LESSON PLAN

Student Teacher Name: G. Lathrop Date: 12.07.21

Lesson Topic and Grade: Women’s Chorale; Period 5
PA Academic Standards (Benchmarks/Indicators) or National Standards of Music
addressed
MU:Cr1.1.E.5a Compose and improvise melodic and rhythmic ideas or motives that reflect
characteristic(s) of music or text(s) studied in rehearsal.
MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music.
Instructional Objectives:
- By the end of this lesson, S will be able to identify the keys of F, Bb, Eb, Ab and Db
major when given the key signature on the treble clef staff.
- By the end of this lesson, S will be able to say the order of flats.
- By the end of this lesson, S will have sung a level 1 sight reading in a flat key with
dynamics determined by the class.
Materials:
- Projector and projector screen
- Piano
- Slideshow:
https://docs.google.com/presentation/d/1_AParWJQ5nHqYo4wTWm9Akx1l48dvriW
WPPdDYNDcJk/edit?usp=sharing

Opening/Introduction Activity
Warm Ups:
- T leads choir in stretches
- T leads S in 5 note lip trills
- T leads S in 3 note humming patterns
- T sings ‘Zinga a mama’ for S, S sing exercise while T plays on piano
- S sing ‘I Love to Sing’ on a major arpeggio while T plays on piano
- T sings solfege scale for S. S sing a solfege scale with hand signs.

Learning Opportunities/Procedure:

- T brings S attention to the projection screen and has the class sit on the risers. T is to
project slide deck (materials)
 - ‘Last week we started talking about key signatures and how to determine which note is
do. Before we dive further into this, let’s review.’ T points at the lines and spaces of the
staff (treble clef) and S are to call out which note corresponds with each line/space.
What were some of the sentences we had used to remember the lines? (S should call
out ‘Every Good Boy Deserves Fudge’ or ‘Every Good Burger Deserves Fries’) And
the spaces? (Face in Space)

- ‘A Key Signature alters designated pitches to keep our scale and intervals sounding the
same even if do changes. Know that the letter name of each line and space will always
stay the same, it may just be altered by a flat or sharp depending on the key signature.’

- T explains order of flat key signatures: BEADGCF or Battle Ends And Down Goes
Charles Father ‘When flats are written on the staff, they are always written in this
order.’ T writes the flats in order, asking S to say where each one will go according to
the next letter name in the order of flats in relation to lines/spaces on the staff.

- One flat in the key signature is the key of F. Flat starts with F, and there is only one of
them. The Key of F always has 1 flat. Without the B flat, the F major scale does not
sound correct. (T plays the F major scale with b natural and then again with b flat)

- Once we have more than one flat in the key signature, we can use our second to last
flat method that we discussed last week. T shows key of Bb key signature on screen. T
explains that according to the order of flats, the second to last flat is B, making it the
key of B flat. T elaborates that it cannot be the key of B because there is a flat on the
3rd line. This method is repeated with the key of Eb major.

- T projects key of Ab major. Which line or space is the second to last flat on/in? (A) T
asks S to shout out the key if the last flat is in the A space (A flat). T reminds S that the
key must be A flat because there is a flat in the A space. This is repeated with the key
of Db major as well

Closing Activity: Sight Reading Factory

- T projects a Sight-Reading Factory exercise (level 1) in E flat major.

- Which space is the second to last flat in? T helps S count to E in ‘Face’ (S should
answer E) Because there is a flat in the E space and we know that the second to last
 flat is the key, we are in the key of E flat. If we are in the key of E flat, what note is do?
(E flat)

- T plays E flat scale for S and sings solfege patterns for them to repeat to establish the
key.

- T points at each note on the screen and S sing the correct solfege, not in rhythm

Performing
- T has S intern clap steady beat while T points to the notes on the screen in time. S are
to be singing the sight-reading exercise on solfege with hand signs.
Creating
- Let’s add some dynamics to this exercise, singing only the last line. Should we start the
last line forte or piano? Raise hands for forte (S raise hands) Raise hands for piano (S
raise hands) (The most hands raised determines which dynamic level to start the last
line at)

- T asks S if a diminuendo or crescendo should be added and where. S and T determine

ending dynamic level by raising hands.

- S sing through the last line of the exercise with dynamics as they have determined. S
should still be singing with hand signs. S intern will maintain clapping the steady beat.
Specific Differentiation Strategies:
Universal Design for Learning 8.1: Heighten salience of goals and objectives. (T will
explain that learning key signatures will help the class succeed with their daily sight reading
prompts)
Universal Design for Learning 3.1: Activate or supply background knowledge. (T will
remind S that they already know the ‘face in space’ and ‘every good boy does fine’ concepts
and that they were reviewed last week.
Universal Design for Learning 9.3: Develop self-assessment and reflection. (S are to show
how comfortable with the new material of today’s lesson on their fingers. See Assessment
below)
Assessment:
Assessing
Informal: T has S close their eyes after the lesson and respond to the question How
comfortable are you with finding the key of a flat key signature? S are to show on their fingers
their response:
1. Not at all
2. I could use a little more practice
3. I’m very comfortable
T is to take note of which students said 1