MORE LESSONS AND UNITS FOR EXPERIENCED STUDENTS
UNIT: THEME AND VARIATIONS
(6-8 class sessions)
Because of the complexity of the principle of variation, students engaging in the activities in
this unit will have to make decisions about just about every element of music. Therefore, this
unit makes an excellent culminating project for a semester or school music experience (e.g., a
final project for fifth grade class before moving on to middle school, or a final project for a
middle school or high school mini-course.)
Session 1
To begin this lesson, you will need to introduce the notion of theme and variation. One good
way is to use the students’ clothing as an example. For example, most everyone is probably
wearing some kind of shirt (or shoes, or socks). If "shirt" is the theme, how many different
variations on that theme are present in the room? What all the different variations have in
common is that all are shirts, regardless of how different they appear to the observer. There are
certain characteristics that are intrinsic.
Musical theme and variation is quite similar to this phenomenon. The theme may be altered
in many ways, but it must retain some of the characteristics of the original theme, characteristics
that will enable the listener to identify the theme--to understand that the theme is still present in
some form. It may retain melodic characteristics, or rhythmic, or harmonic characteristics, but
the composer may not originate a brand new idea and still call it a "variation."
Tell students that they will spend the next few lessons studying theme and variation based on
one particular melody, "America" (or “God Save the Queen,” which has the same melody).
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Unit - Theme and Variations
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Lesson Plan: Theme and Variations (Session 1)
Materials:
National Standards: 1, 2, 4, 6, 7, 8
Handouts containing both iconic and notated versions of the melody of "America"
Grade: 5 and up
(include a variety of keys and clefs if some students will use orchestral instruments).
Chart Paper
Variety of instruments: xylophones, non-pitched percussion, synthesizers, students’ own orchestral instruments, and/or MIDI station
Lesson Assumes:
Organization:
Extensive experience studying the ways in which composers manipulate the structural
Theorizing in small groups, listening as whole group,
elements of music to produce desired effects.
Composing in small groups and as a whole group
Objective:
To enable students to broaden their understanding of how the various structural elements of music can interact to produce a particular result, in this case, a
variation on a theme.
Connect to prior knowledge/experience = Groundwork that enables
Using something familiar (like sweatshirts or shoes) consider ways the idea you have chosen might be varied (color, pattern, style, size, shape).
Connect this idea to variation in music by playing a simple, familiar melody and suggesting some ways it might be varied. Tell students that for
the next few classes, they will be dealing with variation of the melody “America.”
Pose Problems:
Students will:
• Theorize about some of the ways one might alter the theme to generate a variation, first in a whole class setting and
then with small groups of peers.
• Reconvene as a large group and share ideas about possibilities for varying the theme "America."
Students solve problems = Students share and discuss solutions
Students will:
• Suggest some ways one might vary a theme such as “America.” Teacher will list suggestions on chart paper.
• Work in small groups to develop further speculations. Groups may use instruments to think through ideas. At this point, students do not need to be able
to carry out their ideas, just talk about them.
• Share their ideas with the whole group. Add all suggestions to the list on the chart paper. In sharing their speculations, some students may try to perform
their ideas or portions of their ideas; some may describe them verbally.
Assessment:
Students will show understanding of the meaning of “variation” through their comments in class and through their theories and speculations as to how this
particular theme might be varied. Some will show their ideas through performance; others will communicate through verbal description.
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Unit - Theme and Variations
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Based on this introductory experience, students will move on to an analysis of Charles Ives’
“Variations on ‘America.’”
Session 2
American composer Charles Ives (1874-1954) wrote this wonderful set of variations on the
British song, "God Save the Queen," as an organ solo in 1891, when he was just seventeen years
old. The work was orchestrated by another well-known American composer, William Schumann,
in 1963, receiving its premiere performance by the New York Philharmonic in 1964. Ives’
penchant for experimentation and delightful sense of humor are evident in this work, which is
known today as the "Variations on 'America.'"
Suggested Recordings:
American Variations
Klavier #11060
or: 1992 Teldec Classics International
Time Warner - 9031 - 74007 - 2
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Unit - Theme and Variations
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Lesson Plan: Theme and Variations (Session 2)
Materials:
National Standards: 6, 9
Charles Ives : Variations on “America”
Grade: 5 and up
Chart generated by this particular class during previous class session (charts will vary from class to class)
On chalkboard, a copy of the form chart (see below)
Individual copies of the same chart, one for each student. Pencils.
Lesson Assumes:
Builds on understandings developed through performance and discussion experiences of
previous class.
Organization:
Whole group analytical listening
Objective:
To help students broaden their understanding of how the various structural elements of music can interact to produce a variation of a theme.
Connect to prior knowledge/experience = Groundwork that enables
Builds on understandings developed through performance and discussion experiences of previous lesson.
Pose Problem:
Students will:
• Listen to the recording of the Ives Variations and compare their speculations on the last session’s chart paper to what the
composer actually did in creating the work. Did Ives use any of the techniques suggested by the students? Did he use
some they did not think of? Did they think of some he did not use? The students may need to hear the recording in
segments or several times in order to be able complete their analysis, since the work is rather long.
• Generate a master list of possibilities from the students' ideas and those of Charles Ives. The students will use this list as
a reference during the composition lessons in this unit.
Students solve problems = Students share and discuss solutions
Students will fill in their own charts as they listen, writing anything they hear that characterizes each variation. For each variation they need to decide:
“What did the composer change? What did he do to alter the theme?”
Assessment:
Students will show that they understand the technique of variation through their comments and suggestions and through their ability to work together to
fill in the analysis chart.
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Unit - Theme and Variations
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Chart for Analysis During Listening
This is a long work. During the listening, at first, you may choose to pause after some of the
variations and discuss what students have heard within a particular variation, and write some
generally agreed-upon ideas on the chart on the chalkboard. Once they get the idea, they are
usually able to do the second half of the work on their own without stopping. Eventually, it is
important to find a reason to hear the whole work, carefully following the chart full of
information provided by the students as you go. Eventually, the chart will look something like:
Sessions 3, 4, 5, 6 or more
Based on what they have learned in the first two sessions, and throughout their music
coursework, students will now work in small groups to develop their own variations on
“America.” Each group will be responsible for one variation. These will then be assembled into a
large class Theme and Variations, in which someone (or everyone) will play the theme followed
by each group playing the variation they have composed. The order of the variations within the
larger work will be determined by the class, after the variations have been created.
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Unit - Theme and Variations
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Lesson Plan: Theme and Variations (Sessions 3, 4, 5, 6, or more)
Materials:
National Standards: 1, 2, 4, 6, 7
Charts from previous class sessions, displayed prominently
Grade: 5 and up
(including ideas gleaned from both student speculations before listening and analysis of the Ives).
Handouts of “America” in both notated and iconic versions, in a variety of keys and clefs, if needed.
Variety of instruments: xylophones, non-pitched percussion, synthesizers, students’ own orchestral instruments, piano.
Lesson Assumes:
Organization:
Builds on understandings developed through performance and discussion experiences of
Small group compositional problem.
previous sessions.
Objective:
To enable students to extend and enhance their understanding of how the structural elements of music can interact to produce a set of variations on a theme.
Connect to prior knowledge/experience = Groundwork that enables
The posted charts will serve to remind the students of what they need to know in order to complete this portion of the work.
Pose Problems: Students will:
• Learn to play the melody of “America” (or part of the melody).
• Develop and rehearse a variation on “America” with their group.
• Perform the variation for the class.
• Work together as a class to decide on an order for the variations to be presented within the larger work. They will also
decide who will perform the theme and how it should be performed. The whole class composition is then assembled,
performed, evaluated, altered if necessary, and rehearsed.
• Record (videotape or audiotape) the finished version and share it with other classes, or share the work in a concert
performance. Compare and discuss different class’ solutions to the problem.
Students solve problem:
Students will:
• Learn to play the melody of “America.”
• Develop a way of varying “America.” Each group is responsible
for developing one variation. Students may add accompanying
instruments or even plan a vocal variation (using no instruments)
if they like.
Students share and discuss solutions:
• When the variations are finished (usually after several sessions), students
perform them. Discuss the decisions each group has made. Be sure everyone
understands the techniques used by each group in constructing its variation.
• Stuidents will then organize the variations into one large work, the class'
Variations on "America." Who will play the theme? Which variation should
come first, last, and so on? Will there be an introduction, coda, or transitional
material? Will there be dynamic or tempo changes?
Assessment:
The students’ original variations will reflect their understanding of the technique of variation. Their ability to evaluate and assemble the variations into a
larger work reflects their understanding of the form of Theme and Variation. Further, students’ ability to conceive of, carry out, and evaluate the variations
reflects their understanding of just about all of the elements and principles of music and the ways in which they interact to produce a viable whole.
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Unit - Theme and Variations
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Extensions:
Understanding of the principles of variation can extend to further work with blues
improvisation, jazz improvisation, and variation on a ground bass.
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Unit - Theme and Variations
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Unit - Theme and Variations
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