A march of the Kings (The low part)



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Listening Unit Plan

McKeage/2007


Title and composer of work Farandole, from the L'Arlesienne Suite #2 by Georges Bizet
Total Listening Time 3 min 29 seconds
Medium Orchestra
Genre Orchestral Suite
Major Concepts Texture, form
Rationale

This brief work incorporates examples of the following texture types: monophonic, homophonic, and both imitative and non-imitative polyphony. It also is in an easy to identify binary form.


Prior knowledge

For the primary grade activities, students must:



  1. Be able to tap/clap beat.

  2. Be able to identify aurally/visually common orchestral instruments.

For the upper grade activities, students must:



  1. Be acquainted with canon and partner songs (imitative and non-imitative polyphony), along with homophony (melody and accompaniment) and monophony (melody alone in unison, whether performed by one instrument/voice or many).

  2. Be able to identify large and internal (small) forms with appropriate labels (either traditional letters or symbols).

  3. Understand meter as either duple or triple.

  4. Be able to read/recognize simple rhythmic patterns.



Background

French composer Georges Bizet (1838-1875), began studying music composition at the Paris Conservatory at the age of 10. His most famous composition is the opera Carmen, which includes the popular March of the Toreadors. He also wrote music for the play L'Arlesienne, and those melodies were compiled in two different groups (or suites) to be performed by an orchestra alone. The most famous of these melodies is the Farandole, a very fast piece that features two very simple, yet appealing melodies. The March is actually taken from a French Christmas tune The March of the Kings. The term Farandole actually refers to a French folk dance.

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Sequential Activities for Primary Grades


National standards met, K-4

6. Listening to, analyzing, and describing music





Key Concepts

Objectives

Activity

Materials

Assessments

high/low timbre

Form (A B)

Macro Beat


Students will identify instruments playing


Guided listening

Instrument identification, with emphasis on flute/piccolo (B) and the brass (A)



Pictures of orchestral instruments

Identification of instruments

Students will be introduced to the two sections (A and B).



Guided listening
Movement to alternating sections

Students tap/pat/walk steady beat to the music Is the beat steady throughout the whole piece? Are the rhythms same or different between the A and B sections.




Space to move

TO of movement

Students will demonstrate music literacy through production of graphics


Students draw to the music, interpreting what they hear. Have student share their work, describing how the drawings represent the music.


Paper, pencils

Artwork and student interpretations

Sequential Activities for upper elementary

National standards met, 5-8 6. Listening to, analyzing, and describing music, 5 Reading and notating music


Key Concepts

Objectives

Activity

Materials


Assessments

Beat/meter

identification



Students keep steady beat and identify meter as duple

Students pat/tap beat and count in duple meter.

None

TO

Internal form/phrases

Students will identify the internal sections; a, b, c, d.

Perform chants identified with each section of the music.

Chants (p. 6-7) on overhead or board

TO

Internal phrase recognition

Students will perform glissando during b section

After counting in 2 the B sections, students gliss, either instrumentally or vocally.

Instruments for glissando (slide whistle, barred percussion)

TO

Large form

(binary)


Students will listen for and identify the A, B, transition, and coda sections


1) Students form three groups (A, B, and Transition) and move to individual sections. When their section is not playing, students sit on the floor or as statues

2) Use playing cards with graphics to chart the form. Identify the alternating sections of A, B, transitions and Coda, using included pictures and/or letters



Space to move

Listening map (p. 7)

Graphics (p. 8)


TO

Texture


Students will identify monophonic, homophonic, imitative and non-imitative polyphonic textures.


1) Review the three texture categories, citing examples of each.

2) Ask students to draw the three categories and then have them display their drawings at the appropriate time in Farandole



Paper for drawing



Listening maps

literacy

Students will demonstrate understanding of traditional music literacy in charting form and reading rhythms

1) Students will chart the form using either traditional form notation or their own listening maps.

2) Students complete rhythm puzzle

3) ) Students will identify rhythms from each of the sections.

Rhythm Puzzle (p. 11)


Rhythm worksheet (p.9)


Listening map/form chart
Rhythm worksheet

Chants for The March and The Piccolo Part


March

a

Do you know, this march from Farandole?



It’s big and very heavy, big and very heavy

Do you know, this march from Farandole?

The big and very heavy part that’s low.

b

The low parts’ back but it can’t get in



The low parts’ back and it really wants to get back in.

The low parts’ back but it can’t get in

It should keep trying or the pic part wins.

The Pic Part

c

This is the part with piccolo, it’s very high and really, really fast.



This is the part with piccolo, it’s very high and fast.

d

Now here comes the gliss, now here comes the gliss



This is the part with piccolo, it’s very high and really, really fast.

Now here comes the gliss, now here comes the gliss

This is the part with piccolo, it’s very high and fast.


A March



B The Pic Part



Bee da lee dee Transition and Coda


Listening Map


Graphic

Large Form

Internal form

texture

Notes/Questions



A The March

a
a (canon)

Homophonic
polyphonic

Statement of melody in brass and strings



transition




Monophonic

4 measures in 2/4



B The Pic Part


c c

d

c c



d

c c


homophonic

Begins with piccolo/drums

Crescendo by adding instruments





A The March

a

Monophonic

Entire orchestra plays the same melody in octaves



B The Pic Part

c

Homophonic

Brief statement of c

Piccolo plays with drum only





A The March

b

homophonic






B The Pic Part

c

c


Homophonic

Modulates





Transition


c varied

homophonic

Transitional material based on c





A plus B
March and Pic Part

combined


a b a

c c d c c





Polyphonic

(non-imitative)



Crescendo by adding instruments



Coda

Bee da lee dee






Homophonic

The big finish

Graphics for Listening map.

For playing cards, 4 marches, 4 piccolos, 2 Bee da lee dees, 1 drum
















Rhythm Worksheet

Identify each of these rhythms by either adding the proper words or indicating the phrase that is comes from. For example, the first excerpt is from phrase a.

1. phrase ­­­­­­­­­­­


2. phrase ­­­­­­­­­­­


3. phrase ­­­­­­­­­­­



4. phrase ­­­­­­­­­­­



5. phrase ­­­­­­­­­­­



6. phrase ­­­­­­­­­­­



7. phrase ­­­­­­­­­­­

Farandole Rhythm Puzzle


Each line below represents ½ of a phrase from the Farandole. Cut out each line (omitting the titles) and jumble them up and have the students assemble them in order. This activity may be done along with the listening map.

The March a







The March b








The Piccolo Part c







The Piccolo Part d











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