Lesson Plans
Lesson Plan for Complementary Rhythm:
1) ask students to conduct in a big 2 and tell them that I will be playing a mixture of 2 + 2 2 + 3 and 3 + 2
2) They simply need to walk around the room and conduct the big 2
3) What is happening? (Small beats changing) Now step the big beat and fill in the Little beats with a silent clap
4) From here, you could go into a lesson on bossa Nova on the worldwide common occurrence of the rhythmic pattern long long short or 3 3 2.
5) Better I think would be to explore a little bit the quality of a 3 and the quality of the two. With simple marching and skipping games
5a) If there's time, save this for the end and first do partner work where they sway to the threes and come up with something on their own for the twos
5b) Trade partners a few times, and watch to see what they come up with
6) Finally, we stand in a circle facing a partner and holding the right hands, weave in and out to music in three., Doing some stationary motion for the twos like step ankle step ankle. Finally, do the circle work as a finishing activity oh, even better if you can find a piece that swings between 3 and 2
7) Carmina Burana
1) ask students to conduct in a big 2 and tell them that I will be playing a mixture of 2 + 2 2 + 3 and 3 + 2
2) They simply need to walk around the room and conduct the big 2
3) What is happening? (Small beats changing) Now step the big beat and fill in the Little beats with a silent clap
4) From here, you could go into a lesson on bossa Nova on the worldwide common occurrence of the rhythmic pattern long long short or 3 3 2.
5) Better I think would be to explore a little bit the quality of a 3 and the quality of the two. With simple marching and skipping games
5a) If there's time, save this for the end and first do partner work where they sway to the threes and come up with something on their own for the twos
5b) Trade partners a few times, and watch to see what they come up with
6) Finally, we stand in a circle facing a partner and holding the right hands, weave in and out to music in three., Doing some stationary motion for the twos like step ankle step ankle. Finally, do the circle work as a finishing activity oh, even better if you can find a piece that swings between 3 and 2
7) Carmina Burana
Lesson plan for 5:3
Video: https://www.youtube.com/watch?v=i-pOP-MdM1M
Excellent so then the next step would be walking one and clapping the other and switching.
Video: https://www.youtube.com/watch?v=i-pOP-MdM1M
Excellent so then the next step would be walking one and clapping the other and switching.
Lesson plan idea for the subject tempo with one tennis ball could be:
I silently take out the tennis ball sit down on the ground with my legs open, gesture for a student to sit down and get ready to receive it, with wide eyes.
I make a big show of getting ready to roll it, and when the ball begins rolling I sing the first phrase of smile by Charlie Chaplin
"smile though your heart is aching"
I time out the first phrase of music so that it cuts off as soon as student catches the ball. From here, I could either roll a second ball to another student, or signal for the first student to roll the ball back to me
I silently take out the tennis ball sit down on the ground with my legs open, gesture for a student to sit down and get ready to receive it, with wide eyes.
I make a big show of getting ready to roll it, and when the ball begins rolling I sing the first phrase of smile by Charlie Chaplin
"smile though your heart is aching"
I time out the first phrase of music so that it cuts off as soon as student catches the ball. From here, I could either roll a second ball to another student, or signal for the first student to roll the ball back to me
Lesson plan idea for Listening meditation/improvising with a group of instrumentalists, after victor wooten a little: (2/15/20)
Maybe this will be obvious, but I was just thinking of an idea of how to get a group of musicians to improvise
1)We're sitting with our instruments, people are nervous
2) Say: "take a moment to be in the room, feel how even when you're still, there is still motion and vibration within you. Welcome the breath. No need to observe it or consider it. Just welcome it."
3) With your eyes gently closed, experience the vibrations of the other people in the room, notice how it is different than if you were in the room by yourself.
4) Place your hands on your instrument ... ... start to include it in the sphere of your vibration.
5) Begin to think of an emotion you'd like to express. Joy sorrow confusion loss excitement confidence. Not the sound of the emotion, just the emotion.
6) Maybe one of you calls one out ... ok we'll go with that one
7) everyone considers that emotion
8) As you sit, each person is going deeper within that emotion, finding more specific emotions within that one.
9) Return to your self+instrument sphere, begin to feel that sphere as a single entity and then imagine that the entity has its own ability to listen, one big ear
10) Can you play the resounding of what listening looks like in your mind?
Maybe this will be obvious, but I was just thinking of an idea of how to get a group of musicians to improvise
1)We're sitting with our instruments, people are nervous
2) Say: "take a moment to be in the room, feel how even when you're still, there is still motion and vibration within you. Welcome the breath. No need to observe it or consider it. Just welcome it."
3) With your eyes gently closed, experience the vibrations of the other people in the room, notice how it is different than if you were in the room by yourself.
4) Place your hands on your instrument ... ... start to include it in the sphere of your vibration.
5) Begin to think of an emotion you'd like to express. Joy sorrow confusion loss excitement confidence. Not the sound of the emotion, just the emotion.
6) Maybe one of you calls one out ... ok we'll go with that one
7) everyone considers that emotion
8) As you sit, each person is going deeper within that emotion, finding more specific emotions within that one.
9) Return to your self+instrument sphere, begin to feel that sphere as a single entity and then imagine that the entity has its own ability to listen, one big ear
10) Can you play the resounding of what listening looks like in your mind?
Fly for Mike by Nate Smith with Brittany Howard, great lesson for 9/8
https://open.spotify.com/track/0qKdmI20wCPmmjSWY6wO6K?si=b0dcf70554eb4171
Later, instrumental solos demonstrate 4:3 by playing sixteenths over the dotted eighth
S22 - Wk1
-Did brainstorm gathering vs. exploring
-Types of Art
_types of Music
Walking meditation via TNH
breath up down with hand, connecting it to duple time
showed 9 positions of in duple from EJD
-pratciced walk, run, 4/4, toilet bowl
Slick Rick Instrumental
https://www.youtube.com/watch?v=BSHBv8SIMGA
-What are all the elements of music we can show with our bodies as we walk and conduct
Wk3
Brainstorm Word Pairs General
Word Pairs Music
Stretch
Three planes
move the 3 planes to Biril's Poinciana
Video Alan Watts video of the rat race
Vid of Nat Smith count to 7
Clipping Story 2
Odd Meter Blues
Notate odd meter blues
never a moment of "stillness"
2+2+2+3, can you feel the difference?
Notate Fratres, Move Fratres
Housekeeping, (Damage report, no real mechanism in place to follow up on any of this, could have included in midterm but didn't because I wasn't organized enough to plan out the midterm.)
Wk4- Proposed
Could do Sonia's cosmic whole note
leads to 2 against 3
Should do some simple big 2 follow just to get the pleasure of togetherness
balloons?
S22 - Wk 4
Brainstorm: Lenses you choose in the morning, ranging anywhere from what you will achieve to gender identity and privilege
Used new Black Radio album to introduce SHMRG
played the songs they chose and showed the drawing that accompanied them. Would be good to include the message board prompts here.
Wk 5
Brainstorm : Sensation of the morning.
Wk 6
Jack Stevenson class on the Espece of 7th chords.
Starts the class by saying: "Just listen."
in minor, 3rd espece can fall to 1st espece or to another 3rd espece. The important part is that they WANT to fall,
With the 5th and 7th falling, the 7th falls either a whole step or a half step
In 5th espece, all notes are active, so that any one of them can move down, leading to a 1st espece.
Wk 9 Proposed- as an answer to the endgame/destination, a reemphasis on Journey
TNH reading and 5 minutes of mindful practice
-Emphasize communal practice over mere knowledge gathering
in the act of practicing, you are actively engaged with the nature of ourseles
we are not removed from it, gathering food and water for a later feast. We promote the presence of mindful happiness and we do not inhabit questions that will answer themselves as a matter of course (??)
we teach each other, not intentionally, but by defaul
we gather and we practice.
- ice-breaker, ways you explored as opposed to amassing/accumulating
the term "experience" from Neely.
_"I just realized that the place I improvise froma nd the place I actively learn from are different. But don't have to be. Perhaps I'm engaging in Mind vs. Heart for no reason.
https://open.spotify.com/track/0qKdmI20wCPmmjSWY6wO6K?si=b0dcf70554eb4171
Later, instrumental solos demonstrate 4:3 by playing sixteenths over the dotted eighth
S22 - Wk1
-Did brainstorm gathering vs. exploring
-Types of Art
_types of Music
Walking meditation via TNH
breath up down with hand, connecting it to duple time
showed 9 positions of in duple from EJD
-pratciced walk, run, 4/4, toilet bowl
Slick Rick Instrumental
https://www.youtube.com/watch?v=BSHBv8SIMGA
-What are all the elements of music we can show with our bodies as we walk and conduct
Wk3
Brainstorm Word Pairs General
Word Pairs Music
Stretch
Three planes
move the 3 planes to Biril's Poinciana
Video Alan Watts video of the rat race
Vid of Nat Smith count to 7
Clipping Story 2
Odd Meter Blues
Notate odd meter blues
never a moment of "stillness"
2+2+2+3, can you feel the difference?
Notate Fratres, Move Fratres
Housekeeping, (Damage report, no real mechanism in place to follow up on any of this, could have included in midterm but didn't because I wasn't organized enough to plan out the midterm.)
Wk4- Proposed
Could do Sonia's cosmic whole note
leads to 2 against 3
Should do some simple big 2 follow just to get the pleasure of togetherness
balloons?
S22 - Wk 4
Brainstorm: Lenses you choose in the morning, ranging anywhere from what you will achieve to gender identity and privilege
Used new Black Radio album to introduce SHMRG
played the songs they chose and showed the drawing that accompanied them. Would be good to include the message board prompts here.
Wk 5
Brainstorm : Sensation of the morning.
Wk 6
Jack Stevenson class on the Espece of 7th chords.
Starts the class by saying: "Just listen."
in minor, 3rd espece can fall to 1st espece or to another 3rd espece. The important part is that they WANT to fall,
With the 5th and 7th falling, the 7th falls either a whole step or a half step
In 5th espece, all notes are active, so that any one of them can move down, leading to a 1st espece.
Wk 9 Proposed- as an answer to the endgame/destination, a reemphasis on Journey
TNH reading and 5 minutes of mindful practice
-Emphasize communal practice over mere knowledge gathering
in the act of practicing, you are actively engaged with the nature of ourseles
we are not removed from it, gathering food and water for a later feast. We promote the presence of mindful happiness and we do not inhabit questions that will answer themselves as a matter of course (??)
we teach each other, not intentionally, but by defaul
we gather and we practice.
- ice-breaker, ways you explored as opposed to amassing/accumulating
the term "experience" from Neely.
_"I just realized that the place I improvise froma nd the place I actively learn from are different. But don't have to be. Perhaps I'm engaging in Mind vs. Heart for no reason.
Resources for me:
Michael Joviala's blog
https://joviala.com/jovialaworks/
Michael Joviala's blog
https://joviala.com/jovialaworks/
Begin with:
1. [stretch]
2. Listen to the four bar pattern: Play it once: 4/4 hqq hqq hqq qqh
"Here it is again"
Walk the pattern
Write the pattern on the board.
Dactyl Dactyl Dactyl Anapest
2a.Now I'll play 4 bars and you echo.
(A variety of four bar phrases that use dactyl and anapest.)
3. In partners: read the scene and find a way to step together throughout.
Act II, Scene II
Juliet:
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Romeo:
[Aside] Shall I hear more, or shall I speak at this?
Juliet:
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? That which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
Romeo:
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
3a. Define iams in iambic pentameter
Define.
4. Introduce these on the floor. as improvised phrases.
4a. Students can lead if they are confident, either from the piano or with the feet.
5. 6/8 activity
5a. "Sicilienne" by Paradis for Cello and Piano.
5b. What are they ready for?
Could walk the trochee.
Could change direction at the phrase.
6. Finally, Montagues and Capulets.
Watch a video of a conductor.
Then discuss.
Jump to the active part and try moving and conducting the trocee, can they step every note? Leads to skip?
1. [stretch]
2. Listen to the four bar pattern: Play it once: 4/4 hqq hqq hqq qqh
"Here it is again"
Walk the pattern
Write the pattern on the board.
Dactyl Dactyl Dactyl Anapest
2a.Now I'll play 4 bars and you echo.
(A variety of four bar phrases that use dactyl and anapest.)
3. In partners: read the scene and find a way to step together throughout.
Act II, Scene II
Juliet:
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Romeo:
[Aside] Shall I hear more, or shall I speak at this?
Juliet:
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? That which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
Romeo:
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
3a. Define iams in iambic pentameter
Define.
4. Introduce these on the floor. as improvised phrases.
4a. Students can lead if they are confident, either from the piano or with the feet.
5. 6/8 activity
5a. "Sicilienne" by Paradis for Cello and Piano.
5b. What are they ready for?
Could walk the trochee.
Could change direction at the phrase.
6. Finally, Montagues and Capulets.
Watch a video of a conductor.
Then discuss.
Jump to the active part and try moving and conducting the trocee, can they step every note? Leads to skip?
Can go through timeline of Hellerau from:
https://static.hellerau.org/wp-content/uploads/2020-07-14_downloadhistory_hellerau.pdf
See what interests them. Try to have pictures of the people ready on website.
https://static.hellerau.org/wp-content/uploads/2020-07-14_downloadhistory_hellerau.pdf
See what interests them. Try to have pictures of the people ready on website.