DravidianDithyramb

SpecSheet(APandKB)……………………………………………………2 PrimaryLearningGoals(APandKB)……………………………....3 StudyGuide(APandKB)………………………………………………....4 TimeFrame(APandKB)…………………………………………………5 AssessmentStrategiesandInstruments:

ReflectionGuide(AP).……………………………………………….6

WrittenQuiz#1(AP)…………………………………………………7

SingingSkillRubric#1(AP)………………………………………..8

SingingSkillRubric#2(KB)………………………………………..9

WrittenQuiz#2(KB)………………………………………………..10

MusicLiteracyTest(KB)……………………………………………11

RelatedReading(APandKB)………………………………………….12LessonPlans

03-02-16(AP)…………………………………………………………..1403-04-16(KB)………………………………………………………….1703-17-16(KB)………………………………………………………….19

04-07-16(AP)………………………………………………………….21

DravidianDithyrambSpecSheet Title:DravidianDithyramb Composer:VictorParanjoti EditedBy:AndredeQuadros Publisher:Earthsongs PublicationDate:1993 PublicationID#:1997949 Voicing:SSAATB Accompaniment:Unaccompanied Solos:none Language:Arabicphonemesasnonsensesyllables Occasion:none VoiceRanges:S1:D4-G#5S2:D4-G#5A1:D4-C5A2:D4-B4T:E3-E4B:D3-B3 Concepts:harmonicminor,DalSegno,asymmetricmeter,syncopation,accelerando,homorhythmic,accents,staccato,sforzando,raga,tarana Skills:performingaccuratesyncopatedrhythms,performingasymmetricmeter(8/8timesignature),singinginharmonicminoraccurately,singingacappellaintune,performingIndianmusic PotentialProblems:asymmetricmeterthroughout;syncopatedrhythmsinmen’spartsmm.17-20;octavejumpsintenor/bassmm.17-20;raisedscaledegree5(harmonicminor)and2;intonationofunisonnotesatendofphrases;contrastingdynamics;memorizingthelayout

PrimaryLearningGoals MissPursleyBytheendoftheunit,studentswillbeableto: 1. ApplytheirunderstandingofIndianmusictoleadtoaculturallyappropriateperformanceofDravidianDithyramb(IS9).

2. ApplytheirunderstandingofharmonicminorandtheraisedseventhscaledegreetoDravidianDithyramb(IS1,IS5).

3. Performacappellawithappropriateintonation(IS1).MissBerryBytheendoftheunit,studentswillbeableto:4. Communicateappropriatestyleofpiecebyperformingasymmetricaccentswithcorrectsenseofpulse(IS5,IS1).

5. DemonstratetheabilitytoreadandinterpretDalSegno(IS5).6. Performsyncopatedrhythmswithaccuracy(IS5,IS1).

DravidianDithyrambStudyGuide

Title:DravidianDithyramb Composer:VictorParanjoti Editor:AndredeQuadros Voicing:SSAATB Background/HistoricalContext:ThispiececombineselementsofbothragasfromSouthIndiaandHindustaniclassicalmusiccalledatarana.AragaisamelodicmodeusedinIndianclassicalmusicthatusesaseriesof5to9notestocreateamelody;thewaythenotesaresungismoreimportantthanthenotesthemselves.AtaranaisatypeofvocalmusicthatusesPersianandArabicsoundsasnonsensesyllables.DravidianreferstothelanguagesandracesofSouthIndia,andDithyrambisaGreektermforawild,passionatehymn.

Terms Accelerando-graduallyincreaseintempo(ex:mm.36-end) Accent–emphasisisplacedonaparticularnote AsymmetricMeter–beatsofthemeterareamixtureoftwo-andthree-divisionbeats

(ex:takidatakidatadi) DalSegno-(abbreviatedD.S.)means“fromthesign”;meanstoreturntothespotearlierin

the musicthat’smarkedbythesymbol(ex:m.9) Diminuendo-decreaseinvolumegradually(ex:mm.12-13) HarmonicMinor-aminorscalewitharaisedseventhtone;thescalethispieceisbasedon

latidoremifaSIla Homorhythmic-atexturewhereallvoicepartsaresingingthesamerhythmatthesame

time(ex:mm.25-32) Raga-amelodicmodefromIndia;uses5-9notestocreateamelody Sforzando-suddenlyaccented;oftenmarkedinmusicassfz(ex:m.21) Staccato-makinganoteshortanddetached;markedbyadotaboveorbelowthenote

(ex:firstnoteinmm.25-32) Syncopation-adisruptionoftheregularrhythmicpatternthatresultsinthestressofa

notethatisn’tonthebeat(ex:TB@mm.17-20) Tarana-atypeofHindustaniclassicalvocalmusicthatusesPersianandArabicsoundsas

nonsensesyllables Skills Performingsyncopatedrhythms-accuratelyperformthesyncopatedrhythmsintheTB

partfrommm.17-20 Performingasymmetricmeter-singtheasymmetricmeasureswithacorrectsenseof

pulseandastrongdownbeat Singinginharmonicminor-accuratelysingraised5thscaledegree Singingacappella-singingconsistentlyintunewithnoaccompaniment PerformanceofIndianmusic-applynewknowledgeofIndianclassicalmusictomakefor

aculturallyaccurateandappropriateperformance

TimeFrame Week1: Day1–getcomfortablewithharmonicminorscale,notstartingonDo;specificrhythmechoing(takidatakidatadi;ta-data-datadi;etc.)andaccompanyingconductinggestures;introduceragaandtarana;introducemm.1-8 Day2–introducemm.17-20;introducesyncopation;introducecharacteristicsofIndianmusic

Week2: Day1–introducemm.9-16,workonthedynamicsandarticulation;rehearsemm.1-20 Day2–reviewmm.1-20,focusoncorrectpitchanddynamics;introducemm.21-24

Week3: Day1–sectionals:ladiesintroducemm.25-32,menreviewmm.9-24workonoctaveleap;introducehomorhythmic,reviewIndianmusic Day2–reviewmm.25-32,introducestaccato,introducemm.33-end

Week4: Day1-polishmm.1-20;runfullpiece;reinforcetall[a]vowel;reviewIndianmusic Day2–sectionals:ladiespolishmm.21-end,introduceaccelerando

Week5: Day1–rehearseandperformmm.1-16frommemory;mappingofmm.1-16 Day2–sectionals:reviewragaandtarana,workproblemspots

Week6: Day1–rehearsemm.17-24;performmm.1-24frommemory;mappingofmm.1-24 Day2–rehearse2ndending,perform2ndendingfrommemory;performm.1-24frommemory

Week7: Day1–rehearseandperformmm.25-32frommemory;mappingofwholepiece;fullrunwithrepeats Day2–rehearsetroublespots;entirepiecememorized,workonmapping,

Week8: Day1–polishmm.1-24,workondynamicsandarticulation;reviewcharacteristicsofIndianmusic,raga,tarana,etc. Day2–polishmm.25-end,workondynamicsandarticulation

Week9: Day1–everythingismemorized,polishtroublespots Day2-everythingismemorized,polishtroublespots

ReflectionGuide(LearningGoal#1:ApplytheirunderstandingofIndianmusictoleadtoaculturally

appropriateperformanceofDravidianDithyramb(AP))Instructions:Writeaparagraphansweringeachofthequestionsbelow.1.Whatwasyou’refirstimpressionofDravidianDithyramb?Didyoulikethepiece?Whyorwhynot?Explainsomeofthingsthatmadethispieceeasyordifficulttolearn.2.BeforewebeganlearningDravidianDithyramb,welistenedtoarecordingofthepieceandlistedsomeoftheaspectsofthemusicthatmadethispiece“soundlikeIndianmusic”,whatweresomeofthesethings.ExplainwhytheseaspectssoundsodistinctlylikeEasternmusictoourears.3.ConsideringwhatweknowaboutDravidianDithyrambnow,whatareyou’refinalthoughtsonthepiece?Doyoulikeitbetterorworsethanyoudidbeforeyoulearnedit?Whydoyouthinkitisorisn’timportanttolearnmusicfromothercultures?

WrittenQuiz#1(LearningGoal#2:Applytheirunderstandingofharmonicminorandtheraised

seventhscaledegreetoDravidianDithyramb(AP))

1. WhatnoteisDOinDravidianDithyramb?(Hint:There’snokeysignature.)_________________

2. WritethecorrectsolfegesyllablesforaMAJORscaleunderthe

correspondingnotesbelow.

3. WritethecorrectsolfegesyllablesforaNATURALMINORscaleunderthecorrespondingnotesbelow.

4. WritethecorrectsolfegesyllablesforaHARMONICMINORscaleunderthecorrespondingnotesbelow.

5. Whatscaledegreeisalteredinaharmonicminorscale?__________________

6. LocateameasureinDravidianDithyrambwheretheseventhscaledegree

hasbeenaltered.Measure___________________

SingingSkillRubric#1(LearningGoal#3:Performacappellawithappropriateintonation(AP))

StudentswillsingexcerptofDravidianDithyrambfrommm.17-20ontheirvoicepart.

TotalPointsPossible:30

Unsatisfactory(0-6)

Basic(7)

Proficient(8-9)

Distinguished(10)

NoteAccuracy(RhythmandPitch)

Studentdoesnotsingcorrectpitchesorrhythmsthroughoutexcerpt;beatnotconsistent.

Studentsingsmostlycorrectpitchesandrhythmsthroughoutexcerpt;maybesomehesitancy;beatmaynotbeconsistent.

Studentsingsmostlycorrectpitchesandrhythmsthroughoutexcerpt;steadybeatthroughout.

Studentsingsallcorrectpitchesandrhythmsthroughoutexcerpt;steadybeatthroughout.

ToneQuality(Intonation)

Tonequalityispoorchoralqualitysingingthroughoutexcerpt;breathy,unsupported,notintune

Tonequalityisaveragechoralqualitysingingthroughoutexcerpt;waversbetweentall/spreadvowels,breathy/cleartone,in/outoftune.

Tonequalityisgoodchoralqualitysingingthroughoutmostofexcerpt;tallvowels,cleartone,intune.Oneaspectfromabovemaynotbeasgoodasothers

Tonequalityisexcellentchoralqualitysingingthroughoutallofexcerpt;tallvowels,cleartone,intune.

Musicality Expressionisnotdemonstratedaccuratelyoreffectively(intermsofclassroomdiscussion);nofacialexpression,articulation,dynamics,etc.

Expressionisdemonstratedeffectively(intermsofclassroomdiscussion)throughoutsomeofexcerptthroughfacialexpressionarticulation,dynamics,etc.;element(s)maybemissing:

Expressionisdemonstratedaccuratelyandeffectively(intermsofclassroomdiscussion)throughoutexcerptthroughfacialexpression,articulation,dynamics,etc.;elementmaybemissing

Expressionisdemonstratedaccuratelyandeffectively(intermsofclassroomdiscussion)throughoutexcerptthroughfacialexpression,articulation,dynamics,etc.

SingingSkillRubric#2(LearningGoal#4:Communicateappropriatestyleofpiecebyperformingasymmetric

accentswithcorrectsenseofpulse(KB))StudentsmayusetheirmusictosingexcerptofDravidianDithyrambfromm.9-12ontheirvoicepart.Firstsopranosmaysingdownanoctavetobetterdemonstrateaccurateaccents.

Unsatisfactory(0-5)

Basic(6-7)

Proficient(8-9)

Distinguished(10)

NoteAccuracy(RhythmandPitch)

Studentdoesnotsingcorrectpitchesorrhythmsthroughoutexcerpt;dintakwasnotaccurate,beatnotconsistent.

Studentsingspartiallycorrectpitchesandrhythmswithmostlyaccuratedintakthroughoutexcerpt;maybesomehesitancyorinconsistentbeat

Studentsingsmostlycorrectpitchesandrhythmswithcorrectdintakthroughoutexcerpt;steadybeatthroughout.

Studentsingsallcorrectpitchesandrhythmswithaccuratedintakthroughoutexcerpt;steadybeatthroughout.

ToneQuality(Intonation)

Poorchoraltonequalitythroughoutexcerpt;inaccuratepitchbecauseoflackofbreathsupport,spreadvowels,Mouthbarelyopenwhensinging.

Singerusesspreadvowelsintermixedwithfewtallvowels,singswithbreathytone,fairlyintune.

Goodchoraltonequalitythroughoutmostofexcerpt;mostlytallvowels,cleartoneintermixedwithbreathytone,pitchismostlyintune.

Excellentchoraltonequalitythroughoutallofexcerpt;tallvowels,cleartone,intune.

Articulation Studentsdoesnotsingcorrectaccents,ordoesnotattemptaccentmarks

Someaccentmarkingwereaccurate,sungnotesmaybetoolongshorteningtherests,dintakwasattemptedbutnotcorrect.

Mostaccentmarkswereaccurateandclearlydefined,restswereclearlydefined,andmostlyappropriateuseofdintak

Allaccentsmarkswereperformedaccuratelyandclearlydefinedwithoutpushingtone,clearlydefinedrests,accurateuseofdintak.

WrittenQuiz#2(LearningGoal#5:DemonstratetheabilitytoreadandinterpretDalSegno(KB))

1. Whatisthenameofthissign?

____________

2. WhatisacommonabbreviationofDalSegno?

______________

3. DescribehowtoreadtheroadmapofDravidianDithyrambusingappropriatemusicaltermslearnedinclass.Usemeasurenumberstoenhancetheclarityofyouranswer.Makesuretoinclude1stendingvs.2ndending.

MusicLiteracyTest(LearningGoal#6:Performsyncopatedrhythmswithaccuracy(KB))

Sight-ReadingProviderhythmicexercise,allow30"tostudy.Suggestaslowtempo.Note:Ifstudentstruggleshavethem‘beatbox’andtryagain

GradingRubric

RelatedReadinghttp://www.npr.org/2012/09/13/152687992/another-reason-to-skip-sleep-indian-classical-musicHere's a typical Saturday night for a music fan in Manhattan: You go grab some dinner, and then go to a show. You hang out there for an hour or two, enjoy the music and then leave, right? But what would happen if, instead, the musicians onstage took turns soloing for an hour or more apiece, and you wound up staying until dawn?

Samir Chatterjee is a tabla player, and every spring, he invites musicians from India and elsewhere to come to New York for marathon concerts that start in the early evening and last all night long.

"People in New York City stay up all night anyway on Saturday nights," Chatterjee says. "Why not give them a better reason to stay up?"

Chatterjee is originally from Kolkata, India. When he moved to New York City in 1994, he came with all the passion and energy of a newly minted New Yorker. He quickly figured out that Manhattan might be the right place to give new life to an ancient Indian practice.

"You know, Indian music is not entertainment," he says. "It's an offering."

The Taste Of The Music In North Indian (Hindustani) classical music, there's a tradition that certain ragas, or melodic scales, are meant for certain times of year — like the monsoon season, or spring — and that other ragas should only be played at certain times of day or night. Musicians say that the way that ragas' scales move up and down evoke very specific moods called rasas. These rasas — literally, the "juice" or the "taste" of the music — can inspire feelings like peacefulness, romance, joy, courage and even fear or disgust.

At Chhandayan, the midtown Manhattan center for Indian classical music that Chatterjee founded, vocalist Samarth Nagarkar describes a raga he sings at dawn called Raga Bhatiyar.

"This has a lot of elements of the freshness that dawn brings with it," Nagarkar says. "There's a certain sleepiness. There's a certain freshness at the same time, and a combination of a lot of minor and major notes in the scale."

Vocalist Mitali Banerjee Bhawmik takes listeners into bright sunshine with Raga Alhaiya Bilawal. Then the mood turns romantic when Sanjoy Banerjee sings a love song in Raga Puriya Dhanashree, meant for the moment when afternoon gives way to dusk.

Finally, Eric Fraser, an American-born artist, plays the bamboo flute called thebansuri in a late-night raga called Nandkauns. He describes this raga as mysterious and adds that it "can be sometimes even maybe described as bewitching — the idea of that free spirit of the deep night, of maybe even time for a little mischief." Over the course of Chatterjee's all-night concert in Manhattan, he and his colleagues perform ragas only at the times they are meant to be heard.

"What we have experienced growing up in India, staying up all night ... first of all, that commitment to stay up all night for such a noble purpose itself is a rewarding experience — it justifies a major part of your living," the tabla player says. "Then, second, the opportunity to experience the transition of the ragas from the evening through late evening, midnight and then morning, how these ragas, the changing frequencies, the texture, everything, you know, timbre of the instruments. How these things are affecting your physiology and the environment around you; how they are corresponding; and the people who are around you, how they also are responding."

Neglected Ragas In India, that experience is getting lost, says Peter Manuel, an accomplished sitar player and a professor in the music department of the CUNY Graduate Center and the Department of Art and Music at John Jay College, both in New York. Just as here, modern life in India means that most concerts take place in the early evening.

"So those early- and mid-evening ragas get overworked," Manuel says, "and at least half the repertoire, which is the late-night ragas, the early-morning ragas, the midmorning ragas and the afternoon ragas, you really don't have much occasion to hear them. And it's too bad, because that's a lot of ragas — and some of the best ones."

That's why playing these neglected ragas in New York City is important, Chatterjee says. They help nurture some ancient knowledge — about not just music but also the workings of the universe.

"To our understanding," Chatterjee says, "this system was developed at a time when human beings had a better relationship with nature. You know, as we mature as an individual, we keep on losing many of our faculties. Human beings, as a species, are also, through the process of maturity, losing many of [their] faculties. One of them is a sensitivity of a connection with nature. And this system is rooted in that level of sensitivity, when human beings were capable of telling what time of the day it is without looking at the clock, or it will be raining in seven days."

Cultivating that awareness through music might even make missing sleep worthwhile.

Lesson Plans

AdriennePursleyDravidianTuttiLessonPlan(+KBFirstFifteen)03-02-16PrerequisiteKnowledgeEchoingProcessHarmonicMinorScaleRhythmicreading,takadimiBehavioralObjectivesAttheconclusionofthislesson,studentswillbeableto:

• Demonstrateimprovedresonanceandphonationinvocaltechniqueexercisesandtransfertoliterature(IS1).

• Accuratelyechoasymmetricrhythmicpatterns(takidapermutationsfromDravidianDithyramb)andharmonicminortonalpatterns(isolatedfromDravidianDithyramb)(IS1).

• IdentifyfamiliarrhythmsandtonalpatternsinthescorefromFirstFifteen(IS6).• Singmm.1-8andmm.17-20ofDravidianDithyrambwithcorrectpitchesand

rhythms(IS1andIS6).MaterialsPianoProjectorListeningexample:https://youtu.be/8tSh8C-INkkScoreforDravidianDithyrambRhythmicreadingexerciseprintoutProcedure8:00 Lipbuzzdo-sol-do-Do-do Slidebetweenallthenotes8:01Pweepweepwee(sfmrd)

Meninfalsetto8:02Ilovetosing(do----Do-sol-mi-do) ahvowel-‘i’to’love’nojawmovement8:04NaNaNaNaNa(drmfsfmrd) jawshouldnotmove handsup8:06Harmonicminorscale

roundS,B,T,A8:07Echoingla=A(Aminor)LamilaMifasifa

MifasilaLasilatiTilatilaLamilaMifasifa8:09Clapondownbeats,joininwhenyoufigureoutwhatI’mdoingTakidatakidatadi2compoundbeatsand1simplebeat(showonfingers)Echoing(conductingin3,havethemjoinin):Ta-data-dataditakidatakidataditatatadita-datakidataditakidata-dataditatata kidakidatadi8:11 RhythmicReadingexercise Everyonereadfirstline Everyonereadsecondline Womentopline,Menbottomline8:13 Prepforlistening

“Followalonginyourscorewhilelistening,noticetherepeatsign”Mention:DalSegno“Thinkaboutwherethispiecemighthavecomefrom”

8:14 Listentorecording8:16 MissPursley:Discuss “Wheredoyouthinkthispiececomesfrom?” “Whatmadeyouthinkthat?”àharmonies,rhythms “Anyotherthoughtsaboutthepiece?”

Indianmusicdiscussion:raga–modeorspecificscaletocreatethemelodytarana–thenananalyrics

8:19 “Canyoufindtherhythmfromthereadingexerciseinthemusic?” Referbacktoasymmetricmeterà2compoundbeats,plusasimplebeat8:20 Mm.1-8

Modeltalln[a];no“chewing”;movetonguerightbehindteethAllwomenonaltopart;teachm.1-4slowlyfrompiano“Noticeitrepeats”

8:21 Allmenontenorpart;teachslowlyfrompiano8:23 Bothparttogether;withpiano

Bothpartstogether;nopiano addaccents,mentionphrasing(afterdottedquarter)8:26 “Canyoufindthealtomelodyanywhereelseinthepiece?” mm.17-20 “Noticebothwomen’spartsinunisonandmen’spartsinunison.”8:27 “WomenfollowMiss.Berry,menfollowme”

Women: takidatakidatadi,tadatadatadiMen:kidakidatadi,kidakidatadi

8:28 Addpitchestomen’spartmm.17-20

SingingOctave:slidebetweenpitchesslowly,singpitchesslowly,singthemgraduallyspeedingup,singslowlyinrhythmTallopen[a],onlymovetongueforn

8:30 Putmenandwomenpartstogether(helpfromMissBerry?) Whoneedshelponpiano?Doyouneedpianoatall?8:31 Addaccents;runmm.17-208:32 Runbeginningtom.8 Runmm.17-20End8:33

Basic Information Kierstin Berry Burris High School Choir Dr. Ester, Miss Shirel, Mrs Confer March 4, 2016 Prerequisite Knowledge Behavioral Objectives At the conclusion of this lesson, students will be able to:

• Sing and octave leap with more confidence and accuracy • Sing m.5-8 with accurate pitches

Materials Piano Score for Dravidian Procedure 8:20 ‘oo’ sliding up and down between an octave start at AM and work up to EM 8:21 sing full voice (high) E on ‘ah’ don’t push, use falsetto if you need to

model good and bad for them, changing from bad to good have them sing bad and switch to tall, tongue down ah

move air first, then make sound, demonstrate this, like hhaa 8:22 sing full voice (low) E on ‘ah’ think about starting in a high placement.

How you would prepare to sing a high e, use that when singing the low e Model (wrong) chest voice low ‘e’ flip to high voice high ‘e’, then (right) high

voice on both Have them sing E in chest voice, then in high voice a few times

This doesn’t mean change the dynamics Higher soft pallette 8:23 octave jumps with no slide dictate moving between the two by hand gestures 8:24 octave jumps in tempo slow, working up to fast 8:25 add the girls pick up, finding it on their own playing girls part, them singing it alone 8:27 echoing (m5-8) mi re ti re mi re ti ti la si

si la ti ti re mi go through twice 8:28 m.5-7 (beat 2) with piano on na SLOWLY make sure they’re getting down to ti 8:29 m.7 (beat 2) to end (la la ti ti) count off: 1, ready, sing la SLOWLY ti-re mi 8:30 whole phrase with piano (2x) whole phrase a cappella (2-3x) 8:32 play ladies part from beginning and have then find the entrance pitch (3x) Continue playing their part for just the beginning 8:34 play the ladies part while guys sing their part

Basic Information Kierstin Berry Burris High School Choir Dr. Ester, Miss Shirel, Mrs. Confer March 17, 2016 Prerequisite Knowledge Girls sectional over 9-16, briefly reviewed beginning Guys sectional over 9-16 Behavioral Objectives At the conclusion of this lesson, students will be able to:

• sing from beginning to m. 20 on lyrics, attempting the dynamics and articulation • sing m.9-16 with women and men for the first time

Materials Piano Score for Dravidian Dithyramb Procedure 8:33 Altos I want you to write in the solfege for the first 4 bars. It starts mi fa si fa…

while they are doing that, tenors echo me: Re ti la si Re ti la si la si Mi re ti re ti

Mi re ti re ti la si la si (your turn) (a-gain) La la ti ti la si La la ti ti re mi

La la ti ti la si la la ti ti re mi (model again) Mi re ti re ti la si la si La la ti ti la si la la ti ti re mi

Sing whole phrase on Solfege, listen for pitch accuracy Sing whole phrase on na din tak

8:35 Tenors/Basses sing m.9-12 on solfege (one, ready, sing) find first interval, hold ti/mi then move to next note model rhythm on piano keeping a steady beat ti-re-ti- la isolate if needed 8:36 2nds/altos alone at m.9 play starting intervals 8:37 ADD tenor/bass at m.9 sing to m.16 (repeat) take note of dynamics

Sing on na din tak

8:39 first sop. sing alone with solfege support, good breath hi augmented 2nd 8:40 Firsts sing on na din tak Snap accents 8:41 Everyone from m.9 na din tak

if necessary start the chord voices first, and bring top sopranos in the second time around, continue looping

accents 8:43 Tenor and Alto together from m.5 A couple times 8:44 Beginning to m.9 just tenors and altos 8:45 EVERYONE Take it from the beginning to m.16 dynamics a couple times 8:47 m.17 mens octave part (ready, and, breathe) basses and tenors singing na din tak 8:49 Add ladies make note of si fa si mi only difference from beginning 8:50 start from m.9-20 8:51 Beginning-m.20

Put in accents Dynamics

8:53 DISMISSAL

AdriennePursleyDravidianWomen’sSectionalLessonPlan04-07-16PrerequisiteKnowledgeSolfegeforDravidianDithyrambBehavioralObjectivesAttheconclusionofthislesson,studentswillbeableto:

• Singcorrectpitchesandrhythmsfrommm.21-32acappella(IS1andIS6).• Singcorrectpitchesandrhythmsfrommm.32-endacappella(IS1andIS6).

MaterialsPianoScoreforDravidianDithyrambProcedure8:13 Runpick-upstom.17through(atleastm.32)end Bepreparedtohelpatpianoasneeded(ALTOSm.25-32!) 8:14 Workpartsfromm.25-32 ParticularlyS1andAltostogether Makesurealtosarenotsingingmelodyoctavedown! EncouragesupportfromS18:17 “Whatdoesthedotabovethefirstnoteinthemeasuremean?” Staccatovs.accentàmakeisshortandseparated Singagainwithallthreeparts;adddynamicsandarticulation Repeatmultipletimesuntilsecure!8:20 Connectmm.21-24tomm.25-32 Isolatem.24-25asneededtoworktransition:

Altos:MiàSi(thinkDoàMi)S2:MiàTi(thinkDoàSol)

Holdchordoutatm.25 8:23 Singpick-uptom.21totheend 8:24 Workpartsfrommm.33totheendasneeded StillencouragingasupportedsoundfromS1(andotherparts) Reinforcefinal:DinTakNaà(deentaknotdIntak)8:27 Worktransitiontom.34 Isolatem.33-34 Altos:sameasbefore:MiàSi(ThinkDoàMi) S2:SiàTi(ThinkMiàSol) S1:TiàMi(ThinkDoàSol) Holdchordoutatm.348:29 Connect:startpick-uptom.29totheend

Gobackandstartpick-upm.21totheend 8:31 Tryfullrun?(conducting,helpbysingingandatpianoasneeded)

Ifnottimeforfullrunàjustfocusontoday’swork;startpick-uptom.17totheendEND8:33