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
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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 2
Getting into The Blues Lesson 2 Grade 7 Music
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)•
Getting into The Blues Lesson 2 Grade 7 Music
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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
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)•
Getting into The Blues Lesson 2 Grade 7 Music
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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.
Getting into The Blues Lesson 2 Grade 7 Music
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
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
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
& # 441 2
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5 4
˙ ˙V IV
3 2
˙ ˙III II
1
wI
G Major (Bb Major Concert) – First 5 Notes
Alto Saxophone,Baritone Saxophone
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
& 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
4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444443
˙ ˙III IV
555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
wV
45
˙ ˙V IV
3 2
˙ ˙III II
1
wI
C Major (Bb Major Concert) – First 5 Notes
Bb Clarnet, Bb Bass Clarinet,Bb Trumpet, TC Baritone
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
? ## 441 21 21 21 2
* The numbers above the notes are not fingerings.
˙ ˙I II
3 43 43 43 4
˙ ˙III IV
5wV
5555˙ ˙V IV
4 34 34 34 3 2
˙ ˙III II
1111
wI
D Major Scale - First 5 NotesBass
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
& bb 441 2
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5 4
˙ ˙V IV
3 2
˙ ˙III II
1
wI
Bb Major Concert – First 5 Notes
Bells
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
? ## 441 21 21 2
* The numbers above the notes are not fingerings.
1 2
˙ ˙I II
3 43 43 43 4
˙ ˙III IV
5wV
5555˙ ˙V IV
4 34 34 34 3 2
˙ ˙III II
1111
wI
D Major Scale - First 5 NotesCello
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
& bb 441 2
˙ ˙I II
4444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444444443
˙ ˙III IV
555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555wV
5 4˙ ˙V IV
23
˙ ˙III II
1
wI
Bb Major – First 5 Notes
Flute, Oboe
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
& b 441 2
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5 4
˙ ˙V IV
3 2
˙ ˙III II
1
wI
F Major (Bb Major Concert) – First 5 Notes
Horn in F
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
&
&
&
&
&
&
&
?
&
&
?
?
?
&
bb
bb
#
#
bb
b
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Flute
Oboe
Clarinet in Bb
Bass Clarinet
Alto Sax.
Tenor Sax.
Baritone Sax.
Bassoon
Horn in F
Trumpet in Bb
Trombone
Baritone
Tuba
Bells
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
3
3
3
3
3
3
3
3
3
3
3
3
3
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
5
5
5
5
5
5
5
5
5
5
5
5
5
5
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
5
5
5
5
5
5
5
5
5
5
5
5
5
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2
2
2
2
2
2
2
2
2
2
2
2
2
2
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
1
1
1
1
1
1
1
1
1
1
1
1
1
1
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
Bb Major Concert – First 5 Notes
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
&
B
?
?
##
##
##
##
44
44
44
44
Violin
Viola
Cello
Bass
1
1
1
1
2
2
2
2
1
1
1
1
2
2
2
2
1
1
1
1
2
2
2
2
1
1
1
1
2
2
2
2
* The numbers above the notes are not fingerings.
˙ ˙I II
˙ ˙I II
˙ ˙I II
˙ ˙I II
3
3
3
3
4
4
4
4
3
3
3
3
4
4
4
4
3
3
3
3
4
4
4
4
3
3
3
3
4
4
4
4
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
˙ ˙III IV
55
5
5
5
wV
wV
wV
wV
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
˙ ˙V IV
4
4
4
4
3
3
3
3
4
4
4
4
3
3
3
3
4
4
4
4
3
3
3
3
4
4
4
4
3
3
3
3
2
2
2
2
˙ ˙III II
˙ ˙III II
˙ ˙III II
˙ ˙III II
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
wI
wI
wI
wI
D Major Scale - First 5 Notes
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
& # 441 2
* The numbers above the notes are not fingerings.
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5˙ ˙V IV
4 3
˙ ˙III II
2 1
wI
G Major Scale - First 5 NotesGuitar
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
& 441 2
˙ ˙I II
3 4˙ ˙III IV
5wV
5 4˙ ˙V IV
3 2˙ ˙III II
1
wI
C Major (Bb Major Concert) – First 5 Notes
Tenor Saxophone
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
? 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
3 4
˙ ˙III IV
5
wV
5 4
˙ ˙V IV
3
˙ ˙III II
22222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222222 1
wI
Bb Major Concert – First 5 Notes
Bassoon, Trombone, Baritone
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
? bb 441 2
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5 4
˙ ˙V IV
3 2
˙ ˙III II
1
wI
Bb Major Concert – First 5 Notes
Tuba
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
B ## 441 21 2
* The numbers above the notes are not fingerings.
1 21 2
˙ ˙I II
3 43 43 43 4˙ ˙III IV
5wV
5555˙ ˙V IV
4 34 34 34 3 2˙ ˙III II
1111
wI
D Major Scale - First 5 NotesViola
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
& ## 441 2
* The numbers above the notes are not fingerings.
1 21 21 2
˙ ˙I II
3 43 43 43 4
˙ ˙III IV
55
wV
5555
˙ ˙V IV
4 34 34 34 3 2
˙ ˙III II
1111
wI
D Major Scale - First 5 NotesViolin
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
& 441 2
* Vocal: Sing each number.
˙ ˙I II
3 4
˙ ˙III IV
5
wV
5
˙ ˙V IV
4 3
˙ ˙III II
2 1
wI
C Major Scale - First 5 NotesVocal, Recorder, Orff
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
& # 44 wI
wI
wI
wI
& #5 w
IV
wIV
wI
wI
& # ..9 w
V
wIV
wI
wI
The 12-Bar Blues Form (The Accompaniment)Alto Saxophone, Baritone Saxophone
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
? ## 44 wI
wI
wI
wI
? ##5 w
IV
wIV
wI
wI
? ## ..9 w
V
wIV
wI
wI
12-Bar Blues Form (The Accompaniment)Bass
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
& bb 44 wI
wI
wI
wI
& bb5
wIV
wIV
wI
wI
& bb ..9
wV
wIV
wI
wI
The 12-Bar Blues Form (The Accompaniment)Bells
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
& 44 wI
wI
wI
wI
&5
wIV
wIV
wI
wI
& ..9
wV
wIV
wI
wI
The 12-Bar Blues Form (The Accompaniment)Bb Clarinet,Bb Bass Clarinet, Bb Trumpet, TC Baritone
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
& bb 44 wI
wI
wI
wI
& bb5 w
IV
wIV
wI
wI
& bb ..9 w
V
wIV
wI
wI
The 12-Bar Blues Form (The Accompaniment)Flute, Oboe
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
&
&
&
&
&
&
&
?
&
&
?
?
?
&
bb
bb
#
#
bb
b
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Flute
Oboe
Clarinet in Bb
Bass Clarinet
Alto Sax.
Tenor Sax.
Baritone Sax.
Bassoon
Horn in F
Trumpet in Bb
Trombone
Baritone
Tuba
Bells
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wIV
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
wI
The 12-Bar Blues Form (The Accompaniment)
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
B ## 44 wI
wI
wI
wI
B ##5 w
IV
wIV
wI
wI
B ## ..9 w
V
wIV
wI
wI
12-Bar Blues Form (The Accompaniment)Viola
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
& ## 44 wI
wI
wI
wI
& ##5
wIV
wIV
wI
wI
& ## ..9
wV
wIV
wI
wI
12-Bar Blues Form (The Accompaniment)Violin
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
& 44
Vocal, Soprano Recorder, Orff
wI
wI
wI
wI
&5
wIV
wIV
wI
wI
& ..
Vocal: Sing the numbers.
9
wV
wIV
wI
wI
12-Bar Blues Form (The Accompaniment)
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
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).
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
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?•
➜
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
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:•
➜