Framework for Lesson Plans


Main Section of Lesson Plan


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framework lesson plans

Main Section of Lesson Plan
The main part of the lesson plan has four subsections.
Section One begins with the review and correction of all homework assignments for class.
This could also include asking students to write down rhythms of known melodies or
complete melodies on the staff.
Section Two is the preparation and presentation of new melodic or rhythmic concepts. The
following are some strategies for preparing rhythmic and melodic elements.
Procedures for Preparing Rhythmic Elements
Echo clapping
Clap the rhythm of a melody or a rhythmic pattern.
Melodic contour and
rhythm
Demonstrate the melodic contour of the song while clapping
the rhythm.
Perform rhythm and
beat at the same time
Divide the class into two groups—one group performing the
rhythmic pattern, the other keeping the beat. This activity may
be practiced in different combinations:
1. instructor/class,
2. class /instructor,
3. divided class,
4. two individual students,
5. student keeps the beat with one hand and taps the rhythm
with the other hand,
6. perform the rhythm and beat at the same time
Conduct
Sing and conduct at the same time.
Aural analysis
Identify which beat or beats contain the new rhythmic element
Visual representation
Create a beat chart and write solfège syllables on each beat to
indicate the number of sounds within the beat.

Procedures for Preparing Melodic Elements
Melodic contour
Demonstrate the melodic contour of a melody with arm
motions. Motions should be natural and appropriate to the
text and tempo of the song.
Melodic contour and
rhythm
Demonstrate the melodic contour while clapping the rhythm
of a melody.
Echo singing
Sing melodic patterns sung or played by the instructor.
Writing
Write the rhythm of a melody spatially.
Aural analysis
Identify which beat or beats contain the new melodic
element.


Visual representation
Create a representation using solfège syllables written
spatially to indicate the position of the new melodic element.
Once a concept is taught the instructor should choose from a variety of musicianship skills
to practice a new rhythmic or melodic element. Developing ear-­‐training abilities and
mastering sight-­‐singing normally takes many hours of practice. Practice sessions after the
presentation of a new element can be made more efficient by using a variety of practice
techniques. Practicing in small groups is valuable for students on many levels. In addition to
sharpening their listening skills by evaluating each other's performances, students who
practice with their peers are far more secure in their performance when called on in class.

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