and d minor scales; chromatic scale.
MII.14​ The student will identify, describe, and demonstrate preparatory playing procedures.
a) Demonstrate procedures for care and basic maintenance of the instrument.
b) Demonstrate consistent use of proper playing posture, instrument position, and hand
positions.
 c) Demonstrate procedures for basic tuning of the instrument, with and without an
electronic tuner.
MII.15 ​The student will demonstrate proper instrumental techniques.
a) Adjust intonation while playing.
b) Produce tones that are clear, free of tension, sustained, and unwavering in pitch.
c) Wind student—proper breathing techniques and embouchure; contrasting articulations
(legato, marcato).
e) Percussion student—stick control, appropriate grip, and continued performance of roll,
diddle, flam, and drag rudiments with increasing difficulty; playing techniques on mallet
and auxiliary instruments.
MII.16​ The student will demonstrate musicianship and ensemble skills at an intermediate level.
a) Identify and produce the characteristic sound of the instrument being studied.
b) Blend and balance instrumental timbres.
c) Make adjustments to facilitate correct intonation.
d) Match dynamic levels and playing style.
e) Respond to conducting patterns and gestures.
f) Maintain a steady beat at various tempos in the music literature being studied.
g) Use articulations, dynamic contrasts, and phrasing as means of expression.

Relevant ​National Standards​:

MU:Cr1.1.8a
Generate rhythmic,melodic and harmonic phrases and harmonic accompaniments within
expanded forms (including introductions, transitions, and codas) that convey expressive intent.
MU:Pr4.1.8a
Apply personally developed criteria for selecting music of contrasting styles for a program with a
specific purpose and/or context, and explain expressive qualities, technical challenges, and
reasons for choices.
MU:Pr4.2.8a
Compare the structure of contrasting pieces of music selected for performance, explaining how
the elements of music are used in each.
MU:Pr4.3.7a
Perform contrasting pieces of music demonstrating their interpretations of the elements of music
and expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing)
convey intent.
MU:Pr6.1.7a
Perform the music with technical accuracy and stylistic expression to convey the creator’s intent.

Required Materials and Visual Aids:

Level 1 Rhythm Practice

Procedures:
- Before students enter the classroom, it will be set up with the chairs in an arc shape all
facing the front of the room. This setup allows students to be seated in their playing
positions, as well as see any visual aids.
- When students enter the room they will be asked to get out their instruments and be
seated in their appropriate seat with their instrument. Once seated they will be asked to
either set their instrument down on the floor carefully (if large instrument) or hold in lap (if
small instrument).
- Students will begin with a rhythm exercise using clapping and patting from the materials
included in the lesson plan.
- Students will pick up instruments and complete the same rhythm exercise playing a
concert Bb.
- To incorporate a long tone exercise to help build student’s stamina in preparation for
playing a piece of music, students will play their concert Bb scale in whole notes as an
ensemble focusing on stamina, intonation, and correct embouchure and finger
placement.
- A metronome will be put on quarter equals 112 and students will play their concert Bb
scale in quarter notes to work on correct notes, correct fingerings, and help build
technique.
- Students will now begin working on “Fanfare for a Celebration” going from the beginning
to the downbeat of big measure 11 while focusing on different instrument entrances and
e
- xits while incorporating dynamics, as well as the changes in articulation throughout these
measures.
- Bring up the topic of what instrument should we hear the most of in this section?, And
what instruments should be less present to make the accompaniment in this section?
- Have students play if they think they are the main idea of this section so that students
are aware of who they should be listening for.
- Have students play if they are the accompaniment of this section so they are aware of
the balance.
- Have all students play through this small section now that they are aware of these items
and the significance of their part.
- Looking at big measure 11 to big measure 21 ask students what has changed from the
section that they just played to this new section just by looking at it, and what parts are
now important.
 - Have students play through this section and then ask them what the noticeable
differences were from the last section.
- Talk about the articulation and dynamic changes in this section, as well as who now is
the melody and the accompaniment.
- Have students who now think they are the melody play so that the ensemble is aware of
any differences from the last section, as well as the students.
- Have students who now think they are the accompaniment play so that the ensemble is
aware of any differences from the last section, as well as the students.
- Have all students play this section now that they are aware of the differences.
- Remind students once more of what changes between the main two sections that were
previously rehearsed before playing straight through both sections as a full ensemble.
- After the large run assess students' performance and do it once more if necessary.

Assessment:

Students will be assessed informally in the classroom based on their participation, critical
thinking skills, and performance in class. All students will be expected to participate in
discussions and play to the best of their ability throughout all activities done in class. At the end
of class students will be asked to fill out a short self-reflection document asking how comfortable
they felt with the topics discussed in class and any questions or personal concerns they might
have. This will be turned in for a small in-class assignment grade.

Extensions:

I envision this lesson to continue throughout the year as students continue to learn the piece
and prepare it for a performance setting. I plan to have students dig deeper into the piece and
grow as musicians and performers, as well as build their musical knowledge.

Adaptations:

● Size:
○ Some students might need an enlarged part or score to allow them to be able to
read their music easier or more clearly.
● Color:
○ Some students might need a note color change to allow them to be more
comfortable reading the music.
● Pacing:
○ Some students may need to learn at a different pace than the rest of the class, so
as the teacher I would provide them with any extra help or resources they might
need so they can be as successful as possible in the learning environment.
 ● Modality:
○ Some students might have difficulty being seated or participating in class as as
the teacher I would provide them with any resources to aid their participation in
class.

Winding:

● Back:
○ Winding it back to allow students to have a clear understanding of the notes
before even applying them to the rhythms.
○ Winding it back to make sure students are comfortable with the notes of the scale
that is in the piece before applying this to reading the music.
○ Winding it back and extracting the rhythms from the piece and allowing students
to get comfortable with those before putting notes, articulation, and dynamics
with them.
● Forward:
○ Winding it forward to make students aware of the bigger sections in the piece of
music and what makes it a section in the music.
○ Wind it forward to give students the opportunity to see the bigger of the piece as
a whole.
○ Winding it forward to give students more playing time on the piece rather than
going in small chunks.