Brouillette_BestLesson_Phrasing



Please note: In order to allow my class mates to make changes easier, I have copied the lesson below (The lesson is also attached in it's original format). Here, I have included an introductory paragraph, which I had previously neglected to write.


 * Introduction:** This lesson is designed for a high school orchestra class. I was having trouble getting the students to play musically without constantly reminding them about dynamics and phrasing, hence the attached lesson on phrasing evolved. Since phrasing, nuance, and dynamics can be somewhat subjective, it is important to let the students give ideas and decide exactly how it should be played. Class evaluation of each section's phrasing is also important. In this way, the students are taking ownership of the music and are responsible for the way they are playing instead of listening to the teacher give constant direction. Your part as the educator is to lead the discussion and show phrasing, nuance, and dynamics in your conducting gestures.

**Teacher Name:** Sherri Brouillette **Date:** 10/22/2014 **Subject/Grade:** Orchestra, 9th-12th grades **Concepts/Skills/Values:** Phrasing **Applied National Standards:** Listen, Play, Evaluate, Read/Notate

Behavioral Learning Objectives: Provided with both aural and written examples of the 1st violin phrase from m. 57-61 of Elliot Del Bargo's Sinfonia in D, students will: 1. Evaluate how to play the phrase musically through class discussion, and 2. demonstrate their knowledge of the phrasing by playing it musically on their respective instruments. Students will demonstrate their knowledge of how to effectively play phrasing by playing it during similar phrases in the Cantabile section of Sinfonia in D.

**Types of Assessment:** Informal, Formative **Assessment:** I am assessing by asking questions to the class and by evaluating and discussing their answers with them. I am also listening to how the students are phrasing their music and evaluating whether or not it is being played the way that we discussed in class.

**Materials:** Metronome, Score to Sinfonia in D by Elliot Del Borgo, Baton, White Board, Markers

**Duration of Activities:** 15-20 minutes

**Sequence of Activities:** Rehearsal of Cantabile section (m. 53 - 72)

a. Write vln. 1 phrase (m. 57-61) in bass, treble and alto clefs on board

b. Have two students play the phrase separately (one plays straight and boring, the other plays with dynamics and following the line - set this up before class.)

 i. Class discusses which version they liked better and why.

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> ii. Write how it should be played (dynamics/nuance) on board under phrase. Ask for class input.

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;">c. Everyone plays the phrase, trying for correct nuance and phrasing

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> i. viola, bass, cello play phrase while violins evaulate and give feedback

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> ii. violins play the phrase while the rest evaluate and give feedback

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;">d. Run Cantabile section m. 53- down beat m. 72 with emphasis on phrasing.

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> i. Note that the phrase we play never comes back the same way in the piece, so each section will need to follow their own line

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> ii. Violin 1 - m. 57-67

<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;"> iii. violin II, viola, cello (moving 8th note figures), m. 55 - 63


 * <span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;">Teacher Effectiveness Reminders: **<span style="font-family: 'Arial Narrow',sans-serif; font-size: 10pt;">1. Show phrasing and nuance in conducting gestures.

This is a creative lesson plan that involves critical thinking from the students. I like the steps you set up in your sequence of activities, and the objectives are clearly stated. I would only change a few things. First of all, on sequence b in your activities, you say 'set this up before class' Does this mean you tell the two students ahead of time how to play? One could also argue that playing a phrase 'straight and boring' could mean it has good tone, all notes are given full value and played evenly, and the only ingredients missing are vibrato, rubato, dynamics, or articulation. Or 'straight and boring' could mean literally played poorly (uneven tone production, frequent stops or breaths, dying notes, etc) In the first example of 'straight and boring', I actually see this as a vital step to eventually playing with nuance and phrasing. How do you write out 'nuance'? When I teach phrasing, I think of the "musical line" that is seen horizontally across the music tied from each note to note like a string. Many students read music note by note, then even with 'phrasing' tend to think vertically when reading the music. Circling the more important notes, writing the less important notes with smaller heads and such. It's important to get feedback from the students to see how they would approach a certain phrase, but perhaps giving them some examples ahead of time would help give them an aural and tangible understanding. There are videos of Itzhak Perlman vs. Joshua Bell playing Dvorak's Romance in F minor. Hopefully this all gives you enough to work with. If you need any more feedback, just let me know.