Secondary Unit

“Acropolis” Matthew Putnam

6th Grade Beginning Band

Ann Barker
October 27, 2022
 Table of Contents
Teacher’s Guide 2
Unit Goals 2
Score Analysis 4
Lesson One: Articulations 8
Warm Up Strategy One: Articulation Call and Response 8
Activity: Articulation Experimentation 9
Lesson Resources 10
Lesson Two: Natural Minor Scales 11
Warm up: C Minor Call and Response 11
Activity: Minor Scale Identification 12
Lesson Resources 13
Lesson Three: Ancient Greece 15
Warm Up: Board Work- What do you know about Ancient Greece? 15
Activity: Ancient Greek Building Design 16
Lesson Resources 17
Lesson Three: Composition Project 19
Warm Up: C Minor Improvisation 20
Activity: Composition Project 20
Lesson Resources 23
Lesson Five: Practice Strategies 25
Warm Up: Clapping and Counting Rhythms 25
Activity: Identify Practice Strategies 26
Lesson Resources 27
Glossary 29
Acropolis Practice Guide 30

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 Teacher’s Guide

Title: Acropolis
Composer: Matthew Putnam
Publisher: Excelsia Music Publishing
Grade Level: .5

Unit Goals
By the end of this unit students will:

● Understand how to build and play minor scales

● Alter a concert C major scale to create a minor scale with no mistakes
● Compose and perform with 90% accuracy, demonstrating proper tone and posture, an 8
measure melody in concert C minor using at least two different articulations and
dynamics.
● Play both implied and notated musical expressions as an ensemble.
● Play appropriate staccato, marcato, and legato articulations, and know how and when to
employ those articulations.
● Identify the parts of the form and describe them using musical terms in a given piece of
music.
● Identify when they are and are not matching as an ensemble.
● Describe and employ proper posture during rehearsal
● Students will identify problem spots and come up with practice strategies
● Describe and employ proper breathing technique when playing their instrument
● Play “Acropolis” with characteristic tone and fewer than two rhythmic or technical
mistakes.

National Standards:
● 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:Cr2.1.E.5b Preserve draft compositions and improvisations through standard
notation and audio recording.
● MU:Cr3.2.E.5a Share personally-developed melodic and rhythmic ideas or motives –
individually or as an ensemble – that demonstrate understanding of characteristics of
music or texts studied in rehearsal.

2
● MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.
● MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and ensemble
performances of a varied repertoire of music.
● MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be
demonstrated through prepared and improvised performances.
● MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition, similarities,
and contrasts inform the response to music.
● MU:Cn10.0.H.5a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.
● MU:Cn11.0.T.5a Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life.
● MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music.
● MU:Re9.1.E.5a Identify and describe the effect of interest, experience, analysis, and
context on the evaluation of music.

3
 Score Analysis

Composer

Matthew R. Putnam is a choral and band director as well as a composer and arranger from North
Carolina. He currently teaches at Polk Middle School in Mill Springs, North Carolina. He
attended Limestone College in Gaffney, South Carolina. He started writing music for his students
out of need and his works grew in popularity from there. “Acropolis” is one of his best sellers
along with “Storm Warriors.” Putnam most enjoys composing music for younger students and
enjoys the challenge the limitations composing for this age group brings.

Composition

“Acropolis” is about the Acropolis of Athens. The Acropolis is located on top of a hill
overlooking Athens, Greece. It is one of the most famous ancient archeology sites in the world
including the Parthenon. It is a grade .5 and is 2.22 minutes long. The flax band version of this
piece was published in 2021.

Technical Considerations

“Acropolis” is in 4/4 and in concert C minor It starts at 92 bmp and then changes to 140 at
measure 9. The tempo change occurs after a fermata. Acropolis uses a variety of auxiliary
percussion instruments including triangle, clave, wind chimes, shaker, and tambourine, as well as
ride and crash cymbal, bells, timpani, and bass and snare drum. It uses the first six notes of the
Bb major scale and is in c minor for the whole piece. This piece can be used to teach students
about minor and how to create a minor scale. Measure 25 has an optional woodwind-only soli in
part A. This soli section marks a shift in the piece from an intense, driving entrance into the
faster tempo to a softer, more melodic, thinner section at 25. This change can be used to teach
students about articulations and how they contribute to musical expression.
At measure 32 the C and D parts have a tutti and the A and B parts have a separate tutti that is
separate from parts C and D. The parts echo each other and continue the lighter, softer style
established in measure 25. This part may be difficult because it is exposed and includes rests in
the rhythm which hasn’t happened much previously in this piece. This section would be
beneficial to work on with a metronome while encouraging the A, B, C, and D parts to play as
lightly as possible to ensure it doesn’t get too heavy.

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 Stylistic Considerations

The only articulation markings in the score are an accent and a marcato on the last two notes.
However, the style does change significantly throughout the piece and the absence of notated
articulation offers the opportunity for the class to discuss articulations and write in what they
decide on. The style changes from soft and legato in the opening to heavy and marcato in the A
section. The B section features another legato, soft melody, and a light, staccato one followed by
a heavier, more aggressive rendition of this melody.

Melody

The main melodic line is first introduced in measures 1-9 in parts A and C. This melody carries
through until measure 25. Every part plays this melody at some point in the piece. This melody
can be rehearsed in unisons or octaves to match style, tone, and articulation across the ensemble.
In addition, this can help young ensembles learn to match and listen for continuity in style. The
main melody is heavy and marcato; it communicates the power behind the Acropolis. In measure
25, a new melody is introduced in the upper woodwinds. This melody is lyrical, legato, and soft.
This switch in styles offers an opportunity to discuss articulations and how to create or lean into
contrast in music. A third melody is introduced in measure 32. It is a light, staccato
call-and-response melody. This 8-bar melody offers the opportunity to explore a third style in the
piece and to further discuss matching through the call and response between sections. The main
melody returns in measure 49.

Harmony

A countermelody runs throughout the portions of the piece where the main melody is present. It
starts as quarter notes that emphasize the syncopation in the main melody and becomes a
fleshed-out counterline in measure 17. Similar to the main melody, the harmony line is heavy
and marcato. This line can be used to discuss balance and how to locate the most important part.
In measure 12, for example, the main melody has a whole note while the harmony line has a
more rhythmically interesting part. This can help teach a young ensemble how to listen and
balance based on what is happening around them. The harmony line adds contrast to the main
melody which is repeated throughout the piece. Emphasizing when it is and when it is not
present can teach students to notice and lean into contrasts in order to keep a piece interesting.

Rhythm

“Acropolis” contains no rhythm more complex than two eighth notes. The main melody is
syncopated (quarter note half note quarter note). Students can work on playing this rhythm not
only technically correctly but stylistically correctly by circling the syncopation when it appears

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and saying it out loud to get a feel for the emphasis it requires. A fermata is included in this
piece which may be the ensemble’s first experience with this concept. The fermata presents an
opportunity to work on watching the conductor and releasing together. Many of the rhythms in
this piece are longer (whole and half notes) and will need to be held to their full value. Students
can work on this by singing their parts while patting the beat so they can feel when each rhythm
should be released.

Timbre and Texture

As the melody moves around the ensemble and the countermelodies, harmony parts, and
accompaniment change, the timbre and texture of the piece shift. While the melody is repetitive
the constant changes in who is playing and what they are playing keep it interesting and create
opportunities for contrast. One way to emphasize these changes is to have students identify and
label each section with a descriptor or character to remind them of how it varies stylistically from
other statements of the same material.

Form

Measure Section Musical Consideration Tonal

Number Centers:

1-9 Introduc ● Soft opening, slow tempo, parts D and E are c minor
tion independent, i V chord progression

9-17 A ● Faster tempo, much more powerful section than c minor

the opening, same melody and chord progression
different part in parts and D and E that needs to
be present

17-25 A ● Counter melody in parts A and B, the loudest and c minor

thickest part of the piece, some dissonance with
passing tones in the countermelody in parts A and
B

25-32 B ● Big shift, much softer and thinner texture, legato c minor
section, only melody playing

32-41 B ● New melody, very exposed, lighter and more c minor

playful than everything that has come before it, i
V chord progression, syncopation in the
percussion parts

41-49 B ● Thicker texture, more powerful, same melody as c minor

41, syncopation in parts D and E as well as

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 percussion

49-57 A’ ● Original melody returns in the low part, softer c minor

dynamic than what came before it, new and
distinct percussion parts

57-62 A’ ● Original melody and counter melody c minor

63-68 Closing ● Sparse, i V i chord progression c minor

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 Lesson One: Articulations

In this lesson, students will experiment playing the first 25 measures of “Acropolis” with
different articulations to change the way the piece sounds. Because no articulations are notated in
the piece, students will get to come up with their own to write in and include in their
performance. This activity will strengthen students’ knowledge of articulations, when to use
them, and how they impact music, give them an opportunity to be creative in the piece, and allow
them to get multiple repetitions of the music.

Musical Concept Focus: Articulations, musical expression, form

National Standards Addressed:
● MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition, similarities,
and contrasts inform the response to music.
● MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.
● MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be
demonstrated through prepared and improvised performances.

Warm Up Strategy One: Articulation Call and Response

Introduction: “What do you guys know about those words on the board?” (referring to the
columns with each articulation written above it)

Sequence: The teacher will write on the board three articulations in columns; legato, staccato,
and marcato. The students will then describe each articulation and the teacher will write their
descriptions in the column under each articulation. Then, the teacher will play four consecutive
quarter notes starting on a concert C and changing notes between phrases to notes within a
concert C minor scale (the same key as “Acropolis”) with either a legato, staccato, or marcato,
or no articulation. The students will identify which articulation the teacher used based on the
descriptions they provided. After identifying the articulation, students will echo it on their
instruments. When students are comfortably identifying each articulation, individual students
will get to model an articulation for their peers to identify and echo.

Materials: Whiteboard, a basic understanding of articulating on instrument

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Discovery and Transition: “Articulations make a big difference don’t they? Do you think they
can change the way ‘Acropolis’ sounds? Let’s pull it up and try out some different articulations”

Activity: Articulation Experimentation

Lesson Sequence:
● The class will play through the first 25 measures of “Acropolis” first with no articulation,
then with each of the articulations used in the warm up (legato, staccato, marcato). After
each articulation is used, the class will discuss how the use of that articulation changed
the piece.
● After each articulation has been used the class will discuss which ones they thought fit
best for the section and why.
○ Should all 25 measures be the same? Are there any rhythms that should use a
different articulation from the notes around them? How do they want the piece the
sound and what articulation fits that best?
● As students suggest articulations, the class will try them out together and write in their
music the agreed-upon articulation. These articulations will inform how the class
rehearses and performs the piece.
● After students have picked the articulations, the class will do a final run of measures
1-25, focusing on the new articulations they added
○ The class will also pick articulations for the rest of the piece as they rehearse it in
future lessons
● During the last three minutes of class students will write a brief (3-5) reflection on the
activity and turn it in as an exit ticket
○ Exit ticket prompt: How did changing the articulations change the way
“Acropolis” sounded?

Assessment: Exit Ticket Reflection

Protocol: Before students pack up, the teacher will ask them to pull out a piece of paper or a
note card and answer the prompt. The teacher will verbally communicate the prompt and have it
displayed on the board (either written or typed). The teacher will use this assessment to
determine the student's understanding of articulations. If it is clear that many students do not
understand articulations, the teacher will include more lessons on the topic in the future.

Closure: “Those articulations we added made a big difference in the way ‘Acropolis’ sounded!
Great work being creative and coming up with ways to make this music your own!”

9
 Lesson Resources
Prompt:
How did changing the articulations in “Acropolis” change the way the piece sounded? Do
you think changing the articulations would have the same impact on other music we are
playing? Why or why not? (3-5 sentences)

Assessment tool:

Meets Approaches No Submission

Expectations Expectations

Response Student’s response Student’s response

was thoughtful, on was off-topic or did
topic, and answered not answer the
the prompt prompt entirely

3-5 sentences Student’s response Students response

was between 3 and was not between 3
5 sentences and 5 sentences

10
 Lesson Two: Natural Minor Scales

In this lesson, students will listen to and see minor scales. They will learn the differences
between major and minor scales, and how to turn a major scale into a minor scale and vice versa.
This will give them a better understanding of basic music theory and aural skills practice. In
addition, they will understand the piece “Acropolis” on a theoretical level. They will also play in
minor in the context of “Acropolis.”

Musical Concept Focus: Melody (minor melody)

National Standards Addressed:
● MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.
● MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be
demonstrated through prepared and improvised performances.

Warm up: C Minor Call and Response

Introduction: “Listen to what I play and see if you can play it back.” “Listen to this and tell me
is it the same or different? Can you play that one back to me too?”

Sequence: The teacher will start by playing a short phrase in C major for the class to echo (see
phrase bank). Then the teacher will lower the third to make it minor. Again, the class will echo.
The teacher will continue to play phrases in major and then lower the third, sixth or seventh to
make it minor. The class will echo each phrase. Each phrase will be repeated until most of the
class can play it accurately.

Materials: Basic aural skills, knowledge of the notes in a c minor scale (Eb, Ab, Bb), phrase
bank

Discovery and Transition: After the warm up, the teacher will ask the students to think about
what they echoed.
● Did some of the phrases sound the same? Did they sound different? Were they
similar? If they were similar but not the same what did they change?

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 Activity: Minor Scale Identification

Materials: Whiteboard, scale worksheet, understanding of flats and sharps, notation ability,
ability to transpose concert pitch into their instrument’s pitch

Sequence:
● The teacher will display the phrase bank that was used in the warm ups and the students
will identify what changed between each pair of phrases
○ Flat three, six, and seven
● The teacher will talk about natural minor scales and how they differ from major scales.
○ Note differences and sound differences
● The teacher will play various major and natural minor scales and ask the class to identify
which ones are major and which are minor. After the class guesses, the teacher will write
the scale out on the board and have the students turn it into either a major or minor scale
by raising or lowering the three, six, and seven.
● When the students are comfortably identifying and altering the scale, the teacher will
hand out the natural minor worksheet for students to complete. This will serve as the
assessment for this lesson.
● When the class finishes the worksheet, they will move to “Acropolis.” They will play
measures 45 to the end and identify if it is major or minor. They will then discuss how
they know it is in minor (how it sounds, flat three, flat seven).

Assessment: Students will write out a concert C natural minor scale

Protocol: When students are comfortable with the major to minor and minor to major
transformation, the teacher will pass out the worksheet. Students will fill out the worksheet on
their own. When they finish the worksheet (5-7 minutes) they will turn it in to the teacher. If 90%
of the class does not get the correct scale, then the teacher will plan future lessons on minor
scales.

Closure: “Awesome job with those minor scales today guys! I know those can be tricky but I
think you all really nailed it!”

12
 Lesson Resources
Warm Up Phrase Bank:

C Minor Backing Track: https://www.youtube.com/watch?v=88QF6PZS6GU

Student Copy of Scale Worksheet:

Name_______________________
Insturment____________________

Please write an ascending, one-octave concert C natural minor scale for your instrument using
accidentals (no key signatures) in quarter notes on the staff below (be sure to include a clef!).

13
Worksheet Answer Key:

Answers: Bb instruments, Concert instruments, Eb instruments, F instruments

Assessment Tool: Checklist

Clef (1) ____ Quarter notes (1) ____

Correct Transportation (1) ____ Scale written correctly (7) ____

Total ___/10

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 Lesson Three: Ancient Greece

In this lesson, students will learn about the context for the piece “Acropolis.” They will explore
ancient Greek architecture, religion, and culture and create their own building dedicated to a
Greek god. This will help students connect with the piece and connect music to other disciplines
(history, culture, art). In addition, this lesson will prepare students for the composition project
later in the unit by giving them background on the topic of their composition and getting them
thinking about what they want their piece to sound like.

Musical Concept Addressed: Arts integration, the context for the piece

National Standards:
● MU:Cn11.0.T.5a Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life.
● MU:Cn10.0.H.5a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Warm Up: Board Work- What do you know about Ancient Greece?

Introduction: “What do you guys know about Ancient Greece? Talk to your neighbor about
what you think about when you think about Ancient Greece.”

Sequence: A prompt on the board will ask students to think about and discuss with a neighbor
what they think of when they think about Ancient Greece. Then the class will discuss together
what they know. The teacher will write on the board the students' thoughts. After students have
contributed their ideas about Ancient Greece, the teacher will also ask if anyone knows anything
about the Acropolis. Those ideas will also be added to the list on the board.

Discovery and Transition: The piece “Acropolis” is about the Acropolis; an archaeological site
in Greece that includes some of the best representations of Ancient Greek architecture, including
the Athena Parthenon, and has informed much of what we know about Ancient Greek culture.
The teacher will connect what students know about Ancient Greece to the Acropolis and to the
piece.

15
 Activity: Ancient Greek Building Design

Materials: Presentation and means of presenting, art supplies (pencils, colored pencils, markers,
etc.), design worksheet

Sequence:
● The teacher will present a presentation about the Acropolis, focusing on the architecture
and its relationship to the Greek Gods
○ What it is, its importance, what we know because of it
● After the presentation, the class will listen to a recording of Acropolis and discuss how
they think the piece connects with the archeological site and ancient Greek culture using
the ideas that students contributed on the board as a baseline.
○ Does it sound powerful? Does it tell a story? Does it sound like a couple of
different things?
● After this discussion, the teacher will introduce the project: design a building that is
dedicated to a Greek god, like the Athena Parthenon, located at the Acropolis, which is
dedicated to Athena. The teacher will also allude to the upcoming composition project
where students will compose a melody about the same Greek god.
● The teacher will pass out the worksheet and students will begin to design their building
● After they finish their design, they will write a brief description of their drawing and how
it connects to the god they chose.
● When students have finished their design, the teacher will ask them to think about what a
piece of music about their chosen god might sound like so they have some ideas before
they start the competition project.
○ Happy, lyrical, aggressive, powerful

Materials: Presentation, Design Worksheet, colored pencils, pens, etc

Assessment: Worksheet

Protocol: After students finish with their design, they will pass their sheet into the teacher. The
teacher will go through each design and description and ensure that students made an effort in
their drawing and that their description demonstrates an understanding of their chosen Greek
god. If 95% of students did not demonstrate an understanding of their god, the teacher will
reteach the portion of the lesson on the gods before students start working on their composition.

Closure: “I loved all your designs today! Hopefully, you all know more about the Acropolis and
can use that knowledge to help you play the piece! Keep thinking about what you want your
composition to sound like!”

16
 Lesson Resources
Presentation:
https://docs.google.com/presentation/d/1Tdy_I0C7dqoe9RvClefE5PBbYsC5S8l5swVfwImCa7Q
/edit?usp=sharing

Assessment Tool: Rubric

Meets Expectations (5) Approaches Expectations (3) No Submission (0)

Greek god Student chose a Greek god to design their Not included
building for

Building Student thoughtfully designed and drew a Student’s design lacks effort or thought Not included
Design building

Description Student’s description of their building Student’s description does not connect Not included
describes how it connects with the god and is their design to the God they chose or
thoughtfully written lacked thought

Total:___/15

Greek Architecture:
https://www.metmuseum.org/toah/hd/grarc/hd_grarc.htm
https://www.worldhistory.org/Greek_Architecture/
https://www.ancienthistorylists.com/greek-history/top-10-magnificent-ancient-greek-architecture
/

Greek Gods:
https://www.youtube.com/watch?v=eJCm8W5RZes

Student Copy of Worksheet:

17
Name__________________________ Instrument____________________
God_________________________

Building Design

Description of design:

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_________________________________________________

18
 Lesson Three: Composition Project

In this lesson project students will compose 8 bars in concert C minor using at least two different
articulations to represent the Greek god they chose to design their building for. This will give
students an opportunity to be creative and employ what they have learned about minor scales and
articulations. They will also get the opportunity to perform their composition both for the class
and at the concert if they desire. This lesson also connects the previous lesson on ancient Greece
to music in a more concrete way. Students will also learn about and get to use a notation tool
(Google Flat).

Musical Concept Addressed: Melody, rhythm, timbre, technology integration

National Standards:

● MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music that can be

demonstrated through prepared and improvised performances.
● MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music.
● 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:Cr2.1.E.5b Preserve draft compositions and improvisations through standard
notation and audio recording.
● MU:Cr3.2.E.5a Share personally-developed melodic and rhythmic ideas or motives –
individually or as an ensemble – that demonstrate understanding of characteristics of
music or texts studied in rehearsal.
● MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.

19
 Warm Up: C Minor Improvisation

Introduction: “Listen to what I play and see if you can play it back”

Sequence: The class will each take turns improvising four beats in concert C minor over a C
minor backing track. After each student plays their four beats the rest of the class will echo it.
The teacher will start by playing four beats in C minor starting on C and the class will echo. The
teacher will do this a few times until the class is comfortable echoing it. Then, the teacher will
have students do the improvising, ensuring they start on C, and the rest of the class will echo it.
They will continue to do this until everyone in the class has played 4 beats in C minor.

Materials: 4/4 C minor backing track (https://www.youtube.com/watch?v=88QF6PZS6GU),

knowledge of the concert C minor scale

Discovery and Transition: The teacher will ask what the students just did (improvise) then ask
how it differs from composing. Then the teacher will introduce the composing project.

Activity: Composition Project

Materials: Laptops, Google Flat, means of projecting flat on to screen for the teacher to model
and students to see, a basic understanding of minor scales, access to guidelines

Sequence:
● The teacher will introduce the class to Google Flat. If they have not already used it, the
teacher will walk the students through each step of the process
● First the class will pick their instrument and key signature to write their composition for
(it will be the same key signature as their part for “Acropolis”). The teacher will go
around and check that all students have the correct instrument and key signature for their
instrument selected and answer any questions students have at the time
○ If the project is spread over multiple days this is where day one will end
● After the students have created their project in Flat, the teacher will tell them the
guidelines for their project and answer any questions they have about them
○ 8 measures long
○ In concert C minor
○ Composed on Google Flat
○ At least two (2) different articulations
○ Uses no more than one (1) leap and two (2) skips (can use fewer)
○ Begins and ends on concert C

20
 ○ Uses half, quarter, and eighth notes (can include other rhythms but must included
these)
○ Must be playable by the composer
○ A brief written description of your piece and how it connects with the god you
chose
● Then, the teacher will show students how to add notes and change rhythms on Flat, the
teacher will go around and check that all students were able to put the note into Flat
correctly and answer any questions students may have
○ All students will start on Concert C quarter note
● The teacher will walk the class through the composition measure by measure, answering
questions and ensuring all the guidelines are met.
○ If the project is spread over multiple days, this is where day two will end
● When students finish with the initial composition, the teacher will walk them through
adding in articulations on Flat, asking students to think about the god that they chose and
what articulations will best represent them
● After students have finished with their composition, they will turn it in for the teacher to
check to ensure it meets all requirements.
○ Students will have time to make changes before it is due. The revision will be
done outside of class. Google Flat can be accessed from any computer so students
can work on it from home if the technology is available.
● Then, students will write their description of the composition, detailing how it relates to
the Greek god they chose
● When the composition is finalized, students will read their description and perform their
composition for the class. This performance will serve as an assessment.
○ Students will have the option to perform their composition at the concert in
addition to the in-class performance but it is not required.
● The composition, description, and building design project will all be displayed as an
exhibition at the concert.

Assessment:

Protocol: The teacher will fill out the rubric as students perform their composition in class. They
will use the copy of the composition students turned in to check for accuracy. The teacher will
fill out the checklist after students submit their completed and revised composition. Any
consistent problems in performance will be addressed in later lessons. Any consistent problems
in the composition will also be addressed in later lessons to ensure students have a good
understanding of the theoretical concepts the composition covered and the notation program.

21
Closure: “I am so impressed with all of your compositions! You all worked so hard and they
came out sounding amazing! I am so excited to hear them again at the concert and for your
families to see everything you’ve created!”

22
 Lesson Resources

Performance Assessment Tool: Rubric

Exceeds Meets Expectations Approaches Expectation Unsatisfactory No Submission

Expectations 3 2
4 1 0

Accuracy Student played entire Student played expert Students made 3-5 mistakes in Student makes 5+ No Submission
composition with with 1 or 2 mistakes notes or rhythm, the tempo was mistakes in notes or
accurate notes and in notes or rhythm, not steady rhythms, the tempo
rhythm while the tempo was mostly was not steady
maintaining a steady steady
tempo

Posture Student displays Student displays Student displays understanding Student displayed no
proper posture understanding of of proper posture but there are understanding of
consistently while proper posture but multiple lapses or 1-2 areas that proper posture while
playing their there are a few lapses need improvement (feet flat, playing
composition sitting up straight, holding
instrument correctly, horn
angle)

Tone Student plays with Student demonstrates Student displays an Student displayed no
supported an understanding of understanding of characteristic understanding of
characteristic tone characteristic tone but tone but plays without it proper posture while
throughout the has a few lapses through most of the playing
composition through the performance
composition

Total_____/12
Comments___________________________________________________________________
______________________________________________________________________

Composition Assessment Tool: Checklist

8 measures long ___ In concert C minor ____

Composed on Google Flat ___ At least two (2) different articulations ___
Uses no more than 1 leap and 2 skips ___ Begins and ends on concert C ____(2)
Uses half, quarter, and eighth notes ___ (3)
Description of your piece and how it connects with the god you chose ___

Total: ___/10

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Google Flat: https://flat.io/
Google Flat Tutorial: https://www.youtube.com/watch?v=YDVHmhEDwsA

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 Lesson Five: Practice Strategies
In this activity students will play through “Acropolis” and identify what parts are difficult for
them and practice strategies they can use at home. This will give them repetitions on the piece,
help them identify practice strategies they can use on their own, and help them get more familiar
with their part in “Acropolis.” Being able to identify challenging spots in music and practice
strategies for those spots is an important skill for musicians to have and this lesson helps prepare
students to do that on their own.

Musical Concepts Addressed: Rhythm, melody, practice discipline

National Standards
● MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and ensemble
performances of a varied repertoire of music.
● MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music.
● MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.

Warm Up: Clapping and Counting Rhythms

Materials: Sheet music and a way to project it for students to see, knowledge of counting system
and body percussion, 4/4 backing track

Introduction: “Look at the rhythms on the board and see if you can figure out how to clap and
count it before we do it together.”

Sequence: The teacher will put up on the board the rhythms in “Acropolis” at measure 33. The
class will clap and count the rhythms together. First students will read the two parts as one line,
when students are comfortable doing this, the teacher will show the rhythms as they are in the
score; as two separate parts, a call and response. Students will then decide on a body percussion
for each line ( Exp. stomps on top claps on bottom). Then students will split up, half the class
doing one line and the other doing the bottom, then they will switch.

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Discovery and Transition: The teacher will ask the students to find where in the piece they have
these rhythms (measure 33) and then ask students to identify if they have the top line (parts C, D,
and E) or the bottom (A and B).

Activity: Identify Practice Strategies

Sequence:
● After the warm ups students will play measures 33-41 of “Acropolis.” The teacher will
ask them how the warm up helped them work on that section
○ Clapping and counting, repeating it, doing it different ways, hearing the other part
● Then the teacher will ask how they could use some of those strategies at home in their
own personal practice
● Next, the teacher will have the class run all of “Acropolis” and ask them to be on the
lookout for any parts that are challenging for them. The teacher will also listen for any
parts that sound like students need additional help with
● After the run the teacher will ask students what parts they noticed were more difficult
than others
● When students contribute their problem spots the teacher will ask them why they think
the spot was challenging. Then the rest of the class will come up with a practices strategy
for that spot and the class will try it all together
○ Singing, counting and clapping, fingering and singing, playing it slowly, etc
● At the end of class, students will turn in an exit ticket stating one spot they struggled with
and one strategy they will use at home to work on it.

Assessment: Exit Ticket Self-Assessment

Protocol: Before students pack up, the teacher will pass out the reflection sheet. Students will fill
it out and turn it in before they leave the class. The teacher will use their responses to gauge
students’ understanding of practice strategies and adjust future lessons accordingly. They will
use the identified challenging spots to determine what needs to be rehearsed more in later
rehearsals.

Closure: “Great job finding those challenging spots and coming up with practice strategies
today! I know that talking about things you maybe aren’t so good at can be hard but everybody
has those spots they need to work on and we can all help each other come up with ways to work
on them so we can all get better at this piece and become better musicians!”

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 Lesson Resources

Warm Up Notation:

All together:

Split Body Percussion and Split Parts

4/4 Backing Track: https://www.youtube.com/watch?v=8ceiFrrHlbI

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 Assessment Tool: Rubric

Meets Expectations 3 Approaches Expectations 2 No Submission

Challenging Spot Student’s response identified a
challenging spot and gave a
thoughtful reason for why it is a
challenge
0
Student’s did not identify a
challenge or did not give a
reason for why it is challenging

Practice Strategy Student’s strategy fits their Student’s practice strategy does
challenging spot and would be an not relate to the challenge they
effective way of addressing the identified and would not be an
challenge effective way to practice

Total: ___/6

Student Copy of Hand Out:

Name_________________________ Instrumetnt__________________________________

What part of “Acropolis” was most challenging for you? Why?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

What strategy will you use to practice it at home?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

28
 Glossary

Acropolis- The Acropolis of Athens is an ancient citadel located on a rocky outcrop above the
city of Athens and contains the remains of several ancient buildings of great architectural and
historical significance, the most famous being the Parthenon.

Architecture- The art or practice of designing and constructing buildings

Articulation- Articulation refers to how a note is shaped- its beginning and its end

Compose- To plan and write a piece of original music, can be done by hand or using a notation
program

Greek Gods- The gods worshiped by the Ancient Greeks believed to live on Mount Olympus

Google Flat- A free, online notation program that can be used to create original compositions

Improvise - To create an original musical idea on the spot

Legato- A smooth, connected articulation

Marcato - An articulation that is detached, heavy, and accented

Natural Minor- A scale built on the sixth scale degree or a major scale with a flat 3, 6, and 7

Practice Strategy - An approach to a piece or musical expert designed to improve a specific

aspect of the material

Staccato- A pointed, detached articulation

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 Acropolis Practice Guide
Rhythm Bank: Here are the rhythms “Acropolis” uses. How would you count each one?

Scale: “Acropolis” uses the concert C natural minor scale. A natural minor scale is like a major
scale with flat 3, 6, and 7 scale degrees.

C Instruments: C natural minor

Bb Instruments: D natural minor

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Eb Instruments: A natural minor

F Instruments: G natural minor

Warm Up Strategies:

Long Tones: Be sure to hold the whole note out for a full 4 beats! Focus on playing each note
with your best tone possible. Think about your posture; both feet flat on the floor, sit up straight,
keep your horn up!

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Articulations: Staccato (detached), Legato (connected), Marcato (heavy, separated)

Experiment playing this exercise with different articulations!

C Instruments:

Bb Instruments:

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Eb Instruments:

F Instruments:

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Rhythm Counting:

Practice counting and clapping the following rhythms! See if you can find them in your part for
“Acropolis.”

(Make sure you hold out the whole note for a full four beats!)

(Don’t forget to count the rests!)

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Practice Strategies:

Count and clap your rhythms! If there are any tricky rhythms in your part, practice counting and
clapping them before you play them.

Sing your part! Sing your music before you play it! If you can sing it, you can play it. Practicing
singing not only the notes but the articulation and the style you want to play with.

Use a metronome! Metronomes help you keep a steady tempo and line up your rhythms! You can
find metronomes online or you can download a metronome app!
(https://www.metronomeonline.com/)

Always think about your tone! When you practice, make sure you think about playing with your
best tone possible all the time. Check your posture and breathing to ensure you can get a good
sound!

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