A Boy and a Girl
Conductor: Michael McCormick Ensemble Name: Chamber Singers
Composer/Arranger: Eric Whitacre Grade of Piece: HS
Learning Goals Technical Skills
● Music reading (solfege outside of
What Learners will: diatonic music)
Be able to do: Singers in Chamber ● Intonation
Singers will perform their voice part on ● Diction
solfege with great intonation at a success ● Tone
● Text stress
rate of 85% or above. They will sing other
voice parts with a success rate of 70% or ● Phrasing
above. Singers will speak and sing the text
with appropriate syllabic stress, breath Musical Concepts
marks, cut offs, and entrances with a success ● Complex Harmony
rate of 85% or above. ● Dynamics
Understand: Singers in Chamber ● Timbre
Singers will interpret and explain the ● Rubato
meaning of the text in writing, rehearsal, and ● Text-painting
performance. They will be able to apply the ● Meter change
meaning of the text to the music to influence ● Time signature change
their tone, tempo, and dynamics. Singers
will understand the reasoning for musical Empowering Musicianship
decisions and guidance given by the ● Connection of text and music
directors. ● History of Octavio Paz
Encounter: Singers will perform this ● Stylistic integrity
piece for their fellow choir colleagues as
well as the public. They will write Process
reflections on the learning process and
performance experience. Partner:
Construct meaning: Singers will 1. Singers will read poetry on their
appreciate the poetry both on its own and in own, then it will be read as a class.
the context of the music. Also, they will be Together, students will Think, Pair,
able to realize how the text may apply to Share for possible meanings of the
their own lives and personal stories. Singers text. Following, students will share
will see the impact that they have on the ideas with the entire choir.
middle school singers after they sing for 2. Ask students to then mark the poetry
them at the District Concert. with what dynamics, articulation,
and tone would go with each verse.
Students will then share their not rely on the piano to learn their
thoughts with a partner. part. While learning parts, students
3. Students will then compare the should be observing and singing the
dynamics, articulation, and tone with markings already written in the
the markings that are in the sheet score. Also, observing strict meter,
music. time signature, rhythm, and tempo
4. Listen to Voces 8 perform the piece while learning parts.
and have students decide if they 5. Return the choir as a group in the
executed the musicality accurately to same way, in 4 circles. Allow section
what the composer indicated. Have leaders time to help correct problems
students also compare the recording after singing the entire piece on
to their own markings on the poetry. solfege as a choir.
5. Have students discuss with a partner 6. Students speak text in strict rhythm,
what they think the biggest circling words that are most
challenges for the choir will be in important in each verse. What words
executing this piece to its fullest make each verse special? Students
potential. will then decide which syllables are
most important in each word. After,
Present with students, the teacher will decide
1. Send out singers into groups based one set of circled words as to what is
on voice part and have them work most important/what should be
out the first 13 measures on solfege emphasized.
(C Major/Fixed Do). 7. Using these circled words, sing the
2. Teacher will visit each group and first verse with strict tempo and
discuss how effective solfege is on proper syllabic stress. Does it feel
different measures. Should some like we should take more time with
measures be observed as a different any of these words? Should any of
“key”/key center? the rests be longer or shorter? Why?
3. Then seat singers in circles Where do we need to take a
according to voice part, and have collective breath vs. staggered
them use solfege as an entire choir. breathing?
Again, only do the first 13 measures. a. Use this same method for
4. For the following measures, allow every verse.
students to learn music on their own 8. Discuss with the choir how to
during group work, homework, or in determine where breaths, lifts, and
practice rooms. They should be using staggered breathing should happen.
solfege while using a piano/piano Allow singers to try different
app to check to make sure they are options, and then discuss the pros
correct. Although, students should and cons of each. Make a “final
draft” with students so that everyone on the audience. Following a clinic,
has the same markings. students will reflect on the advice
9. Ask for suggestions from students on and guidance they were given by the
how to influence the tone in the clinician and find ways to
choral sound. Using words that are incorporate that into how they are
both concrete and abstract. Before already singing.
singing each verse, discuss which
kind of tone might be most effective. Assessment
Try different options for each verse Formative:
and again discuss the pros and cons Discussion with singers, musical choices
of each. Decide on final decisions made by singers, vocal performance in
with consultation of the singers. rehearsal, writing assignments.
Personalize Summative:
1. Break the choir up into smaller Performances and reflections on
ensembles and allow each student to performances/clinics.
conduct their group in small sections
of the piece. Have students discuss Integrative:
how each performance was different. How did my instruction allow students the
What caused them to be different? freedom to make musical choices while also
2. Write about a time that you have felt acting as an ensemble? How did the
love for another person and felt the performance of the choir show the
desire to be with them for the rest of musicianship of the individuals and not just
your life. Write about a time that you the conductor? How did the views of the
enjoyed spending time outside and conductor change throughout the rehearsal
relaxing with someone you love. If process? How did this piece contribute to
you haven’t experienced these, write growth of the singers and conductor?
about the love you have observed
from someone that you know, or that
you desire to experience some day.
Perform
1. Students will perform A Boy and a
Girl at the Spring Concert and in
competition/clinic.
2. After each performance, students
will reflect on not only their
musical/technical performance, but
the impact that they believe they had
