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Middle School Orchestra
Unit Lesson Plan: MPA Performance Pieces: Musical Symbols and Vocabulary
by Tom Silliman, Jr.
For my Classroom and to be Shared at the FMEA Pre-Conference Session
NGSSS, Literacy Standards and Mathematical Practices:
Oh My! It All Comes Down to Planning
January 8, 2014
This plan is based on the following Common Core Standard:
LACC.68.RST.2.4
Determine the meaning of symbols, key terms, and other domain-specific words and phrases as
they are used in a specific scientific or technical context relevant to grades 6-8 texts and topics.
Teacher:Tom Silliman
Course Name: M/J Orchestra III
Date(s) Jan. 7-Mar. 8, 2014
Grade Level:7-8
Know
Understand
Do
What a key signature is, where it is
located, and what it means in
music theory
Accidentals: sharps, flats, and
naturals.
Each key signature has its own
unique group of finger patterns
Perform compositions using the
correct finger patterns as
dictated by the key signature.
Perform notes that are chromatic
alterations from the key
signature as indicated by
accidentals.
Ties are two or more notes of the
same pitch connected in a single,
uninterrupted bow stroke.
Slurs are two or more different
pitches in a single uninterrupted
bow stroke.
Dynamic markings: ff, f, mf, mp, p,
pp, cresc., dim., crescendo
symbol, and diminuendo symbol
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Articulation markings: accent,
staccato, pizzicato, arco
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Expressive marking:
espressivo
Accidentals are used when
composers want to write notes that
are not a part of the given key
signature. Accidentals are also
sometimes used to cancel an
accidental that appeared earlier in a
measure or as a “courtesy” to remind
musicians of correct notes.
The rhythmic value of a tie is equal to
the added values of the notes that
make up the tie
Slurs require a constant bow speed
throughout and it is important not to
add extra emphasis to the bow when
changing pitches with the left hand
Composers achieve expressiveness,
variety, and contrast through the use
of dynamic markings. They also use
dynamic markings to help achieve
appropriate balance
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Composers achieve
expressiveness, variety, and
contrast through the use of
different articulation and
expressive markings.
Perform notated ties in two
different compositions
Perform notated two note slurs
in three different compositions.

Perform appropriate
dynamic markings found in
three different compositions.
Make dynamic contrasts by
varying weight, speed, and
bow placement.

Adjust dynamics based on
melodic/harmonic function of
part
Perform accented notes
where marked in the music.
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Perform a spiccato bow
stroke on repeated staccato
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Bowing symbols: down, up, bow
lift, slurs, group staccato
Time signatures and the meaning
of the top number and the bottom
number
Tempo markings: Lento,
Moderato, Maestoso, Allegro con
fuoco

It is necessary to perform an off
the string bow stroke (spiccato) if
a group of staccato notes are
written at a fast tempo
The term “espressivo” is used by
composers to encourage
musicians to perform
expressively, especially with
regard to phrasing and dynamic
expression, also possibly to
ecourage the use of rubato.
It is important to perform notated
bowings to achieve proper
phrasing.
eighth notes in North
Country Legend when the
tempo is marked quarter
note = 138.

Vary phrasing and
exaggerate dynamics to
achieve and expressive
quality of playing

Perform notated bowings in
three compositions.

Participate in group
discussions concerning any
possible bowing changes
that might improve the
performance without
affecting the composer’s
original intent with regard to
phrasing
Perform with appropriate
accent patterns for 2/4, 3/4,
and 4/4 time signatures.

Bowings can be changed as long
as the composer’s intent is still
preserved. However, changed
bowings need to be a group
consensus and are not done on
an individual basis.

Time signatures are used to
indicate the accent pattern of a
steady reoccurring beat.

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Compositions can have changes
in the time signature.

Tempo markings, not time signatures
or note values, are the means that
composers use to indicate the speed
of the steady reoccurring pulse.
Perform all three of the
above mentioned time
signatures in a single
composition (North Country
Legend)
Perform music at a variety of
tempo varying from slow to fast.
Implementation:
March Jubilee by Kathy Cook
An English Folksong arr. by Terry McQuilken
North Country Legend by Mark Williams
Performance Fundamentals
(e.g., (tone, intonation,
technique)
Slurs and Ties. All three pieces have two note slurs. North Country Legend
and English Folk Song have ties of varying lengths.
Demonstration and Guided Practice: Examples of slurs in New Direction for
Strings Book 2 Nos. 9 (G Major), No. 12 (C Major), and No. 18 (G Major).
Examples of ties can be found in Nos. 16 (D Major) and 67 (G Major)
Bowings. Demonstration and Guided Practice for Bow Lifts. Assess that all
students can clearly perform down bows, up bows, and bow lifts (Teacher
Observation of Student Performances in Group). North Country Legend has
group staccato bowings. Demonstrate on open strings-Guided PracticeAssess for understanding-apply to passages in the music
Technical Preparation
(e.g., notes, rhythm, dynamics,
tempo)
Key Signatures/Finger Patterns in English Folk Song and March Jubilee by
Cook are the same, the pieces can be used as examples of related
major/minor: G Major in March Jubilee and e minor in English Folk Song.
Upper string students will need to differentiate between low 2 and high 2 as
students move from lower strings to a and e string. Violas will have F# on the
C string in English Folk Song. North Country Legend provides an
opportunity to review the C Major key signature finger patterns studied in the
December concert unit
Demonstration and Guided Practice on Finger Pattern Charts. Show
students how the notes of a scale can be derived from a key signature. Show
students how a finger pattern chart can be constructed once the notes of a
scale are known. Show students that a finger pattern chart is “more than just
the specific notes of the scale that they may perform.
Method Book Teaching Material From New Directions for Strings, Book 2:
Nos. 7-12 for lower octave G Major pattern and C Major pattern, page 27 has
the higher octave of G major scale for violin.
Dynamics are used in March Jubilee to help achieve balance. Dynamics
range from mp to f. Accompanying parts are marked with a softer dynamic
marking so that the melody is more prominent. North Country Legend is also
written with parts that have differentiated dynamic markings, especially in
cases where the parts have repeated eighth notes, these parts are written at
a lower dynamic level. Dynamics range from p to f. A good example of
writing dynamics for balance is found in An English Folksong at mm. 37-52
where the cellos have the melody. They are at a forte dynamic and the
accompanying parts are at a piano dynamic. The dynamics in English
Folksong range from p to ff. An English Folksong is the only piece that does
not have any notated crescendos or diminuendos.
Demonstrate and guided practice: Ways to vary the dynamic level: speed
(fast-slow), weight, and bow placement (bridge-fingerboard). Perform at
various dynamic levels and perform crescendos and diminuendos
Time Signatures and Tempo Markings. Check for understanding of
meaning of time signatures (top number and bottom number), demonstration
and guided practice: clapping, counting in various time signature patterns:
4/4, 3/4, and 2/4. Alter speed of beat and use to teach tempo markings:
Lento (slow), Moderato (moderate), and Allegro con fuoco (fast). Gradually
slow down the beat to demonstrate ritardando. As part of guided practice,
choose students to lead the class in this exercise.
Musical Effect
(e.g., style, balance, expression)
Balance and Expression is achieved through the use of dynamics (see
dynamics under technical preparation)
Discuss the composer’s use of the term espressivo in the viola solo at the
beginning of North Country Legend. Discuss various ways a musician can
add expression to the melody (rubato, dynamic contrasts). Experiment with
some different interpretations of the opening viola solo. Record some of the
performances, lead student discussion, have students react to the musical
effect of each performance. Determine which would be appropriate for
performance.
In the same piece discuss the use of the term “con fuoco”. Demonstrate for
students and lead guided practice. Record several performances of a short
passage and have students listen and determine if they achieved the desired
effect of “with fire”.
Theory
Key Signatures, Time Signatures, Accidentals, Tempo Markings
Vocabulary
Legend, Jubilee, Folksong
Other Standards That Can Integrated Into This Unit
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MU.68.C.1.2 Compare, using correct music vocabulary, the aesthetic impact of a performance to
one's own hypothesis of the composer's intent.
MU.68.C.2.1 Critique personal performance, experiment with a variety of solutions, and make
appropriate adjustments with guidance from teachers and peers.
MU.68.C.2.2 Critique, using correct music vocabulary, changes in one's own or others' musical
performance resulting from practice or rehearsal.
MU.68.H.1.1 Describe the functions of music from various cultures and time periods.
MU.68.O.3.1 Describe how the combination of instrumentation and expressive elements in a musical
work can convey a specific thought, idea, mood, and/or image.
MU.68.O.3.2 Perform the expressive elements of a musical work indicated by the musical score
and/or conductor, and transfer new knowledge and experiences to other musical works.
MU.68.S.2.2 Transfer performance techniques from familiar to unfamiliar pieces.
MU.68.S.3.1 Sing and/or play age-appropriate repertoire expressively.
MU.68.S.3.2 Demonstrate proper vocal or instrumental technique.
MU.68.S.3.3 Sight-read standard exercises and simple repertoire.
MU.68.S.3.6 Develop and demonstrate efficient rehearsal strategies to apply skills and techniques.
Assessments (Formative and/or Summative):
Formative Assessment: Daily Observation of Student Performances, Re-Teach where needed including use of
“guiding bow/correct left hand/adjust fingers” approach if necessary
Small Group Performances to Help Teacher determine which students are being successful and which students
need help.
Summative Assessments: Written work focusing on students recognizing and defining musical symbols. Small
Group Performances and Music Performance Assessment
Materials Needed: Listed Repertoire, Method Books, Dictionary, Mini Digital Recorder