LESSON PLAN

Student Teacher Name: G. Lathrop Date: 12.08.21

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 G, D, E, A and B 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 sharps.
- By the end of this lesson, S will have sung a level 3 sight reading in a sharp 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: Review

- T brings S attention to the projection screen. T is to project slide deck (materials) and
start on the second title slide
Review:
- S are asked ‘How do we remember the order of flats?’ If S know the answer, they are
to raise their hand. If they know the answer and would like to say it for the class, they
are to keep their hand raised. (S should answer BEADGCF and T reveals answer on
slide)
- S are asked ‘What flat tells us the key?’ and are given three options as the answer. S
are to answer holding up the number of fingers that corresponds with what they think is
the correct answer. (S should hold up 3 fingers)
- T explains why each of these answers are the correct answers.
Learning Opportunities/Procedure:

- Yesterday we talked about flat key signatures. Now we’re moving onto sharps in the
key signature. Look at the order of sharps. Does it look familiar? (S should note that
the order of sharps is the same as the order of flats, just reversed) T explains order of
sharps in key signatures: FCGDAEB or Father Charles Goes Down And Ends Battle
‘When sharps 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.

- Yesterday we discussed how we have to memorize that one flat in the key signature is
the key of F. Good news, we don’t have to memorize one sharp in the key signature,
because our trick for sharps works with any key. T explains that to find the key, you
move a half step, or one note letter name up from the final sharp. T demonstrates with
the key of G. T has S count up to the last line (F) which the sharp is on and reminds S
that the musical alphabet is A-G so the note after F has to be G and G is the key. This
process is repeated with D major.

- T projects key of A major. Which line or space is the last sharp on/in? (G) If our
alphabet starts over at A after we reach G, what is the key? (A) Correct, one note
above G where our last sharp is would bring us to A, so A is the key. T repeats this
process once more with the key of E.

Closing Activity: Sight Reading Factory

- T projects a Sight-Reading Factory exercise (level 3) in D major.

- Take a look at the key signature. We have two sharps, and to find the key we need to go
one note up from the last sharp. Think about it. T gives S 10 seconds to think about
what the key will be then has them say it out loud as a class (D)

- T plays D Major 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 3.1: Activate or supply background knowledge. (T will
remind S that they already know the BEADGCF concept from yesterday’s lesson, it is simply
reversed now.)
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 sharp 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