getting into the blues lesson 2 grade 7 music -...

Getting into The Blues Lesson 2 Grade 7 Music

Critical Learning Guiding Questions•• Students•understand•how•to•create•a•Blues•progression.•• Students•practise•pitch•accuracy.

•• What•does•it•feel•like•to•compose•and•perform•an•accompaniment?

Curriculum ExpectationsCreating and Performing C1.• •apply•the•creative•process•to•create•and•perform•music•for•a•variety•of•

purposes,•using•the•elements•and•techniques•of•music1.1• •sing•and/or•play,•in•tune,•from•musical•notation,•unison•music•in•two•or•

more•parts•from•diverse•cultures,•styles,•and•historical•periods1.2• •apply•the•elements•of•music•when•singing•and/or•playing,•composing,•and•

arranging•music,•using•them•for•specific•effects•and•clear•purposes1.4• •use•the•tools•and•techniques•of•musicianship•in•music•performances•1.5• •demonstrate•an•understanding•of•standard•and•other•musical•notation•

through•performance•and•composition

Reflecting, Responding, and Analysing C2.• •apply•the•critical•analysis•process•to•communicate•their•feelings,•ideas,•and•

understandings•in•response•to•a•variety•of•music•and•musical•experiences2.1• •express•analytical•personal•responses•to•musical•performances•in•a•variety•

of•ways

Learning Goals(Unpacked Expectations)•• Describe•personal•response•to•an•example•of•the•12-bar•Blues,•referring•to•the•elements•of•music•in•the•description.

•• Sing•and/or•play•the•first•5•notes•of•the•scale•in•a•variety•of•ways.

•• Attain•pitch•accuracy•when•singing•and/or•playing.•

•• Know•the•12-bar•Blues•progression.•• Can•write•an•accompaniment•on•manuscript•and•play•it•by•numbers.

•• Self-assess•progress•towards•the•learning•goals.••

Instructional ComponentsReadiness•• ability•to•perform•at•least•the•first•five•notes•of•the•major•scale

•• basic•understanding•of•written•notation•• experience•with•Call•and•Response•• basic•understanding•of•elements•of•music•(form,•pitch,•rhythm,•articulation)•and•the•pentatonic•scale

Terminology•• Creative•Process•

• • ‘Challenging•and•Inspiring’• • ‘Exploring•and•Experimenting’• • ‘Imagining•and•Generating’•• improvisation•(improvise)•• major•and•pentatonic•scale•• pitch•• play by numbers •• root note of a chord•• solfage•• 12-bar•Blues•progression

Materials•• Copy•of•the•‘Presenting,•Performing•and•Sharing’•stages•of•the•creative•process

•• Copy•of•first 5 notes•for•the•various•instrumentations

•• Reflection Log Self-Assessement Checklist

•• Reflection Log Reflection Questions•• Performance Rubric

L I t E r aC y G a I n s T r a n s f o r m i n g i n s T r u c T i o n a L P r a c T i c e s u P P o r T s – g r a d e 7 m u s i c • 1

L I t E r aC y G a I n s T r a n s f o r m i n g i n s T r u c T i o n a L P r a c T i c e s u P P o r T s – g r a d e 7 m u s i c 2

Minds On Pause and PonderWhole Class ➔ Responding to The BluesTell•the•students•that•this•‘Minds•On’•activity•reflects•the•Challenging•and•Inspiring•stage•of•the•Creative Process.•Refer•back•to•the•model•of•the•creative•process•posted•on•the•wall,•explaining•that•this•model•will•be•revisited•throughout•the•unit.•Explain•that•students•will•now•learn•to•perform•the•kind•of•music•they’ve•been•listening•to.•Play•a•recording•of•the•12-bar•Blues•as•students•enter•the•room,•(See•Resource List.•Direct•students’•attention•to•question prompts•displayed•on•the•board.••Return•Lesson•1•Reflection•Logs•and•feedback.•Replay•The•Blues•music.•Using•a•Think-Pair-Share strategy,•instruct•students•to•respond•individually•to•4•of•the•question•prompts•in•their•logs.•Play•the•music•at•least•twice.•Model•how•to•respond•to•a•prompt,•if•complete•sentences•or•details•are•required.•When•done,•students•share•responses•with•an•elbow•partner,•looking•for•similarities•and•differences.•Volunteers•share•with•the•whole•group.To•underscore•the•importance•of•a•solid•understanding•of•the•elements of music (See•p.•177•of•the•Glossary•in•The Arts, Grades 1-8,•2009.),•ask•students•to•circle•words•in•their•responses•that•relate•to•these•elements.•Narrow•the•focus•to•the•element•of•pitch,•asking•students•to•give•an•informal•definition.•Note•that•pitch•will•be•revisited•towards•the•end•of•the•unit•when•talking•about•melody.•Students•use•Traffic Light•to•indicate•their•understanding.•

QuickTip•Prompts•are•based•on•the••Initial•Reaction•stage•of•the•Critical Analysis Process,•pp.•23-25.•The•same•prompts•appear•in•the•Reflection•Log.

•Checkpoint Solid•understanding•of•the•elements•of•music•is•crucial•to•this•unit.•Determine•students’•readiness•and•scaffold•learning•as•necessary.

Use•Traffic•Light•throughout•this•lesson,••e.g.,•to•indicate•level•of••comfort•playing•the•accompaniment,•below.

action! •

QuickTip•If•teacher•and•students•are•confident•with•any•kind•of•scale,•hand•out•The•Blues•scale•instead•of•the•first•5•notes.

•Listen•to•each•note•for•unison/pitch•accuracy.•Provide•peer•or•teacher•support•for•students•singing•and/or•playing•incorrect•notes.•Provide•feedback•on•the•accompaniment.

Whole Group ➔ Exploring and PerformingAs•a•warm-up,•students•sing•and/or•play•the•first 5 notes of•a•major•or•pentatonic•scale•using•numbers,•solfage,•or•note•names.Discuss•the•Performance Rubric•to•assist•students•with•their•goal•setting•and•to•clarify•the•expectations•for•performance.•In•particular,•focus•students•on•the•descriptors•for•pitch•and•tuning•and•encourage•them•to•aim•for•pitch•accuracy•in•this•lesson.Led•by•the•teacher•or•a•student,•the•class•plays•the•first•5•notes•in•a•variety•of•ways,•e.g.,•play•by•numbers,•or•write•a•series•of•numbers•or•notes•on•the•board,•giving•tempo•(fast•or•slow)•and•note•value•(whole•notes,•half•notes).•Point•out•that•the•warm-up•reflects•the•Challenging•and•Inspiring•stage•of•the•Creative•Process.Using•a•Think-Aloud,•model•how•to•create•a•reference page•to•use•throughout•the•unit.•See•sample script #1,•which•shows•students•how•to•record•the 12-bar Blues form in•Roman•numerals•and•then•to•number•the•first•five•notes.•Using•a•Think-Aloud,•model•how•to•create•the•accompaniment•that•will•be•used•throughout•the•unit.•This•accompaniment•is•a•Blues•progression.•Students•create•their•accompaniment•page•on•staff•paper.•Remind•students•to•focus•on•pitch•accuracy.•Students•sing•and/or•play•throughout•their•accompaniment,•using•whole•notes•or•half•notes.•Split•the•class•into•two•groups.•One•group•plays•their•accompaniment;•the•other•group•follows•the•teacher,•playing•by•numbers•from•the•reference•page.•Point•out•that•this•singing•and/or•playing•activity•reflects•the•Exploring•and•Experimenting•stage•of•the•Creative•Process.•Students•sing•lyrics•from•Lesson•1•over•the•accompaniment•as•it•is•being•played•by•other•students.•Some•students•may•improvise•(See•p.•178•of•the•Glossary•in The Arts, Grades 1-8,•2009)•along•with•the•class•singing•and/or•playing.•Explain•that•this•is•an•example•of•the•Presenting,•Performing•and•Sharing•stage•of•the•Creative•Process.•Post•this•section•of•the•model.•Students•hand•in•the•accompaniment•page•for•feedback.

ConsolidationIndividual➔ Reflecting and EvaluatingStudents•use•the•Reflection Log•Self-Assessment Checklist•to•reflect•on•their•learning.•The•checklist•includes•items•related•to•pitch•accuracy.•Students•select•3•prompts•from•the•Minds•On••to•respond•to•more•fully.•Model•a•sample•response.•Remind•students•that•this•reflection•is•part••of•the•Reflecting•and•Evaluating•stage•of•the•Creative•Process.•Collect•the•Reflection•Logs.

•Provide•feedback•on•understanding•of•the••Bluedemonstrated.•

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L I t E r aC y G a I n s T r a n s f o r m i n g i n s T r u c T i o n a L P r a c T i c e s u P P o r T s – g r a d e 7 m u s i c

Minds On …

Question Prompts•• What•is•my•first•impression?••• Of•what•does•this•work•remind•me?••• What•do•I•like•or•not•like•about•what•I•hear?••• How•does•what•I•hear•make•me•feel?••• What•do•I•find•interesting•about•what•I•hear?•• What•puzzles•me•about•what•I•hear?••• What•do•I•visualize?•

Think-Pair-ShareBennett•and•Rolheiser•(2001)•describe•Think-Pair-Share•as•“one•of•the•simplest•of•all•the•tactics”•(page•94).•As•pointed•out•by•Bennett•and•Rolheiser•and•Think•Literacy•(page•152),•students•require•skills•to•participate•effectively•in•Think-Pair-Share,•e.g.,

•• active•listening••• taking•turns••• asking•for•clarification••• paraphrasing••• considering•other•points•of•view••• suspending•judgement••• avoiding•put-downs

These•skills•can•be•modelled•and•explicitly•taught.•During•group•work,•teachers•can•provide•oral•feedback•and•reinforce•expectations.•

See•Think Literacy Cross-Curricular Approaches,•Grades•7-12,•pages•152-153.•Bennett,•Barrie,•and•Rolheiser,•Carol•(2001). Beyond Monet: The artful science of instructional integration.•Ajax,•ON:•Bookation.

Traffic LightSee•Differentiated Instruction Cards,•Assessment, Evaluation and Reporting.•Develop•this•or•a•similar•strategy•as•a•classroom•routine•to•obtain•information•about•students’•understanding•immediately•and•efficiently.• •Student•responses•in•class•can•inform•instructional•decisions•(assessment•for•learning),•e.g.,•whether•or•not•to•move••to•the•next•learning•activity•or•whether•to•provide•a•small•group•of•students•with•guided•practice.•See•the••Strategy Implementation Guide.•

Assessment for Learning“Teachers•can•gather•information•about•learning•by:••designing•tasks•that•provide•students•with•a•variety•of•ways•to•demonstrate•their•learning;••observing•students•as•they•perform•tasks;••posing•questions•to•help•students•make•their•thinking•explicit;••engineering•classroom•and•small-group•conversations•that•encourage•students•to•articulate•what•they•are•thinking•and•further•develop•their•thinking.”•(Growing Success,•2010,•p.•34)•

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action!

Warm-upA•warm•up•activity•warms•up•the•instrument,•e.g.,•voice,•trumpet,•as•well•as•the•students’•body•and•mind.•The•warm•up•in•this•lesson•includes•the•Jazz•rhythms•in•Lesson•3.•Using•these•Jazz•rhythms•in•the•first•three•lessons•provides•students•with•an•experiential•activity•that•supports•attainment•and•consolidates•learning.•Introducing•two•rhythms•in•Lesson•1•and•two•in•Lesson•2•means•that•four•Jazz•rhythms•will•be•prior•knowledge•by•Lesson•3.•

Solfage If•using•solfage•(doh,•re,•mi,•fa,•so,•la,•ti,•doh)•with•your•vocal•students,•substitute•solfage•for•the•numbering•system.• •See•the•music glossary.

First 5 NotesThe•first•five•notes•vary•depending•on•the•instrument:

•• Alto, Baritone Saxophone

•• B flat Clarinet, trumpet, TC Baritone

•• Bass

•• Bells

•• Cello

•• Flute, Oboe

•• French horn

•• Full Band

•• Full string ensemble

•• Guitar

•• Tenor Saxophone

•• Trombone, Baritone, Bassoon

•• Tuba

•• Viola

•• Vocal, Recorder, Orff

Think-AloudA•Think-Aloud•is•an•instructional•scaffold•that•models•thinking•processes,•making•the•invisible•visible.•In•a•Think-Aloud,•the•teacher•verbalizes•how•to•think•through•a•process.•

While•teachers•can•think•aloud•at•any•point•in•an•instructional•sequence,•Think-Alouds•are•frequent•during•the•modeling•phase•of•the•gradual•release•model•and•during•read-alouds.•(See•the•Strategy Implementation Continuum.)

A•Think-Aloud•is•a•form•of•explicit•instruction•that•requires•teachers•to•be•aware•of•their•own•thinking•processes•in•order•to•help•students•think•about•their•thinking.•Developing•metacognitive•awareness•is•an•important•aspect•of•learning.•(See•Metacognition Guide.)•

Reference PageA•reference•page•shows•the•first•five•notes•of•a•major•scale•with•the•Roman•numerals•underneath.•Sample•script•#1•shows•how•to•guide•students•through•the•creation•of•a•reference•page.•

Tell•students•to•write•the•first•five•notes•of•the•scale•(whichever•scale•applies•to•their•instruction)•in•whole•notes•on•the•staff•paper.•Give•each•note•its•own•measure.•Then•model•how•to•number•the•notes.•

Script #1“I•am•also•going•to•write•the•12-bar•Blues•pattern•across•the•top•of•my•scale•page•as•a•reference.”•Demonstrate,•e.g.,•on•an•overhead•or•the•board.•“Then,•write•the•Roman•numeral•corresponding•to•each•note•underneath.•I•am•writing•the•Roman•numeral•I,•or•one,•under•the•first•note.•I•put•the•Roman•numeral•II•under•the•second•note,•and•so•on.”•Continue•for•the•first•five•notes.•This•can•be•used•as•as•a•reference•page•while•learning•about•the•12-bar•Blues.

Feedback“As•part•of•assessment•for•learning,•teachers•provide•students•with•descriptive•feedback•and•coaching•for•improvement.•Teachers•engage•in•assessment•as•learning•by•helping•all•students•develop•their•capacity•to•be•independent,•autonomous•learners•who•are•able•to•set•individual•goals,•monitor•their•own•progress,•determine••next•steps,•and•reflect•on•their•thinking•and•learning.”•(Growing Success,•2010,•p.•28)•

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action!

12-Bar Blues FormThe•12-bar•Blues•harmonic•root•progression•is•as•follows: I I I I IV IV I I V IV I I•.•

Suggestion:•If•working•with•beginning•vocal/instrumental•students,•use•only•the•first•note•(the•root)•of•The•Blues•harmonic•progressions•(I, IV, V).•The•root•notes•of•The•Blues•harmonic•progression•are•the•bottom•notes•of•a•three•note•chords•that•make•up•the•form.•Make•each•note•a•whole•note,•i.e.,•one•whole•note•per•measure.•

If•working•with•more•advanced•students,•begin•to•add•harmonies•by•looking•at•The•Blues•form•as•chord•sequences.•Create•harmonies•with•the•third•and•fifth•of•the•chord.•To•add•interest,•use•a•simple•Jazz•rhythm•that•is•repeated•for•each•bar.

See•12-bar•Blues•Accompaniment•files:•• Alto saxophone 12-Bar Blues Form•• Bass 12-Bar Blues Form•• Bells 12-Bar Blues Form•• Cello 12-Bar Blues Form•• Clarinet, trumpet, B flat instruments 12-Bar Blues Form•• Flute, oboe 12-Bar Blues Form•• Full band 12-Bar Blues Form •• Guitar 12-Bar Blues Form •• Horn in F 12-Bar Blues Form •• Strings 12-Bar Blues Form •• Tenor Sax 12-Bar Blues Form •• Trombone, baritone, bassoon 12-Bar Blues Form•• Tuba 12-Bar Blues Form •• Viola 12-Bar Blues Form •• Violin 12-Bar Blues Form•• Vocal soprano record of 12-Bar Blues Form

Instructional Components and Context

Root Note of a ChordThe•root•note•of•a•chord•is•the•first•note•at•the•bottom•of•a•chord•in•its•home•position,•e.g.,•C•is•the•root•of•a•chord•that•begins•on•the•note•C.

Play by Numbers The•teacher•or•a•student•directs•the•class•indicating•notes•by•the•number•of•fingers•raised•or•by•numbers•written•on•the•board.•

Each•note•in•the•scale•is•numbered•from•1•to•7.•Regardless•of•the•instrument,•students•can•play•the•first,•second,•third•notes,•etc.,•of•the•scale.•Numbering•makes•large•group•improvisation•easier.•The•teacher•or•a•student•holds•up•the•appropriate•number•of•fingers•(or•writes•a•progression•on•the•board).•Explanation•is•simplified•when•students•are•playing•a•variety•of•instruments•in•different•keys•because•they•don’t•need•to•transpose.•

Focusing•students•on•the•numbers•bridges•to•the•performance•stage,•where•numbers•are•also•used.•The•difference•is•that•Roman•numerals•are•used•in•performance.•Showing•a•note’s•number•representation•prepares•students•to•learn•numbered•chords•in•the•future.

I’ve Got The Blues!Performance Rubric: 12-bar Blues

Achievement Category Criteria Level 1 Level 2 Level 3 Level 4

Application•of•knowledge••and•skills(1.1)

Singing•and/or•playing•in•tune•from•musical•notation:••being•in•tune,•performing•pitches•and•rhythms

Sings•and/or•plays•in•tune•with•limited•accuracy

Sings•and/or•plays•in•tune•with•some•accuracy

Sings•and/or•plays•in•tune•with•considerable•accuracy

Sings•and/or•plays•in•tune•with•a•high•degree•of•accuracy

Performs•pitches•with•limited•accuracy

Performs•pitches•with•some•accuracy

Performs•pitches•with•considerable•accuracy

Performs•pitches••with•a•high•degree••of•accuracy

Performs•rhythms•with•limited•accuracy

Performs•rhythms•with•some•accuracy

Performs•rhythms•with•considerable•accuracy

Performs•rhythms••with•a•high•degree••of•accuracy

ApplicationTransfer•of••knowledge•and•skills•(application)(1.3)(1.4)

Performing•a•composition•in•12-•bar•Blues•form

Performs•a•partially•balanced•melodic•line•in•12-bar•Blues•form•with•limited•effectiveness

Performs•a•balanced•melodic•line•in•12-bar•Blues•form•with•some•effectiveness

Performs•a•somewhat•balanced•melodic•line•in•12-bar•Blues•form•with•considerable•effectiveness

Performs•a•balanced•melodic•line•in•12-bar•Blues•form•with•a•high•degree•of•effectiveness

Performing•musicianship•techniques,••e.g.,•tempo,••articulation,••posture•and••position

Performs•with•an•unsteady/inconsistent•tempo

Performs•with•a•some•steady/consistent•tempo

Performs•with•a•considerable•steady/consistent•tempo

Performs•with•a•highly•steady•and•consistent•tempo•

Articulates•Jazz•rhythms•(staccato,•accent,•tenuto)•with•limited•effectiveness

Articulates•Jazz•rhythms•(staccato,•accent,•tenuto)•with•some•effectiveness

Articulates•Jazz•rhythms•(staccato,•accent,•tenuto)•with•considerable•effectiveness

Performs•articulation(staccato,•accent,•tenuto)•found•in•Jazz•rhythms•with•a•high•degree•of•effectiveness

Performs•with•limited•correctness•posture•and•instrument•playing•position

Performs•with•moderate•correctness•posture•and•instrument•playing•position

Performs•with•considerable•correctness•posture•and•instrument•playing•position

Performs•with•a•high•degree•of•correctness••posture•and•instrument•playing•position

Communication(1.2)

Application•of•the•elements•of•music•when•performing•an•improvised•melody•over•a•Jazz•rhythm

Applies•elements•(Blues•form,•pitch,•rhythm,•articulation)•with•limited•effectiveness

Applies•some•elements•(Blues•form,•pitch,•rhythm,•articulation)•with•some•effectiveness

Applies•some•elements•(Blues•form,•pitch,•rhythm,•articulation)•with•considerable•effectiveness

Applies•elements•(Blues•form,•pitch,•rhythm,•articulation)•with•a•high•degree•of•effectiveness

& # 441 2

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

G Major (Bb Major Concert) – First 5 Notes

Alto Saxophone,Baritone Saxophone

& 441 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 2

˙ ˙I II

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˙ ˙III IV

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˙ ˙V IV

˙ ˙III II

C Major (Bb Major Concert) – First 5 Notes

Bb Clarnet, Bb Bass Clarinet,Bb Trumpet, TC Baritone

? ## 441 21 21 21 2

* The numbers above the notes are not fingerings.

˙ ˙I II

3 43 43 43 4

˙ ˙III IV

5555˙ ˙V IV

4 34 34 34 3 2

˙ ˙III II

D Major Scale - First 5 NotesBass

& bb 441 2

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

Bb Major Concert – First 5 Notes

? ## 441 21 21 2

˙ ˙I II

3 43 43 43 4

˙ ˙III IV

5555˙ ˙V IV

4 34 34 34 3 2

˙ ˙III II

D Major Scale - First 5 NotesCello

& bb 441 2

˙ ˙I II

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˙ ˙III IV

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5 4˙ ˙V IV

˙ ˙III II

Bb Major – First 5 Notes

Flute, Oboe

& b 441 2

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

F Major (Bb Major Concert) – First 5 Notes

Horn in F

Clarinet in Bb

Bass Clarinet

Alto Sax.

Tenor Sax.

Baritone Sax.

Bassoon

Horn in F

Trumpet in Bb

Trombone

Baritone

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

Violin

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

D Major Scale - First 5 Notes

& # 441 2

˙ ˙I II

˙ ˙III IV

5˙ ˙V IV

˙ ˙III II

G Major Scale - First 5 NotesGuitar

& 441 2

˙ ˙I II

3 4˙ ˙III IV

5 4˙ ˙V IV

3 2˙ ˙III II

C Major (Bb Major Concert) – First 5 Notes

Tenor Saxophone

? bb 44222221 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 21 2

* The numbers above the notes are not slide positions.

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

22222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222 1

Bassoon, Trombone, Baritone

? bb 441 2

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

B ## 441 21 2

1 21 2

˙ ˙I II

3 43 43 43 4˙ ˙III IV

5555˙ ˙V IV

4 34 34 34 3 2˙ ˙III II

D Major Scale - First 5 NotesViola

& ## 441 2

1 21 21 2

˙ ˙I II

3 43 43 43 4

˙ ˙III IV

˙ ˙V IV

4 34 34 34 3 2

˙ ˙III II

D Major Scale - First 5 NotesViolin

& 441 2

* Vocal: Sing each number.

˙ ˙I II

˙ ˙III IV

˙ ˙V IV

˙ ˙III II

C Major Scale - First 5 NotesVocal, Recorder, Orff

& # 44 wI

& #5 w

& # ..9 w

The 12-Bar Blues Form (The Accompaniment)Alto Saxophone, Baritone Saxophone

? ## 44 wI

? ##5 w

? ## ..9 w

12-Bar Blues Form (The Accompaniment)Bass

& bb 44 wI

& bb ..9

The 12-Bar Blues Form (The Accompaniment)Bells

& 44 wI

The 12-Bar Blues Form (The Accompaniment)Bb Clarinet,Bb Bass Clarinet, Bb Trumpet, TC Baritone

& bb 44 wI

& bb5 w

& bb ..9 w

The 12-Bar Blues Form (The Accompaniment)Flute, Oboe

Clarinet in Bb

Bass Clarinet

Alto Sax.

Tenor Sax.

Baritone Sax.

Bassoon

Horn in F

Trumpet in Bb

Trombone

Baritone

The 12-Bar Blues Form (The Accompaniment)

B ## 44 wI

B ##5 w

B ## ..9 w

12-Bar Blues Form (The Accompaniment)Viola

& ## 44 wI

& ## ..9

12-Bar Blues Form (The Accompaniment)Violin

Vocal, Soprano Recorder, Orff

Vocal: Sing the numbers.

12-Bar Blues Form (The Accompaniment)

I’ve Got The Blues!Reflection Log

Self-Assessment•Checklist

Name: – –––––––––––––––––––––––––––––––––––––––

•• Indicate•progress•with•a•coloured•sticky•dot•(beginning-•red;•approaching•-•yellow;•achieving•-•green).•• Update•progress•on•learning•goals•throughout•the•unit.

When you have completed this log, hand it in to your teacher.

Lesson Learning Goals Progress Dots1 I•can•identify/sing•and/or•play•a•rhythm.

I•can•write•my•own•lyrics•in•an•AAB•form.

I•am•playing•/singing•my•notes•accurately.

2 I•can•identify•scale•degrees•I•IV•and•V•and•play•them•in•the•context•of•the•blues•progression.

I•can•play/sing•the•first•5•notes•of•the•major•scale.

I•can•identify/sing•and/or•play•I•IV•V•in•a•scale.

3 I•can•improvise•using•3•notes•with•a•Jazz•rhythm.

I•have•explored•various•rhythms•in•my•improvisations.

I•am•beginning•to•use•articulation•that•is•stylistically•appropriate•to•the•Blues•form.

4-7 I•have•tried•improvising•using•all•the•notes•of•the•Blues•scale.

I•know•the•12-bar•Blues•form.•Write•form•in•Roman•numerals•on•the•line.••

___________________________________________________

I•know•the•notes•(I,•IV,•V)•on•my•instrument•in•12-bar•Blues•form.•Write•form•in•note•names•for•

your•instrument•on•the•line.__________________________________________________

I•wrote•2•bars•of•melody•and•it•was•checked•by•__________________••(partner).

I•wrote•8•bars•of•melody•and•it•was•checked•by•__________________•(partner).

I•wrote•12•bars•of•melody•and•it•was•checked•by•__________________•(teacher).

I’ve Got The Blues!Reflection LogReflection•Questions

Name: – –––––––––––––––––––––––––––––––– Date: -------------------------

Lesson 2: Getting into the Blues page 1 of 2

1. What•is•your•initial•reaction•to•the•12-bar•Blues?•Jot•notes•in•response•to•four•of•the•prompts•in•the•space•provided•as•you•listen.•

• •• What•is•my first impression?•

• •• Of•what•does•this•work•remind•me?•

• •• What•do•I•like or not like•about•what•I•hear?•

• •• How•does•what•I•hear•make•me•feel?•

• •• What•do•I•find•interesting•about•what•I•hear?

• •• What•puzzles•me•about•what•I•hear?•

• •• What•do•I•visualize?•

I’ve Got The Blues!Reflection LogReflection•Questions

Name: – –––––––––––––––––––––––––––––––– Date: -------------------------

Lesson 2: Getting into the Blues page 2 of 2

2. Write•3-4•sentence•responses•to•two•of•the•prompts•on•the•previous•page.•• •• Write•complete•sentences•with•details.••• •• Include•part•of•the•question•in•your•first•sentence.

• • Prompt•#1:•

• • Response:

• Prompt•#2:•

• Response:•

getting into the blues lesson 2 grade 7 music -...

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