styles throughout the Sarabande based on a Romantic interpretation. Skill Outcome, Blooms Taxonomy Level III Students will be able to compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. Affective outcome. Blooms Taxonomy Level IV Students will be able to journal on musicality, and compare their own playing to that of professionals.Cognitive Outcome, Blooms Taxonomy Level II
Pennsylvania State Standards 9.1.12.A: Know and use the elements and principles of each art form to create works in the arts 9.1.12.B: Recognize, know, use, and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts 9.1.12.C: Demonstrate and apply advanced vocabulary 9.1.12.D: Demonstrate specific styles in combination through the production or performance of a unique work of art 9.1.12.F: Analyze works of arts influenced by experiences or historical and cultural events through performance Strategies Students will be able to perform proper Romantic bowing styles. The teacher will play the Sarabande as the students enter the room and lead a discussion on Grieg and the time period of his life. Students will play scales in G major and G natural minor in time with bowing patterns such as down-down-up pattern, legato, marcato, or sul tasto . Students will recognize and circle Romantic style bowings, phrasings, and ornamentations in their parts. Students will perform for their stand partner, who will offer suggestions based on bow weight, bow speed, and proper articulations. Violin I, mm 5-8, Violin II, mm 1-4, Viola, mm 1-4, Cello, mm 13-16. Assessment Each stand will play a measure of the piece. Students will go down the line of stands and play chronological measures. Measures 25- 32. The teacher will watch for proper bowings, and listen for phrasings and intonation.Grace notes slurred to the first beat, marcato, crescendo at frog, decrescendo at tip. The teacher will record the students names and score. Bowings- 8 Points. Phrasings- 4 Points. Intonation- 2 Points. Strategies Students will be able to compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. Students will journal, and describe the musical differences between section A and section B, in terms of instrumentation, dynamics, phrasing. Students will draw pictures in their journals to describe the images they imagine while listening to each section. Students will play from the beginning of the piece through section B, and convey the drawings in their journals through their playing of the sections. Assessment The teacher will record the students playing the beginning of the Sarabande through the end of the B section. Mm. 1-9. The teacher will play the recording, and the students will complete a graded journal entry describing the ensembles emotional contrast. The students must use the concepts of bowing styles, phrasing, vibrato, and balance. Journal graded out of 20 points. Discussion of bowings- 5 Points. Discussion of phrasing- 5 Points. Analysis of vibrato- 5 Points. Analysis of balance- 5 Points. Strategies Students will be able to write a journal relating other romantic pieces to the Holberg Suite. The students will discuss the stylistic choices Grieg composed for the Sarabande. Students will listen to professional recordings of other pieces, and journal about their phrasing. Ravel, Le Tombeau de Couperin, Bach, Orchestral Suites 1-4, Grieg, Peer Gynt Suites 1 and 2. Students will integrate the professional interpretations into the Sarabande. Students will complete a collaborative paper with their section on what they plan to integrate into their playing, and where specifically they will utilize it.
Assessment Individual sections will turn in their journals. The ensemble will play through the Sarabande four times. The teacher will grade each section based on if their phrasing matched the way they described in the journal. Scored out of 20 points. Specific measure numbers- 5 Points. Specific techniques- 5 Points. Use of techniques in those measures- 10 Points. Listening Examples J.S. Bach: Orchestral Suites, English Suites Benjamin Britten: Simple Symphony Edvard Grieg: Peer Gynt Suites 1 and 2, Piano Concerto in A Minor Sergei Prokofiev: Classical Symphony Maurice Ravel: Le Tombeau de Couperin Ottorno, Respighi: Ancient Airs and Dances Suite No. 3 Igor Stravinsky: Pulcinela Resources OToole, Patricia Ann. (2003). Shaping Sound Musicians: An Innovative Approach to Teaching Comprehensive Musicianship through Performance. Chicago, IL: GIA Publications. Littrell, David. Racin, Laura R. (Ed). (2001). Teaching Music Through Performance in Orchestra. (Volume 1). Chicago, IL: GIA Publications, Inc. (August 2013). Florida Orchestra Association Required Music List. Retreived from http://www.myfoa.org/sites/default/files/mpamusic/FOA_ MPA_Music_list%202014Classification.pdf .