Name:​ Elana Gitterman

District:​ N/A
School:​ N/A
Subject: ​Wind Ensemble
Grade:​ 9 - 12
Date:​ N/A
Lesson Plan Number: ​1

California Visual and Performing Arts Content Standards

1.0 ARTISTIC PERCEPTION - ​Processing, Analyzing, and Responding to Sensory Information
Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and
describe music and other aural information, using the terminology of music.
Read and Notate Music
1.3 ​Sight-read music accurately and expressively
2.0 CREATIVE EXPRESSION ​– Creating, Performing, and Participating in Music
Apply Vocal or Instrumental Skills
2.4​ Perform on an instrument a repertoire of instrumental literature representing various
genres, styles, and cultures with expression, technical accuracy, tone quality, and
articulation, by oneself and in ensembles.
3.0 HISTORICAL AND CULTURAL CONTEXT – ​Understanding the Historical Contributions
and Cultural Dimensions of Music
Diversity of Music
3.7​ Analyze the stylistic features of a given musical work that define its aesthetic
traditions and its historical or cultural context.

Objectives:
1. To read through Candide
2. To understand the historical significance of Candide
3. To play the first 32 measures of Candide with the correct articulations

Equipment and Supplies:

Chairs
Stands
Instruments
Music for “Candide”

Procedure:
1. Warm ups in Eb Major
a. Concert Eb scale on quarter notes (two octaves, do not repeat top note)
b. Concert Eb Scale, Eb quarter notes, all others eighth notes (slur two tongue two
on eighth notes)
2. Tuning
3. Synopsis of “Candide” ​(OBJECTIVE 2)
 a. “Candide” is an operetta written by Leonard Bernstein in 1956 that is based on
the book of the same name by Voltaire written almost 200 years earlier in 1759.
The story is a satirical look about the idea of mindless optimism even in the face
of unspeakable danger
4. Play a run through of Candide without stopping ​(OBJECTIVE 1)
a. Ask class what key is indicated in the key signature of the piece (Eb major)
b. Before playing, point out time signature changes and demonstrate how I am
planning on conducting them
c. Run through entire piece without stopping if possible
5. Explain to class that we will be isolating the first 32 bars of the piece
6. Rehearse bars 1 - 6 in depth
a. Remind class that the fifth bar of the piece will be conducted in three
b. Play first six bars together as a class
c. Ask class about the dynamics of the piece and the articulation (FF,
marcato).​(OBJECTIVE 3)
d. Have brass play first six measures by themselves, making sure that they
emphasize their notes to match the fanfare-like style
e. Add on woodwinds
i. Correct any wrong notes if needed
f. Have them play again, this time until bar 32 if they are able to
7. Rehearse bars 7 - 32 in depth
a. Theme 1 with woodwind melody in m. 7 - 18
b. Introduction restatement in m. 19 - 23 (focus on brass)
c. Theme 1 repeated in woodwinds m. 24 - 31
8. Play through all 32 bars as a class

Assessment:
1. Informal assessment for objective 3 can be done by seeing how the sections of the
ensemble play their parts in the introduction of the piece after it is addressed in step 6.
2. Formal assessment can be used for objective 2 by assigning a small project where
students are asked to write about another piece by Leonard Bernstein of their choosing
and how the piece relates to “Candide” (i.e a piece from “West Side Story” can draw
parallels as they are both Bernstein musicals; “Prelude, Fugue, and Riffs” contains
mixed meter like “Candide” etc.)
Name:​ Elana Gitterman
District:​ N/A
School:​ N/A
Subject: ​Wind Ensemble
Grade:​ 9 - 12
Date:​ N/A
Lesson Plan Number: ​2

California Visual and Performing Arts Content Standards

1.0 ARTISTIC PERCEPTION - ​Processing, Analyzing, and Responding to Sensory Information
Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and
describe music and other aural information, using the terminology of music.
Read and Notate Music
1.5 ​Analyze and describe the use of musical elements in a given work that makes it
unique, interesting, and expressive.
2.0 CREATIVE EXPRESSION ​– Creating, Performing, and Participating in Music
Apply Vocal or Instrumental Skills
2.4​ Perform on an instrument a repertoire of instrumental literature representing various
genres, styles, and cultures with expression, technical accuracy, tone quality, and
articulation, by oneself and in ensembles (level of difficulty: 4 on a scale of 1–6).

Objectives
1. To play through measures ​32 - 82 and 134 - 179​ with proper articulations
2. To identify recurring themes in the music of “Candide”
3. To be able to define “glissando”

Equipment and Supplies:

Chairs
Stands
Instruments
Music for “Candide”

Procedure:
1. Warm ups in Eb Major
a. Concert Eb scale on quarter notes (two octaves, do not repeat top note)
b. Concert Eb Scale, Eb quarter notes, all others eighth notes (slur two tongue two
on eighth notes)
2. Tuning
3. Play measures 32 - 82 of piece
a. Ask class to look at measure 63 and ask what that means (3/2 time, conducted in
3)
4. Rehearse bars 32 to 46 in depth
a. Ask winds what is happening in bars 33, 35, 40, 42 (glissando)
 i. Ask for definition of glissando - to glide from one note to another
(OBJECTIVE 3)
ii. Ask for a demonstration of a glissando from one brass player and one
woodwind player
iii. Have ensemble play first glissando in unison
b. Ask class about articulations on notes ​(OBJECTIVE 1)
i. “What do you notice about all of the quarter notes versus all of the eighth
notes in this section?”
ii. Answer: Quarter notes are staccato and eighth notes are accented
iii. Ask class what they think this means stylistically (play quarter notes
lighter and eighth notes heavier)
iv. Play through sections again
5. Rehearse bars 47 to 63
a. Ask who has the melody first (brass - cornets and trombones)
b. Ask class who responds to the melody? (woodwinds - flute, picc, oboe, eb
clarinet)
c. Have just cornets, trombones, flutes, piccolo, oboe, and eb clarinet play section.
i. Make sure rest of ensemble knows that they have the melody and must fit
into that sound
d. Add on rest of ensemble and play through section, continuing on to bar 82
6. Rehearse bars 64 - 82 in depth
a. Let class know this is an exposed section that is comprised of many solos
i. Solo passed between flute, clarinet, oboe, bassoon and piccolo
b. Play though section slowly, making sure ensemble is following correct phrasing.
7. Skip ahead to bar 134 in the piece
a. Tell the class that they will play through for a bit and then you will ask them
where they have played/heard this before. ​(OBJECTIVE 2)
b. Play bars 134 - 141
c. Ask what section this reminds them of (opening)
d. Have them play first 6 bars of piece
e. Play 134 to 141 again
8. Have class look over bars 141 to 177
a. Ask what sections this reminds them of (bars 32 to 63)
b. Play through 141 to 177
c. Ask students what the squiggly line in their music is and what it means (review of
glissando) ​(OBJECTIVE 3)
d. Remind ensemble to play marcato heavily
e. Play through 134 to 177

Assessment:
1. Objective 1 can be assessed informally by listening to isolated sections throughout the
lesson to ensure that the articulations are correct.
2. Objective 3 can be assessed by bringing up the glissando that comes back later in the
piece and seeing which students recognize it and it’s meaning.
3. Objective 2 can be assessed formally by having students turn in this suggested
assignment:
a. Listen to a recording of “Candide” while following along with your music. On a
separate piece of paper, write down which sections are similar to each other in
the music. Also answer the question, how many themes do you hear in the
piece? How many times do you hear each theme?
Name:​ Elana Gitterman
District:​ N/A
School:​ N/A
Subject: ​Wind Ensemble
Grade:​ 9 - 12
Date:​ N/A
Lesson Plan Number: ​3

California Visual and Performing Arts Content Standards

1.0 ARTISTIC PERCEPTION - ​Processing, Analyzing, and Responding to Sensory Information
Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and
describe music and other aural information, using the terminology of music.
Read and Notate Music
1.5 ​Analyze and describe the use of musical elements in a given work that makes it
unique, interesting, and expressive.
2.0 CREATIVE EXPRESSION ​– Creating, Performing, and Participating in Music
Apply Vocal or Instrumental Skills
2.4​ Perform on an instrument a repertoire of instrumental literature representing various
genres, styles, and cultures with expression, technical accuracy, tone quality, and
articulation, by oneself and in ensembles (level of difficulty: 4 on a scale of 1–6).

Objectives
1. To be able to play in mixed meter, as indicated in Candide
2. To be able to conduct in mixed meter (2, 2, 3)

Equipment and Supplies:

Chairs
Stands
Instruments
Music for “Candide”

Procedure:
1. Warm ups in Bb Major
a. Concert Bb scale on quarter notes (two octaves, do not repeat top note)
b. Concert Bb Scale, Bb quarter notes, all others eighth notes (slur two tongue two
on eighth notes)
2. Tuning
3. Run through bars 64 - 82
a. Remind class that this is an exposed section that is comprised of many solos
i. Solo passed between flute, clarinet, oboe, bassoon and piccolo
b. Play though section again, making sure ensemble is following correct phrasing.
4. Conducting
 a. Have students put down their instruments and inform them that they are going to
have a short conducting lesson.
b. Ask students to demonstrate conducting in 2 at the tempo of the piece, conduct
along with them as needed
c. Have students switch to conducting in 3 at the tempo of the piece
d. Stop students and demonstrate the following pattern: Two Bars of 2, one bar of
three. Count out loud while looping pattern (1 2, 1 2, 123; 1 2, 1 2, 123 etc.) and
ask students to join you in counting out loud.
e. Have student join in conducting the pattern while still counting out loud and check
students to make sure they are conducting correctly. ​(OBJECTIVE 2)
5. Have students pick up their instruments and look at the section starting at 83
a. Ask students what the key is in this section (Bb)
b. Ask what measure the piece returns to the original key (m. 134)
6. In depth rehearsal of m. 83 to 133
a. Have backgrounds (low brass and low reeds) play starting at m. 83.
b. Ask for rest of the class to conduct and repeat pattern from before
c. Have the rest of the ensemble now play the same section, reminding everyone to
count out loud if they are not playing and to conduct if possible (OBJECTIVE 1,
OBJECTIVE 2)
7. Have class play through bars 134 to 177 to refresh their memory about the section
a. Remind ensemble about the heavy articulations
8. Run through piece from m. 64 to m. 177, counting out loud during the mixed meter
section if needed,

Assessment:
1. Objective one can be assessed informally while rehearsing measures 83 to 133 in class
2. Objective two can be assessed informally while observing class conducting as a group.
Objective two can be assessed formally by having a “quiz” where students are asked to
conduct along to the music in smaller groups in order to see if they
Name:​ Elana Gitterman
District:​ N/A
School:​ N/A
Subject: ​Wind Ensemble
Grade:​ 9 - 12
Date:​ N/A
Lesson Plan Number: ​4

California Visual and Performing Arts Content Standards

1.0 ARTISTIC PERCEPTION - ​Processing, Analyzing, and Responding to Sensory Information
Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and
describe music and other aural information, using the terminology of music.
Read and Notate Music
1.5 ​Analyze and describe the use of musical elements in a given work that makes it
unique, interesting, and expressive.
2.0 CREATIVE EXPRESSION ​– Creating, Performing, and Participating in Music
Apply Vocal or Instrumental Skills
2.4​ Perform on an instrument a repertoire of instrumental literature representing various
genres, styles, and cultures with expression, technical accuracy, tone quality, and
articulation, by oneself and in ensembles (level of difficulty: 4 on a scale of 1–6).

Objectives
1. To identify who has the melody in Candide
2. To use proper shaping of dynamics when playing Candide

Equipment and Supplies:

Chairs
Stands
Instruments
Music for “Candide”

Procedure:
1. Warm ups in Eb and Bb Major
a. Concert Eb scale on quarter notes (two octaves, do not repeat top note)
b. Concert Bb Scale, Bb quarter notes, all others eighth notes (slur two tongue two
on eighth notes)
2. Tuning
3. Run through of measures 178 to 206
a. Ask students what they notice about the meter in the section (it revisits the 12,
12, 123 pattern that we have seen earlier.
b. Have students play through section
4. Rehearse in depth- identifying the melody
 a. Ask students to sing the melody of the piece together as a group while being
conducted
i. Tell students that we will now be playing, but only play if you have the
melody ​(OBJECTIVE 1)
1. Melody Goes as follows:
a. M. 178 - 183: Oboe, Alto 1, Horn 1
b. M. 184 - 189: Piccolo, oboe, clarinet 1, clarinet 2, alto 1,
alto 2, tenor sax, horn 1, horn 2
c. M. 190 - 201: Flutes, piccolos, oboes, eb clarinet, all Bb
clarinets, Alto clarinet, bassoons, alto 1, alto 2, tenor sax,
cornets, baritone
2. Tell students that now you want the countermelody to play
3. Have following play the counter melody at 190 :
a. Trumpets and horns
ii. Ask students to play together. After playing, ask them what is happening
while the melody has long notes. (counter melody has moving notes)
iii. Work on shaping ​(OBJECTIVE 2)
1. Ask students: If someone is playing a long note and someone is
playing moving notes, what should happen? (Answer: long notes
back off, moving notes should play out)
2. Ask for notes to crescendo when playing moving notes and back
off when they play longer notes
3. Make sure that the fast triplet figures in the upper woodwinds
aren't playing to overpower other parts (have them bring down
dynamics by one level)
5. Rehearse bars 206 to 230
a. Remind class that Grand pause in 206 will be conducted in time
b. Remind class that 229 will be in three
6. Ask for everyone who doesn't have quarter notes to play
a. After running through make sure that the class is aware that they will not all be
playing the theme at the same time
b. Run through slower as needed
c. Add on quarter note people
d. Speed up piece until they are close to correct tempo
7. Run through entirety of 178 to 230 again

Assessment:
1. Objective 1 can be informally assessed by seeing if students are able to identify if they
have the melody when only the melody is asked to play
2. Objective 2 can be assessed by listening to if the students are able to bring out and hold
back their volume and play the appropriate dynamics in order to keep the melody and
countermelody balanced
Name:​ Elana Gitterman
District:​ N/A
School:​ N/A
Subject: ​Wind Ensemble
Grade:​ 9 - 12
Date:​ N/A
Lesson Plan Number: ​5

California Visual and Performing Arts Content Standards

1.0 ARTISTIC PERCEPTION - ​Processing, Analyzing, and Responding to Sensory Information
Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and
describe music and other aural information, using the terminology of music.
Read and Notate Music
1.5 ​Analyze and describe the use of musical elements in a given work that makes it
unique, interesting, and expressive.
2.0 CREATIVE EXPRESSION ​– Creating, Performing, and Participating in Music
Apply Vocal or Instrumental Skills
2.4​ Perform on an instrument a repertoire of instrumental literature representing various
genres, styles, and cultures with expression, technical accuracy, tone quality, and
articulation, by oneself and in ensembles (level of difficulty: 4 on a scale of 1–6).

Objectives
1. To play through measures 231 - end of Candide with appropriate dynamics
2. To be able to identify and define piano, forte, sforzando, crescendo, molto,

Equipment and Supplies:

Chairs
Stands
Instruments
Music for “Candide”

Procedure:
1. Warm ups in Eb Major
a. Concert Eb scale on quarter notes (two octaves, do not repeat top note)
b. Concert Eb Scale, Eb quarter notes, all others eighth notes (slur two tongue two
on eighth notes)
2. Tuning
3. Play measures 231 to 247 of piece
a. After playing, ask what dynamics are in the sections (p, crescendo starting at
239, molto crescendo at 243, crescendo at 245, forte at 247) ​(OBJECTIVE 1)
b. Have them play through again with appropriate dynamics, and have them go on
until the downbeat of 271. Before playing ask them what happens at measure
 266 (sforzando piano- hit loud and immediately back off, followed by ff) and what
happens at the downbeat of 271 (FFF! Make sure they do note crescendo into
the measure to create contrast).
4. Rehearse bars 271 until the end
a. Ask class about articulations on notes in this section
i. Have students play through measures 271 through 273
1. Ask students about the melody: What articulations are on the half
notes and what are on the quarter notes (half notes accented,
quarter notes staccato)
2. Ask the class what they think this means stylistically (play half
notes heavier and quarter notes lighter)
3. Play through 271 until 276
ii. Play though 277 until the end
1. Ask students about dynamics in saxes and horns in measure 279
(FFF!!! Fortississimo!)
2. Look at the last four bars and ask class about dynamics in this
section ( crescendo, pp, FF)
3. Play through last four bars
iii. Play through the entirety of 271 until the end
5. Play through 230 until the end
6. Give students paper containing the following terms - piano, forte, sforzando, crescendo,
and molto and ask them to bring back paper the following day with a definition, a symbol
used to indicate each thing, and a measure number example in their music where they
see it or hear it. ​(OBJECTIVE 2)

Assessment:
1. Objective 1 can be assessed informally in class by listening to students to hear if they
are using the appropriate dynamics written and creating enough contrast between
dynamics.
2. Objective 2 can be assessed formally with the dynamics worksheet homework. Students
will then be tested two to three classes later by giving them a sheet with some
vocabulary terms (including “glissando” and other words from previous lessons) with a
focus on terms associated with dynamics (decrescendo, fortissimo, piano, crescendo
molto, etc.).