The Tempest by Robert W.

Smith
Beginning Band Unit Plan Project
Isaac Florez

Image by Sacramento Theatre Company

Goals and Objectives
Overarching goal: work through The Tempest beginning to end while combining
multiple learned concepts of varying difficulty to prepare students for their transition
to high school concert band ensembles.

Students will:

1. Efficiently learn and correctly perform written notes and rhythms.

2. Perform articulations with consistent interpretations to add to the general effect
of the piece.
3. Play a wide range of written dynamics across the ranges of their instruments to
accurately portray the composer’s vision.
4. Where dynamics are not written, consistently outline 4 bar phrases by utilizing
written melodies and subtle changes in dynamics.
5. Demonstrate breath control through consistently interpreted phrases.
6. Demonstrate and perform with technical proficiency appropriate for their
experience level.
Rationale

I chose this piece primarily because of the amount of concepts that are covered
throughout. It covers a lot of things that students would need to know to have a
successful future in concert band ensembles, from simpler topics like dynamics and
rhythm with overlapping ostinati to more complex, subjective concepts like
interpretation of articulation and phrasing. Because of this, I would probably only teach
this to students who have already learned these concepts one at a time. This piece
could do very well to help further solidify all of these concepts with students about to
transition to high school.

The overarching objectives and goals were written with the combination of all of
these concepts in mind. There is not a lot of time to tackle and focus on each separate
concept on its own.

The warm ups were designed to fit everything the students have learned which
they need to use to play this piece successfully. In warm up #1, the first exercise is
used to warm up lung capacity and breath control. The most important part of 4-7-8
breathing in this context is to ensure students are fully filling and emptying their lungs
through each rep. With the second exercise, phrasing is targeted to ensure students
are in the correct mindset to keep the 4 bar phrasing consistent where no written
dynamics are specified, especially in the sections where the rhythmic ostinati are
occurring. In warm up #2, the main idea is getting the students to listen for rhythmic
alignment across each section of the band. Although this concept is generally always
important, the ostinati being as prominent as they are through the piece makes it
especially important.

The activities throughout the lesson plans come from the steps to awesome
which we learned earlier this semester. I used the steps in a way one would in an
eighth grade band. I intentionally did not cover every step every time because these
students should not necessarily need to go through the full process for each section.
Extra repetitions of some exercises are planned ahead of time where the
aforementioned subjective, more complex concepts are addressed. The indirect
formative assessment criteria listed at the end of each lesson plan should be used to
create a direct summative assessment once the whole piece has been worked through
and the class has begun full runs of the piece. For example, one could create an online
recording assignment for one of the chunks based on which one the students seemed
to struggle with the most after working through it, grading based on following the
music and following the articulation and phrasing interpretations discussed in class.

In the lesson plans, highlighting is used to help keep track of concepts worked
on. Surface level concepts like rhythm, notes, and tone, are highlighted blue, phrasing
is highlighted in yellow, dynamics is highlighted purple, and articulation is highlighted
in green.
Warm Up #1: Breathing Through the Phrase

Objective: While standing, follow the four-bar phrase structure of The Tempest using
breath exercises to display the natural dynamic changes within each phrase (getting a
little louder toward the middle of the phrase, softer toward the end).

 Warm up lungs (4-7-8)

o Aim for 100bpm, no metronome required
o Fill up lungs in four counts, hold for seven, empty lungs in eight counts
 Three times through full exercise
 Breathe through the phrase
o ~100bpm, no met. Model exercise first.
o Students breathe in through their embouchure over a four beat count-off
o Breathe out (“play”) a phrase of four 4/4 bars
 Crescendo slightly in first two bars (accelerate air speed), re-
articulate and come back down in last two (decelerate air speed)
 Before moving on: Clear articulation at beginning and halfway
through phrase. Noticeable constant change in air speed through
whole phrase.

Warm Up #2: Rhythmic Ostinati

Objective: With the rhythms displayed on the board, play rhythms of ostinati from The
Tempest to a concert g natural minor scale to warm up the rhythmic thought process.

 Concert g natural minor scale

o Metronome = 120bpm
o Whole class plays g minor scale using “ti-ti-ta” rhythm
 Scale played up and down once w/o repeated upper tonic
 Two counts per scale degree (rhythm played once on each note)
 Both “ti” are non-accented and staccato, “ta” is accented
  Before moving on: Both “ti” as short as possible, and “ta” is
noticeably accented. All notes are correct.
o Whole class plays scale using “ta-ti-ti” rhythm
 Scale played up and down once w/o repeated upper tonic
 Four counts per scale degree
 Accent “ta”, staccato both “ti”
 Before moving on: “Ta” is noticeably accented, both “ti” as
short as possible, and all notes are correct.
o Split the class down the middle!
 One half plays “ti-ti-ta”, one half plays “ta-ti-ti”
 Two scales played total
 Switch which half plays which rhythm after the first playing
 Before moving on: Correct articulations and notes.

Transition Example: “Alright, let’s get out The Tempest. Make sure we’re using
everything we’ve worked on so far when we work on this piece!”
Lesson Plan #1

Objective: Learn and play mm. 1-17 of The Tempest with correct notes and rhythms
while following written articulations (very short staccato, full length tenuto, very
emphasized accent), outlining the four-bar phrase length with dynamics.

 Get feet tapping

o ~120 bpm
 Count & finger (two reps)
o First rep, focus correct counts
 Watching the score, listen for rhythmic vertical alignment
o Second rep, focus 4-bar phrasing
 “Remember our phrasing from earlier?”
 Slight crescendo in first two, decrescendo back down in last two
 Before moving on: Noticeable dynamic changes outlining phrasing,
correct counts (rhythmic vertical alignment)
 Sizzle rhythms
o Articulations!
 Same articulations as in warm up #2, plus tenuto (hold notes for
their full length)
 MODEL THIS
 “Really focus on those articulations we worked on earlier.”
 Sizzle and finger
o Keeping same focus as previous segment
 Before moving on: Very short staccato, very noticeable accent
(they stand out dynamically), full length tenuto
 Perform full section (two reps)
o Following written dynamics
 Full, round forte
 Big difference between forte and mezzo-piano
 No overplaying (focus on characteristic tone production)
 o Still following previously mentioned criteria
 Final Rep (indirect formative assessment criteria)
o Correct pitches/rhythms
 Listen for rhythmic & harmonic vertical alignment
o Consistent articulation interpretation
 Very short staccato, full accent, full length tenuto
o Dramatic dynamics
 Big difference between mezzo-piano and forte
o Consistent 4-bar phrasing
 Constant dynamic push-pull
 2 bars crescendo, 2 bars decrescendo
Lesson Plan #2

Objective: Learn and play through m. 44 of The Tempest, building on the 4 bar phrase,
using a full, round tone. Focus on keeping a consistent interpretation of articulation
and dynamics to create and maintain the feel of the piece.

 Metronome @120bpm
o Feet tapping!!
 Sizzle mm. 18-36
o Begin with flutes & clarinets
 Articulation: Very short staccato, very emphasized accents
o Add in tenor, alto sax & horns
 Articulation: Stark contrast with flutes & clarinets
 MODEL LEGATO TONGUING (little to no note separation, very
light tonguing)
o Add in bari sax, bass clarinet, tubas
 Articulation: Legato tonguing
 Sizzle & finger mm. 18-36
o Focus on dynamic phrasing
 4 bar phrases (2 bars slight cresc., 2 bars decresc.)
 BIG crescendo into m. 36
o Keep emphasizing articulation
 Very short staccato, very emphasized accents, long & connected
legato tonguing
o Run full section w/ percussion playing
 Before moving on: Heavily emphasized articulation (short staccato,
big accents, long & connected legato), 4 bar phrases (2 bar cresc.,
2 bar decresc.)
 Sizzle & finger mm. 37-44 (2 reps)
o Rep 1: Emphasize dynamics & articulation
 Maintaining very short staccato, full length tenuto, strong accents
  Very dramatic crescendos up to big forte, HUGE fortissimo
 Very dramatic decrescendo at the end of the section
o Rep 2: Emphasize phrasing & tone
 Maintaining 4 bar phrasing
 Full, round tone across all dynamics
 Perform mm. 18-44 (2 reps, indirect formative assessment criteria)
o Rep 1
 Focus correct notes and rhythms
 Focus articulation
 Very short staccato, big accents, long & connected legato
o Rep 2
 Focus phrasing & musicality
 4 bar phrases
 Big difference between dynamics
 Full, round, characteristic tones from every instrument
Lesson Plan #3
Objective: Learn and play mm. 45-END of The Tempest, then play through full piece.
Emphasize 4 bar phrasing; full, round, characteristic tone; consistent articulation
interpretation; and very dramatic dynamic changes to create and maintain the dark,
urgent feel of the piece.

 Metronome @120bpm
o FEET TAPPING!!
 Count & finger
o Focus correct counts
 Listen for rhythmic alignment, integration & flow between parts
o Integrate dynamics
 Mm. 60-END
 Very dramatic crescendos & decrescendos
 Very large difference from mp to f to ff
 Sizzle & finger (2 reps)
o Rep 1:
o Focus correct counts & dynamics
o Integrate articulation
 VERY short staccato
 Long & connected legato tones
 Big accents
o Rep 2:
o Integrate 4 bar phrasing
 Slight push-pull feeling
 Slight crescendo for 2 bars, decrescendo for 2 bars, repeat
 Keep phrasing constant where there are no written dynamic
changes
 Perform section (2 reps)
o Rep 1:
 o Focus mainly on correct notes, rhythms, & dynamics
 Listen for harmonic & rhythmic alignment
 Gesture & listen for huge dynamic differences
o Rep 2:
o Focus on articulation & maintaining 4 bar phrasing
 Gesture & listen for very short staccato, long & connected legato,
big accents
 RUN FULL PIECE (2 REPS)
o Rep 1:
o Focus mainly on correct notes, rhythms, & dynamics
 Listen for harmonic & rhythmic alignment
 Gesture & listen for all dynamic changes
o Rep 2:
o Focus articulation, maintaining 4 bar phrasing, re-establish good tone
 Gesture & listen for: short staccato, long & connected legato, big
accents
 Emphasize consistent full, round tone through whole piece
 Across dynamic changes
 Final run (indirect formative assessment criteria)
o Correct notes & rhythms
 Harmonic & rhythmic alignment
o Tone
 Round, full tone through full piece across dynamic spectrum
o Dynamics
 Dramatic crescendos and decrescendos
 Big differences across dynamic spectrum
o Articulations
 Very short staccato
 Strong accents
 Full length tenuto
  Long & connected legato tonguing
o Phrasing
 Consistent 4 bar phrasing (where no dynamic changes written)