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.