Unit: Exploring and Composing in

Major Scale Modes

Grade: 12

Number of Lessons: 12

National Standards: 1
MA standards: 1 2

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3

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4

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5

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6

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7

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10

Lesson 1: Introducing Modes and Looking at the Aeolian and

Ionian modes
Lesson 2: Mixolydian Mode
Lesson 3: Lydian Mode
Lesson 4: Dorian Mode
-Lessons not included in Secondary Methods Final ProjectLesson 5: Composition Project Part 1: Composing a
Modal Melody
Lesson 6: Exploring characteristic Chords of
Mixolydian Mode
Lesson 7 Exploring characteristic Chords of Lydian
Mode
Lesson 8: Exploring characteristic Chords of Dorian
Mode
Lesson 9: Composition Project Part 2- Harmonizing
Modal Melody
Lesson 10: Composition Project part 3a- Sequencing
Work Day 1
Lesson 11: Composition Project part 3b- Sequencing
Work Day 2
Lesson 12: Sharing and Analyzing Final Projects
Explanation of the rest of the Unit
After getting the students comfortable with all the
Modes in the first four lessons, I will go over the
characteristic chords of each mode in a similar
manner. This will prepare them for their composition
project, the culmination or the unit. I will have them
first compose a melody in the mode of their choice
(aside from Ionian) and then have them harmonize
the melody with the characteristic chords of that
mode. They will then transcribe their melody and
write chord symbols above it (lead sheet format) and

then they will be sequencing the song so that they

can play it for the class. Their lead sheets will be
projected so students can follow along with the
recording. In this way the unit will be able to fulfill
most of the state and national standards and
develop a variety of skills.

RATIONALE
Students will walk away from this unit with a thorough understanding
of modal melody and harmony in real music and how to apply modes
to their own compositions. Students will be able to gain a deeper
appreciation and understanding of real world music.

LASTING LEARNING
Students will expand their knowledge of conventional melody and
harmony and understand how to hear, identify, describe, improvise
and compose using the Dorian, Ionian, Aeolian, Mixolydian and Lydian
modes. Students, in tandem with exploring modal melody and
harmony will be developing their notation, improvisation, composition,
listening, analytical, sequencing and transcription skills. Students will
be able to recognize, identify and have a higher appreciation for modal
sounds in real world music that they listen to on a day-to-day basis.

KNOWLEDGE AND SKILLS

Ability to
-Identify characteristics
-Identify by listening
-Describe
-Harmonize
-Compose
in the Lydian/Mixolydian/Aeolian/Dorian/Ionian modes.
-Understand modal harmony/basic characteristic chords
-Able to convert a melody into a mode using accidentals
-Able to compose a modal melody and harmonize it with characteristic
chords
-Solidifying sequencing skills with Garage band program
- Ability to improvise simple modal fragments in all modes
-Able to identify modal sound in real music
-Broadened knowledge of iconic artists/songs via repertoire
-Improved transcription skills and ability to transcribe simple modal
melodies
-Able to identify mode looking at sheet music
-Developing skill of performing in front of peers via improvisation
activities

REPERTOIRE
Let it Be- The Beatles
Hold On- Alabama Shakes
Wade in the Water- Eva Cassidy (slave song/code song)
Afro Blue- Robert Glasper
The Simpsons Theme song
Flying in a Blue Dream- Joe Satriani
Oceans- Pearl Jam
Eleanor Rigby- The Beatles
Deep Purple- Smoke in the Water
Scarborough Fair- Simon and Garfunkel
Fetes- Claude Debussy
Something in the Way She Moves- James Taylor
Dont Stop Til You Get Enough- Michael Jackson
Royals- Lorde

MATERIALS NEEDED
-PowerPoint Presentations
-Unit Worksheet
-Staff paper
-Computers with garage band software/midi keyboards (keyboards
optional)
-YouTube/Internet access
-O Frondens sheet music copies
-Projector
-White Board with staff lines
-Speakers

UNIT ASSESSMENT STRATEGY

-Students will be assessed informally via oral questioning
-Students will turn in classwork for formal assessment
-Students will turn in homework assignments for formal assessment
-Jeopardy Game designed for informal student assessment
-Students will be formally assessed on final project (meeting criteria)
-Consider giving students a final exam on modes before final
project-

SCHOOL TO HOME
Students are encouraged to talk to their parents about homework
assignments for ideas and input. Students are also encouraged to
share and discuss musical examples presented in class with friends
and family.

PRIOR KNOWLEDGE REQUIRED

-Sequencing Skills in Garage Band
-Able to voice and input seventh chords and simple melodies
-Knowledge of diatonic harmony and basic common chords
progressions in minor and major keys
-Ability to construct major and minor scales
-Understand and able to sing solfege and chromatic solfege
-Able to notate simple melodies and rhythms in a variety of keys
-Understand composition techniques
-Basic song forms
- How to harmonize a simple melody
-Basic melodic construction techniques
-Have experience improvising over major and minor chord progressions

LONG RANGE PROJECT

The unit culminates in a short modal composition that will be
sequenced in garage band. It will consist of a melody and simple
harmony (triads and/or seventh chords) in a mode of the students
choice. Project will demonstrate students understanding of modal
melody and harmony, composition and creativity skills and notation
skills. The song will be handed in in lead sheet format.

LESSON 1: Unit Introduction

and the Aeolian and Ionian
Modes
Grade: 12

Period:

1. Learning Outcome/Behavioral Objectives

-A thorough understanding of the structure of the Ionian and
Aeolian modes and the relationship between those modes and
the Major and Natural Minor scales they have studied previously.
They will have the ability to
o How to hear/identify
o Construct
o Transcribe
o Describe
in the Aeolian and Ionian modes
-Ability to write/compose the two modes in all keys
-Ability to improvise simple melodic fragments over an Aeolian
groove utilizing the characteristic pitches

-Able to identify Ionian and Aeolian sound in real music by

describing it as in the Aeolian or Ionian mode
-Able to transcribe listening examples correctly
-Able to convert a melody into an Ionian or Aeolian mode using
accidentals
2.

Required Prior Knowledge and Skills

-Knowledge of the Major and Natural Minor scale (construction in all
keys and characteristics)
-Ability to solfege simple melodic phrases and transcribe them
-Knowledge of chromatic solfege
-Knowledge of intervals
-Knowledge of Key Signatures, time signatures
-Able to find Do when listening to real music examples
Anticipated deficits:
Students may be slow at identifying all keys signatures
Students may be slow at finding minor scale construction and

key
Students may find it challenging to transcribe rhythm of Let it
Be
3. Standards and Frameworks
National Standards Singing Performing on
Instruments
Improvising Composing and arranging Reading and
notating
Listening to, analyzing and describing Evaluating music
and performances
Understanding relationships between music, the arts and
disciplines
Understanding music in relation to history and culture
State Frameworks Singing Reading and notation
Playing Instruments Improvisation and composition
Critical response Purposes and meaning in the arts
Role of artists in communities
Concepts of style, stylistic influence and stylistic change
Inventions technologies and the arts Interdisciplinary
connections
4. Assessment: (Formal and Informal based on objectives)
-In class Oral Assessment
-In class Worksheet (On staff paper) assessment

-Homework from last class

5. Processes: Should include at least 2 of the following
Creating
Performing
Listening
6. Materials, Repertoire, Equipment needed:
-PowerPoint Presentation with information and speakers
-Rhythmic instruments for students
-Staff Paper
-Unit Worksheet
-White board
7. Accommodations:
a. Special needs
For ADHD students, make sure they are involved in
doing something (filling out a worksheet, transcribing,
singing) during the lesson.
b. EL
Keep language simple, use musical terms when
describing listening examples.
8. Lesson Sequence: (Add or delete activities as needed for the
lesson list individual steps for each activity)
a. Activity: Activator/Warm Up
Estimated Time:
5
Review Major and Natural Minor scales with students using
solfege tree and asking students about the characteristics of the
scales. Have them sing the scales on solfege.
b. Activity:

Estimated Time:
30 (because of transcription activities)
Powerpoint: The presentation introduces students the concept of
Modes and relates them to the Natural Minor and Major scales
(Ionian and Aeolian). For listening examples, ask students to hum
solfege notes that are characteristic of the modes. For the Ionian
listening example Let it Be have students transcribe on staff
paper the four bar refrain of the song. For the Aeolian listening
examples, have students transcribe the chorus of Wade in the
Water as a class. Briefly describe historical context of wade in
the water (slave song/code song). Hum solfege characteristic
pitches under other listening example.
c. Activity:

Estimated Time: 5

PowerPoint: Go through reviewing and scale building with the

students following the questions provided on the slide. Have the
students notate the scales on staff paper, switching between
bass and treble clef in order to make this review activity more
enriching. Have them turn in their papers after class as an
assignment: use this as an evaluation tool to make sure all
students are confortable with the material so far.
d. Activity/Wrap up:
Time: 5

Estimated

Improvisation Activity: Have students sit in a circle and give a

few students percussive instruments. Have them do a layered
improvisation activity playing the Aeolian mode. Guide the
students and prompt them with ideas. Have them repeat small
fragmented ideas to establish a groove and relieve too much
pressure on the students.
Assignments:
Bring to class an example of a song in the Ionian mode and a song in
the Aeolian mode. Have them notate two measures of the melody of
one of the songs and then convert the same two measures in the
opposing mode using accidentals.
9. Contingency plan:
Additional Activity: If students respond well to the lesson and there is
extra time, have the students also improvise with the Ionian Mode.
Transcribing portions of the listening examples is also an option if there
is a lot of extra time.
10.

Evaluation/Diagnosis/Remediation

LESSON 2: The Mixolydian

Mode
Grade: 12

Period:

1. Learning Outcome/Behavioral Objectives

-A thorough understanding of the structure of the Mixolydian
Mode demonstrated by their ability to
o How to hear/identify
o Construct
o Transcribe
o Describe
the Mixolydian mode.
-Able to identify and transcribe Mixo melodic fragments
-Able to write/compose Mixo scale in all keys
-Able to improvise over a simple mixolydian groove in the
mixolydian mode
-Able to find Do when listening to real music examples
2.

Required Prior Knowledge and Skills

-Knowledge of the Aeolian (natural minor) and Ionian (Major)
scales/modes and harmonic structures
-Knowledge of all minor and major key signatures and time
signatures
-Knowledge of basic melodic transcription techniques
-Ability to hear, identify and transcribe simple major and minor
melodies
-Ability to identify accidentals i.e. the sound and the pitch
-Ability to solfege simple melodic phrases and transcribe them
-Knowledge of chromatic solfege
-Knowledge of intervals
-Knowledge of Key Signatures, time signatures

Anticipated deficits:
-Students may need time to develop their ear and hearing the
mixo sound
-Students may find the concept difficult to understand at first
3. Standards and Frameworks: (Check all that apply)
National Standards Singing Performing on Instruments
Improvising Composing and arranging Reading and
notating
Listening to, analyzing and describing Evaluating music
and performances
Understanding relationships between music, the arts and
disciplines
Understanding music in relation to history and culture
State Frameworks Singing Reading and notation
Playing Instruments Improvisation and composition
Critical response Purposes and meaning in the arts

 Role of artists in communities

Concepts of style, stylistic influence and stylistic change
Inventions technologies and the arts Interdisciplinary
connections
4. Assessment: (Formal and Informal based on objectives)
-In class Assessment
-Oral evaluation via questions during the PowerPoint presentation
-Staff paper transcriptions turned in at the end of class (students will
keep the worksheet so they can review class material)
-HW assignment- converting an Ionian melody to Mixolydian
5. Processes: Should include at least 2 of the following
Creating
Performing
Listening
6. Materials, Repertoire, Equipment needed:
- Mixolydian Groove for improvisation section
-PowerPoint Presentation with information
-Rhythmic instruments for students
-Unit Worksheet
-Staff paper for transcription exercises
7. Accommodations:
a. Special needs
For students that are slower at grasping content, post
PowerPoint to class website or send it by email
b. EL
Keep language simple, use musical terms when
describing listening examples.
8. Lesson Sequence
a. Activity: Activator/Warm Up
Estimated Time: 7
Warm up the class briefly; review the Ionian and Aeolian modes on the
solfege tree by having the students sing the modes. Have a student
lead the class on the solfege tree in improvising on the two scales.
Introduce them to the mixolydian mode by having them sing Sol to Sol
on the solfege tree as well as singing a Mixolydian scale starting from
Do.
b. Activity: Introduction and Listening
Estimated Time:
20
Have students take a seat and review the definition of Mode as part of
the PowerPoint. During listening example Royals have the students
first solfege the first phrase of the verse. Then, have them transcribe

that melody on the staff provided in their worksheet, working with the
class on accurate rhythms and accidentals using the whiteboard. Have
them hum Do, Mi, So and Te over the Michael Jackson song recording,
also tapping their foot on 2 and 4.
c. Activity:
Estimated Time: 12
Go through the three methods of constructing a Mixolydian scale via
the PowerPoint, pausing after each method to have the students
execute examples and demonstrate understanding. Have them number
the back of their papers 1-10 and answer the questions along with the
class so all students are engaged in the activity. If students seem to be
progressing quickly and do not need that many examples, just do one
or two in each section and have them draw a line through the number.
d. Activity/summarizer
Estimated Time:
6
Improvisation Exercise: Have students choose a percussive instrument
and sit in a circle. Put on the Mixolydian drum groove (youtube link)
and have the students improvise over the groove one by one while the
rest play a consistent pattern on their rhythmic instrument (they
choose this pattern). If the class is shy, have them imitate small
licks/repeat them back to you. You can also have the students
improvise their own ostinato licks to sing along to the groove. Make
sure all students are singing and participating. Set example by
improvising first over the groove.

Assignments:
-Transcribe a short phrase (4 measures) of ANY song in the IONIAN
mode and convert the melody to MIXOLYDIAN using accidentals.
Assignment to be turned in next class.
9. Contingency plan:
Improvisation activity at the end of the lesson can be expanded or cut
shorter depending on the time restraints/pace of the class.
Improvisation section can be expanded to the Ionian and Aeolian
modes if time allows.
10.

Evaluation/Diagnosis/Remediation

LESSON 3: Lydian Mode

Grade: 12

Period:

1. Learning Outcome/Behavioral Objectives:

-A thorough understanding of the structure of the Lydian Mode,
demonstrated by their ability
o Hear/identify
o Construct
o Transcribe
o Describe
in the Lydian mode.
-Able to identify and transcribe Lydian melodic fragments
-Able to identify Lydian sound in real music examples
-Able to write/compose Lydian scale in all keys
-Able to identify the connection between emotions/imagery and a
composers use of the Lydian mode.
2. Required Prior Knowledge and Skills
-Knowledge of the Aeolian (natural minor) and Ionian (Major) scales
-Knowledge of basic transcription techniques
-Ability to transcribe simple melodies accurately
-Knowledge of all Key Signatures, time signatures
-Understand the concept of a mode
-Ability to solfege simple melodic phrases
-Knowledge of chromatic solfege
-Knowledge of intervals
-Familiarity with Fi and the idea of #4 as an accidental
-Able to find Do when listening to real music examples
Anticipated deficits
-Students may find it hard to describe in words the connection between
the music they are hearing and the emotional effect on them
-Students may find it difficult at first to hear and accurately transcribe
Lydian melody
3. Standards and Frameworks: (Check all that apply)

National Standards Singing Performing on Instruments

Improvising Composing and arranging Reading and
notating
Listening to, analyzing and describing Evaluating music
and performances
Understanding relationships between music, the arts and
disciplines
Understanding music in relation to history and culture
State Frameworks Singing Reading and notation
Playing Instruments Improvisation and composition
Critical response Purposes and meaning in the arts
Role of artists in communities
Concepts of style, stylistic influence and stylistic change
Inventions technologies and the arts Interdisciplinary
connections
4. Assessment
-In class Oral Assessment
-Transcriptions on staff paper in class assignment
-In class worksheet for PowerPoint
5.

Processes: Should include at least 2 of the following

Creating
Performing
Listening
6. Materials, Repertoire, Equipment needed:
-PowerPoint Presentation with information
-Unit Worksheet
-Staff Paper
-Overhead projector to project last week assignments
-White board
7. Accommodations:
c. Special needs
Make sure to keep students with special needs engaged by
switching up activities and providing varying forms of
stimulation/activities
d. EL
Describe concepts simply and use musical terms for
listening example analysis. Write terms on the board
and keep slides simple and concise.
8. Lesson Sequence: (Add or delete activities as needed for the
lesson list individual steps for each activity)

a. Activity: Activator/Warm Up
Estimated Time:
10
Ask for a few volunteers to share their melody from last nights
HW assignment and have the class sing it to review last lesson.
b. Activity:
Estimated Time: 5
Go to solfege tree; have student volunteers lead the class in the
Ionian, Aeolian and Mixolydian scales (both diatonic and with solfege
accidentals). Introduce students to Lydian mode on solfege tree.
c. Activity:
Estimated Time: 25
PowerPoint presentation: Go through information. Have them fill
out their information sheet during presentation. For listening examples,
have them solfege The Simpsons theme song as a class. Then have
them transcribe the melody, circling characteristic pitch. For the Pearl
Jam song, have them indicate when they hear the Lydian melodic
portion of the song. Have them hum solfege (Do Mi Fi Sol) over Flying
in a Blue Dream. Have them transcribe Lydian scales on staff paper
and hand them in after class.
d. Activity:
Estimated Time: 5
Wrap up activity: Have students listen to examples of Lydian
melodies in film music (ET THEME SONG and Deep Impact: Scientific
Discovery) (i.e. interdisciplinary connections) and discuss the possible
uses and effects of the mode on the listener. Discuss musics impact on
emotions/imagery etc.
Assignments:
- Find a piece of music that has a Lydian melody (doesnt have to be all
in the Lydian Mode) and write a paragraph about it; how it makes them
feel, the imagery it conjures up, etc. Encourage them to use the
Internet for this one and share the piece they find with their parents
and discuss their opinion on the piece in paragraph.
9. Contingency plan:
-Have the students improvise/play around with the Lydian mode via a
Do drone, going around the room.

10.

Evaluation/Diagnosis/Remediation

LESSON 4: Dorian Mode

Grade: 12

Period:

1. Learning Outcome/Behavioral Objectives

- Students will be able to hear and identify the Dorian Mode in
real music examples
- Students will be able to construct a Dorian scale in all keys
- Students will be able to transcribe simple Dorian melodic
phrases accurately
- Students will have a deep understanding of the five modes
introduced in the unit (now including Dorian)
o How to hear/identify
o Construct
o Transcribe
o Describe
-Students are able to convert simple melodies into other modes
using accidentals and chromatic solfege
2.

Required Prior Knowledge and Skills

-Knowledge of the Aeolian (natural minor) Ionian (Major), Lydian,
Mixolydian Modes (How to construct/identify/Transcribe/Describe)
-Knowledge of basic melodic transcription techniques
-Knowledge of Major and Minor Key Signatures, time signatures
-Ability to transcribe simple melodic phrases accurately
-Ability to solfege simple melodic phrases
-Knowledge of chromatic solfege
-Knowledge of intervals
-Able to find Do when listening to real music examples

Anticipated deficits:
-Students may need reminders about the five modes already reviewed
from previous lessons
-Students may find the jeopardy game challenging as material is
relatively new
3. Standards and Frameworks: (Check all that apply)
National Standards Singing Performing on Instruments
Improvising Composing and arranging Reading and
notating
Listening to, analyzing and describing Evaluating music
and performances
Understanding relationships between music, the arts and
disciplines
Understanding music in relation to history and culture
State Frameworks Singing Reading and notation
Playing Instruments Improvisation and composition
Critical response Purposes and meaning in the arts
Role of artists in communities
Concepts of style, stylistic influence and stylistic change
Inventions technologies and the arts Interdisciplinary
connections
4. Assessment: (Formal and Informal based on objectives)
-In class Assessment via informal questioning throughout class
-last weeks homework assignment
-Staff Paper (in class work) turned in at end of class
-Informal evaluation via Jeopardy game
5. Processes: Should include at least 2 of the following
Creating
Performing
Listening
6. Materials, Repertoire, Equipment needed:
PowerPoint Presentation with information and speakers
Jeopardy Game
Unit Worksheet
White board
Staff Paper
Copied first page of O Frondens Virga for students homework
assignment
7. Accommodations:
e. Special needs

Send supporting materials to special needs students for

them to review at home. Provide jeopardy link for at
home practice.
f. EL
Keep slides and language simple, use musical
terminology as much as possible. Write musical terms
on the board.
8. Lesson Sequence
a. Activity: Activator/Warm Up
Estimated Time:
10
Have students lead the class on the solfege tree to review the
five modes already introduced. Ask them questions about
characteristic pitch and construction techniques to refresh their
memory. Introduce the last mode of the unit (Dorian) via the
solfege tree.
b. Activity:
Estimated Time: 20
PowerPoint: Go through PowerPoint with students, having them
fill out the final portion of the Unit Worksheet during the
presentation. For listening example Scarborough Fair have the
students sing the verse in solfege as a class and then transcribe
it on staff paper. Have them hum characteristic pitches over
other listening examples. For the scale construction portion, ask
each student to construct the scale individually and have them
write the scale in staff paper as well to hand in after class.
c. Activity:
Estimated Time: 15
Jeopardy Review Game
Split class into two teams
All students must participate
During this activity, allow the students scratch paper and
access to their Unit plan worksheet.
Assignments:
Have the students write out on staff paper Row Your Boat in the
five modes covered so far in the unit and bring to class. Hand out
first page of chant O Frondens Virga and have them identify the
mode and solfege the melody.

9. Contingency plan:
The Jeopardy game should be able to fill any empty time. If there
is leftover time, convert a simple nursery rhyme into Dorian with
the class and sing it.

10.

Evaluation/Diagnosis/Remediation