l:1 Berklee Unit Plan Outline

Teacher:AbiVarsos Unit Title: Intervals

Grade: High School (Elective) Number of Classes: 4

Essentia Questions:
ow can we break down and identify even the smallest elements of a melody such as
intervals?
• How can knowing how to read, write, play, and hear intervals help us to learn music?

Behavioral Objectives:
• Lesso : Students will know and be able to identify and categorize major and perfect
in vals ( on a staff and played aloud) up to an octave (that they've already explored using
\ olfege) by their tonality and the distance between the two pitches using their voices and
keyboard.
• Lesson · udents will know and be able to identify and categorize minor, diminished, and
au ented intervals (on a staff and played aloud) within one octave by their tonality and the
1st nee between the two pitches using their voices and a keyboard.
• L sorr3~ Stu.gents will know and be able to identify and categorize all types of interval and
· ~it:._i.!i~rsions){on a staff and played aloud) by their tonality and the distance between the
two pj(ches using their voices and a keyboard.
• Less6n 4: Stu~e~ts will know and be able to identify and categorize all types of intervals and
thtrtf1nversions (on a.staff and played aloud) by their tonality and the distance between the
two pitchesirran analytical and compositional setting using their voices and a keyboard.

Rationale:
• Sets up all otVer topics slated to be discussed in class
o ?J{has to understand intervals before they can learn triads, chords, voice leading,
\r.~an numeral analysis, and composition. Without the understanding of intervals,
whic~ i a small concept, students won't be able to understand and conceptualize
larger oncepts as the year progresses.
• Fitting the u t into the sequence
o TIJ/ previous unit would most likely be the first unit of the year. It would be on pitch
1
/ :".dentification and scales. This would be fundamental keyboard skills, learning the
'\ lines and spaces of a staff, developing an understanding of diatonic solfege, and
learning the whole-half step contour of major and minor scales.
o The following unit would be on triads. It would be broken down into multiple
lessons that go over major, minor, augmented, and diminished triads. We would also
go over their inversions and how and why we voicelead triads.

Enduring Understanding:
• Students eed to be able to read music and identify the different elements they're playing. To
know i ervals allows them to read at a faster pace, understand what they're playing, and
com unicate th ei r musical ideas better.
•\ oughout the lesson, students are practicing playing and identifying intervals on a
keyboard. They're developing their basic keyboard skills and using the keyboard as a tool
which they can use to apply the musical concepts taught in class.
- - - - - - - ---·
School to Home/Community Connection: (How ca n students connect this knowledge to their daily
lives, community and/or enhance their skills as global citizens?)
• This lesson is based in music literacy. The skill of being ;:iblc tu read, write, play, and hea r
~ - - -s~ec_·i_fic ~ terv~~ is key ~ bei ~ able to p1:_rform and share music from th roughou_t h~tory
 Abi Varsos Unit Plan

with the community. Music is sound, and it wasn't until fairly recently in human history that
we could record sound and replay it for future generations. Music history is recorded in
notation and it is our job as musicians to be able to convert that notation into sound and
therefore into music. Without music literacy, music of the past would never be heard again.

MA Frameworks:
• ARTS.M.2.6 Read and sing at sight simple melodies and intervals in both the treble and bass
clefs
• ARTS.M.2.11 Read and sing at sight moderately difficult melodies, all intervals and their
invers· ns from unison through an octave, and triads and their inversions in arpeggiated
form
• AR .M.2.14 Read and sing at sight difficult melodies, all intervals, and seventh chords and
. th r inversions in arpeggiated form
•\ TS.M.4.12 Improvise rhythmic and melodic variations on given melodies in pentatonic,
\. 1ajor, and minor tonalities
• ARTS.M.4.13 Improvise original melodies over given chord progressions consistent in style,
meter, and tonality
• ARTS.M.4.14 Compose music in several distinct styles using the elements of music for
expressive effect
• ARTS.M.5.13 Demonstrate knowledge of the technical vocabulary of music

National Standards: (Creating, Performing, Responding, Connecting)

• MU:Crl.1.H.Sa Generate melodic, rhythmic, and harmonic ideas for simple melodies (such as
two phras and chordal accompaniments for given melodies.
• MU:Cr2. .H.Sa Select, develop, and use standard notation or audio/video recording to
docu nt melodic, rhythmic, and harmonic ideas for drafts of simple melodies (such as two

•
Iphr e) and chordal accompaniments for given melodies.
:Pr4.2.H.Sa Identify prominent melodic and harmonic characteristics in a varied
repertoire of music that includes melodies, repertoire pieces, and chordal accompaniments
selected for performance, including at least some based on reading standard notation.

Prior Knowledge and Skills: (What do the students need to know and be prepared to do in advance
in order to be successful in this unit?)
• General knowledg~ of solfege
o Underst.lnding of syllable relation to pitches in a major and minor scale
o Tonic i ad
o Stept se motion
o Leaps of more than a third
/
• Pitch identification on a keyboard
o /Knowing where middle C is
\/ Identification of a chromatic scale
• Developing understanding of basic major and minor keys
o Students should know how to build scales using whole and half step relations
■ Maj = WWHWWWH
■ Min = WHWWHWW
o While they may not be able to understand and read key signatures, they are aware of
when accidentals are necessary based on whole- and half-step scale relations
-------- -------- -------

2
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 Abi Varsos Unit Plan

Activator: (What activities will the students do in order to activate prior knowledge to support the
new material in this unit?)
• Solfege ear training warm-up
o Establish a key by playing I IV VI in whatever key you choose
o Play a pitch and have students identify the corresponding solfege syllable (use
diatonic major syllables)
■ Students should answer by singing back the pitch on the correct syllable
~ If the class agrees with a student's ans~er, they should re~eat t~e answer
/ . aloud as a group. This should happen without pause for d1scuss1on.
o 1 / sk students to sing a certain solfege syllable belonging to that key
■ "Where is do?" (use only syllables diatonic in major keys)
11
\,
■ If the class agrees with a student's answer, they should repeat the answer
aloud as a group. This should happen without pause for discussion.
• Reverse the process to integrate the use of piano
o Give students a key with up to 3 accidentals (C, G, D, A, Eb, Bb, F) and have them find
certain pitches on their keyboards based on a dictated solfege syllable
■ "If Fis do, what note is mi?" ( use only syllables diatonic in major keys)
o Give students a pitch and it's corresponding solfege syllable and have them find do
■ "If Eis mi, what note is do

Materials:
• Needed in every class
o W te Board and set of markers
0

owerpoints
Keyboards (classroom set)
o Printed Keyboards
o Docucam
o MIDI Keyboard
o Piano
o Staff Paper
• Lesson 1:
o Worksheet
■ Section 1: Have a staff with a C major scale at the top. Below, have a
keyboard with dots on the keys that correspond with the pitches.
■ Section 2: Have a set of 8 two-measure units (two columns, 4 per column)
con ta· ,ing a variety of starting pitches in a variety of clefs. Under each
wri en note, there should be the word "Do." Above each unit, have an
i erval name (Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th.
/ ~ajor 7th, Perfect 8th). Students are responsible for writing the next pitch
(/ . in order to create the given interval.
■ Section 3: Have the interval chart running through the center of the
examples with a column with interval name, a column with the
corresponding solfege, a column with number of half steps. Have the solfege
part already filled out with diatonic solfege (do-re, do-mi, do-fa, etc.).
/ Students are responsible for filling out all other parts.
• Lesson 3:
o Worksheet
■ Section 1: Have the inversion equivalency chart at the top of the page.
Column one should have tonality rules and column two should have interval
- distance rules.
- - --'---------- - - - _______ __,

3
 Abi Varsos Unit Plan

■ Section 2: Have a set of 12 two-measure units (two columns, 6 per column)

containing a variety of starting pitches in a variety of clefs. In the first
measure, have an interval already written. This interval can be any tonality.
Above both measures, have a line where students are responsible for
naming the interval. Leave the second measure blank for students to write
the inversion and label it.
• Lesson 4:
o Unit Exam
■ Section 1: Have a melody line with all kinds of motion. Students are
responsible for figuring out the intervals between each pitch in the melody.
■ Section 2: Have a set of 12 two-measure units (two columns, 6 per column)
in a variety of clefs. For each example, either have an interval or a root and
an interval name written above the measure OR have an interval or a root
and int rval name written above the second measure. It's understood that
the s ond measure is the inversion of the first measure.
■ Se 10n 3: Have two lines with a letter name followed 11 blanks with arrows
oing between them. Label the first line as "Cycle of Perfect Fourths" and
the second as "Cycle of Major Sevenths." Students are responsible for cycling
through the intervals, finding a P4 or M7 above the given starting pitch, then
a P4 or M7 above that new pitch, so on and so forth until they're back to the
pitch they started with.
■ Section 4: Give 4 bars without a clef, key, or any other indications. Students
are responsible for creating a 4 bar melody in whatever clef they choose.
They must label the interval between each pitch and use at least 2 major
intervals, 2 minor intervals, 1 diminished interval, 1 augmented interval,
and 1 compound interval.

Accommodations:
1. Special Needs:
• ADD/ADHD
o Make su~to clarify when headphones to keyboards are on and off
o Provid3/~dget tools to antsy students
o Have ;tudents mute their keyboards untiLthey need to use them
• Autism /
o P5ovide more examples instead of having students 'figure out' the correct answers
1
o Repeat instructions and allow extra time for responses
\ y ,. Remove the keyboard element ifit becomes a distraction
• Gifted and Talented
o Allow advanced students who have already finished their work to assist other
members of the class
0 Have students play the intervals from their independent work as melodic sequences
on piano
I
l--- -
I 2. English Langua Learners:
• When writin on the board, be sure to use the full terms (major and minor) as opposed to
the abbrev.· tions (Mand m, or Maj and min)
• H)lve fo s of the worksheets and exa m that are in a larger font a nd double spaced so that
r tu9 ts can write in the margins if they need to
• Have a word bank for the unit
o Diatonic:
o Interval
o Quality

4
 Unit Plan
Abi Varsos

0 Chromatic
0 Compou nd

Assessm ent/Eva luation :

Informal Assessm ent: r~
• Lesson 1: \.~ \},,M.,U.::., , \ j. ,
o Worksh eet ~ - ~ :-\o o,_\tc.1k , it\M
■ Section 1: Have a staff with a C major scale at the top. Below, have a
keyboar d with dots on the keys that corresp ond with the pitches.
■ Section 2: Have a set of8 two-me asure units (two columns , 4 per column )
contai ing a variety of starting pitches in a variety of clefs. Under each
wri n note, there should be the word "Do." Above each unit, have an
int val name (Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th.
M jor 7th, Perfect 8th). Student s are respons ible for writing the next
pitch
\ t order to create the given interval .
■ V section 3: Have the interval chart running through the center of the
examples with a column with interval name, a column with the
corresp onding solfege, a column with number of half steps. Have the solfege
part already filled out with diatonic solfege (do-re, do-mi, do-fa, etc.).
Student s are respons ible for filling out all other parts.
• Lesson 2:
o 7:nter
' I Warm-Up: Writing
Put up 4 starting pitches in a variety of clefs on the board
■ Above them, have an interval name (Pl, M2, PS, M6)
■ Ask student s to write in the correct interval s indepen dently
o Interval Warm-Up: Reading
. ■7Put up 4 intervals (M3, P4, M7, PS)
V. Ask student s to identify and name the intervals indepen dently
o Major to ~nor
■ ~ s..ing the examples from the warm-u p; have student s change
their major
, interval s into minor interval s indepen dently
o Min'o r/Perfec t to Diminished
1
./ ■ Using the examples from the warm-u p, have student s change their
minor/p erfect intervals into diminis hed interval s indepen dently
o Major /Perfec t to Augmented
■ Using the examples from the warm-u p, have student s change their
major/perfec t interval s into augmen ted interval s indepen dently
• Lesson 3: /
o Clas/ particip ation
1~ Throug hout the lesson, student s are asked to read, play, and write interval s.
f / This is mostly on a volunte er basis, but is a good way to gauge each
\ I student 's level.
o v'w orkshee t
■ Section 1: Have the inversio n equivale ncy chart at the top of the
page.
Column one should have tonality rules and column two should have interval
distance rules.
■ Section 2: Have a set of 12 two-me asure units (two columns , 6 per
column )
contain ing a variety of starting pitches in a variety of clefs. In the first
.
measure , have an interval already written. This interval can be any tonality
:::.c have_a_line where student s are respons ible for
_ _____ ____ ___A_b_o_v-'-e-"b...co...:.th:.:....:..:m..:.ce::..asures,

5
 I

Abi Varsos Unit Plan

naming the interval. Leave the second measure blank for students to write
the inversion and label it.

Formal Assessment:
• Lesson 4:
o Unit Exam - Students are allowed and encouraged to use a keyboard and
headphones to complete the exam
■ Section 1: Have a melody line with all kinds of motion. Students are
responsible for figuring out the intervals between each pitch in the melody.
■ Section 2: Have a set of 12 two-measure units (two columns, 6 per column)
in a variety of clefs. For each example, either have an interval or a root and
an interval name written above the measure OR have an interval or a root
and interval name written above the second measure. It's understood that
the econd measure is the inversion of the first measure.
■ S ction 3: Have two lines with a letter name followed 11 blanks with arrows
oing between them. Label the first line as "Cycle of Perfect Fourths" and
the second as "Cycle of Major Sevenths." Students are responsible for cycling
through the intervals, finding a P4 or M7 above the given starting pitch, then
a P4 or M7 above that new pitch, so on and so forth until they're back to the
pitch they started with.
■ Section 4: Give 4 bars without a clef, key, or any other indications. Students
are responsible for creating a 4 bar melody in whatever clef they choose.
They must label the interval between each pitch and use at least 2 major
intervals, 2 minor intervals, 1 diminished interval, 1 augmented interval,
and 1 compound interval.

6
 Abi Varsos Unit Plan

Pro osed Lesson 1 - Ma·or and Perfect Intervals

Behavior -Objective:
Stu ents will know and be able to identify and categorize major and perfect intervals (on a
st f and played aloud) up to an octave (that they've already explored using solfege) by their
nality and the distance between the two pitches using their voices and keyboard.

Prior Knowledge:
• General knowledge of solfege
o U erstanding of syllable relation to pitches in a major and minor scale
o onic triad
Stepwise motion
Leaps of more than a third
• identification on a keyboard
Knowing where middle C is
o Identification of a chromatic scale /
• Developing understanding of basic major and minor keys
o Students should know how to build scales using whole and half step relations
■ Maj = WWHWWWH
o While they may not be able to understand and read key signatures, they are aware of
when accidentals are necessary based on whole~ and half-step scale relations

Activator:
• Solfege ear training warm-up
o Establish a key by playing I IV V I in whatever key you choose
o PlaY, pitch and have students identify the corresponding solfege syllable (use
d. tonic major syllables)
■ Students should answer by singing back the pitch on the correct syllable
■ If the class agrees with a student's answer, they should repeat the answer
aloud as a group. This should happen without pause for discussion.
o Ask students to sing a certain solfege syllable belonging to that key
■ "Where is do?" (use only syllables diatonic in major keys)
■ If the class agrees with a student's answer, they should repeat the answer
aloud as a group. This should happen without pause for discussion.
• Reverse the process to integrate the use of piano
o Give students a key with up to 3 accidentals (C, G, D, A, Eb, Bb, F) and have them find
certain pitches on their keyboards based on a dictated solfege syllable
■ "If Fis do, what note is mi?" (use only syllables diatonic in major keys)
o Give students a pitch and it's corresponding solfege syllable and have them find do
■ "If Eis mi, what note is do?"
r - - - - - - - - - - - -- - - - - - -- - - - - - - - - - - - - - - - - - - - ~
Lesson Content:
1
• On the board, ave a C major scale written out on a staff in black. Below it, have a keyboard
with dots o the keys that correspond with the pitches. (essentially the top part of the
workshee
• lntrodu · the concept of intervals
o ''An interval measures the distance between two notes. When two notes occupy the
same line or space, they're a first away. We call this 'Unison' because the pitches sound
the same. As the notes become jiirther apart on the staff, the interval type increases.
let's get more specific."
o Put "Unison" into the interval chart (described in "materials" section as a part of the
worksheet"

7
Abi Varsos Unit Plan

• -et--i 1to intervals diatonic in major keys and start building the interval chart
o Major Second (do to re)
■ "Do to re is a major second and is made up o/2 half steps, or 1 whole step.
Let's write that into our chart on the worksheet."
■ Draw a bracket between C and Don the staff in a bright color
• Make sure to point out how the notes sit next to each other
■ Have students play C then Don their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
play examples for the class)
• Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
'\ / go up 3 keys
V ■ Have students play C and D together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give st dents time to figure out the examples on the worksheet
o Major Third o to mi)
■ "D to mi is a major third and is made up of 4 half steps. Let's write that into
o r chart on the worksheet. "
■ rase the previous bracket, the colored pitch stacked on C, and D from the

l'
i major scale so that you have C then E
Draw a bracket between C and E on the staff in a bright color. ·
• Make sure to point out how the notes occupy the same kind of
space on the staff (in C using the treble clef, the pitches are both on
lines in succession)
■ Have students play C then E on their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
to play examples for the class)
• Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
go up 4 keys
■ Have students play C and E together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give students time to figure out the examples on the worksheet
o Perfect Fourth Cjefto fa)
■ "Do t'}d'a i~ a perfect fourth and is made up of 5 half steps. Let's write that
into ur chart on the worksheet. "
■ E se the previous bracket, the colored pitch stacked on C, and E from the
ajar scale so that you have C then F
■ Draw a bracket between C and Fon the staff in a bright color.
Have students play C then Fon their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
to play examples for the class)
• Address the fa ct that if every white and black key is a half step, it
ca n be understood th at to get to a major second, students have to
go up 5 keys
■ Have stude nts pl ay C and F together on their keyboards (if class is not in a
keyboard la b, have students "pl ay" the pitches on pa per pianos and bring
stud ents up to play exa mpl es for th e class)
■ Give stud e nts tim e to fi gure out the exampl es on the worksheet
o _Perfect Fift h (do to sol)

8
Abi Varsos Unit Plan

■ "Do to sol is a perfect fifth and is made up of 7 half steps. Let's write that into
our chart on the worksheet."
■ Erase the previous bracket, the colored pitch stacked on C, and F from the
major scale so that you have C then G
■ Draw a bracket between C and G on the staff in a bright color.
• Make sure to point out how the notes occupy the same kind of
space on the staff, skipping one (in C using the treble clef, the
pitches are both on lines, skipping the first line)
■ Have students play C then G on their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
to play examples for the class)
• Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
go up 7 keys
■ Have students play C and G together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give students time to figure out the examples on the worksheet
0 Major Sixth (do to la)
■ "DJ to la is a major sixth and is made up of 9 half steps. Let's write that into
o/ r chart on the worksheet."
■ Erase the previous bracket, the colored pitch stacked on C, and G from the
/ major scale so that you have C then A
, ; Draw a bracket between C and A on the staff in a bright color.
; • Have students play C then A on their keyboards (if class is not in a keyboard
/ lab, have students "play" the pitches on paper pianos and bring students up
I to play examples for the class)

V
I
t • Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
goup9keys /~
■ Have students play C and A together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give students time to figure out the examples on the worksheet
0 Major Seventh (do to ti)
■ "Do to ti is a major seventh and is made up of 11 half steps. Let's write that
into our chart on the worksheet."
■ Erase the previous bracket, the colored pitch stacked on C, and A from the
major scale so that you have C then B
■ Draw a bracket between C and B on the staff in a bright color.
■ Have students play C then B on their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
to play examples for the class)
• Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
go up 11 keys
■ Have students play C and B together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give students time to figure out the examples on the worksheet
0 Perfect Octave ( do to do)
■ "Do to do is a perfect octave and is made up of 12 half steps. Let's write that
into our chart on the wor.l<sheet."

9
 Abi Varsos
Unit Plan

■ Erase the previous bracket, the colored pitch stacked on C, and 8 from the
major scale so that you have C then C
■ Draw a bracket between C and C on the staff in a bright color.
■ Have students play C then Con their keyboards (if class is not in a keyboard
lab, have students "play" the pitches on paper pianos and bring students up
to play examples for the class)
• Address the fact that if every white and black key is a half step, it
can be understood that to get to a major second, students have to
go up 12 keys
■ Have students play C and C together on their keyboards (if class is not in a
keyboard lab, have students "play" the pitches on paper pianos and bring
students up to play examples for the class)
■ Give students time to figure out the examples on the worksheet
• Address interval quality
o Major intervals
■ Intervals that occur in major scale/keys
■ ex: M2, M3, M6, M7
o Perfect intervals
■ Intervals that occur in any scale/key
■ ex: Pl, P4, PS, PB
o "We'll learn about other kinds of qualities in the next class."

Assessment/Evalua tion: (completed throughout the lesson)

• Worksheet
o Section 1: Have a staff with a C major scale at the top. Below, have a keyboard with
dots on the keys that correspond with the pitches.
o Section 2: Have a set of 8 two-measure units (two columns, 4 per column)
containing a variety of starting pitches in a variety of clefs. Under each written note,
there should be the word "Do." Above each unit, have an interval name (Major 2nd,
Major 3rd, Perfect 4th, Perfect 5th, Major 6th. Major 7th, Perfect 8th).
o Section 3: Have the interval chart running through the center of the examples with a
column with interval name, a column with the corresponding solfege, a column with
number of half steps. Have the solfege part already filled out with diatonic solfege
(do-re, do-mi, do-fa, etc.)

'._Pr~Jl,OSed Less(!n 2 - Minor, Diminished, and Auj?mented Intervals

Behavioral 10bjective:
• Studehts will know and be able to identify and categorize minor, diminished, and augmented
intervals (all of which they've already explored using solfege) within one octave by their
I ti 'ality and the distance between the two pitches using their voices and a keyboard.

i- ~ Knowledge: {In addition to prior knowledge needed for the unit)

-7 -Previous Lesson Material
o Basic understanding of intervals diatonic to major (major intervals and perfect
intervals) within one octave
■ Ability to read and identify them
■ Ability to write them
■ Ability to hear them

10
 Abi Varsos Unit Plan

o Put up 6 starting pitches in a variety of clefs on the board

o Above them, have an interval name (any major/perfect interval)
o Ask students to write in the correct intervals independently
o Review as a class, having students sing or play their intervals (if the class agrees
with a student's answer, they should repeat the answer aloud as a group. This should
happen without pause for discussion)
• Interval Practice: Listening
o Play an interval on the piano (Pl, M2, M3, P4, PS, M6, M7, P8, either ascending or
descending)
o Have students identify the interval by calling out the answers

Lesson Content:
• Introduce the concept of minor intervals
o "To create a minor interval, all we need to do is lower a major interval by a half step."
o Get into specific intervals
■ "If a M2 is made up of two half steps, what would a m2 be made up of?"
■Play the original major interval (C-D), playing one pitch after the other, then
together
■ Have students alter major intervals on the staff into minor intervals on the
board
■ Play the new minor interval (C-Db), playing one pitch after the other, then
together

o Ind iRepeat the process with all other major intervals (M3 to m3, M6 to m6, M7
to m7)
ndent practice
■ Using the examples from the warm-up, have students change their major
.

\
)
/ /■
intervals into minor intervals independently ·
Review as a class, having students sing or play their intervals (if the class
agrees_with a student's answer, they should repeat the answer aloud as a
group. 'Fhis should happen without pause for discussion)
, IJtroduce the concept of diminished intervals
V o "When we lower a perfect interval or a minor interval by a half step, we get a
diminished interval."
o Diminishing perfect intervals
■ "If a P4 is made up offive halfsteps, what would a dim4 be made up of?"
■ Play the original perfect interval (C-F), playing one pitch after the other,
then together
■ Have students alter perfect intervals on the staff into diminished intervals
on the board
• "Intervals that are diminished have been lowered so much so that
they sound like another note. In this case, we have to lower F by a half
step, which is E. E and 'Fb' are enharmonic to each other. When we
write diminished intervals on the staff we have to make sure that the
notes are physically in the same place as their major or minor
counterparts and use en harmonics to express the altered pitches."
■ Play the new diminished interval (C-E/Fb), playing one pitch after the other,
then together
■ Repeat the process with all other perfect intervals (PS to dimS, P8 to dim8)
o Diminishing minor intervals
■ "If a m3 is made up of3 lwlf steps, what would n dim3 be made up of?"
■
Play the original minor interval (C-Eh), playing one pitch after the other~
~ - - - -- - - ___then..!E~ther _

11
J

Unit Plan
Abi Varsos

■ Have students alter minor intervals on the staff into diminishe d intervals on
~b~~ .
• "The enharmonic rule still applies to diminished minor intervals. We
must make sure we can visually see the interval distance on the staff,
even if that means using double flats or double sharps."
■ Play the new diminished interval (C-D/Ebb), playing one pitch after the
other. then together
■ Repeat the process with all other minor intervals (mZ to d1m2, . .
m6 to dim6,
m7todim7 )
o Independe ntpractice
■ Using the examples from the warm-up, have students change their .
minor/per fect intervals into diminished intervals independe n~ly
■ Review as a class, having students sing or play their intervals (1f the class
agrees with a student's answer. they should repeat the answer aloud as a
group. This should happen without pause for discussion )
Introducin g the concept of augmented intervals
• o "When we raise a major interval or a perfect interval by a halfstep, we get an
augmente d Interval."
o Augmenting perfect intervals
■ "If a PS is made up offive halfsteps, what would an augS be made up of.,,,
■ Play the original perfect interval (C-G), playing one pitch after the other,
then together
■ Have students alter perfect intervals on the staff into augmente d intervals
on the board
■ Play the new augmented interval (C-G#). playing one pitch after the other,
then together
■ Repea t the process with all other perfect intervals (PS to augS, PB to augB)
o Augmentin g major intervals
■ "Ifa M3 is made up of two half steps. what would an aug3 be made up of?"
■ Play the original major interval (C-E), playing one pitch after the other, then
together
■ Have students alter major intervals on the staff into augmente d intervals on
the board
• "The enharmoni c rule is applied to augmente d intervals as well. We
must make sure we can visually see the interval distance on the staff,
even if that means using double flats or double sharps."
■ Play the new augmented interval (C-F /E#), playing one pitch after the other,
then together
■ Repeat the process with all other major intervals (M2 to aug2, M6 to aug6,
M7 to aug7)
o Independe nt practice
■ Using the examples from the warm-up, have students change their
major/perfect intervals into augmented intervals independe ntly
■ Review as a class, having students sing or play their intervals (if the class
agrees with a student's answer, they should repeat the answer aloud as a
group. This should happen without pause for discussion )
• Rebuild the interval chart to include each interval for each half step
o Have a column with diatonic solfege (do-do, skip, do-re, skip, etc.). The next column
shou!d be number of half steps. The following column should be interval names.
0 Provide number of half steps and solfege but have students provide interval names
• Address the tritone

12
 Unit Plan
Abi Varsos

0 "The only interval on our chart that isn't major or minor is the tritone. It's the interval
that sits between our P4 and PS. This interval contains 6 half steps and sits in the
middle of our chart. In the next class, we will get into why the tritone is important."

Assessme nt/Evalua tion: (complete d throughou t the lesson)

• Interval Warm-Up: Writing
o Put up 4 starting pitches in a variety of clefs on the board
o Above them, have an interval name (Pl, M2, PS, M6)
o Ask students to write in the correct intervals independe ntly
• Interval Warm-Up: Reading
o Put up 4 intervals (M3, P4, M7, PS)
/ o Ask students to identify and name the intervals independe ntly
• Major to Minor
o Using the examples from the warm-up, have students change their maj or intervals
into minor intervals independe ntly
• Minor /Perfect to Diminished
o Using the examples from the warm-up, have students change their min or /perfect
intervals into diminished intervals independe ntly
• Major /Perfect to Augmented
o Using the examples from the warm-up, have students change their major / perfect
intervals into augmented intervals independe ntly

Pronosed lesson 3 - Interval Inversion s

Behavi oral Objective:
able to identify and categorize all types of intervals and their
• Students will know andandbeplayed
inversions ( on a staff aloud) by their tonality and the distance between the two
pitches using their voices and a keyboard.

Prior Knowledg e: (In addition to prior knowledge needed for the unit)
• Previous Lesson Materialding of intervals diatonic to major (major intervals and perfect
0 Basic understan
intervals) and altered intervals (minor intervals, diminished intervals, and
augmented intervals) within one octave
■ Ability to read and identify them
; ■ Ability to write them
i ■ Ability to hear them
!
Activator:
' • Interval Practice: Reading
Put up 6 Intervals (major, minor, augmented , diminished , perfect)
I
0

i 0 Ask students to identify and name the intervals independe ntly

' 0 Review as a class, having students sing or play their intervals (if the class agrees
with a student's answer, they should repeat the answer aloud as a group. This should
happen without pause for discussion )
• Interval Practice: Playing
0 Prompt students by providing a starting 'root,' an interval name, and whether the
interval is ascending or descendin g
0 Have students answer by playing the correct pitches on piano
■ If students are struggling, break it down into half steps. If they're having
difficulty with an altered interval, have them start from the major interval
and work from there.

13
 Abi Varsos Unit Plan

Lesson Content:
• Introduce the concept of inverting
o "To invert in music means to move the lowest note in a group an octave higher."
o Perfect (Fifth) to Perfect (Fourth)
■ Perfect Fifth
• Play a PS one note after another, then together
• Play the 'root' in its original position, then find the root it its new
position
• Play the new interval one note after another, then together
• "What interval does it sound like we created when we moved the
'root' up an octave?"
• Put the original interval on the board, then add the new interval in
a different color, walking students through the process
• Put a bracket between the original root and the PS, labelling it PS
• Put a bracket between the PS and the new root (which is now an
octave higher) and label it P4
■ Perfect Fourth
I • Have a student volunteer a P4 and put it on the board next to the PS

I • Have another student play the current interval (if the class agrees
with a student's answer, they should repeat the answer aloud on
their keyboards as a group. This should happen without pause for
discussion)
• Have another student come up to the board and draw in the 'root'
an octave higher in a new color
l / • Have another student play the new interval (if the class agrees with
\,, a student's answer, they should repeat the answer aloud on their
keyboards as a group. This should happen without pause for
discussion)
• "We started with a P4. What is the new interval we created when we
inverted the original interval?"
• Put a bracket between the original root and the P4, labelling it P4
• Put a bracket between the P4 and the new root (which is now an
octave higher) and label it PS
■ "Notice any patterns? Perfect intervals will always invert to other perfect
intervals. P4s with always invert to PSs and visa versa."
• On the board, write the new rules:
o PERFECT - PERFECT (first column)
o FOURTH - FIFTH (second column)
o Major Third to Minor Sixth
■ Major Third
• Put a M3 on the board and play it one note after another, then
together (Emphasize that we're using a MAJOR chord to start)
• Put a bracket between the interval, labelling it M3
• Have another student come up to the board and draw in the 'root'
an octave higher in a new color
• Play the new interval one note after another, then together
• "What interval did we create when we moved the 'root' up an
octave?"
• Put a bracket between the M3 and the new root (which is now an
octave higher) and label it 1116
■ Minor Seventh
• Have a student volunteer a m3 and put it on the board next to the
__________M _3_(Emphaslz_~ !!1a~w~'re__1;1si~g_a MINOR chord to star t)

14
Abi Varsos Unit Plan

• Put a bracket between the interval, labelling it m3

• Have a student play the interval aloud one note after another, then
together (if the class agrees with a student's answer, they should
repeat the answer aloud on their keyboards as a group. This should
happen without pause for discussion)
• Have another student come up to the board and draw in the 'root'
an octave higher in a new color
• Have another student play the new interval (if the class agrees with
a student's answer, they should repeat the answer aloud on their
keyboards as a group. This should happen without pause for
discussion)
• "We started with a m3. What is the new interval we created when we
inverted the original interval?"
• Put a bracket between the m3 and the new root (which is now an
octave higher) and label it M6
/■. "We have another pattern! Major intervals will always invert to create minor
intervals and visa versa. Additionally, thirds invert to sixths."
• On the board, write the new rules:
o MAJOR - MINOR (first column)
o THIRD - SIXTH (second column)
o Major Seventh to Minor Seconds
■ Major sevenths
• Put a M7 on the board and put a bracket labelled M7 connecting the
two pitches
• Have a student play the interval aloud one note after another, then
together (if the class agrees with a student's answer, they should
repeat the answer aloud on their keyboards as a group. This should
happen without pause for discussion)
• Ask the class.where on the staff the new root should be and write it
• Have a student play the new interval aloud one note after another,
then together (if the class agrees with a student's answer, they
should repeat the answer aloud on their keyboards as a group. This
should happen without pause for discussion)
• "What interval did we create when we moved the 'root' up an
octave?"
• Put a bracket between the M7 and the new root (which is now an
octave higher) and label it m2
■ "We've already learned that major intervals invert to minor intervals, but we
now know that sevenths invert to seconds."
• On the board, write the new rule:
o SEVENTH - SECOND (second column)
o Augmented (Fourth) to Diminished (Fifth)
■ Augmented Fourth
• Put a Aug4 on the board and put a bracket labelled Aug4
connecting the two pitches
• Have a student play the interval aloud one note after a_nothet~ then
together (if the class agrees with a student's answer, they should
repeat the answer aloud on their keyboards as a group. This should
happen without pause for discussion)
• Ask the class where on the staff the new root should be and write it
• Have a student play the new interval aloud one note after another,
_ _then !ogcther (if the <Jass a_grce~ with a_gudent·~ answer! th_e~ - ~

15
 Abi Varsos Unit Plan

should repeat the answer aloud on their keyboards as a group. This

should happen without pause for discussion)
• "What interval did we create when we moved the 'root' up an
octave?"
• Put a bracket between the Aug4 and the new root (which is now an
octave higher) and label it DimS
■ "We've already learned that fourths invert to fifths, but we now know that
augmented intervals invert to diminished intervals."
• On the board, write the new rule:
o AUGMENTED - DIMINISHED (first column)
• Independent practice
o Pass out a worksheet with a variety of intervals from a variety of tonalities
o ~~le s_tud~nts identify and label the tonality of the ori_ginal interval then write the
19 vers1on m the following measure and label the new interval
o ; Review as a class, having students sing or play their new intervals (if the class agrees
/ with a student's answer, they should repeat the answer aloud as a group. This should
happen without pause for discussion)
• Introduce the concept of compound intervals
o "What happens when we have an interval over an octave?"
v o Major Ninths, Major Tenths, Perfect Elevenths ...
■ Put a two octave scale on the board
■ Bracket off all the intervals we already know underneath the scale
■ Continue bracketing beyond an octave, but label the brackets with just the
interval number
■ Connect notes in octaves with a tie above the scale
• "Notes that are the same will have the same quality in reference to
the same root. A major second is C to D and a major ninth is C to D,
the only difference being that a ninth is in the next octave."
o Have students copy down the two-octave scale, annotated with brackets and ties

Assessment/Evaluation:
• Class participation
o Throughout the lesson, students are asked to read, play, and write intervals. This is
mostly on a volunteer basis, but is a good way to gauge each student's level.
• Independent practice
o Pass out a worksheet with a variety of intervals from a variety of tonalities
o Have students identify and label the tonality of the original interval then write the
inversion in the following measure and label the new interval
o Review as a class, having students sing or play their new intervals (if the class agrees
with a student's answer, they should repeat the answer aloud as a group. This should
happen without pause for discussion)

. Proposed Les~.'!n 4 - Melodic Analysis & Composition

Behavioral Objective:
• Students will know and be able to identify and categorize all types of intervals and their
inversions (on a staff and played aloud) by their tonality and the distance between the two
pitches in an analytical and compositional setting using their voices and a keyboard.

Prior Knowledge: {In addition to prior knowledge needed for the unit)
• Previous Lesson Material

16
 Abi Varsos Unit Plan

o Basic understanding of intervals diatonic to major (major intervals and perfect

intervals) and altered intervals (minor intervals, diminished intervals, and
augmented intervals)
■ Ability to read and identify them
■ Ability to write them
■ Ability to hear them
■ Ability to invert them

Activator:
• Crash course review of materials
o Go through and rebuild the interval chart
o Build rule chart for intervals

Augmented Augmented
1 1
1 Major
Perfect i
Minor
/
i
/ DimiLhed I
;
Diminished
.,( . . - · ······· ..-•---· ....
•· · -- •·· • ····-·'"···- -·----.. .. . -·-· ....- . - -- - - ---··
I
~/ o Rebuild rule chart for inversions

Perfect - Perfect Fourth - Fifth

Major - Minor Third - Sixth

Augmented - Diminished Seventh - Second

o Review compound intervals

Lesson Content:
• TEST DAY

Assessment/Evaluation:
• Summative Assessment - Students are allowed and encouraged to use a keyboard and
headphones to complete the exam
o Section 1: Have a melody line with all kinds of motion. Students are responsible for
figuring out the intervals between each pitch in the melody.
o Section 2: Have a set of 12 two-measure units (two columns, 6 per column) in a
variety of clefs. For each example, either have an interval or a root and an interval
name written above the measure OR have an interval or a root and interval name
written above the second measure. It's understood that the second measure is the
inversion of the first measure.
o Section 3: Have two lines with a letter name followed 11 blanks with arrows going
between them. Label the first line as "Cycle of Perfect Fourths" and the second as
"Cycle of Major Sevenths." Students are responsible for cycling through the intervals,
finding a P4 or M7 above the given starting pitch, then a P4 or M7 above that new
___ p itch, so on and so forth untH_they're back to the pitch they sta rtc'-'d-'-w
'-----
it_h_. _ _ _ ___,

17
Abi Varsos Unit Plan

o Section 4: Give 4 bars without a clef, key, or any other indications. Students are
responsible for creating a 4 bar melody in whatever clef they choose. They must
label the interval between each pitch and use at least 2 major intervals, 2 minor
intervals, 1 diminished interval, 1 augmented interval, and 1 compound interval.

18