Piano Concerto in A Minor First Movement (Edvard Grieg)
By Gloria Nelson (Oregon)

 

 
  Step 1: We learned the initial melodic theme by singing the following words:     Scan, and paste music score, first column, page 25 grey mag     We also tapped in our palm and spoke the rhythm syllables of the initial theme.     Scan, and paste music score, second column, page 25 grey mag     Step 2: The initial experience of listening to a recording of the concerto was greeted by smiles of delight as the students recognized our “Melody Words”. While the concerto was played, we kept track of how many times “Melody Words” fit the melody of the music. I asked the students to raise their hands each time they heard the theme, and I kept a tally at the chalkboard. At other times, the students kept their own tallies. Often they got different answers which provided a good reason to listen again to check answers.     Step 3: We perused the listening guide together.

   

    I asked questions such as:
• “What are tympani?”
• “How is a ‘roll’ performed on tympani or a drum?”
• “Can you describe a chord?”
• “Have you ever heard the word arpeggio?”
• “Can you demonstrate an arpeggio?”
• “What do you think is meant by dynamic level?”
 

    In turn, I encouraged my students to create questions for the class to consider. These question and answer segments helped clarify some of the vocabulary in the guide.

    Step 4: (I passed out copies of the guide, one for each partnership.) Students were given these instructions, “Working with your partner, listen to the music, follow the guide, and make an ‘X’ by each description as you recognize it.” Before we began working, we practiced and modeled the use of using quiet voices. Sometimes we simply stopped if the voices became too loud while the music was playing, and I asked the students how we could solve the problem, That usually worked. If it didn’t, we just made the switch and each individual was given a guide and a pencil to work along.

 

    Sometimes I introduced the listening guide by writing it out on large charts and placing it on a magnetized chalkboard. After becoming familiar with the guide, as described in Step 3, each student was given a magnet. As we listened to the composition, students raised their hands when they identified certain components of the guide. Individuals were given the opportunity to place a magnet on the chart to identify what was heard. Placing magnets on listening guides has become one of our most engaging activities when working with masterworks.     During a later lesson, we used individual student guides to revisit the composition. That gave students independence in using their identification skill. Students soon realized how familiar they had become with the composition. Using individual guides allowed me to make a quick assessment of each student’s progress