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Choir IV :: Follows Choir III

TEKS Strand Expectations
Foundations: Music Literacy Students demonstrate independence in interpreting music through the performance of selected literature. They analyze musical performances, intervals, music notation, chord structure, rhythm/meter, and harmonic texture using standard terminology and analyze the musical forms of their performance and listening repertoires.
Creative Expression Students perform independently, demonstrating accurate intonation and rhythm, fundamental skills, and advanced techniques. Literature ranges from moderately difficult to difficult. Comprehension of musical styles is demonstrated by the appropriateness of literature selected for performance. Students perform expressively, from memory and notation, a repertoire representing styles from diverse cultures. They become familiar with small- and large-ensemble performance techniques. They sight-read major, minor, modal, and chromatic melodies; read and write music; and interpret music symbols and terms. They improvise melodies and compose or arrange compositions.
Historical and Cultural Relevance Students classify music by style, culture, and historical period and justify their classifications. They describe the relationship between music and society and discuss the relationships between music and other disciplines. Some students explore career and avocational opportunities in music by meeting and talking with members of the local music community.
Critical Evaluation and Response Students evaluate their own and others' performances and compositions by comparing them to exemplary models, and they practice constructive criticism. Students are familiar with and practice established concert etiquette.

Margaret Lapham's approach to warm-ups is very straightforward. Her Choir IV students warm up before all performances and performance preparation. She does not try to fit any other goals into the time allocated for warm-up exercises. Some of her favorite, simple warm-ups are listed below:
• Loose lips buzz on 5 tone descending scale (so fa mi re do) and tongue trills (as forward on the tongue as possible) using the same descending 5 tones. An alternative to this exercise is doing ascending and descending 5-tone scales using 8th note rhythms.
• Octave drops on oo-ee (with the oo on high 'do' as a grace note to the ee on low 'do' on beat one), then continuing the ee vowel on quarter notes (as the beat) on re, mi, re (up and back down), then do, mi, so, do, ti, so, fa, re, do (16th note rhythms). So, the count is uh 1234 1e&a 2e&a 3 rest (change keys). Repeat.
• u I—ea ea a (IPA).
• u I—eo eo e.

Differentiation Strategies for Students with Special Needs
©Copyright 2015, Center for Educator Development in Fine Arts (CEDFA). This chart is developed by the Center for Educator Development in Fine Arts (CEDFA) as a resource for Texas teachers. All rights reserved.
Center for Educator Development in Fine Arts (CEDFA)
9233 Partridge Circle
Austin, TX 78758
Phone: 512-491-8087
©Copyright 2015; Center for Educator Development in Fine Arts all rights reserved.