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TRANSCRIPT
Hanukkah Shalom Spec Sheet
Title: Hanukkah Shalom
Composer: Anonymous (Hebrew Folk Song)
Arranger: Dan Schwartz
Publisher: Shawnee Press, Inc.
Publication Date: 1990
Publication ID #: D 0427
Voicing: 3-Part Mixed
Accompaniment: Piano
Unaccompanied Solos: N/A
Language: Hebrew
Occasion: Hanukkah, cultural awareness, greeting song, first day song
Ranges: I: A3 – E5; II: A3 – C5 III: E3 - D4
Concepts: triadic patterns in arpeggios, fermata, polyphony vs. homophony,
accent marks, marcato, legato, la minor, key changes, subito ritardando,
crescendo, accelerando
Skills: Hebrew diction, singing in legato vs. marcato style, pure vowels, singing
in la minor, and singing in head voice
Potential Problems: Singing the piece on solfege is kind of challenging in regards to the
incorporation of “fi,” “di,” and “si” throughout. Part III at m. 33 is a
little challenging to hear the “mi” “fi” “si” pattern right after the key
change. Depending on how high Part III can sing, mm. 33-46 are in the
higher point of their range, and the students may struggle if their voices
have changed.
Study Guide for Hanukkah Shalom
Composer: Anonymous (Hebrew Folk Song)
Arranger: Dan Schwartz
Voicing: 3 – Part Mixed
Background/Historical Context: This work is based on a Hebrew greeting used in Jewish
culture, in which they use the phrase “Hevenu shalom aleichem.” This means “we bring peace to
you.” The response to this greeting is usually “assalamu aleichem,” which means “the peace of
God be upon you.” Typical characteristics of these folk songs include the use augmented
seconds and accelerando, which are both featured in this piece.
Terms
Accelerando: gradually accelerating or getting faster in regards to tempo
Accent: emphasis or stress placed on a particular note to mark its position
Arpeggio: playing the notes of a chord consecutively; individual notes of a chord are
sounded one after the other instead of all of the notes being played at once.
Crescendo: gradually getting louder
Fermata: A marking of notation used to direct the performer to sustain a particular
note as long as the conductor or artistic interpretation allows.
Homophony: A musical term in which all parts (in this case, vocal parts) move together
at the same time with the same words and rhythms but different pitches.
One voice has the melody.
Legato: A musical term used to direct a passage to be performed in a smooth,
graceful, and connected style.
Marcato: A musical style in which notes are accented, emphatic, and stressed;
march-like.
Minor Triad: A chord that consists of a root and an interval of a minor third between the
root and the third; the chord consists of an interval of a major third
between the third and the fifth of the chord. These can come in root
position, first inversion, and second inversion.
Polyphony: A musical term in which each voice part has its own melody.
Subito Ritardando: Suddenly slowing down.
.
Skills
Singing in legato style: Students should be able to master the art of singing in legato, which
means to sing passages in a flowing, graceful, and connected style. They
can do this with proper breath support and phrasing. The legato phrases
are to be used throughout, except for on the areas with accent marks above
the notes. Students should connect the notes of their phrases together in
the legato phrases.
Singing in marcato style: Students should be able to master the art of singing in marcato,
which means to sing passages in a more stressed, accented, and emphatic
style. This style is almost march-like. The specific passages that use this
technique are the ones marked with the accent notes throughout the piece.
These are meant to be more stressed and should be able to be observed by
the audience.
Hebrew diction: The Hebrew language includes a lot of different sounds, including the
“ch” sound. This word is found in “aleychem.” Students should pronounce
it uh-lay -chem with the glottal effect on the ch and having a schwa sound
on the em. All pronunciations of text should be true to the Hebrew
language and Jewish culture.
Singing in head voice: Singing with control of the upper register and having a nice, free sound
with a lowered soft pallete and support from the abdominal muscles. This
should not be tight and should not involve shouting from the chest voice.
Some of the vocal parts lie in higher places of a students’ range. These
students should sing with proper technique when they arrive at these
sections.
Singing in la minor: Proper performance of the la minor scale up and down, with the pitches
la- ti-do-re-mi-fa-sol-la. Students should also be able to properly sing
melodic and harmonic scales, as the pitches of “fi” and “si” are featured
throughout. (Many students get used to singing in major modes.
Introducing them to songs written in minor keys can enhance and sharpen
their abilities in la-minor to make them more well-rounded musicians.)
Learning Goals
1) At the end of this unit, the students will be able to accurately sing Hanukkah Shalom with
correct pitch accuracy, diction and text accuracy, breath support, intonation, and articulation.
These will be evaluated individually with a rubric. Students’ skills will be marked as
unsatisfactory, basic, proficient, and distinguished, depending on their level of mastery of these
skills (National Standard 1 – Singing alone and with others, National Standard 7 – Evaluating
music and music performances (for me), National Standard 9 – Understanding music in
relationship to history and culture (in regards to Jewish culture and their proper pronunciation of
the Hebrew text) )
2) At the end of this unit, the students will be able to fully comprehend and explain the musical
terms studied throughout the unit, including those in the study guide such as accelerando, accent
marks, arpeggio, crescendo, fermata, homophony, legato, marcato, polyphony, and subito
ritardando. Students will be assessed on these terms with a quiz at the end of the unit to make
sure they have a very strong understanding of the terms and their relation to the music. (National
Standard 5 – Reading and Notating, National Standard 6– Listening to, analyzing, and
describing music).
3) At the end of the unit, the students will reflect on their performance of Hanukkah Shalom after
watching a video recording. Their reflections should include their thoughts on the pieces, their
personal progress throughout the term, their reflection on the class’ performance of the piece as
well as their own, and one thing they learned from the piece that will make them a better
musician and a more well-rounded human being. These will be graded based on a rubric that
gauges if students met all of the specified guidelines in the prompt, and also assesses their
grammatical errors and their ability to write the proper number of pages for the assignment.
(National Standard 6 – Listening to, analyzing, and describing music; National Standard 7 –
Evaluating music and music performances; National Standard 9 – Understanding music in
relationship to history and culture).
Time Frame
We have three weeks before our performance of this piece. In our middle school classroom, we
meet every day for fifty minutes. Throughout these three weeks, we are also working on three
other pieces for our concert, which gives us limited time to work on this specific piece. However,
I have made a basic outline for how our rehearsals are going to go during these next three weeks,
along with the musical concepts needed to be taught on each day.
Week One
Monday: Introduce the class to Hanukkah Shalom by Dan Schwartz. Begin first by writing
the word on the board and have students work on the proper pronunciation of the
words “Hevenu Shalom Aleychem.” Teach them that this means “we brought
peace to you” in the Hebrew language. Teach students about minor triads and
see they can find any within the piece, in root, first inversion, and second
inversion. Have them learn mm. 13-24. Teach students the solfege of mm. 13-24,
and then have them sing it with words to make sure that they are using proper
diction.
Tuesday: Have students review measures 13-24. Ask them if they remember what a minor
triad is and if they can find any in the score. Perform a vocal technique exercise in
which you accent specific notes in the warm-up. Ask students what was different
about how the notes sounded. Introduce students to accent marks and draw an
accent note on the board. Then, ask students if they can find any in mm. 13-24.
Have them sing through mm.13-24. Then, have them look at Part 1 of mm. 2-12.
What do they notice is different in mm. 13-24?
Wednesday: Have them perform the accent notes that were taught the before. Look at mm. 13-
24. Introduce the concept of marcato style, as opposed to a legato style. Have
them sing the phrases of unaccented notes in an legato, flowing style. Have
the students perform the accented notes by moving their arms in a marcato-like
style. Make it kinesthetic for them. Make sure that they can describe and identify
the differences in marcato and legato phrases. Review mm. 2-12 and mm. 13-24.
Thursday: Review mm. 2-12 in Part 1 and mm. 13-24 in all three parts. Then teach Part 2
and Part 3 their parts at mm. 2-12. Teach the students the solfege in mm. 2-12.
Loop this material a lot, as the “di,” “fi,” and “si” intervals are very challenging.
Ask them to identify which note is “do” based on the key signature. Then, have
students sing mm. 2-12. Have them sing the passage on the actual text. Once they
feel comfortable, review material in mm. 13-24.
Friday: Review mm. 1-24 with the students. Ask students about the definitions of minor
triads and accent marks. Ask students to verify where they see these in the score
in mm. 1-24. Then, introduce the concept of fermata to the students. Demonstrate
your conducting skills and the students’ ability to watch you. Perform fermatas as
a class. Ask the class where they have found them in the music.
Week Two
Monday: Ask the class to sing mm. 1-24. Then, have them look at which note is “do” in
mm. 1-24. Then, ask them which note is “la.” Have the class turn to m. 25. Ask
the class, “Which note is “do?” Which note is “la?” Introduce the concept of key
change to the students. Teach students their parts in mm. 33-40. Ask them if each
voice parts is moving at the exact same time. Ask students what they see in the
score at these sections. Introduce the topics of polyphony and homophony. Ask
students if mm. 33-40 are more polyphonic. Then, have them look at mm. 20-24.
Are these more polyphonic or homophonic? Ask the class questions and guide
them to the correct answers. Have them perform mm. 1-40.
Tuesday: Have the students look at m. 43. Ask them which note is “do?” Which note is
“la?” Review the material from last week and ask which notes are “do” and “la”
in mm. 1 and 25. Have the entire class sing Part I in mm. 42- the third beat of m.
50. Teach Part II and Part III in mm. 42-50. Are these notes polyphonic or
homophonic? Review what the differences between these two styles are. Review
accent marks, legato, marcato, accent marks, and fermata. Have the
students find and define such objects in their score and if they could sing an
example of these terms found in the score. Sing through mm. 1-50.
Wednesday: Teach mm. 51- 64 of the piece, emphasizing the students to maintain the proper
diction. Ask the class to note the fermata marks in mm. 59-60. Ask the students to
define them. Have students volunteer to be the conductor and have them play
around with how long to sustain these notes.
Thursday: Have the students run through the entire piece from mm. 1-64. Ask them to
review the terms that they have covered in class so far. Introduce them to the
mark accel. Teach the students that stands for accelerando, this means to
gradually accelerate. Start adjusting the tempo of the piece with the students,
starting from the top. Show the students the sub. rit. marking on m. 59. Teach
students that this is a subito ritardando, mark and it means to suddenly get slower.
Perform the entire piece with the differences in tempo, gradually accelerating
throughout the piece, besides m. 59. Review all of the terms for the quiz the next
day on Friday. Hand out the study guide for them to review the terms.
Friday: Have the students take the music definitions quiz at the beginning of the class
period. Then, when every student is finished taking the quiz, run through the
entire piece, paying attention to the tempo markings, the concepts and skills found
within the piece, and the correct pronunciation of the text.
Week Three
Monday: Run through the entire piece, making sure that students are able to apply the
concepts and skills learned the weeks before. Fix any problem areas and ask the
students if they would like to go over anything again. Prepare them for their
singing tests the next day by running through mm. 42-64 multiple times.
Tuesday: Singing tests mm. 42-64 for all students. Other students are asked to start on their
reflections as to what they have learned the past couple of weeks as well as
complete their required reading for the unit. Anything they do not get done is due
the next day.
Wednesday: Talk about the reading assignment from the previous day. Review the terms that
relate to the piece. Sing through the entire piece, encouraging students to use good
singing techniques. Review what the phrase “Hevenu Shalom Aleychem” means.
Review the terms. Brush up on any troubling areas.
Thursday: Have the students practice Hanukkah Shalom in the performance space. Have the
students work on blending for the piece, and ask them how the change in the
location affected their sound. Ask them to continue working on proper technique
as well as proper diction. Continue reviewing the terms and polishing the piece.
Friday: Concert in the performance space. Have the students evaluate and reflect on their
performance as an individual and as an ensemble after you post the video of their
performance to your grading website.
Hanukkah Shalom Rubric
Specific Description of the task: Students will sing measures 42 – 64 of their assigned vocal
part of Hanukkah Shalom. Each student will be assessed on pitch accuracy, rhythmic integrity,
breath support, intonation, and overall expression of the piece. Total Points Possible: 50 points
Student Name _______________________
Unsatisfactory
(Less than 6.75)
Basic
(6.75)
Proficient
(8.00)
Distinguished
(10)
Pitch Accuracy The student is
unable to match
pitch at all. The
song is completely
unrecognizable.
The student matches
many of the pitches in
the piece and the song
is definitely
recognizable. The
student performs the
song decently but a
few errors throughout.
The student makes minor
errors when matching
pitch and has mostly
accurate singing. The
performance is near
perfect, with very little
errors at all.
The student matches
every pitch accurately
in the piece and
performs each pitch
perfectly.
Diction The student is
unable to sing any
of the Hebrew
words correctly, if
any at all.
The student
pronounces many
words of the text
correctly The student
makes a few errors in
regards to text.
The student makes minor
errors when performing
the Hebrew text of the
piece. The performance is
near perfect, but there are
very few errors.
The student pronounces
every word of the
Hebrew text correctly.
Breath
Support
The student has no
support with
breathing
whatsoever. The
student has poor
posture with
shoulders moving as
the student breathes.
The student decently
supports sound with
use of diaphragm and
abdominal muscles.
The student has decent
posture.
The student has great
posture with shoulders
rolled back. The student
holds out almost every
single line correctly.
The student has perfect
posture and breathes
correctly in every
single line. The student
uses abdominal
muscles correctly.
Intonation The student has an
extremely breathy
tone and does not
support the sound.
The student has tone
throughout the piece
and supports the high
notes. The student
sings almost the entire
song with accurate
tone.
The student sings with
clear tone almost entirely
throughout with no
errors. The student
supports the high notes.
The student sings the
entire excerpt with
clear tone and supports
every note perfectly.
Articulation The student sings
with no change in
articulation. The
child does not use
articulation
markings at all and
disregards their role
in the music
The student sings with
the indicated
articulation markings,
focusing on expressive
elements, but the
student is not
completely consistent.
The student sings with
the indicated articulation
marks throughout the
piece, focusing almost all
of the expressive
elements throughout the
piece with very few or
almost no errors.
The student sings with
all of the correct
articulation marks, in
regards to legato
phrases and accent
marks. The student
sings with all
expressive elements.
Additional Teacher Notes:
Name: ____________________________ Date: ____/____/____
Hanukkah Shalom Quiz
Directions: Using the word bank, match each word to its definition. Make sure that you write
legibly, or points will be deducted.
Accelerando Accent Note Arpeggio Crescendo
Fermata Homophony Legato Marcato Polyphony
Subito ritardando Minor Triad
1) A term used for gradually getting louder. ________________________________________.
2) A musical term in which each voice part has its own melody. _________________________.
3) A music term used to direct a passage to be performed in a smooth, graceful, and connected
style. ___________________________________.
4) A marking of notation used to direct the performer to sustain a particular note as long as the
conductor or artistic interpretation allows. _______________________________.
5). A chord that consists of a root and an interval of a minor third between the root and the third;
the chord consists of an interval of a major third between the third and the fifth of the
chord. These can come in root position, first inversion, and second inversion.
________________________________.
6) A term that refers to the tempo suddenly slowing down _____________________________.
7) A term that refers to emphasis or stress placed on a particular note to mark its position.
______________________________.
8) A term in which all parts move together at the same time with the same words and rhythms
but different pitches. One voice has the melody. ________________________________.
9) A music style in which notes are accented, emphatic, and stressed. March-like.
________________________________.
10) A term referring to the tempo gradually getting faster. _____________________________.
11) Playing the notes of a chord consecutively; individual notes of a chord are sounded one after
the other instead of all of the notes being played at once. ________________________
Extra Credit: Draw or write out the abbreviation for two of these terms.
Name ______________________________ Date ____/____/____
Hanukkah Shalom Reflection
Direction: During the past three weeks, we have been working on the piece Hanukkah Shalom
as an ensemble. Please type out your responses for this reflection. The papers should be
based around thoughts about the piece and any personal progress made throughout the
term. After watching the video reflection, please reflect on your class’ overall
performance of the piece as well as your own, focusing on at least one vocal technique
choral technique observed. Finally, write one thing that you learned from this piece that
will make you a better musician and / or well-rounded human being. This should be at
least two pages. Again, make sure to write about:
-your thoughts on the piece
-personal progress throughout the term
-the class’ overall performance of the piece as well as your own (include one vocal or choral
technique observed)
-one thing you learned from this piece to make you a better musician and / or well-
rounded human being.
These will be graded based on a rubric that gauges if students met all of the specified guidelines
in the prompt, and also assesses their grammatical errors and their ability to write the proper
number of pages for the assignment. Late assignments will lose one letter grade for every day the
assignment is not turned in. Papers are due at the beginning of class on April 30. Please contact
Miss LaRosa if you have any questions. ☺
Hanukkah Shalom Reflection Rubric
Specific Description of the task: Students were asked to watch a video on their performance of
Hanukkah Shalom. After watching the video, they were asked to complete a video reflection
about their thoughts on the piece, personal progress made throughout the term, the class’ overall
performance of the piece as well as their own, including one vocal or choral technique, and one
thing they learned from this piece that has helped to make them a better musician and / or a
well-rounded human being. This should be at least two pages in length.
These will be graded based on a rubric that gauges if students met all of the specified guidelines
in the prompt, and also assesses their grammatical errors and their ability to write the proper
number of pages for the assignment. Late assignments will lose one letter grade for every day the
assignment is not turned in. Papers are due at the beginning of class on April 30. Please contact
Miss LaRosa if you have any questions. ☺
Total Points Possible: 25 points Student Name _______________________
Unsatisfactory
(0)
Basic
(2.5)
Distinguished
(5)
Thoughts of
the Piece /
Personal
Growth
The student does not
provide thoughts of the
piece or personal growth
throughout the past
couple of weeks.
The student describes his
thoughts of the piece or his
personal growth, but not in full
detail. There was thought put
into the answer, but the student
could have gone deeper.
The student describes in detail his
thoughts of the piece and his
personal growth from the experience.
Class’ Overall
Performance /
Personal
Performance
The student does not
provide thoughts of the
class’ or his own personal
performance.
The student describes the class’
overall performance and his
own personal performance. The
student could have gone deeper.
The student describes the class’
overall performance / personal
performance in detail.
One Thing
Learned from
Piece
The student does not
provide an element
learned from the piece or
an element of vocal or
choral technique in his
essay.
The student provides one thing
learned from the piece, but he
does not have the vocal or
choral technique.
The student included at least one
thing learned from the piece and an
example of a vocal or choral
technique observed in the video.
Grammatical
Errors
The student has
SEVERAL grammatical
and spelling errors
throughout. It makes the
essay hard to read.
The student has a fairly decent
paper, but there are a few
grammatical and spelling errors
throughout. The piece is still
readable though.
The student has no grammatical or
spelling errors in his essay at all.
Page Length The student did not meet
the two-page
requirement.
The student met the two-page
requirement, but the piece has
unnecessary fluff to the paper
to add more words. These
words are unnecessary.
The student meets the two-page
length requirement.
Additional Teacher Notes:
Required Reading
Holmes, Martha Sandma. “Israeli Folk Dance: A Resource for Music Educators,” Music
Educators Journal 67 (Oct., 1980), 36-39, accessed April 15, 2015, doi:
http://www.jstor.org/stable/3400576.
Choral Rehearsal Plan: Hanukkah Shalom (Hebrew Greeting)
Basic Information Francesca LaRosa
Ball State University - Choral Methods II Choir
Grades 15 -16
Cooperating Teacher: Dr. Ester
March 19, 2015
Prerequisite Knowledge and Skills for this Rehearsal Level 3 Minor (The Natural Minor tetrachord)
Knowledge of articulation and expression marks (staccato, legato)
Behavioral Objectives At the conclusion of this lesson, students will be able to:
-demonstrate quality vocal tone that utilizes head voice (NS1)
-accurately echo-translate and read Level 3 minor tonal patterns (NS5, NS6)
-Perform mm. 16-24 of "Hanukkah Shalom" accurately and expressively (NS1)
-Self-evaluate regarding performance success using music terminology (NS6, NS7)
-Read mm. 16-24 accurately with appropriate solfege and proper Hebrew diction
-Sing mm. 16-24 with proper articulation (with legato and accent marks) and understanding the
difference between these expression marks. (NS1, NS7)
Materials ELMO Projector
Piano
Tonal Wand
On Whiteboard: -Rehearsal Sequence:
-VT
-ML
-Hevenu shalom aleychem (We brought peace upon you)
Procedure:
0:00 Set (mental focus): Echo clap
Start with the vocal exercise “eeeeeee” on “do mi sol do sol mi do” starting in C Major.
Do the first exercise legato with the swinging hand motion. Do the next exercise staccato with
the fingers. Do the last exercise with accents in a marcato style. Model the exercise first. Then
model the hand motions with it. Have the class try it with you. Progress up the scale to G Major,
making sure that the class modifies the “ee” vowel as they get higher. Make sure to focus on tall,
mature vowels, as well as proper articulation. Have students drop down the octave if it becomes
uncomfortable. Encourage students to use proper breath support the entire time.
0: 02 Echo Tonal Exercises on Solfege
0:03 Echo Translate Tonal Exercises on pa.
0:04 Use Curwen hand signs of the minor progressions demonstrated in mm. 16-24 of score and
also that were used in tonal exercises above.
0:05 Use the tonal wand with the minor key. Put transparencies up on the projector and draw a
treble clef on the board. Write in the key signature. Ask the class if this is the key
signature, where is ‘do’? Where is ‘la’? Have them sing the pitches that you show on the
board with the tonal wand that correspond with the tonal patterns from the score.
0:06 Have the class apply the solfege and reading skills from the previous exercises with the
syllable echoing and the tonal wand by reading the passage on solfege. Help out with any
challenging leaps. Use hand signs where needed and give feedback throughout. Read on
Takadimi syllables if students are struggling with reading on solfege keeping a steady
beat.
0:07Teach the students the Hebrew words to the passage and explain to them the meaning (We
brought peace upon you). Teach them how to properly pronounce it. Model for the
students how to properly speak the text. Have them echo the pronunciation. Have them
sing the passage with the appropriate Hebrew text.
0:08 Go back to the opening exercises. Ask the students to remember the opening exercises.
Model for students the exercise and ask them to explain how the music sounded when
doing the flowing hand gesture. What did this music sound like? What is the music term
for music that is smooth and connected and flowing? Legato! This is what we are
learning about today: Articulation. Can anyone think of any other musical terms that are
associated with articulation (hint: think back to our opening exercises). Write these on the
board if students say them: staccato, leggiero, etc. If students say marcato, put this in
another category: style. Say, “This is a particular type of musical style, and it represents
music that is march-like. Ask students how they would describe the music at the end of
the vocal exercise � accent marks (stress or special emphasis on a note to mark its
position).
Draw in accent marks on the board in the score. Explain to the students that these are
horizontal accents. They are used to add emphasis to the note. Have the class sing the
passage all in legato phrases, using the legato hand gesture that they learned at the
beginning of class. When they get to the new accent marks, have them do the accent
specified hand motions as well. Help them to make connections between their body
movements and how they are singing. Continue to emphasize the definitions of legato
and accent marks.
0:11 Have the students open their scores to page 4. Ask them where they have seen this
material before. Ask them to match up the melody to what they see on the board and find
what is similar or different. Ask them if they see any types of expression or articulation
markings and which measure(s) they are located in.
0:12 Have the students sing the passage in the score that matches what they have previously
learned. Make sure to help with transitions from one section to the next. Show part I that
their starting note in m. 18 is the same note that part II ends on in m. 18 a few beats
before. The same is true form m. 22. Help students navigate from one measure to the
other.
0: 13 Part II will start in mm. 16-17, then Part I will sing in mm. 18- 20. All parts should sing
in mm. 21-22, and have part II sing mm. 23-24, as this is all material they have
previously learned.
0:15 Teach mm. 22-24 to Part I.
Have part II hum their part along with Part I.
Have both Parts I and II sing their parts together, starting at measure 21.
Teach mm. 22-24 to Part III. Have the other parts hum their parts while Part III continues
to learn his part. Make sure every voice part is singing with proper support and good
vocal production. Make sure to emphasize the accent marks while teaching every voice
part and reinforcing the legato phrases throughout.
0:17 Have parts I, II, and III sing starting at mm. 21 - 24.
Begin the passage having part 1 begin. Give the starting pitch and count off properly.
Have all of the other voice parts sing their part until mm. 24, using the hand gestures
demonstrated at the beginning for legato and accent marks..
0: 18 Sing the passage through with accompaniment. Make sure to give the students a way to
find their starting pitch from the accompaniment, focusing on improvements
Have the class sing the piece from mm. 13 - 24. Invite them to stand and to sing with
excitement.
Closing:
0: 19 Instructional: Ask meaning of hevenu shalom aleychem (translation). Ask about different
forms of expression and articulation marks. Ask which ones we found in the score.
Performance: Run mm. 5-21 with accompaniment. (request/remind of focuses)
Sponge Activity: Write your own accent marks!
Instructions – If there is extra time in the rehearsal, students will be asked to find additional
accent marks throughout the score. Also, the will be given a piece of staff paper to write out a
few measures of the melodic line. Once they have done this, they will be asked to put four accent
marks anywhere in their melodic line. Students will be called upon to perform their version of
the piece with their chosen placement accent notes. Students will also be constantly asked the
definition of an accent mark to make sure that they understand the concept.
Curriculum Connection: Writing Assignment from the Reading
Instructions – Students will be asked to read the article from the assigned reading. After reading
this, they will be asked write three key points they found from the reading relating to
characteristics of Israeli music and culture. They must write about one of these elements that is
used within our own song of Hanukkah Shalom. Students will also be asked to summarize the
article and describe how music is used within the Israeli culture. The purpose of this assignment
is to allow students to become more aware of other cultures and their music around the world.