including improvisation in a beginner band curricular unit for...

INCLUDING IMPROVISATION IN A BEGINNER BAND CURRICULAR UNIT FOR LOCKHART, TX JUNIOR HIGH SCHOOL

By HOWARD CASEY THOMPSON

SUPERVISORY COMMITTEE: DR. RICHARD S. WEBB, CHAIR

DR. KEITH P. THOMPSON, MEMBER

A PROJECT IN LIEU OF A THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARITIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC

UNIVERSITY OF FLORIDA 2015

INCLUDING IMPROVISATION 2

Dedication

This curricular unit is for my students at Lockhart Junior High School in Lockhart, Texas. As a

product of the Lockhart Independent School District, I dedicate this curricular unit to you. May

music bring you joy throughout your life as much as it has mine.


Acknowledgements

I would like to thank my parents for their support throughout my life and musical

endeavors. My parents are beginning their 37th year, respectively, in education. Their joys and

excitement to wake up everyday and touch the lives of their students have inspired me to be

more than just a teacher, but an educator. After nine years of teaching, my prophecy of being a

band director has come true.

To the two music educators that have most inspired me to pursue a life as a musician,

Janet Pearson, who taught me piano from third to eighth grade, and Roxanne Vickers, my band

director from 7th-12th grade. Without your guidance, I would have missed the many musical

experiences that I most treasure.


Abstract

This project outlines improvisational units included in a beginner band curricular unit for

Lockhart Junior High School in the state of Texas and includes a review of literature based on

research related to improvisation in the music classroom. This review of the literature suggests

that creativity should be part of the music classroom. Improvisational skills can be applied to a

variety of musical styles and be used as a teaching tool to support and reinforce musical skills

and concepts taught in the classroom. Goals and objectives for student learning are based on the

newly implemented 2015 Texas Essential Knowledge and Skills (TEKS), which stem from the

national music standards created by the National Association for Music Education (NAfME),

and will be incorporated in my beginner band program in the fall of 2015.


Table of Contents

Dedication ....................................................................................................................................... 2

Acknowledgements ......................................................................................................................... 3

Abstract ........................................................................................................................................... 4

Table of Contents ............................................................................................................................ 5

Including Improvisation in a Texas Beginner Band Curricular Unit for Lockhart Junior High

School ............................................................................................................................................. 7

Part 1: Review of Literature ............................................................................................................ 8

Improvisation Instruction in the Practitioner Literature ........................................................... 17

Assessments for Improvisation ................................................................................................. 20

Improvisation Lessons and Resources ...................................................................................... 21

Conclusion ................................................................................................................................ 26

Part 2: Lockhart, TX Junior High School Beginner Band Curricular Units ................................. 27

State of Texas Music Requirements ............................................................................................. 29

Curricular Unit Template .............................................................................................................. 29

Lesson Plans ................................................................................................................................. 30

Unit 1: Sound Exploration ........................................................................................................ 35

Sound Exploration Sample Lesson Plan 5 ........................................................................... 46

Unit 2: Marching Bands ............................................................................................................ 55

Marching Bands Sample Lesson Plan 4 ............................................................................... 65

Unit 3: Musical Forms .............................................................................................................. 71


Musical Forms Sample Lesson Plan 1 .................................................................................. 80

References ..................................................................................................................................... 84


Including Improvisation in a Texas Beginner Band Curricular Unit

for Lockhart Junior High School

The goal of this capstone project was to create comprehensive curricular units for the

Lockhart Junior High School beginner band program. The coursework in this project would span

one-quarter of the year from a percussive (mallet/snare), woodwind (saxophone), and brass

(trombone) viewpoint. The curricular unit was based on instruction and concepts from

coursework at the University of Florida. As with any curriculum, assessments are involved.

Assessments based on the Assessing Music Learning course by Dr. Timothy Brophy served as a

foundation for creating strong valid assessments and rubrics to measure student learning for this

project. The curricular unit is closely aligned with the national standards and the Texas

Essentials of Knowledge and Skills (TEKS). These standards are the end goals and foundations

from which this curricular unit was to be built.

The curricular unit will incorporate creative opportunities covered in the Creative

Thinking in Music course at the University of Florida. Based on the readings and ideas acquired

through the course by Dr. Peter Webster, I will have my students create their own melodies. The

American Vernacular Music course created by Dr. Dale Bazan served as another course of

inspiration. Students can learn vernacular music through different styles of music as they learn to

improvise.

Lockhart is located thirty miles south of Austin, Texas. Inside this commuter town

resides Lockhart Junior High. The band program has 250 students from grades six through eight

taught by two directors with the assistance of the three high school directors. The band curricular

unit has evolved based on performance events. These events drive what is taught in classroom.

While a performance-based curriculum is acceptable, the curriculum needs to incorporate all


standards and skills to be comprehensive. The curriculum needs to meet today’s standards. The

state of Texas has revised and implemented new TEKS starting the 2015-2016 school year. The

beginner band program is the best place to start the implementation of the new requirements. A

curricular unit in alignment with the new TEKS will ensure all TEKS are covered in addition to

the continued performances. Currently, our curriculum is based on the old TEKS as well as the

Band Expressions band method book, which is a classroom textbook. Band Expressions will no

longer be published so the new curriculum will have to align with Essential Elements band

methods book (Lautzenheiser et al., 2004), as the new class textbook, and the 2015-2016 TEKS.

Part 1: Review of Literature

The national standards play a vital role in laying a foundation from which music

programs can base and build their curriculum. Creating music is part of these standards (NAfME,

2014). From these national standards, the first three common anchors are devoted to creating

from composing and improvising melodic and rhythmic ideas to evaluating, refining, and sharing

these creative ideas. From experience, incorporating these standards can feel like time is lost

from performing, especially when preparing for any performance. Often times in performance-

based ensemble groups, these standards may quickly be addressed if not completely ignored

(Riveire, 2006). The research suggests otherwise. Students need opportunities to create music

just as much as they need to know how to read music notation, perform music, and analyze

music (NAfME, 2014).

This review of literature includes studies that explored the inclusion of creativity through

improvisation and composition in the musical classroom. Through the research on creative

thinking and improvisation I sought answers to several questions. Why is improvisation

important? What skills can students attain through improvisation? How does the inclusion of


improvisation in a music curriculum affect performance-based ensembles? Which techniques or

approaches are available and best suited for implementing improvisation in the beginner band

setting? Answers to these questions allowed me to develop a curricular unit for beginners that

include improvisation from a research basis.

Azzara (1993) studied how audiation-based improvisation techniques affected the

musical achievement of elementary-age instrumental students. This study included 66 fifth-grade

students from Rochester, New York taking instrumental music in two schools. Students were

given the Musical Aptitude Profile (MAP) to measure musical aptitude based on tonal imagery,

rhythm imagery, and musical sensitivity. The musical achievement for each student was

calculated based on the performance of three etudes composed by the researcher. The first etude

was to be performed without teacher assistance. The second etude was performed with teacher

assistance. The final third etude was sight-read. All four judges received training for using the

five-point rating scale for performance skills in three areas: continuous criteria tonal dimension,

continuous criteria rhythm dimension, and additive creative expression dimension. The 66

students, 45 from school A and 21 from school B, were placed in an experimental group or

control group at each site. One teacher from each school participated in the study. Each teacher

taught both groups at their respective campus for control teacher effect (Teacher 1/school A and

Teacher 2/school B). The teachers were instructed by the researcher on how to give instruction to

the students for the experiment. Each student was given the MAP prior to instruction and

classified by the recommended procedures. Students were randomly assigned to the experimental

group or the control group. Students received one 30-minute lesson and participated in one

ensemble rehearsal each week for 27 weeks. Both groups received the same instruction with the

experimental group receiving improvisation performance activities during 16 of the 27 lessons.


Students then performed the three etudes at the end of the 27 weeks of instruction and were

measured by the judges using the MAP. The results showed that students who received

improvisational instruction scored higher on the composite etude scores, Etude 2, and Etude 3,

compared to those students who did not receive improvisational instruction.

Beegle (2010) examined the music improvisation and social interactions of fifth grade

children. The research took place in a public school in the Pacific Northwestern United States

that served 410 children from kindergarten through fifth grade with a ride range of

ethnic/cultural backgrounds. Forty-six of the 48 students from two fifth-grade classes

participated and completed the study. Each was assigned to a group of four, for a total of six

groups in each class based on teacher input on student interaction. Two groups of four from each

class were selected as focus to groups, which would receive closer observations, more interview

time, and reflection time to discuss their thoughts. Data were collected over 12 weeks through

interviews, participant observation, video- and audio-taped sessions, and questionnaires based on

the tasks to engage children in a group setting collaborate on group improvisations. Students

were able to use a variety of instruments. Students received 12 improvisation lessons divided

into three units based on different prompts: (1) poem, (2) painting, and (3) music composition.

Each unit required the students to improvise a piece one minute in length. The lessons allowed

students to revise and refine their creations. iMovie was used to record the performances. The

performances were analyzed based on the characteristics of timbre, melody, rhythm, and

structure. As a result of social interaction through the musical process, four components were

found in each group: role assignments, exploration, run-throughs, and discussion and

negotiation. In response to the three prompts, students responded most to the art painting and

least to the music composition. Three themes emerged when student created and performed


musical ideas: (a) imitation, (b) memorization, and (c) motivic development (p. 230). When it

came to the evaluation of improvised products, the children considered: (a) planning and

organization, (a) ensemble cohesion, and (c) instrumentation and texture choice (p. 230).

Brittin (2002) explored if instrumentalists assessed solos performances differently based

on CD accompaniment, piano accompaniment, or no accompaniment. Participants were 188

students participating in a summer camp for band and orchestra students, grades six through

twelve in the western United States. Students listened to the recordings of 12 stimuli in groups of

10-20. Students were asked to use a 1-6 rating scale ranging from “Not very good” to

“Excellent” to judge how well the soloist performed. They were also asked to indicate the best

performance attribute and what they thought the soloists needed to work on the most such as

notes, rhythm, tone, tuning, tonguing, expression, and “other”. The listeners also rated the

accompaniment from 1, “did not like,” to 6, “like a lot” (p. 66). “Go Tell Aunt Rhody” and

“London Bridge” were the chosen beginner solos. Each solo was recorded on a trumpet and

clarinet with various accompaniments from Essential Elements 2000 and Accent on Achievement

method books. The trumpeter and clarinetist each performed the solo (a) without

accompaniment, (b) with CD accompaniment in the style of soul, country, hip-hop, and polka,

and (c) with blocked-chord piano accompaniment. Then they switched instruments to perform on

a secondary instrument following the same procedures. All performances were recorded on a

Roland VS 880EX onto separate tracks. The results showed that unaccompanied solos were rated

higher compared to piano-accompanied solos. CD-accompanied solos were rated highest.

Younger students rated weaker-quality performances higher due to the influence of the CD

accompaniment. Students rated highly the CD accompaniment styles except for polka, which

received the lowest ratings. Twenty-five percent of the students chose rhythm as the best


attribute of the performances with the same proportion choosing tone as needing improvement.

Accompaniment condition was not a factor. Students were able to assess the quality of

performances and give feedback.

Hickey (2001) conducted a study to test the interjudge reliability using Amabile’s

consensual assessment technique while testing for the reliability of the consensual assessment

technique when assessing the musical compositions of children. The data originated from a study

conducted in 1995. Twelve compositions were randomly chosen from 21 original compositions

created by fourth and fifth graders. The compositions were a result of students given unlimited

time to compose using MIDI and a Macintosh computer. Seventeen music teachers of various

teaching levels and experiences, three professional composers, four college-level theorists, 14

seventh grade children, and 24 second grade children made up the five groups of judges. The

children came from contained classrooms in a northeastern private school in the United States.

The compositions were recorded randomly for each group of judges. The judges rated the

compositions independently using the consensual assessment forms. Although creativity was the

only item for comparison, craftsmanship and aesthetic-quality items were on the rating forms as

suggested by Amabile. The composers and theorists used an 18-item consensual assessment

rating form. The items either fell under creativity, craftsmanship, or aesthetics. A seven-point

Likert-type scale, with “low,” “medium,” and “high” anchors, was used for each item. The

seventh graders used separate “Liking” and “Creativity” forms. The Creativity form was a five-

item scale. The second graders used a form with icons ranging from plain faces to more silly

faces. The results showed the music teachers had a high positive correlation with each other as

compared to the other groups. Composers had a negative correction within themselves. Teachers


were the best candidates to use the consensual assessment technique when assessing creative in

student musical compositions.

May (2003) designed a study to examine factors that influence jazz improvisation

achievement and to examine if knowledge of jazz theory, aural skills, aural imitation, and

background could predict instrumental jazz improvisation. Eighty-five undergraduate college

wind players enrolled in college jazz ensembles from five Midwestern universities in the United

States were the subjects; however, only 73 complete data sets were collected. Only three women,

consistent with the percentage of women in the jazz field, were part of the study. Several

measures were used. The 70-item Measure of Jazz Theory Achievement (MJTA) examined the

subjects’ knowledge of jazz theory. The 48-item Measure of Aural Skills (MAS) measured the

aural skills of the subjects by naming intervals, scales, chords, and motives. The 40-item

Measure of Aural Imitation (MAI) measured the subjects’ ability to imitate on his or her

instrument an idea on a tape-recorded example after two hearings. The Instrumental Jazz

Improvisation Evaluation Measure (IJIEM) measured the subjects’ ability to improvise along to a

recorded Jamey Aebersold track and using a lead sheet with chord changes. The three judges that

judged the improvisation were trained for interjudge reliability. The Subject Experience Survey

(SES) gathered background information from each subject such as year in school, instrument,

and piano experience. The results suggested that jazz theory, aural skills, imitation, and

improvisation should be developed simultaneously instead of sequentially.

McPherson (2005) studied the skill development of children during their beginning stages

of learning an instrument over three years. One hundred fifty-seven grade school children

between seven and nine years of age participated in the study. They attended one of eight

primary schools of various socioeconomic backgrounds in Sydney, Australia. Students received


one or two ensemble rehearsals each week in addition to small group or individual lesson each

week. Essential Elements and Standard of Excellence were the method books used in the

schools. The study focused primarily on students the played clarinet, trumpet, flute, or

saxophone. Attrition occurred over the study. One hundred thiry-one students completed the first

year; 109 completed the second year; and 107 completed the third year. Data were collected

before and after each completed year through interviews as well as digitally recorded

performances. Mothers of the children were interviewed nine times throughout the process to

collect practice times calculated in hours. Performance measures were created for the study. A

20-point scale ranging from .5 to 10 measured the overall quality and difficulty of a rehearsed

performance piece. A composite score for year one and two ranged from 1 to 17 with the final

measure being a composite score of 2 to 23 for all three years to indicate the increase of skill

over the study. Sight-reading was assessed using the Watkins-Farnum Performance Scale

(WFPS). Playing from memory was scored through five memory tasks. An 11-point scale from 0

to 10 was used to measure pitch and rhythmic accuracy. The same scale was used to measure the

four playing by ear tasks. Improvising was measured using a 21-point scale from 0-10 in .5

increments. The results showed that students improved across the five measured skills from year

one to two, but from year two to three improvising was the only skill that did not improve, while

some students did not improve at all over the study. Most significant improvements occurred for

playing from memory from year one to two and playing rehearsed music from year two to three.

Improvising had the least amount of improvement across the year groups. Through conducted

interviews and discussions with colleagues, McPherson came up with a set of strategies to be

taught for each skill measured during the study. Performing rehearsed music strategies include:

(1) keeping track of what is to be learned, (2) order of practice, (3) practicing to improve, and (4)


self-correction strategies. Strategies used for sight-reading included: (1) studying the first

measure, (2) identifying the key signature, (3) identifying the time signature, (4) establishing an

appropriate tempo before playing, and (5) scanning music to identify obstacles. Playing from

memory strategies were: (1) independent of the instrument and how the melody would sound, (2)

independent of the instrument but involving the chanting of the rhythm or letter names of the

notes, (3) trying to sing the melody but not explicitly linking this with instrument fingerings, (4)

trying to chant the rhythm or pitch with rough contour while fingering the melody through on the

tin instrument, either in sections or from the beginning to end, and (5) linking the sound of the

melody to instrument fingering by mentally rehearsing. The five mental strategies for playing by

ear included: (1) conceptually employing a visual approach by thinking independently of their

instrument and how the melody sounded, (2) conceptually thinking independently of their

instrument but including chanting of rhythm or singing while trying to decide which notes they

might be, (3) kinesthetically trying to think about how the notes might be related to instrumental

fingerings, (4) physically fingering through the melody while chanting or singing, and (5)

combined mental rehearsal with physical fingering of notes on the instrument.

Russell and Austin (2010) conducted a study on the assessment practices of secondary

music teachers through a survey. Questions to be answered by this study were: (1) what types of

school district frameworks and classroom contexts are secondary music teachers operating

within as they assess learning and grade students, (2) which specific assessment and grading

practices are most commonly employed by secondary music teachers, and (3) do any contextual

or individual difference variables influence secondary music teachers' assessment and grading

practices? The researchers targeted 4,889 secondary music teachers part of the Southwestern

division of MENC during the 2007-2008 school year. Three hundred fifty-two questionnaires


were usable from the stratified random sampling of 1000. The Secondary School Music

Assessment Questionnaire (SSMAQ) was used for the questionnaire. SSMAQ addressed three

areas: school district assessment framework, classroom context, and classroom assessment

practices. The results showed majority of participants’ (95%) school districts use the traditional

letter grade system. 83% of the school districts equally weighed ensemble grades with academic

subjects and 86% awarded credit toward graduation for ensemble participation. Ninety-two

percent of the participants reported administration rarely monitored or offered guidance, while

70% reported standards-based curricula had little to no impact on how they assessed their

students. In context of the classroom, participants on average had 224 minutes of instructional

time each week, prepared on average ten major performance in a year, and were charged with

assessing 117 students on average. The claim is that there is not enough time to assess students.

The SSMAQ did indicate that 79% of secondary music teachers provide students with a formal

grading policy in writing, which was in alignment with assessment experts. Teachers also used a

variety of achievement and non-achievement assessments. Written knowledge and student

practice were the least weighted while performance, attitude, and attendance assessment were

most weighted. Sixty percent of music assessments were non-achievement based with little grade

differentiation. The researchers found that secondary music teachers’ assessment practices do not

align with the practices of assessment experts. Assessments should be achievement based and

align with the curriculum. There is also enough time to assess students. Russell and Austin found

that some of the largest programs had the best assessment practices. Administration should train

music teachers to encourage them to rethink their thoughts on assessments.

Sawyer (2012) discussed creativity in his book Explaining Creativity: The Science of

Human Innovation. Sawyer theorized an individualist approach to creativity and the creative


process in eight stages: (1) find and formulate the problem, (2) acquire knowledge relevant to the

problem, (3) gather a broad range of potentially related information, (4) take time off for

incubation, (5) generate a large variety of ideas, (6) combine ideas in unexpected ways, and (7)

select the best ideas, applying relevant criteria (p. 88). Sawyer defined the sociocultural

approaches to creativity and how society through its own constructs decide what is creative. He

outlines creativity in the domains of visual arts, writing, music, theater, and science. Each

domain has its own set of experts that define what big creativity is. The last section of the book

discussed creativity that occurs everyday and how it can be applied in education.

Improvisation Instruction in the Practitioner Literature

The idea of improvisation as a tool for creating and learning is not a new one. Although

improvisation has been closely associated with jazz music, it has been around long before the

emergence of jazz. “Music and improvisation have been inextricably linked throughout history”

(Azzara, 1993, p. 328). Improvisation has been around for centuries and can be found in classical

music. When Beethoven sought the mentorship of Mozart, he was asked to improvise (Gould &

Keaton, 2000). The authors also found that J.S. Bach was asked to improvise a fugue based on a

subject by his son’s employer provided. This suggests creativity through improvisation can be

applied to a variety of genres and many musical styles (Beckstead, 2013). Gould and Keaton

stated that the degree to which a jazz musician improvises is greater than that of a classical

musician. Students should have the opportunity to learn improvisation in a classical or traditional

setting just as they would in a jazz setting.

According to the Grove Dictionary of Music and Musicians, improvisation has been

defined as “the art of thinking and performing music simultaneously” (Blom, 1954). Creative

thinking is then fostered through the improvisational process. Creative thinking is a 21st century


learning skill (McPherson, 2005; “Thoughtful learning,” 2014). Students can acquire critical

thinking, collaboration, and communication skills, all part of the 21st century learning skills, by

incorporating improvisational activities and lessons in a beginner curriculum. Only a

reconceptualized curriculum would be able to achieve this.

A reconceptualized curriculum takes into account students’ musical experiences and

knowledge as the basis of the curriculum (Barrett, 2005). Examples of a reconceptualized

classroom include an environment where students can explore their musical interests and solve

musical problems, and one in which student collaboration is encouraged. A need for

reconceptualization is evident with the implementation of 21st Century skills. Creating

opportunities for students to problem-solve their own musical problems individually or through

peer collaboration is a great way develop those skills. Students develop their skills through social

interactions (Beegle, 2010).

From a neurological standpoint, there are positive implications for improvisation in the

classroom. Brain research has found that different areas of the brain are engaged when one

improvises versus playing prepared “over-learned” music (Beckstead, 2013). The researcher

found that a different area of the prefrontal cortex associated with multi-tasking and

daydreaming was highly active during improvisation. Implementation of a curricular unit that

includes improvisation engages not only a different part of the brain, but prepares students to

think critically and creatively.

The national standards are broadly structured so they could easily be adapted into any

existing music program (Conway, 2008). This allows great flexibility for performance-based

programs. Some performance-based programs had on average ten major ensemble performances

(Russell & Austin, 2010). Skill-based instruction through improvisation can reinforce and


enhance those skills needed to perform. More importantly this allows students to perform with

their ears and not just their eyes (Conway, 2008). From a beginner curriculum standpoint, this is

ideal. Conway argued the reason improvisation and composition are stated before reading music

was to promote audiation before notation. This means beginners can learn by sound through rote

teaching before reading music notation. They will have a better understanding of musical

concepts when it comes to read notation on a page. Research has found that aural imitation, also

known as ear-to-hand coordination, has been linked to musical achievement (May, 2003). Priest

(2002) suggested students should be able to play through notation as well as play by ear.

Students might receive a more comprehensive music education by addressing both and not solely

focusing on one or the other.

Azzara (1993) stated, “Teaching students to improvise promotes acquisition of higher-

order music thinking skills” (p. 330). The researcher implied beginners would be able to acquire

these thinking skills in addition to playing notated music with a better understanding.

Improvisation can “increase a student’s ability” to mentally change “the structures of music with

purpose and meaning” (p. 330). Through single-note improvisation, students would be able to

focus on, manipulate, and reinforce musical concepts and skills without musical notation (Bitz,

1998; Volz, 2005). Students could focus on dynamics or articulation while playing a single note.

Performance skills could be reinforced before students have to read music in a beginner setting.

Azzara found that students that received improvisation as part of the music curriculum scored

higher and performed better than students that did not receive improvisation (1993). Students

have a better understanding of musical concepts, which can be applied to reading notated music.

Furthermore, creative products could be performed and/or displayed and heard at the thematic

concerts (Robinson, Bell, & Pogonowski, 2011). Improvisational instruction can strengthen


music programs by providing students opportunities to refine musical skills needed for ensemble

performances.

Assessments for Improvisation

Teachers can assess creative work in music such as improvisation and composition.

Hickey (2001) endorsed Amabile’s “consensual assessment” of creativity to assess creative work

in music. Creativity was rated based on the expert’s or the teacher’s subjective definition of

creativity since it was difficult to come up with exact objective criteria for products of creativity.

Hickey also stated that objective criteria could be used to assess the craftsmanship and the

technical quality of the creative work. This may be a different approach to thinking about

assessment in regards to creativity, but a reconceptualized assessment is fitting for a

reconceptualized curricular unit. Hickey’s research found that teachers were the best experts and

well qualified to subjectively rate student creative music work due to their experiences working

with students.

Assessments should match the behaviors that align to instrumental goals (Russell &

Austin, 2010). Russell and Austin cautioned teachers to assess goals that are based on

achievement and deemphasize assessment on non-achievement goals. As beginners start to

improvise, assessment is an important key for providing feedback. Improvisation can be

assessed. Keep it light. Start with informal, non-graded assessments in the beginning. This gives

students feedback and allows them to work without fear of it affecting their grades. Informal

assessments can lead to formal assessments as students become more comfortable (Riveire,

2006). Peer- and self-assessment were evident during group improvisation activities (Beegle,

2010) Through these collaborations on projects, teachers could better assess the depth of

knowledge that students gain (Barrett, 2005).


Assessment can take on many roles in the classroom (Scott, 2012). Scott defined the three

roles of assessment as: (1) assessment of learning, (2) assessment for learning, and (3)

assessment as learning. Assessment of learning was the traditional, teacher-centered assessment.

Teachers assessed student work without the opportunity for students to respond to the

assessment. Quizzes and tests would fall under assessment of learning (Scott, 2012). The

constructivist approach was collaboration between teacher and student. This was assessment for

learning. Students were active learners and the feedback given was towards progress (Scott,

2012). Assessment as learning was self-reflective and personal. Students relied on their own

assessments towards learning and progress (Scott, 2012). Rubrics can be used as a way of

assessing student work. According to Brophy (2015), “A good rubric is clear to students and to

the scorers, and presents mutually exclusive levels of achievement for each criterion” (p. 1).

Rubrics that are closely linked to student learning objectives can allow students to receive

feedback and to continue their progress toward those learning goals and objectives.

Improvisation Lessons and Resources

Many teachers are intimidated by improvisation due to lack of training (Volz, 2005).

Beckstead (2013) stated, “Simple does not mean elementary,” meaning there should be a

simplification of teaching improvisation (p. 72). A simple start would allow teachers to be

comfortable with teaching improvisation. In turn, students may become more comfortable and

open to improvisation. The author gave five suggestions for improvisation in the music

classroom: (1) avoid complexity by starting simple, (2) structure the task make students

comfortable, but not limit their creativity, (3) dispel the fear that improvisation is for jazz

musicians only, (4) compose since compositions usually begin with some sort of improvisation

starting point, and (5) educate students about the importance of improvisation in many styles of


music (2013, p. 73). This suggests that teachers as well as students can be comfortable with

improvisation and lesson plans should reflect a simple approach.

Bitz (1998) laid out six steps to help students overcome the fear of improvisation and

allow them to become more comfortable: (1) choose a single genre and stay away from the jazz

genre, (2) once a genre has been chosen, research the genre to better guide students in that style

of music, (3) gather resources that will give students examples and inspiration to improvise in

that genre, (4) introduce the genre through recordings to familiarize the students, (5) encourage

group improvisation so students can learn from each other, and (6) let students explore (p. 24).

Through this exploration, students would learn to improvise. Exploration was important (Volz,

2005).

May (2003) suggested jazz as an important part of music education. However, it was

encouraged to stay away from jazz and use genres with which students are most familiar (Bitz,

1998). As students became comfortable with improvisation, they could start to improvise in a

simple jazz setting (Beckstead, 2013; Brophy, 2001). This suggests from a curricular standpoint,

a process to eventually introducing students to jazz improvisation. A possible jazz unit in the

spring semester could address this process.

As students learn to improvise, provide an accompaniment or CD track for students to

play along with. Students preferred playing along with an accompaniment than playing

unaccompanied (Brittin, 2002). As Brittin stated, this was particularly beneficial to beginner

brass players. There was a noted improvement in matching pitch and decrease in pitch errors in

Brittin’s study. Brittin’s research suggests that beginner musicians can improve their intonation

through improvisation using musical styles familiar to them.


Creativity is also considered a process (Sawyer, 2012). Four pedagogical prerequisites

must happen before embarking creative strategies or process: (1) one must be creative to teach

creatively, (2) teachers must ask open-ended musical questions that stimulate thinking, (3)

educators must function as guides through creativity and not direct or lead, and (4) a safe and

nurturing environment must be established (Robinson et al., 2011, pp. 51-52). These pedagogical

strategies structured an environment conducive for creative learning and exploration.

Sawyer explained the creative process in seven stages. These stages were: find the

problem; acquire knowledge; gather potentially related information; take time off for incubation;

generate a variety of ideas; combine ideas in unexpected ways; and select the best ideas (Sawyer,

2012, pp. 88-90). This is very similar to the creative process Brophy outlined for children. The

stages were: exploration; process-oriented; product-oriented; fluid stage; structural stage, stylistic

improvisation, and personal improvisation (Brophy, 2001). Brophy focused on how one achieves

improvisational skills. The biggest difference between the two processes outlined by Sawyer and

Brophy is that Sawyer allowed time for thought and reflection through the incubation stage for

creativity to occur.

Brophy (2001) stressed the importance of creating improvisational activities that matched

the students’ skills set and experience. This is crucial in a beginner band setting when students

have musical ideas, experience, and knowledge and now must figure out how to manipulate an

instrument. Simple improvisational exercises can allow students to learn to manipulate the

instrument. Brophy (2001) also found that students could learn through imitation,

antecedent/consequent response, variation, and origination exercises. The author also stated that

teachers must shape the lessons through medium, context, and materials. For example, students

could improvise using instruments (medium) to create a soundscape of the jungle (context) based


on the motivic rhythm learned in class (material). While he focused on elementary age children,

the approach could allow a smooth transition from elementary music to secondary music.

Students would be able to transfer previous knowledge and skills to their new experience with

musical instruments.

Robinson et al (2005) outlined a seven-step instructional model that included

improvisation, composition, and performance to develop creativity and a better understanding of

music: (1) find a topic as a springboard for a creative music strategy, (2) develop open-ended

musical questions, (3) brainstorm, (4) personal exploration, (5) large-group conducted

improvisation and small-group planned improvisation (composition), (6) record for reflection,

and (7) reflection (pp. 53-55). At the end of the process, more questions may emerge as another

springboard for continued creativity.

Priest (2002) provided a framework for fostering creativity in the classroom. He

continued that opportunities should be available for students to share their improvisations or

compositions. Not only can this can happen in the classroom, but it can also happen

simultaneously without taking away from class. Students can record their improvisations in

another room. He also found that students performed better creatively when they were alone

because there were no pressures. The author was also a proponent of inspiring students by

providing examples of improvisation. Examples could be from recordings or from experiences

and information that students already know. He also suggested sharing the control of creativity

process. Priest also suggested that students can lead improvisational activities such as call and

response moments, have guidelines or criteria for the improvisation set for them, and can be

encouraged to problem solve by finding problems in their improvisations. Identifying problems

and finding solutions gets students to think critically. According to Volz, the problem was how


to make music and the solution was through exploration (2005). The author stated that

exploration leads to improvisation. Problem solving might lead to more creative ideas and

products (Priest, 2002).

Giving students opportunities to be creative can allow them to develop the skill set to

think creatively as adults. Students should be allowed time to explore ideas and experience these

creative stages. It could be as short as a 10-15 minute exercise or span of a few days, depending

on the task or project (Riveire, 2006). Improvisation can be used as a teaching tool. It could be

incorporated in the curriculum without taking time away teaching skills and preparing for

performances. Riveire also suggested calling solo/conversations and register improvisational

exercises games to alleviate any fear or negative disposition students may have towards

improvisation. These games taught new techniques, introduced new notes, or taught social skills

and problem solving in small group settings (Riveire, 2006; Volz, 2005). This was another way

to reinforce tonic and dominant tonalities in beginner band curriculum by having students

improvise over accompaniments that strictly adhere to tonic and dominant chords. The author

also suggested repertoire for improvisation is available which can be performed on concerts as

part of the performance-based music program. Allow beginners time to play and time to explore

sounds. Play led to a greater understanding of new concepts on a personal level (Riveire, 2006).

Improvisation does not have to be a solo activity. Beegle (2010) allowed students time to

plan in small groups. Groups allowed more student involvement, which can help minimize the

time needed for improvisation activities or lessons. Students also used creative thinking and

problem solving skills through collaboration. Beckstead mentioned that soundscapes were a great

way for students to explore sound (2013). Soundscapes can be programmed as performance

pieces for concerts.


The literature provided activities and exercises that could be incorporated into a

curricular unit. Students should be allowed time to explore and play as part of the creative

process. Improvisation should be used in musical styles or settings familiar with students.

Improvisational games can be part of the lesson plan and not take time away from the learning

process.

Conclusion

Improvisation is manipulation of sound (Riveire, 2006). It should be a hands-on activity

for the students and the teacher. It is a journey that both teacher and student should take together.

Creativity through improvisation is not only relevant for the music classroom, but it a standard

that should be part of a reconceptualized curriculum for the 21st century classroom.

Improvisation also engages an area of the brain that music reading does not engage. Research

also shows that creativity can be assessed through different roles. Assessment for learning will

provide the best feedback for students as both the teacher and the student work on improvisation

together. Research also shows that there are many ways to incorporate creativity through

improvisation into a beginner band curriculum. Based on the review of literature, I will present

in the second part of this paper curricular units that have been reconceptualized to integrate ideas

and themes of improvisation into a beginner band music program.


Part 2: Lockhart, TX Junior High School Beginner Band Curricular Units Part 2:

LOCKHART, TX JUNIOR HIGH SCHOOL BEGINNER BAND CURRICULAR UNITS

Music, Middle School 1, Band

Grades 6-8

TEA PEIMS Code 03154130, Local Course 3516


These comprehensive beginner band curricular units have been developed for Lockhart,

TX Junior High School students in grades six, seven, and eight. The curricular units align with

the new Texas Essential Knowledge and Skills (TEKS) to be implemented starting the 2015-

2016 school year and will be incorporated in my beginner band program starting Fall 2015. The

curricular unit includes lessons that address the TEKS, which stem from the national music

standards created by the National Association for Music Education (NAfME). These standards

are the end goals and foundations from which this curricular unit is to be built. The new

curricular unit, which spans one-quarter of the school year, is to improve the beginner band

program by creating a stronger curricular unit that is standard-, goal-, and performance-based.

The coursework will span one-quarter of the year from a percussive (mallet/snare),

woodwind (saxophone), and brass (trombone) viewpoint. The curricular units will be based on

instruction and concepts from coursework at the University of Florida. The Instructional Design

in Music Education course was a springboard to developing cohesive units and lesson plans. The

curricular unit will incorporate creativity opportunities that reinforce and enhance student

learning. Through Sawyer’s creative process (2012), students will create their own melodies.

Assessments based on the Assessing Music Learning course by Dr. Timothy Brophy served as a

foundation to create strong valid assessments and rubrics to measure student learning for this

project. Creativity can be found in music performances, composition, and listening (Webster,

2002). Webster also suggests improvisation is a creative process that falls under music

performance. In these curricular units students will be provided many musical performance

experiences as they share their improvisational pieces through performances in the classroom.


State of Texas Music Requirements

The Texas Education Agency (TEA) governs all courses offered in the state of Texas.

TEA oversees all primary and secondary public schools. The mission of TEA is to provide

resources, guidance, and leadership to help schools educate students for success in a global

society (The Texas Education Agency, 2015). TEA requires that every student earns one fine arts

credit during their time in grades six, seven, or eight. Lockhart offers instrumental music courses

through Middle School 1 Band, Middle School 2 Band, and Middle School 3 Band. Any student

that would like to learn a band instrument may sign up for Middle School 1 Band.

The music TEKS are devised to allow students to explore and create while developing

higher-order thinking skills that will prepare them for college, careers, and life. The TEKS are

divided into four strands or foundations: (1) music literacy, (2) creative expression, (3) historical

and cultural relevance, and (4) critical evaluation and response, through which the knowledge

and skills are organized. There are 26 TEKS, or standards, that students are required to learn,

understand, and master throughout the beginner level course.

Curricular Unit Template

The format of the template implemented in the curricular units is a personal format. I

have incorporated essential questions, student understanding, and evidence of learning from

Understanding by Design (UdB) (Wiggins & McTighe, 2011), which was an integral part of the

Instructional Design Course I took as part of the masters program at The University of Florida.

The curricular units begin with the unit name and general information pertaining to the number

of instructional days to cover the unit; any non-instructional days such as holidays and teacher

professional development days; major performances that occur during the unit; and terminology

students will need know. There is a brief overview of the unit followed by the learning objectives


from national music standards and the TEKS. Those objectives are then written into student-

directed goals. The generated learning experiences are found in the learning plan (Wiggins &

McTighe, 2011). The assessment section shows parts of the lessons and goals that should be

assessed either formally or informally to measure student growth and give feedback to foster

mastery of goals and objectives. The teacher should be well informed of the unit before

implementing the lesson plans for that unit.

Lesson Plans

The first sample lesson plan is the fifth lesson from musical sounds unit. Students prefer

to play along to an accompaniment or song than to play along to a metronome, so I usually pick

three to four songs that span different styles and genres of music as the accompaniment. We Got

the Beat is an imitation and call/response game that I use with my students. The goal is for

students listen for the beat and demonstrate they can stay with the beat by tapping their foot.

Initially, everyone claps to the beat until everyone is comfortable. I soon have students echo

what I clap. I start with quarter notes and rests allows in four-beat patterns. Students then are

allowed to lead the group as everyone follows their rhythms. Students that are more independent

and confident may solo their rhythms or create a duet with the teacher. We Got the Beat is an

activity the slowly introduces improvisational skills. As students become familiar with different

rhythms demonstrated by the teacher and their peers, they, too, can start to improvise their own

simple rhythms based off rhythms they know. As the year progresses, students will create new

rhythms with new notes, which is one approach to introduce new note values. This is the

beginning of the school year and students do not have the skill set to play an instrument.

However, these activities will allow students to create and make music as they begin to learn

about their new instruments. Through chants, students learn the lines and clefs of the clefs.


Again, this is another opportunity for students to create their own chant for the clefs in groups or

individually. The musical alphabet exercise is very simple. Students must say the letters

ascending and descending in time to accompaniment beat. This is an assessment for progress and

grades are not taken. Students do earn stickers to mark their progress. Through breathing

exercises, students not only learn how to breathe properly, but they also learn note values such as

whole notes, half notes, and quarter notes. This is an opportune time to talk about articulation

without distractions from instruments and mouthpieces. Before playing the fully assembled

instruments, students spend a lot of time on mini instruments. Mini instruments are just

mouthpieces or head joints for wind instruments and sticks and practice pads for percussion. The

focus is on correct sound production through embouchure setting and hand position. This is a

great way for students to explore their own sounds as well as the sounds of their peers. Students

describe the sounds they hear in their own words. Throughout the year students will learn to use

musical terminology to describe musical sounds. The last part of the lesson includes playing their

first notes on their instruments. This is where students will improvise rhythmic and melodic

phrases using newly learned notes. The notes will be introduced before reading notation from

Essential Elements, which will allow them the freely create without the hindrance of reading

skills. This 10-15 minute activity is built from the We Got the Beat activity. Students transfer the

improvisation activity of improvising rhythms from clapping to articulating on specific notes on

an instrument. Students will improvise rhythms on each single pitch before creating melodic

phrases. The melodic phrases will be created from the newly learned notes. Students will

perform their final creations for each other in class. While students are working on their rhythmic

phrases, the teacher can informally assess student articulation and give them feedback. This

assessment becomes a dialogue between teacher and student (assessment for learning). The


simple rhythmic phrase rubric can be used as a way to assess how each student is articulating

while he or she is creating phrases.

Lesson four from the second unit titled marching band shows students participating in

Drum Corp International (DCI). Students can tryout for DCI groups in high school and this gives

them something to look forward to. Some students gravitate to concert band and others to

marching band. This is just one unit that explores the many areas of band. A real-world

connection is to have a high school student that has marched DCI talk to the beginners about

their experiences. The rest of the lesson will involve the beginners playing and preparing for

their first performance after only five weeks of playing. While students are limited in the notes

they can play, students can lead the class in how a warm-up will be played. Allowing students to

choose whether the penta-scale is played ascending, descending, or starting in the middle, gets

them involved in the learning process. “Go Tell Aunt Rhodie” is the performance song for the

beginners at Band-O-Rama, where all band students, grades 6-12, play before the Friday varsity

football game. Beginners learn to memorize their music through games. One involves giving

students two minutes to practice their music using whatever techniques they need. When time is

up, the stand is turned around so they cannot see the music. Students then play the song together,

missed notes and all. The process is repeated a couple more times. Students receive instant

feedback towards the progress they make in memorization. As students become familiar with

“Go Tell Aunt Rhodie,” students can apply different styles or moods to the piece present it in a

different way; this is a precursor to theme and variations addressed in the next unit. This

improvisation activity lasts 10-20 minutes. The teacher can write different styles, emotions, or

ideas on index cards. The teacher will hold up a card and give students a minute or two to create

the same music within context of the card. Students can eventually add ideas to the stack of ideas


for future improvisation lesson activities. The final part of the lesson is a live improvisation

activity. Students will play a rhythm over four beats (or a single measure in four quarter time)

one after each other. Students are creating a song by adding one measure each. Students are

creating rhythms on the spot as well as using listening skills to know when it’s their time to play.

This activity can include up to two to three notes as students become comfortable. The key is to

start simple. The teacher can assess rhythmic phrases, tone production, and correct entrances,

which is a performance skill of knowing when to play and when not to play. This is also an

activity that does not require students to read notation.

The final sample lesson plan is a lesson on theme and variations. Lesson one starts with

something most students know, Twinkle, Twinkle Little Star (TTLS). Students sing the first

phrase making sure they sing with full characteristic sounds. Students are asked to find ways to

make the phrase a little different by creating variety and interest. In groups or individually,

students explore through singing ways they can make TTLS a little different. Students give

suggestions on how to change the music. Once they have ideas from which to work, they can

apply these ideas to their instrument and use Line 31 as a guide for notes. Students are given

ample time to explore sounds in addition to creating new ways TTLS can be played. Students

have the guide of the notes to play, but they can completely create their own arrangement.

Students begin creating their variations through improvisation. Eventually these improvised

variations become part of a class composition on a theme and variation, which could be

performed on a concert at a subsequent date. The lesson concludes with listening to a

professional recording a theme and variations of the same melody. Throughout this lesson the

students are given the rubric that assesses style and variation. Students need to know that they

need to create a clear style for their variation. Creativity is also important to this activity and they


should be encouraged to be as creative as possible while maintaining a consistent style. Lesson

one will take 20-30 minutes of class. Time is necessary for students to go through the creative

process.

In the following units, learning, and lesson plans, the improvisation activities are

highlighted in bold.


Unit 1: Sound Exploration


Lockhart Beginner Band Curricular Units

Unit 1: Sound Exploration

1

August 24 -‐ September 11, 2015 Time Frame: 3 weeks (14 days) Beginner Grades: 6, 7, and 8 Special Dates: September 9: Labor Day Major Performances: None Terminology: Posture, Articulation, Mini Instrument, Instrument Parts, Staff, Clefs, Musical Alphabet, Note Values, Unit Overview: The sound and exploration unit is the foundation unit of the curricular unit. Students will learn how to produce sounds on their own instrument. Many opportunities will be provided for students to explore sounds through vocal manipulation and instrumental manipulation. Students will work toward mastery of performance skills, such as articulation, through improvisational activities. Students will demonstrate mastery of those skills by selected lines out of the band methods book Essential Elements for Band. Students learn correct assembly and maintenance of their instruments. National Standards: • Common Anchor #1: Compose and improvise melodic and rhythmic ideas or motives that reflect characteristic(s) of music or text(s) studied in rehearsal. (MU: Cr1.1.E.5a)


2

• Common Anchor #2: Select and develop draft melodic and rhythmic ideas or motives that demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal (MU: Cr2.1.E.5a)

• Common Anchor #3: Share personally -‐ developed melodic and rhythmic ideas or motives – individually or as an ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal (MU: Cr3.2.E.5a)

• Common Anchor #4: Select varied repertoire to study based on interest, music reading skills (where appropriate), an understanding of the structure of the music, context, and the technical skill of the individual or ensemble (MU: Pr4.1.E.5a)

TEKS: • Describe tonal and rhythmic musical elements using standard terminology such as instrumentation, voicing, intervals, solfège, absolute note names, and rhythmic values, and counting systems (FMLA-‐B)

• Describe musical elements of rhythms, including whole notes, half notes, quarter notes, paired and single eighth


Unit 1: Sound Exploration (continued)


3

notes, sixteenth notes, corresponding rests, and meter, including 2/4, 3/4, and 4/4, using standard variations (FMLA-‐C)

• Explore health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice (FMLA-‐E)

• Identify music symbols and terms referring to notation, including repeats sign; dynamics, including crescendo, decrescendo, piano, and forte; tempi, including accelerando, ritardando, moderato, and allegro; and articulations, including staccato and legato (FMLV-‐A)

• Notate meter, rhythm, pitch, and dynamics using standard symbols in a handwritten or computer-‐generated format (FMLV-‐B)

• Create rhythmic phrases using known rhythms and melodic phrases using known pitches at an appropriate level of difficulty with an established system of notation (FMLV-‐C)

• Read music notation using appropriate cognitive and kinesthetic responses such as inner hearing, silent fingering, shadow bowing, or Curwen hand signs (FMLV-‐D)




4

• Demonstrate, alone and in groups, characteristic vocal or instrument timbre (CE-‐A)

• Perform music alone and in groups, demonstrating appropriate physical fundament techniques such as hand position, bowing, embouchure, articulation, and posture (CE-‐B)

• Create rhythmic phrases using known rhythms and melodic phrases using known pitches at an appropriate level of difficulty (CE-‐G)

• Identify relationships of music concepts to other academic disciplines such as the relationship between music and mathematics, literature, history, and the sciences (HCR-‐C)

Essential Questions • How is sound created? • Which three components must be engaged to produce a characteristic sound?

• Why do we have notation? • Why must we take care of our instruments? • What is the purpose of articulation?




5

The students will understand… • Vibrations through air (wind instruments) or touch (percussion) create sound.

• A characteristic sound is created through a combination of air support, posture, embouchure, and grip.

• Music can be learned by sight as well as by ear. • Proper care and maintenance of an instrument ensures the instrument will function properly to create characteristic sounds.

Students will know… • Proper instrument assembly and care. • The musical alphabet • Note values of whole, half, and quarter notes and their respective rests

• The meanings of musical symbols. Students will be able to… • Notate music notes and symbols on and off a staff. • Articulate clearly while playing music.






6

Assessment (evidence of learning) • Students will apply the musical alphabet to note reading by playing music lines out of Essential Elements.

• Students will demonstrate proper instrument assembly through verbal and written instruction.

• Students will play specified musical phrases from Essential Elements




Learning Plan

Lesson 1

1)Drop the needle: song recognition.

2) Class discussion on past musical experiences. Students

already have musical knowledge to bring to the beginner

band setting.

3) Go over course goals, objectives, and syllabus.

4) Introduce musical alphabet and staff through imitation.

5) Identify instrument and instrument parts

6) Discuss sounds in relation to song recognition.

Lesson 2

1) Review musical alphabet and staff.

2) Clef Chant.

3) Breathe and articulate!

4) Review instrument parts through assembly.

5) Care and maintenance.




Learning Plan

Lesson 3

1) Favorite songs list.

2)We got the beat.

3)Review staff, clef, and alphabet.

4) Review care and maintenance.

5) Review breathing and articulation. (4, 2, 1)

6)Mini-‐instrument and embouchure.

7) Assembly and instrument carriage.

Lesson 4

1) Submit song for list.

2) Review clef.

3) Breathe and articulate. (4, 2, 1)

4)Mini-‐instrument, embouchure, first sounds.

5) Concert F, Eb, and D.




Learning Plan

1

Lesson 5*

1)We got the beat.

2)Review clef, and alphabet.

3) Review breathing and articulation. (4, 2, 1)



6)Concert F, Eb, D.

a. Improvise rhythmic phrases on unison pitch.

b. Improvise melody using newly learned pitches.

Lesson 6

1) Clef quiz.

2) Breathe and articulate. (4, 2, 1)

3)Mini-‐instrument, embouchure, first sounds.

4) Concert F, Eb, and D.

5)Introduce C, and Bb.




Learning Plan

2

a. Improvise rhythmic phrases on unison pitch.

b. Improvise melody using newly learned pitches.

Lesson 7

1)We got the beat: Rhythms songs.


3) Full instrument: Bb penta-‐scale

4)Rhythm songs on two pitches.

Lesson 8

1) Song List Day.


3) Full instrument: Bb penta-‐scale

4)Rhythm songs on two pitches.

*Lesson Plan 5 is located at the end of the unit.


Sound Exploration Sample Lesson Plan 5

Lesson Plan 1: Sound Exploration

Sample Lesson Plan

Unit 1: Lesson 5

1

Age: First year students in 6th, 7th, 8th

Goal:

• Students will demonstrate mastery of steady beat.

• Students will improvise new versions of chants.

• Students will review the musical alphabet.

• Students review and demonstrate instrument assembly.

• Students explore sounds created on mini instruments and

full instruments.

• Students will improvise rhythmic and melodic phrases

using newly learned notes.

Materials

• Sounds system

• 3-‐4 songs of various styles and metronome

• Instruments in cases

• Essential Elements, book 1



Sample Lesson Plan (continued)

Unit 1: Lesson 5

2

• Music stands and chairs

Procedures

1)Review we got the beat.

a. Students sit correctly and tap their foot to the beat

of song chosen by students or teacher.

b. Teacher claps rhythm over four beats.

c. Students clap rhythm created by teacher while

tapping a steady beat.

d. Students lead we got the beat.

e. Students create their own rhythm as a group and

individually.

f. Students perform created rhythms in groups and

individually.

g. Students notate rhythm using correct symbols.

2)Chant lines and spaces of the clefs.




Unit 1: Lesson 5

3

a. In groups of 3 or 4, students choose style/genre

for chant.

b. Students create lines and spaces chant in correct

style.

c. Group performances of chants in class.

3) Students say the musical alphabet ascending and

descending.

a. Students keep time, pat their lap, and clearly say the

letters.

b. Students perform in groups and individually for

assessment.

4) Breathing exercises

a. Students breathe in and out for designated lengths for

proper breathing.

b. Students lead the exercises while the teacher gives

feedback to individuals and the group.




Unit 1: Lesson 5

4


a. Remind students that cases are placed on the floor

with latches facing the correctly before opening the

case.

b. Call on individuals to walk the class through the

assembly process while assessing student progress.

c. Students are given time to explore through guided

practice what it feels like to have correct embouchure

and to hear the sounds created.

d. Students verbally describe in their own words the

sounds made by individuals. Each day the students

will refine their sounds and their descriptors through

discussion.


a. Students discuss with a partner how to assemble the

instrument.




Unit 1: Lesson 5

5

b. Students will give peer feedback and assessment.

7) Concert F, Eb, D.

a. The teacher will model how to position each note.

b. Students will demonstrate correct note positions.

c. Students will sing the note while positioning.

d. Students will play the notes.

e. Students will explore and create various rhythms

with correct articulation on single pitches of their

choice (F, Eb, D).

f. Improvisation activity: rhythmic phrases

i. Students choose F, Eb, or D.

ii. Students may create any rhythm as long as

they use correct articulation.

iii. Students will spend 3 minutes to choose

phrase they are satisfied with.

iv. Students perform their phrase in class.




Unit 1: Lesson 5

6

g. Improvisation activity: melodic phrases

i. Students choose 1 of 3 previously created

rhythmic phrases.

ii. Students explore melodies based on D, Eb,

and F.

iii. Students will spend 5-‐7 minutes to create

their melodic phrases. The only guideline is

that the phrases must start and stop on the

same pitch.

iv. Students perform their melodic phrases in

class.

h. Students will perform lines 1-‐5 in class.

i. Lines 6 will be reviewed at home.




Unit 1: Lesson 5

7

Assessment

• Assessment for learning. Use criterion-‐referenced

assessment to help students learn. Assessment may or may

not be taken for a grade.

o Assess if students can identify the beat by tapping

their foot.

o Assess listening skills. Are students imitating rhythms

correctly through call and response?

o Visually and aurally assess if students understand

lines and spaces of clef through chant performance.

o Can the students improvise rhythmic phrases?

o Can the students improvise melodic phrases?




Unit 1: Lesson 5

8

Differentiation/Accommodations

Differentiated learning will be based on individual students

needs through teacher observations and interactions with

students. IEPs and 504 plans will be followed closely for those

students that need services provided for them.

Aural imitation is based on May (2003). Improvisation activities

are based on Azzara (1993), Bitz (1998), Hickey (2012), Volz

(2005). Assessments are based on Barrett (2005), Brophy

(2015), Riveire (2006), Russel & Austin (2010), Scott (2012).




Unit 1: Lesson 5

9

Assessment Rubric

Rhythmic Phrase 1. Beginning: articulation is consistent for less than 50% of the notes performed 2. Development: articulation is consistent for 50%-‐79% of the notes performed 3. Competent: articulation is consistent for 80%-‐99% of the notes performed 4. Outstanding: articulation is consistent for 100% of the notes performed Assessment for learning: students receive feedback for continuous improvement. Rhythmic improvisation activities will continue throughout the units as students learn new notes, articulations, and expressions.


Unit 2: Marching Bands


1

September 14 -‐ September 25, 2015 Time Frame: 2 weeks (10 days) Beginner Grades: 6, 7, 8 Special Dates: None Major Performances: September 25: Band-‐O-‐Rama Terminology: Marches, Marching Band, Penta-‐scale, and Ties Unit Overview: The marching band unit covers the marching band today and the students’ experiences with marching band. Students will learn about the history of marching bands. Students will be exposed to marches and composers that wrote marches. At the end of the unit students will perform with the high school marching band at a football game. National Standards: • Common Anchor #1: Compose and improvise melodic and rhythmic ideas or motives that reflect characteristic(s) of music or text(s) studied in rehearsal. (MU: Cr1.1.E.5a)



Unit 2: Marching Bands


2

• Common Anchor #3: Share personally -‐ developed melodic and rhythmic ideas or motives – individually or as an ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal (MU: Cr3.2.E.5a)


• Common Anchor #4: Demonstrate, using music reading skills where appropriate, how knowledge of formal aspects in musical works inform prepared or improvised performances. (MU: Pr4.2.E.5a)

• Common Anchor #7: Identify reasons for selecting music based on characteristics found in the music, connection to interest, and purpose or context. (MU: Re7.1.E.5a)

• Common Anchor #7: Identify how knowledge of context and the use of repetition, similarities, and contrasts inform the response to music. (MU: Re7.2.E.5a)


Unit 2: Marching Bands (continued)


3

TEKS: • Experience and explore exemplary music examples using technology and available live performances (FMLA-‐A)

• Describe tonal and rhythmic musical elements using standard terminology such as instrumentation, voicing, intervals, solfège, absolute note names, and rhythmic values, and counting systems (FMLA-‐B)

• Describe musical elements of rhythms, including whole notes, half notes, quarter notes, paired and single eighth notes, sixteenth notes, corresponding rests, and meter, including 2/4, 3/4, and 4/4, using standard variations (FMLA-‐C)


• Identify music symbols and terms referring to notation, including repeats sign; dynamics, including crescendo, decrescendo, piano, and forte; tempi, including accelerando, ritardando, moderato, and allegro; and articulations, including staccato and legato (FMLV-‐A)




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• Perform independently and expressively, with accurate intonation and rhythm, developing fundamental skills and appropriate solo, small ensemble, and large ensemble performance techniques (CE-‐C)




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• Create rhythmic phrases using known rhythms and melodic phrases using known pitches at an appropriate level of difficulty (CE-‐G)

• Perform music representative of diverse cultures, including American and Texas heritage (HCR-‐A)

• Describe written and aurally presented music representative of diverse styles, periods, and cultures (HCR-‐B)


• Demonstrate appropriate concert and stage etiquette as an informed, actively involved listener and performer during live and recorded performances in a variety of setting (CER-‐A)

Essential Questions • Why are there marching bands? • From which background do marching bands come? • How have marching bands changed over time?






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The students will understand… • Marches are one style of music. Soldiers would step in time to marches.

• Tie makes musical sounds longer. Students will know… • Marching bands come from a military background and today there are many styles of marching bands.

• The differences between marches and other styles of music.

• Ties increase note lengths. Students will be able to… • Step in time to a march • Improvise and compose pieces incorporating ties.

Assessment (evidence of learning) • Students will create and compose music that correctly uses ties. They may use notes and rhythms they know.

• Students will perform individually and as a group #18 “Go Tell Aunt Rhodie” from Essential Elements in marching band setting.


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• Students will present information on marching bands and military bands through discussion and written format.






Learning Plan

Lesson 1

1) Introduce marching band through video clips and

recordings.

2) Class discussion on experiences with marching bands.

3) Explain their first performance will be with the high school

marching band.

4) Introduce performance songs.

5) Instrument assembly/review notes.

6)Essential Elements #7-‐11

Lesson 2

1) History of marching bands.

2) Review notes.

3) Review Essential Elements #7-‐11

4) Lines 12-‐14

5)Disassembly, care and maintenance.




Learning Plan

Lesson 3

1)History of marching bands continued.

2) Bb penta-‐scale ascending and descending.

3) Review Essential Elements #12-‐14

4) Lines 15-‐18

5)Song on the go!

Lesson 4*

1) The world of DCI

2) Bb penta-‐scale ascending and descending.

3) Performance piece #18 “Go Tell Aunt Rhodie”

a. Play piece in a different style!

4)Song on the go!

a. Live improvisation in the moment.



Marching Bands Sample Lesson Plan 4

Lesson Plan 2: Marching Bands

Sample Lesson Plan

Unit 2: Lesson 4

1


Goal:

• Students will learn about Drum Corp International and

how to be a part of the organization through video clips

and a guest speaker.

• Students will demonstrate self-‐reliance and self-‐

assessment.

• Students learn and practice memorization techniques.

• Students prepare for their first performance.

• Students explore rhythms through improvisation.

• Student will improvise live.

Materials

• Projector and screen

• DCI video clips





Unit 2: Lesson 4

2


Procedures

1)Marching band music plays as students enter.

2) Play vide clip of DCI that has interviews, show excerpts,

rehearsal excerpts.

a. Guest speaker: high school student in DCI.

b. Open discussion about DCI and joining.

3) Students assemble instruments.

a. Students may now warm up on long tones prior to full

group warm up.

b. Students are now able to self-‐assess their playing:

reeds working, correct posture, characteristic tones.

4) Students choose penta-‐scale warm-‐up (ascending,

descending, in the middle.

5) Students review “Go Tell Aunt Rhodie”.

a. Students perform for each other in groups and




Unit 2: Lesson 4

3

individually.

b. Students begin memorization process.

i. Turn the stand around game

c. Students spend a minute creating their own

adaptation of the piece in a style presented by the

teacher (ex. legato, hip-‐hop, sad, angry).

d. Students then perform the pieces in class.

6)Students create a rhythm over 4 beats on a single

penta-‐scale note of their choice. Students then play

their rhythm one after another to create a song.

a. The teacher picks a CD track for students to play

along.

b. Each student creates a rhythm over four beats in

succession. Students must start their rhythm on

beat 1.

c. Students are improvising rhythmically in real




Unit 2: Lesson 4

4

time.

d. When student are comfortable they can choose a

rhythm and then apply 2-‐3 pitches from the

penta-‐scale. Students can continue adding notes

throughout the year as notes are learned.

Eventually students can improvise using notes

based on new scales learned.

Assessment




o Assess if students know when to start playing.

o Assess student articulation.

o Can the students improvise a phrase using 2-‐3

pitches?




Unit 2: Lesson 4

5






Improvisation activities are based on Azzara (1993), Bitz

(1998), Hickey (2012), Volz (2005). Assessments are based on

Barrett (2005), Brophy (2015), Riveire (2006), Russel & Austin

(2010), Scott (2012).




Unit 2: Lesson 4

6

Assessment Rubric

Entrance (Counting) 0. Student did not play in time on beat 1. 1. Student played in time on beat 1. Rhythmic Phrase 1. Beginning: articulation is consistent for less than 50% of the notes performed 2. Development: articulation is consistent for 50%-‐79% of the notes performed 3. Competent: articulation is consistent for 80%-‐99% of the notes performed 4. Outstanding: articulation is consistent for 100% of the notes performed Tone Production 1. Beginning: Less than 50% of the notes played with characteristic tone. 2. Development: 50-‐79%% of the notes played with characteristic tone. 3. Competent: 80-‐99% of the notes played with characteristic tone. 4. Outstanding: 100% of the notes played with characteristic tone. Assessment for learning: students receive feedback for continuous improvement. Rhythmic improvisation activities will continue throughout the units as students learn new notes, scales, articulations, and expressions. Student performance skills are also assessed throughout the improvisation activity.


Unit 3: Musical Forms



Unit 3: Musical Forms

1

September 28 – October 16, 2015 Time Frame: 3 weeks (15 days) Beginner Grades: 6, 7, 8 Special Dates: None Major Performances: None Terminology: Musical Form, Rondo, Binary, Ternary, Unit Overview: The musical form unit introduces binary, ternary, rondo, and theme and variations. Examples of those forms presented to the students. Students will have the opportunity to explore those forms and compose songs, individually and in collaboratively, within those guides. National Standards: • Common Anchor #1: Compose and improvise melodic and rhythmic ideas or motives that reflect characteristic(s) of music or text(s) studied in rehearsal. (MU: Cr1.1.E.5a)


• Common Anchor #2: Preserve draft compositions and improvisations through standard notation and audio


2

recording (MU: Cr2.1.E.5b) • Common Anchor #3: Evaluate and refine draft compositions and improvisations based on knowledge, skill, and teacher -‐ provided criteria. (MU: Cr3.1.E.5a)

• Common Anchor #3: Share personally -‐ developed melodic and rhythmic ideas or motives – individually or as an ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal (MU:Cr3.2.E.5a)


• Common Anchor #4: Demonstrate, using music reading skills where appropriate, how knowledge of formal aspects in musical works inform prepared or improvised performances. (MU: Pr4.2.E.5a)

• Common Anchor #7: Identify reasons for selecting music based on characteristics found in the music, connection to interest, and purpose or context. (MU: Re7.1.E.5a)


Unit 3: Musical Form (continued)


3

• Common Anchor #7: Identify how knowledge of context and the use of repetition, similarities, and contrasts inform the response to music. (MU: Re7.2.E.5a)

TEKS: • Experience and explore exemplary music examples using technology and available live performances (FMLA-‐A)

• Describe tonal and rhythmic musical elements using standard terminology such as instrumentation, voicing, intervals, solfège, absolute note names, and rhythmic values, and counting systems (FMLA-‐B)

• Identify musical forms presented aurally and through music notation such as binary, ternary, phrasing, rondo, and theme and variations






4





• Perform independently and expressively, with accurate intonation and rhythm, developing fundamental skills and appropriate solo, small ensemble, and large ensemble performance techniques (CE-‐C)

• Perform independently and expressively a varied repertoire of music representing various styles and cultures (CE-‐D)

• Create rhythmic phrases using known rhythms and melodic phrases using known pitches at an appropriate




5

level of difficulty (CE-‐G) • Perform music representative of diverse cultures, including American and Texas heritage (HCR-‐A)

• Describe written and aurally presented music representative of diverse styles, periods, and cultures (HCR-‐B)


• Demonstrate appropriate concert and stage etiquette as an informed, actively involved listener and performer during live and recorded performances in a variety of setting (CER-‐A)

Essential Questions • Why is musical form important? • Can musical ideas be written in different forms?

The students will understand… • A musical idea can be applied to different forms. • Musical form is a guide or outline for music. • The differences between rondo, binary, and ternary form






6

Students will know… • Rondo form has a repeating A section with other sections being different.

• Theme and variations can be rondos. • The differences between musical forms.

Students will be able to… • Step in time to a march • Improvise and compose a rondo • Identify rondo, binary, ternary, march forms

Assessment (evidence of learning) • Students will create and compose a rondo (ABACA) using the Bb pentatonic scale and rhythms they know.

• Students will identify the musical forms of excerpts aurally.




Learning Plan

1

Lesson 1*

1) Theme and variation model: Twinkle, Twinkle Little Star

2)Discuss how changing rhythms and styles create

variations on a main idea or theme.

3)Students explore creating their own variation of TTLS

a. Students apply previous knowledge of styles,

articulations, and rhythms to create a variation.

b. Students will add their variation to the full class

composition.

4) Line 31: A Mozart Melody (TTLS).

5) Play example of Theme and Variations.





Learning Plan

2

Lesson 2

1)Rondo: TTLS continued.

2) Students use penta-‐scale to create their own phrases

completely different from TTLS.

3) Play an example of a rondo.

Lesson 3 & 4

1)Students choose to create a theme and variations or a

rondo. Students will work in groups.

2)Teacher assists and assesses groups, making sure they

are on task.

Lesson 5

1) In-‐class performances of compositions.


Musical Forms Sample Lesson Plan 1

Lesson Plan 3: Musical Forms

Sample Lesson Plan

Unit 2: Lesson 1

1


Goal:

• Students use their voices to improvise.

• Students create their own variations.

Materials

• Sounds System



Procedures

1) Students sing Twinkle, Twinkle Little Star (first phrase)

2)Discussion: How can we change it up a little to make it

sound different?

a. Students have the opportunity to sing on their

own to come up with suggested ideas.

b. Students volunteer ideas.




Unit 2: Lesson 1

2

3)Students apply ideas to their instrument using Line 31

as a guide.

4)Students create a variation. The teacher plays the

theme.

5) Students hear examples of themes and variations.

Assessment




• Assessment of learning. Use norm-‐referenced or criterion-‐

referenced assessment. Grades may be taken for a grade at

the end of the unit as students evaluate and refine their

variations for a final performance.

o Assess if students applied consistent style throughout

variation.




Unit 2: Lesson 1

3

• Can the students compose a variation by incorporating

different rhythms and styles?

Assessment Rubric

Style 1. Beginning: Style is rarely consistent and not clear throughout the variation. 2. Development: Style is mostly consistent and sometimes clear throughout the variation. 3. Competent: Style is consistent and clear throughout the variation. Variation 1. Beginning: Variation has no creativity and is not related to the theme. 2. Development: Variation has little creativity and slightly related to the theme. 3. Competent: Variation has mostly creative and related to the theme. 4. Outstanding: Variation is very creative and closely related to the theme.

Assessment for learning: students receive feedback for continuous improvement. Improvising variations allows students to be creative while working within structured guidelines to foster individual creativity.




Unit 2: Lesson 1

4






Creative Product These variations can be combined to create a full class composition, which can be incorporated on a concert.

Improvisation activities are based on Azzara (1993), Bitz

(1998), Hickey (2012), Volz (2005). Assessments are based on

Barrett (2005), Brophy (2015), Riveire (2006), Russell & Austin

(2010), Scott (2012). Creative product is based on Webster

(2002).


References

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http://doi.org/10.2307/3345508

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curriculum. Music Educators Journal, 91(4), 21–25. Retrieved from

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Beckstead, D. (2013). Improvisation: Thinking and playing music. Music Educators Journal,

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grade children. Journal of Research in Music Education, 58(3), 219–239.

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Conway, C. (2008). The implementation of the national standards in music education: Capturing

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York, NY: Oxford.

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