A Childhood Hymn 

David Holsinger 
Wingert-Jones Publications 
Grade 2.5 

Designed by Mr. Eric Tinkler

Teacher Guide 1
A Childhood Hymn

Unit Introduction

Selection: ​A Childhood Hymn Grade: ​2.5

Composer: ​David Holsinger Target:​ Upper-level MS/Lower level HS

Learning Objectives
● Students will ​perform​ the concert Bb and Eb scales and arpeggios with 100% accuracy.
● Students will ​identify​ and ​define​ 100% of the written dynamics, articulations, and
musical terms within ​A Childhood Hymn​.
● Students will ​discuss​ and ​map out​ how each musical phrase should be shaped.
● Students will ​demonstrate​ good tone (supported, in tune, in tone, and appropriate for their
instrument) at all times when playing.
● Students will ​aurally distinguish​ which section(s) have the melody in each section of the
piece.
● Students will ​visually identify​ and ​interpret​ through performance given conductor
gestures in a ​rubato​ style.
● Students will ​perform​ ​A Childhood Hymn​ with accurate style 95% of the time as
indicated by written articulations and dynamics.
● Students will​ evaluate​ ensemble, section, and individual intonation and blend and
develop​ strategies/steps to improve these elements.
● Students will ​listen​ to professional performances of ​A Childhood Hymn​ along with
various other chorales and ​describe​ what made the performance effective.
● After listening to the different settings of the original hymn and reading the text, Students
will ​express feelings about​ how David Holsinger’s setting of this hymn compares to other
settings and ​discuss why they believe​ the composer arranged it in this way.

Standards Addressed
A multitude of national standards is met in a rehearsal setting. Below is a list of specifically
targeted standards but by no means is this an exhaustive list.

● MU:Cr1.1.E.8a ● MU:Pr5.3.E.Ia ● MU:Re8.1.E.8a

● MU:Cr2.1.E.8a ● MU:Pr5.3.E.IIa ● MU:Re8.1.E.Ia
● MU:Pr4.2.E.5a ● MU:Pr6.1.E.Ia ● MU:Re9.1.E.Ia
● MU:Pr4.2.E.Ia ● MU:Re7.2.E.8a
● MU:Pr4.3.E.Ia ● MU:Re7.2.E.Ia
Teacher Guide 2
A Childhood Hymn

Table of Contents
Unit Introduction 1
Learning Objectives 1
Standards Addressed 1

Table of Contents 2
Unit Study & Score Analysis 4
Unit 1: Composer 4
Unit 2: Composition 4
Unit 3: Historical Perspective 5
Unit 4: Technical Considerations 5
Unit 5: Stylistic Considerations 6
Unit 6: Musical Elements 6
Unit 7: Form and Structure 8
Grid Analysis 9

Lesson #1 15
Objectives: 15
Materials: 15
Warm-up: 15
A Childhood Hymn 16
Assessment: 16

Lesson #2 17
Objectives: 17
Materials: 17
Warm-up: 17
A Childhood Hymn 18
Assessment 19

Lesson #3 20
Objectives: 20
Materials: 20
Warm-up: 20
A Childhood Hymn 21
Assessment 21

Lesson #4 22
Objectives: 22
Materials: 22
Warm-up: 22
A Childhood Hymn 22
Assessment 23

Lesson #5 24
Objectives: 24
Materials: 24
Warm-up: 24
A Childhood Hymn 24
Assessment 25

Resources 26
Glossary 26
Recordings 26
Books 26
Suggested Listening 26
Teacher Guide 3
A Childhood Hymn

Unit Study & Score Analysis

A Childhood Hymn
David R. Holsinger
(b. 1945)

Unit 1: Composer

Born the day after Christmas in 1945, David R. Holsinger is one of the most prolific
composers of music for wind band, with over eighty published works to his credit. Mr. Holsinger
earned a Bachelor of Music degree from Central Methodist College (MO) in 1967 and a master
of music degree from Central Missouri State University in 1974. Holsinger did additional
graduate study at the University of Kansas, where he was a staff arranger for the University
Bands and conductor of the Swing Choir.
For fifteen years he was a music minister, worship leader, and composer-in-residence at
Shady Grove Church in Grand Prairie, TX. In 1999 he joined the School of Music faculty at Lee
University, Cleveland, TN, as the conductor of the Lee University Wind Ensemble; his duties
include teaching advanced instrumental conducting and composition.
Holsinger has twice won the ABA-Ostwald composition prize: in 1982 for ​The Armies of the
Omnipresent Otserf​, and again in 1986 for ​In the Spring at the Time When Kings Go Off to War​.
Holsinger has won many other honors for his composing and teaching; he is affiliated with or has
been made an honorary member of, most of the organizations in his profession, including the
American Bandmasters Association, Kappa Kappa Psi, Phi Mu Alpha Sinfonia, and the
Women’s National Band Directors Association (honorary membership).
Holsinger contributed a chapter to volume one of ​Composers on Composing for Band​ and is
also featured in a chapter of ​A Composer’s Insight: Thoughts, Analysis, and Commentary on
Contemporary Masterpieces for Wind Band, Volume 3,​ edited by Timothy Salzman. In addition
to his work as a composer and teacher, Mr. Holsinger is frequently in demand as a guest
conductor throughout the United States.

Unit 2: Composition

A Childhood Hymn​ was published in 1991 by Wingert-Jones Publications as part of its

Achievement Series, a library of over a hundred works between Grades 1 - ½ and 2 - ½ designed
to enrich the repertoire of young bands in a number of different programming categories. The
work is a setting of the hymn “Jesus Loves Me” with a duration of approximately 3:00.
Teacher Guide 4
A Childhood Hymn

Unit 3: Historical Perspective

The words to “Jesus Loves Me” were written by Anna Warner in 1860. The hymn was
inspired by an incident detailed in the novel entitled ​Say and Seal​ written by her sister, Susan
Warner. William B. Bradbury composed the music in 1862; it was he who added the chorus,
composing the words as well as the music. ​A Childhood Hymn​ never quotes “Jesus Loves Me”
exactly, although the melody is recognizable immediately in the introduction. This work is not in
the tradition of the chorale prelude - presenting the tune then elaborating upon it or treating it
polyphonically - nor is it similar to the strophic variation format favored by Percy Grainger.
Holsinger simply presents two stanzas with an intervening refrain and other appropriate
connecting material, using fresh harmonies to give young players the opportunity to develop tone
quality and expressive playing.

Unit 4: Technical Considerations

Nothing in the piece exceeds its Grade 2 designation; in fact, much of the work isn’t quite
at that difficulty level for many of the players. All but one of its forty-three measures are in 4/4
meter (the lone exception is a bar of 2/4). The work centers around B-flat major with a brief
modulation to E-flat major at the refrain. These two scales and arpeggios appear as an exercise at
the top of every player’s part. Ranges are very modest; the chart below shows the upper limit for
some of the main parts (examples are all printed pitch)

Flute B-flat 5

Clarinet A-flat 5

Alto 1 G5

Horn E5

Trumpet 1 F5

Trombone 1 E-flat 4

Only clarinets, alto saxophones, trumpets and trombones are written in two parts, and the
percussion requirements are minimal, though tasteful: triangle, suspended cymbal, bass drum,
glockenspiel, and timpani. The composer goes as far to say that “Absolutely no snare drum has
been included in this instrumentation!” This is perhaps a reference to his use of that instrument in
his earlier piece ​On A Hymnsong of Philip Bliss​, which is among his best known and most often
performed works.
Teacher Guide 5
A Childhood Hymn

Unit 5: Stylistic Considerations

As mentioned above, the composer wrote this work, in part, to provide young students an
opportunity to work on sustained playing, legato articulations and maintaining a centered sound,
with good pitch, at a variety of dynamic levels. Conductors who work on these issues on a daily
basis will find this piece a gratifying way to further those objectives.

Unit 6: Musical Elements

MELODY:
The melodic material in the piece follows “Jesus Loves Me” closely (including the
refrain), but is not identical. This allows the audience and the students to understand the
reference without being able to know exactly what will happen next. The melodic material in the
work is slightly more disjunct than conjunct, but this should present few problems to the players.

Verse melody (concert pitch):

Refrain melody (concert pitch):

HARMONY:
The harmonies in ​A Childhood Hymn​ are very traditional for the most part; Holsinger
employs functional harmonies, including seventh chords, and an occasional modal inflection.
The most common non-diatonic chords are D-flat major and G-flat major triads; G-flat appears
in both sections, therefore functioning slightly differently, which lends a sense of unity and
connection. The only other frequent harmonic device employed by Holsinger is the suspension;
these occur both in the middle and at the end of phrases.
Teacher Guide 6
A Childhood Hymn

RHYTHM:
The rhythms employed by Holsinger are very simple, with two brief exceptions: m. 5
contains an eighth-note triplet in clarinet 2 and alto saxophone 2 - this is the only non-duple
rhythm in the piece - and clarinet has a syncopated rhythm (eighth-quarter-eighth) in mm. 9-14.

Measure 5: Measure 9-14:

TIMBRE:
Instruments are scored in their middle to middle-low registers for most of the work. This
seems to reflect both a choice about tone color and recognitions of where the strengths of young
players lie. Clarinet parts are written mostly below the break (especially the second part) and the
horn and trumpet parts never go above the staff. The flute section is written in unison and is used
effectively, especially in mm. 13-21, when it has the melody. Oboe and bassoon parts are never
exposed, as one might expect of a work at this level, and the glockenspiel is used for color in
tutti passages.
Teacher Guide 7
A Childhood Hymn

Unit 7: Form and Structure

Holsinger uses subtle devices in the phrase structure to create and sustain interest. For
instance, in two cases, the four-bar regularity is disrupted by extending the consequent phrase by
an additional bar. The final twelve measures are comprised of two six-bar phrases with a similar
construction (4 + 2). The overall structure is as follows:

Section Measure Event And Scoring

Intro 1-8 (4 + 4) Opening based on “Jesus Loves Me”; melody in

clarinet and alto saxophone

A 9-12 (4) Gently syncopated rhythm in clarinet sets up the

coming melody

13-21 (4 + 5) Flute with the melody

B 22-30 (4 + 5) Modulation to E-flat major; tutti; upper

woodwinds and trumpet share the melody

A’ 31-36 (4 + 2) Shortened statement of the main melody;

saxophone and trumpet share the tune: tutti

37-43 (4 + 2) Flute and clarinet exchange, then share, a

descending arpeggiated idea; the last two bars restate the
beginning of the tune, presented by the flute.
Teacher Guide 8
A Childhood Hymn

Grid Analysis
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A Childhood Hymn
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A Childhood Hymn
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Teacher Guide 13
A Childhood Hymn

Lesson Plans
Lesson #1

Lesson #2

Lesson #3

Lesson #4

Lesson #5
Teacher Guide 14
A Childhood Hymn

Lesson #1
Objectives:
Students will ​perform​ the concert Bb scale and arpeggio with 100% accuracy.

Students will ​demonstrate​ good tone (supported, in tune, in tone, and appropriate for their
instrument) at all times when playing.

Students will ​identify​ and ​define​ 100% of the written dynamics, articulations, and musical
terms within ​A Childhood Hymn.​

Students will ​perform​ ​A Childhood Hymn​ with accurate style 80% of the time as indicated
by written articulations and dynamics.

Materials:
● Bach Chorales
● A Childhood Hymn
● Practice Journals
● Student Guide

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Bb scale and arpeggio (one octave) on
half notes with a drone (on Bb) and metronome (at QN = 60)
a. Move from half notes to quarter notes and then eighth notes.
3. Students will then pull out ​Bach Chorales ​(use one in the key of Bb)​.
a. Before starting, ask how we produce a good tone on our instruments.
i. Answers may vary​ - Strong air support, playing in tune, instrument
specifics (firm corners, “buzzy” buzz, etc…).
b. Play through the chorale.
c. Have students evaluate performance - did they demonstrate a good tone? How can
it improve? What went well?
d. Play through once more (or more if unsatisfactory) with those comments in mind.
4. Perform the tuning sequence and move onto the piece.
Teacher Guide 15
A Childhood Hymn

A Childhood Hymn
1. Before beginning playing the piece, walk through the “road map” of the piece and ask
that the students identify (through marking on the music) and share any markings that
indicate dynamics, articulations, musical/expressive elements or other important
elements.
a. As you go through this, have students write and define musical terms, found in the
music, in the glossary section of their Student Guide.
i. Stylistic Terms
1. Tenuto
2. Allargando
3. Rallentando
ii. Dynamics
1. Piano 4. Forte
2. Mezzo piano 5. Crescendo
3. Mezzo Forte 6. Decrescendo

2. Begin the piece and have students sight-read through to measure 22.
a. Prior to starting, prompt the students to take notice of the dynamics and
expressive elements that they just marked.
3. After the performance, ask the students about the musicality of their performance.
a. “How did we perform the dynamics?”
i. What went well? What could we improve on? How do we improve it?
How can we execute the piano dynamics with good tone?
4. After students have evaluated their initial performance, have them perform the same
section once again, with their comments in mind.
5. Repeat steps 3 & 4 for measures 22 - 36 & measures 37 - 43

Assessment:
Students during class will identify and define all of the musical terms found in ​A Childhood
Hymn​ and write them in their Student Guide. Students will then respond to the following
prompts after class:
● What are some practice techniques/strategies I can use to improve my soft/piano
playing? My loud/forte playing?
● Why do you think the composer wrote these dynamics or articulations?

Students will turn in their answers to these prompts.

Teacher Guide 16
A Childhood Hymn

Lesson #2
Objectives:
Students will ​demonstrate​ good tone (supported, in tune, in tone, and appropriate for their
instrument) at all times when playing.

Students will ​aurally distinguish​ which section(s) have the melody in each section of the
piece.

Students will ​evaluate​ ensemble, section, and individual balance and blend and ​develop
strategies/steps to improve these elements.

Materials:
● Bach Chorales
● A Childhood Hymn
● Practice Journals

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Bb scale and arpeggio (one octave) on
half notes with a drone (on Bb) and metronome (at QN = 80)
a. Move from half notes to quarter notes and then eighth notes.
3. Students will then pull out ​Bach Chorale ​(one in Bb)​.
a. Before playing, ask students to listen to which section(s) have the melodic or
moving lines in the chorale.
b. Play through measures 1-6 of the chorale.
i. After playing, ask the students what they heard in terms of melodic or
moving lines (which sections; what did you hear; how was it different than
your part? ; could you hear it?)
ii. What do you think we should do with moving lines?
c. Play through measures 1-6 of the chorale again, but ask students to bring out their
moving lines and bring down (in volume) the longer note values.
d. Have students evaluate performance - How did it sound when we brought out the
note values? Did the piece become more interesting?
e. Play through once more (or more if unsatisfactory) with those comments in mind.
4. Perform the tuning sequence and move onto the piece.
Teacher Guide 17
A Childhood Hymn

A Childhood Hymn
1. Play measures 1-8 with melody only (Cl, Alto).
a. Prompt the students not playing to listen to the full melodic line and remind the
students playing about remembering to play with correct dynamics and
articulations.
b. After they play, ask students to look and note if they have that melodic line or a
variation of it in the piece.
i. Fl - 13 ; Alto,Tpt, Hn - 31 ; Fl - 41
2. “Let’s all start at the beginning now (mm. 1-8) and I want everyone to be able to hear the
melody in the Clarinets and Altos.
a. “If you could hear the melody, raise your hand”
i. If several students could not hear it, try again, with focus on dynamics and
the non-melodic lines keeping their volume down.
3. Begin now at measure 9 (play to 22) and ask the students to pay attention to when the
melody comes back (measure 13)
a. When did the melody come back? What section had it? (13 ; Fl).
b. What about the moving lines that weren’t the melody? Where should they fit in?
4. Play through measure 9 - 22 with a focus on hearing the flute melody, but also having the
other countermelodic figures come out of the texture BUT stay below the melody.
a. Have students assess performance - Could we hear the melody? Was the
countermelody too much or too little? Were we supporting the melody? What can
we do to improve?
b. Play 9-22 once more with comments in mind.
5. Play from 31 - the end. Once again, hearing the melodic lines should be emphasised.
a. Ask questions:
i. Who could you hear with the melodic line in measures 31 - 36?
ii. When/where did it come back before the end?
iii. Could we all hear the melody?
b. Play once again with these comments in mind.
6. Move to measure 22. “This time the melody will be something completely different, can
we play from 22 - 31 and I want you to listen for what the melody is and who has it.”
a. “Who has the melody? (Tpts, Fl, Cl (22-25) ; Hn, Tbn, Altos (26-29))
i. Were we able to hear it?
ii. What can we do to make sure it is heard?
b. Play once again with comments in mind.
Teacher Guide 18
A Childhood Hymn

Assessment
Students will be tasked with aurally identifying the main melody of both the verse and the refrain
in ​A Childhood Hymn.​ This will take place as an informal assessment throughout the class
period.

After the class period students will respond to the following prompt in their practice journals:
● How does knowing where the melody is, influence your playing/performance?

Students will be tasked with submitting a recording of them playing the Concert Bb major scale
and arpeggio on their instrument. This will be done on half notes, quarter notes and eight notes at
QN = 80 with a metronome. There will be a break in between each rhythmic value change.

1. Checklist for scale recording

❏ Student played Bb Major Scale and arpeggio on half notes at QN = 80 with 100%
accuracy. (C)
❏ Student played Bb Major Scale and arpeggio on quarter notes at QN = 80 with
100% accuracy. (B)
❏ Student played Bb Major Scale and arpeggio on eighth notes at QN = 80 with
100% accuracy. (A)
Teacher Guide 19
A Childhood Hymn

Lesson #3
Objectives:
Students will ​perform​ the concert Eb scale and arpeggio with 100% accuracy.

Students will ​visually identify​ and ​interpret​ through performance given conductor gestures
in a ​rubato​ style.

Students will ​listen​ to a professional performance of ​A Childhood Hymn​ and ​describe​ what
made the performance effective.

Students will ​discuss​ and ​map out​ how each musical phrase should be shaped.

Materials:
● Bach Chorales
● A Childhood Hymn
● Crayons/Markers/Highlighters/Colored Pencils (students should be reminded to bring a
set of one of these but the teacher should also provide them if needed)
● Copies of the score for each student.

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Eb scale and arpeggio (one octave) on
half notes with a drone (on Eb) and metronome (at QN =60)
a. Move from half notes to quarter notes and then eighth notes.
3. Then have the students sing quarter notes on a neutral syllable, but prompt them to pay
attention to how you are conducting them and ask if they can match your style and
tempos with their singing.
a. Conduct the students, presenting a variety of styles (forte, piano, legato, marcato,
slow, fast, etc…)
b. After they have success with singing, move on to having them play a Concert Eb
scale, with four quarter notes per pitch.
4. Students will then pull out ​Bach Chorales (​ one in Eb)​.
a. Prompt students to once again follow what you are giving them (in terms of your
conducting). For this first run through, be as bland and “vanilla” as possible.
i. “How did we feel about that performance?” “What did I show you?”
b. “Let’s try it again, and once again, pay attention to my conducting”. This time,
conduct with more expression and shape.
Teacher Guide 20
A Childhood Hymn

i.“How did that compare to the first time?” “Why is it important to be

expressive in a chorale?”
5. Perform the tuning sequence and move onto the piece.

A Childhood Hymn
1. Pass out crayons/markers/colored pencils and a copy of the score to each student.
2. “Today we are going to listen to a professional recording of our piece and I want you to
follow along in the score and use your colors to represent the phrasing and expression
that you hear them play with. You can color in the staffs, follow the melody line, or
however you deem fit. Be ready to justify why you chose the colors you did and discuss
your likes and dislikes about this interpretation.”
a. A Childhood Hymn
b. As the teacher, you should also participate in this!
3. Have students first discuss with their neighbor about their artistic interpretations of the
performance (as related on their scores with the coloring).
4. Then let students volunteer to share their interpretations and discuss why they chose the
colors/styles they did.
5. Have the students keep these scores for the rehearsal, but they will turn them in at the
end.
6. With the students' interpretations in mind, begin the piece and play in small phrases (~8
bars).
a. After each rep, ask the students how they interpreted the section (“What color did
we play with here? Was that the color we wanted to use?” “How can we shape it
to accomplish that color?”) Let them consult their scores and formulate how they
want to shape each phrase.
b. Use this process throughout the whole piece.
7. After step 6, have the students perform the full piece and record it for them.

Assessment
Students will turn in their colored score at the end of class. This will count as their participation
points for the day.
Teacher Guide 21
A Childhood Hymn

Lesson #4
Objectives:
Students will ​perform​ the concert Eb scale and arpeggio with 100% accuracy.

Students will ​perform​ ​A Childhood Hymn​ with accurate style 90% of the time as indicated
by written articulations and dynamics.

After listening to the different settings of the original hymn and reading the text, Students
will ​express feelings about​ how David Holsinger’s setting of this hymn compares to other
settings and ​discuss why they believe​ the composer arranged it in this way.

Materials:
● A Childhood Hymn
● Lyrics to the hymn “​Jesus Loves Me”

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Eb scale and arpeggio (one octave) on
half notes with a drone (on Eb) and metronome (at QN =80)
a. Move from half notes to quarter notes and then eighth notes.
3. Perform the tuning sequence and move onto the piece.

A Childhood Hymn
1. Rehearsal on the piece will cover spots as needed, with a focus on reviewing playing with
correct articulations, dynamics and style.
2. After rehearsing, move on to the special activity.
3. On the projector, put up the full set of lyrics to the piece and discuss to the students the
hymn that ​A Childhood Hymn​ is based on and a brief overview of its history.
a. The words to “Jesus Loves Me” were written by Anna Warner in 1860. The hymn
was inspired by an incident detailed in the novel entitled ​Say and Seal​ written by
her sister, Susan Warner. William B. Bradbury composed the music in 1862; it
was he who added the chorus, composing the words as well as the music.
4. To wrap up class today, we will be listening to several interpretations of this hymn and
then discuss how we feel about what we heard in these different settings and why we
think David Holsinger arranged his setting the way he did.
Teacher Guide 22
A Childhood Hymn

a. Students will be given prompts prior to the listening and will respond in their
practice journals while listening. (view prompts in the assessment)
b. After each listening, the students will discuss what they heard/wrote down.
c. After all of the listenings, students will compare and contrast the various settings
with David Holsinger’s setting.
d. Listenings:
i. https://www.youtube.com/watch?v=41B_zZk1CIU
ii. https://www.youtube.com/watch?v=o12C8fWzER0
iii. https://www.youtube.com/watch?v=kYnPL-juZ44
Assessment
The assessment will consist of student’s participation in discussion and responses to the given
prompts:
● After each listening, express your feelings on your thoughts about this particular
setting of the hymn
● After all of the listenings, write a paragraph comparing and contrasting the various
settings (including David Holsinger’s).
○ (Think - What musical elements differed? [tempo, style, etc..]
● David Holsinger never directly quotes the full melody of the hymn. Why do you think
he chose to do this?

Rubric for journal entries:

Criteria Below Standards Meets Standards Exceeds Standards Grade

(0-5) (6-10) (11-15)

Response #1: Student does not provide Student provides in Student provides in depth,
Student discusses in a response (0) OR student depth, personal feelings personal feelings about all 3
depth, personal feelings only responds to 1 of the about 2/3 listenings. listenings.
and thoughts in response 3 listenings.
to each of the three
recordings.

Response #2: Student does not provide Student writes a full Student writes a detailed
Student writes a a response (0) OR does paragraph comparing and paragraph using multiple
paragraph comparing and not provide a full contrasting the various musical elements to
contrasting the various paragraph comparing and settings and connects demonstrate how each
settings of the hymn. contrasting. with various musical setting compares and
elements. contrasts with each other.

Response #3: Student does not provide Student provides a response

Student discusses why a response (0). into their thoughts and
they believe David hypothesis on David
Holsinger never directly Holsinger’s interpretations.
quoted the full melody.
Teacher Guide 23
A Childhood Hymn

Lesson #5
Objectives:
Students will ​perform​ the concert Eb & Bb scales and arpeggios with 100% accuracy.

Students will ​perform​ ​A Childhood Hymn​ with accurate style 95% of the time as indicated
by written articulations and dynamics.

Students will​ evaluate​ ensemble, section, and individual intonation and blend and ​develop
strategies/steps to improve these elements.

Students will ​demonstrate​ good tone (supported, in tune, in tone, and appropriate for their
instrument) at all times when playing.

Materials:
● Bach Chorales
● A Childhood Hymn
● KMEA Band (large group) scoring rubric

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Eb & Bb scales and arpeggios (one
octave) with metronome (at QN = 80)
a. Move from half notes to quarter notes and then eighth notes.
3. Students will then pull out ​Bach Chorales (​ one in Eb)​.
4. Perform the tuning sequence and move onto the piece.

A Childhood Hymn
1. Students will play through the entirety of ​A Childhood Hymn.
a. The teacher will record.
b. Remind them prior to starting that this should be approached as a full
performance.
2. After the performance, pass out the KMEA rubric sheets to each student and go over each
category with the students to ensure understanding.
3. The class will then listen to their performance and rate themselves using the rubric.
Teacher Guide 24
A Childhood Hymn

4. After finishing, the teacher will go over each category and have students share their
ratings they give the ensemble and ask them to justify why they gave the score.
Additionally, ask how they think the ensemble can improve in the category.
a. After each category, come up with a consensus score for the ensemble based on
the student comments. At the end of the rubric, tally up the score and share the
rating.
5. After this activity, spot-check any area that needs work, as determined by the teacher OR
the students (based on their evaluation.
6. Do one final run-through of the full piece.
a. Record this and share with the students.

Assessment
Students will be tasked with scoring the ensemble’s final performance of the rehearsal (the
second recording) using the KMEA scoring rubric. They will turn this in the next class period.

Scoring Rubric:
https://www.kshsaa.org/Public/Music/PDF/Band.pdf
Teacher Guide 25
A Childhood Hymn

Resources
Glossary
Allargando​ - slower and louder, in a broader style

Crescendo (<)​ - gradually getting louder

Decrescendo (>)​ - gradually getting softer

Dynamics​ - the dynamics of a piece is the variation in loudness between notes or phrases.

Forte (f)​ - loud.

Hymn​ - a type of song, usually religious, specifically written for the purpose of adoration or
prayer, and typically addressed to a deity or deities, or to a prominent figure or personification

Mezzo Forte (mf)​ - medium loud. Not as loud as Forte.

Mezzo Piano (mp)​ - medium or half soft.

Phrase​ - a group of notes forming a distinct unit within a longer passage.

Piano (p)​ - soft

Rallentando​ - gradually slower

Rubato​ ​- the temporary disregarding of strict tempo to allow an expressive quickening or

slackening, usually without altering the overall pace.

Tempo​ - the speed at which a passage of music is or should be played.

Tenuto​ - sustained for the full length or time.

Recordings

● A Childhood Hymn ● https://www.youtube.com/watch?v=o12C8f

● https://www.youtube.com/watch?v=41B_zZ WzER0
k1CIU ● https://www.youtube.com/watch?v=kYnPL-
juZ44
Books Suggested Listening
● Teaching Music Through Performance in ● Hymnsong on Phillip Bliss​ - David
Band​ (Vol 1) Holsinger
● Say and Seal -​ Anna Warner ● Amazing Grace - ​Frank Ticheli