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Northern State University

Professional Semester

Music Teacher Work Sample

COVER PAGE

Candidate NameDelayna LaBelle

Candidate Phone Number(605) 593-3453

Candidate ID Number7100054

Name of SchoolLangford Area School

Subject/Content Area of UnitMusic (Instrumental, Vocal, Elementary)

Grade LevelK-12

Date SubmittedDecember 2, 2015

URL Online Portfoliohttp://delaynalabellemusic.weebly.com/

I understand that obtaining, or attempting to obtain, a passing grade on a TWS by falsification or misrepresentation may result in a failing grade in a course or expulsion from the teacher education program.

Signature of Candidate Submitting TWS Delayna LaBelle (electronic submission)

INSTRUCTIONS

Attach a separate paper for each of the following using the headings provided. An electronic copy of your completed TWS must be submitted to the Office of Field Experiences at [email protected]

I. Contextual Information and Learning Environment (due week 2)

Community and School District Information

School is located in north western South Dakota in a rural farming community. The town population is just under three hundred people. The closest town with a grocery store is seventeen miles away. The closest town with a population over 25,000 is over forty miles away. Students often help their families on farms and in corn and soy bean fields. Many parents work in neighboring towns which can lead to lack of supervision on students outside of school.

School and Classroom Information

The school houses PK-12 students in one building containing around 180 students total. Pre-kindergarten and kindergarten share a hallway. First grade through sixth grade share a hallway. Seventh grade through twelfth grade share a hallway. Each hallway is on its own schedule. Pre-kindergarten through sixth grade have one classroom per grade level. Seventh through twelfth grade share teachers and change classes based on subject. The high school is a one to one school where every student has a laptop. The classroom I am working in has a Promethium Projector. A parent run music boosters program assists with funding the music program in this school.

Student Information

Most students come from a household where there are two parents. Many students have siblings in the school. According to the 2014 fall census enrollment, 48.7 percent of elementary students are on free and reduced lunches, 27.5 percent of middle school students, and 29.6 percent of high school students. Over 90 percent of the school is white. Middle and high school students are often in more than one activity outside of the school during the school year. Almost every student from grade 7 to 12 is in a music ensemble. Students with special needs in the classroom include Downs syndrome, ADD/ADHD, Autism, and students who are undiagnosed or in the process of being diagnosed.

Instructional Implications

Instructional implications for this school include a focus on performance in the music program. Even from the youngest grades in music classes, music reading and performance preparation are at the center of the class. Instruments that elementary music students have access to include small percussion toys, recorders, and BoomWackers. BoomWackers and recorders are in a unit later in the year and I will probably not use them in my classes. Although there is a Promethium Projector, it is a new technology in this room and cannot be relied on. Elementary music classes are taught with two grades at once. First and second grade are together, third and forth grade, and fifth and sixth grade. This provides a challenge for catering a lesson to both grades with the understanding that the younger grade will need more help and the older grade might have had the information before.

II. Setting Goals (due week 2)

I. Knowledge of Self as an Individual

Goal: I will not allow personal stresses to interfere with my energy in the classroom.

Procedure: I will accomplish this goal by creating my own lesson plans when permitted to do so, giving myself a feeling of power. I will play trombone periodically during planning periods to further my musicianship and help to stabilize my mood.

Evaluation: I will evaluate this goal by monitoring my stress and anxiety related health concerns such as frequent afternoon head aches and stomach aches.

Goal: I will not stress out about the amount of work I need to do.

Procedure: I will make lists of what I need to do and stick to them. I will work on projects even if I do not feel like it. When I get tired I will take a nap then keep working. I will say, “no” to projects when I do not have enough time.

Evaluation: I will make a check list of all the work have completed and compare it to the list of work I still need to do.

II. Knowledge of Content

Goal: I will rehearse a choir.

Procedure: I will accomplish this goal by rehearsing the choir on days when my cooperating teacher is gone. I will plan the rehearsals down to the minute in advance with a classmate who has vocal emphasis.

Evaluation: I will evaluate this goal by reflecting on the sound and attitude of the choir at the end of the rehearsal in relation to how the choir typically sounds.

Goal: I will accompany elementary music classes when they are singing simple songs.

Procedure: I will practice piano music before class multiple times to make sure that I can sing and play piano. I will enlist the help of my cooperating teacher if I cannot lead the class and play piano at the same time so she can lead the students and I can play piano.

Evaluation: I will evaluate this goal based on if I am actually able to play piano while students are singing or not.

III. Knowledge of the Learner

Goal: I will discover what makes classes interesting to students and how to implement techniques that merge what students are interested in with what I am required to teach.

Procedure: I will accomplish this goal by asking students what type of music they are interested in and using music they like to teach concepts such as form, style, vocal technique, and pulse.

Evaluation: I will evaluate this goal by observing how students react to lesson plans I have created incorporating music they are interested in.

Goal: I will figure out how to effectively teach general music classes with multiple grades in the room.

Procedure: I will accomplish this goal by giving my students opportunities to help each other. This will give the younger students extra help and the older students extra practice explaining the content. I will also give students the opportunity to work either with each other or work with me so students who need added help can get it and students who understand the material can move on to harder material.

Evaluation: I will evaluate this goal by looking at my students’ grades on assignments and monitoring frustration level in younger students.

IV. Knowledge of Pedagogy

Goal: I will find another way to start beginning instrumentalists other than, or in addition to, the standard band method book.

Procedure: I will accomplish this goal by starting brass players by teaching them how to change from high to low, what a proper sound is, and teaching some notes by rote.

Evaluation: I will evaluate this goal by monitoring the progress of my beginning brass students in relation to beginning woodwind students. Woodwind students are taught using the beginning band method book by my cooperating teacher.

Goal: I will explore unit lesson plan ideas for elementary music and develop goals/benchmarks that I want my future students to meet.

Procedure: I will accomplish this goal by observing what is done in elementary music and how that relates to the goals of the program.

Evaluation: I will evaluate this goal by writing benchmarks for my ideal general music program and what I want the outcome for my program to be.

V. Knowledge of Self as a Teacher and Member of a Learning Community

Goal: I will figure out which teachers teach in which room in the school.

Procedure: I will map out the school including subject area, grade level, and teacher.

Evaluation: I will evaluate this goal by quizzing myself regarding what goes on in each room as I walk around the school.

Goal: I will align at least one lesson in each class I teach with something they are learning in another class.

Procedure: I will accomplish this goal by communicating with classroom teachers about what they are learning in English and social science classes.

Evaluation: I will evaluate this goal by writing a lesson plan that aligns with another subject area and help my students to understand the connection.

III. Individual Student Information- Case Study (due week 6)

(Music student teachers must do 2 … one at each level)

Secondary Level Case Study

Description of Student/Background Information

Student is a senior in high school and is eighteen years old. He moved from Charleston, West Virginia at the beginning of the school year with his fifteen year-old sister, nine year-old brother, step father, and mother. Student has suffered at least six concussions from sports. Most of the concussions where sustained at his previous school. Because of the number of concussions he had, he was no longer allowed to play football at this school even though he played in the beginning of the season. In classes, student puts forth little effort to complete assignments but has a strong personality and is often the center of attention for his peer group. This attention comes from frequent, well-placed comments that get the entire class laughing and off topic.

Most days after school and on the weekends, this student can be found working. He has the mindset that he can work and make money now, so he does not need school to get a job. His parents are not involved in the academic lives of any of their children. This student is failing or barely passing most of his classes.

Justification for Choosing Student

I chose this student because, despite his academic challenges, he is very musical. He does not know how to read music but can listen to a song then play it on guitar or piano. He is self-taught guitar and is currently using YouTube to learn piano. During his free periods throughout the day, he spends time in the music office trying to figure out how to play piano. He is a self-directed learner but does not respond well to help or advice. If an instructor interferes while he is trying to figure something out, he immediately loses interest in the topic.

This student is in music appreciation and choir. He takes little interest in either class despite the fact that he is highly interest in piano and guitar. Sometimes, he seems to pretend that he is not interested in a subject to hide that fact that he does not have the understanding that he wishes he had. He is disconnected from academics and normally finds something else to do during classes other than what the teacher wants him to do. He frequently comes to class ten to fifteen minutes late.

Identification of Main Issues

This student displays a classic attitude that he does not need school to be successful in life. Although he is intelligent in mechanical ways and has a vibrant personality, he is lacking writing skills and does not attempt tasks that he is not interested in. He has little sense of responsibility to his grades. One example of this lack of responsibility was in a test that was given in music appreciation. When given a rubric for part of a test, student disregards the requirements. When the test is given back and the student’s grade reflects this, student simply says, “Yeah, I read it but I didn’t think you were serious”. This general lack of attention to academic requirements could potentially make it difficult for his future. His attitude is functional for the time being but I worry that he will not be able to rise through the hierarchy of a company if he does not strengthen his academic skills.

Student is also musical despite the fact that he does not know how to read music. In some ways, this does not bother me. He cares about music and practices guitar and piano. The issue begins in choir where he is disengaged and adds disruption to the rehearsal. He also does not respond well to suggestions concerning behavior and attitude.

Analysis of Issues

From what I have observed, this student’s main issue is his lack of academic knowledge and sense of responsibility. Because this student is failing many of his classes, there is a chance he will not graduate if the situation does not improve during the next semester. If he fails to graduate this spring, I doubt he will try to further his education. Not having a high school diploma will restrict his future opportunities.

Although he has strong musical skills, his inability to read music restricts his ability to participate in formal ensembles. He is trying to learn but does not have the fundamental knowledge needed to read music and resists help from myself and the cooperating teacher.

Solutions and Strategies to Help Student Reach Full Potential

To help student understand why school is necessary, I could ask this student about his future plans and what he wants to do with his life. Hopefully, when I know these plans I will help him see how the things that he is learning to do in school relate to what he wants to do later in life. I have offered extra help to the student. He told me that his old school was more like a “baby-sitting service”. With this view of education already established in him, it is no mystery that he does not understand the value of education. I have been breaking tasks down into step-by-step directions to help him understand what he needs to do in order to complete assignments for me. After he failed the first test, I explained to him that all he needed to do was follow the directions I clearly laid out and come to me for help when he needs it. He is reluctant but has become more willing to work with me as he learns that I want to help him, not fail him.

References:

Cooperating Teacher

Student

Student’s Younger Brother

Elementary Level Case Study

Description of Student/Background Information

Student is a first grade student and is seven years old. She was held back in kindergarten because of social difficulties and lack of understanding of material. This student becomes easily over-whelmed when surrounded by other students. These feelings cause her to lash out physically at classmates. Some students have learned to give her space but others still struggle with concept. She lives with her father, grandmother, and sixteen year old sister. Her sister challenges authority but not far beyond what is expected of a girl her age. Because of this student’s social issues, she is often removed from the classroom and spends most of her day with the special education teacher. In first and second grade music, this student must be seated next to an adult to help maintain space from her peers.

Justification for Choosing Student

I chose this student because she manages to have a confrontation with another student anytime a teacher’s back is turned. My cooperating teacher and I spent a large amount of time speaking to the special education teacher concerning this student and how to best help her stay in the classroom without being a disruption to other students.

The first time my university supervisor came to observe me, this student started a physical confrontation with another student within seconds of walking in the classroom. At that point, I did not exactly know what to do so I just walked the student to my cooperating teacher. My cooperating teacher was kind enough to sit by this student throughout the class so I could focus on teaching without being worried that someone would get hurt.

There were several times where I could hear a student crying in the hallway while I was between classes. Most of the time, it was this student. I felt sorry for her because I can identify with a lot of her challenges. Many of the situations she got herself in were similar to the situations I found myself in at that age.

Identification of Main Issues

This student’s biggest challenge is keeping herself calm in the classroom. There are times when she becomes over-whelmed or excited and responds in a physically violent way. Often times coming into and leaving the classroom are when an incident is most likely to occur. Once she is seated in class, she is normally well behaved unless another student gets too close to her.

She also will have outbursts during class. Together with my cooperating teacher and the special education teacher, we have learned to teach the class to completely ignore her anytime she becomes disruptive. After one class where this student became particularly loud, the special education teacher said that was the best thing that could have happened. My cooperating teacher and I keep the rest of the student focused on us while the special education teacher supervised this student’s tantrum. She got particularly loud at one point but then quieted down once she realized that no one was paying attention to her. The class response to her tantrum was helpful even though there are still teachers who give her attention when she throws a fit.

Analysis of Issues

From what I have observed, this student’s main issue is her lack of knowledge of how to respond to social situations. Despite being in her third year of school, she still does not understand some of the basic rules for interacting with others in a classroom. This lack of understanding leads to her frustration and out bursts that disrupt the entire class.

Also, this student does not know how to get attention from adults without throwing a tantrum during class. To maintain a calm environment during the first and second grade music class, this student must have an adult beside her helping her to remember classroom rules and giving her positive reinforcement when she displays the desired behavior.

Solutions and Strategies to Help Student Reach Full Potential

Between my cooperating teacher, myself, the special education teacher, this student’s classroom teacher, and a specialist that was brought in to assist the special education teacher, we have come up with some ideas to help this student stay in the music classroom. One of the easier and most effective things we have done to physically hand this student off from one teacher to the next. Because many of the confrontations with other students have taken place at the beginning or end of class, we decided it would be best to specifically greet this student while she was still holding the hand of her classroom teacher then show her exactly where we wanted her to sit. Luckily for us, this student likes to hold a teacher’s hand. We use this to our advantage. By showing her exactly where to sit and taking her to her spot, we can make sure she is away from students that she often has confrontations with. She also knows exactly what to do when she walks in the room.

By teaching the entire class to ignore her outbursts, we have taken away that form of attention for her. When she is quiet, we verbally praise her. She responds well to verbal praise and is learning that is better to be praised than in trouble. My cooperating teacher and I are also lucky enough to have one of us available to sit with her while the other one is teaching. The teacher sitting next to this student helps to remind her of classroom rules such as a good way to get a teacher’s attention or what to do if someone gets too close.

The last thing that we recently started is giving this student a triangle that says, “Wait” on it when she is getting excited and wants attention. The special education teacher is helping her to learn to sit quietly when she is handed the “Wait” triangle. This is a way for any teacher to quickly and quietly acknowledge that this student wants attention. The triangle serves as a promise to this student that she will get attention soon as long as she is quiet.

References:

Cooperating Teacher

Special Education Teacher

Specialist, called in by Special Education Teacher

Classroom Teacher

Classroom Student Teacher

IV. Management and Motivation (due week 4)

Management and Motivation:

Description of classroom environmental factors you observed that affect learning.

High school students are highly affected by a case of the “Mondays.” It seems like every Monday, students are non-responsive and unwilling to try and accomplish any task that is slightly challenging. High school students also do not respond well to trying something different. I will sometimes do something with the choir or band and if it is a little different from what they are used to, they do not put in effort. Elementary and most middle school students are eager to have the experience of someone new teaching their class. Students at this age can easily tell when I disapprove of their behavior and still have the desire to please.

Description of individual student motivation strategies used (e.g., giving choices)

I feel like some students can be motivated by how organized and direct I am. Students know that when I say something, I expect it done. If I give out an assignment, I break it down into what I expect students to do each class period. Students at the high school level respond well to this organization. I have to remember that high schoolers are often tired and need extra time to work on other work or socialize. Taking this need for less structure into consideration, I tend to only explicitly plan half a class period if I just led my students through a specifically challenging set of class periods. Students respect my time when I am teaching if I respect the fact that they have much more going on in life than my class.

Description of group motivation strategies used (e.g., counting backwards, voice level barometer, silent signals).

In two of the elementary classes, there is one student (in each class, two students total) who is high needs and highly disruptive. While working with both the special education teacher and a psychologist, we (my cooperating teacher and I) were instructed to play the concentration game. During the concentration game, one person (during the example it was me) tries to distract the class and the class has to focus on the teacher no matter what. The goal of the game is to have everyone in class focused on the teacher for the given time period during the distraction. The example was thirty seconds. This game helps to refocus the class when one of the high needs students becomes disruptive. This helps the rest of the class to recognize that yes, there is a distraction, but in order to help that person we all need to not give them attention. The students seem to respond well to this game and are eager to get their party.

Describe verbal communication occurring in classroom interactions among students and with the teacher.

Music appreciation for high school seniors is set up in a seminar format. In this class, I can be direct about the expectations I have for my students but I also will sit and talk with them in a relaxed way about music. Given that this class is only six students, I can get to know each student more individually and understand what they are thinking. I often will give students assignments using a jigsaw technique where I divide needed information among students, they research then report back to the class what they found. This is an informal way of getting all of my students involved in the discussion and contributing.

Describe non-verbal communication occurring in classroom interactions among students and with the teacher.

Students at all levels respond well to me silently crossing my arms and putting my finger over my lips to signal them to be quiet. This works well when trying to begin large classes such as the 7th-12th grade band or the high school choir. Students in the 7th-12th grade band and the high school choir respond well to my clapping along to maintain the pulse of a piece we are working on. With elementary students, I utilize the power of mimicry. If I want students to do something, I can often just start doing it and they copy. This works well for anything movement related. The first couple times students struggle with the concept but after I encourage the first couple who mimic the rest of the class catches on rather quickly. In the end, this cuts down on time I would use giving directions because students pay better attention to my body language. No student wants to be the last one to know what is going on. Students avoid this by keeping their eyes on me to watch what I do next and understand what is expected of them.

Implement one management technique and reflect on its effectiveness.

At all levels, I use a “cut-off” to tell a class that I want all sound to stop. (A “cut-off” is a motion that a band director uses to stop a band.) Surprisingly, the elementary students respond quicker than the band or choir. I am still working on helping band students to realize that they need to look up at me and not just down at their music.

Include your School-Home Communication artifact.

Dear Music Students and Parents,

I am Delayna LaBelle and am excited to have the opportunity to work with you and your students. Majority of my time in college has been spent studying brass instruments along with elementary and secondary music. I am eager to put what I have learned to work for your students.

My strongest areas are brass winds and jazz studies although I spent six weeks of my summer in a program that allowed me to teach elementary school students general music concepts. I also had the pleasure of being a middle school camp counselor. One of my favorite things about teaching music is learning methods to make it more exciting for students so they fall in an endless love with the performing arts.

I believe one of the jobs of an educator is to find middle ground between what students want to learn and what content I am required to cover to provide students with a well-rounded education. I encourage student input on music they like or subjects within music that they are interested in learning about. It is my job to find ways to relate that back to the curriculum and it is a challenge I happily take on. Anytime a student has an idea for a song they want to study or a project they wish to do, they should present their idea to me and I will see if it is possible to work into our classes.

We have a lot of exciting things planned this year in the music program. Middle school students have the opportunity to audition for Middle School All-State Band, perform at Lake Region Honor Band and Three City Honor Band, and perform at Solo and Small Ensemble contest. High school student have the opportunity to audition for All-State Band, All-State Orchestra, All-State Jazz Band, All-State Marching Band, and Tri-State Honor Band. High school students also have the opportunity to perform at Lake Region Honor Band and Three City Honor Band along with Solo and Small Ensemble contest. These are just a taste of what the instrumental program will look like this year.

My primary goal with students is to help them develop into the best version of themselves. I understand that not every student possesses the love of music that I have come to know. By finding ways to work with each individual in my classes, I can guide them to become who they want to be both in the music room and beyond.

Again, I am so excited to get into the classroom and get to work.

Sincerely,

Delayna LaBelle

Include your Classroom Management Plan. (7 & 8 included in electronic portfolio)

At the heart of classroom management is being able to control where your students’ energy goes. I believe that most misbehavior in a classroom comes from misdirection in student energy. By creating lessons that require students to be active instead of passive, behavior problems can be prevented. Furthermore, when a teacher creates a lesson that relates to something that students are already interested in, students will not have time to misbehave because they will be so involved with a lesson. Classroom management looks different in a rehearsal setting than in a general music class setting. To explain these differences, I will first explain classroom management in a rehearsal setting.

Three core principles I use as engagement strategies in a rehearsal setting are: director as guide, not puppet master; space in setup; and the ensemble votes on music. By viewing the role of the director as a guide and not a puppet master, I put the analysis of problems in the music to the students to reason through and solve. I am always there to help them but I want them to understand how we work a piece up to a performance level instead of just doing what I say. I maintain enough space in the setup of an ensemble so I can move around the group. This helps me to have a relationship with students in the back of the room as well as the students in the front of the room. I allow students some choice in the music that we play by giving them more pieces to work on than I want to perform in the concert. This helps the ensemble to reason through which pieces we should perform and why.

I will also explicitly teach some daily procedures that address common problems I see in ensemble rehearsal situations. The first procedure is getting setup for the rehearsal. The easiest way to monitor this is to have a countdown timer at the front of the room that tells students how long until the rehearsal starts. As soon as the timer goes off, I start rehearsal. Another procedure is replacing lost music. I will have part of my whiteboard as a designated location for students to write their name, the name of the piece they are missing, and, for instrumental ensembles, the part they play. This will make it easier for me to address the problem of lost music. The last procedure I would explicitly teach is how to sign up for festivals. I will have part of my wall devoted to festival information. I will include festival location, dates, cost, and a signup sheet for students who are interested. This is a way for me to put the responsibility for signing up on the students and help me to keep festival signups correct.

The last, and perhaps the most valuable, part of my management plan is a handbook. The handbook will include a program philosophy, calendar for the school year, an outline of ensembles, required materials for classes, grading information, classroom procedures/student conduct, performance attire, and information on private practicing along with resources for learning ensemble music. This handbook will be addressed at the beginning of the school year and anytime I am speaking with a parent of one of my students. The last page of this handbook will have lines for parents and students to sign to indicate that they have read and understand what is expect of them. I believe a handbook, especially with traveling ensembles, serves as a good way to make sure that parents, students, and teachers are all on the same page.

The core principles for classroom management in a general music setting include: presenting a variety of activities, whole/part/whole teaching, and remembering that not all of my students are going to be in performing ensembles. I see many students who are frustrated with general music classes because they feel like they do the same thing every day. I have to make sure that I maintain a variety of activities so my students do not become bored with doing the same thing all the time. Whole/part/whole teaching is important to the general music classroom because it is sometimes difficult to tell how much musical experience a particular student has had. By breaking challenging tasks down into smaller parts, I not only increase my students’ success in music but also expand their problem solving abilities. One of the hardest things for me to remember is that not every student will love music the same way I do. In my classes, along with reading and performing music, I also try to focus on how music affects individuals as well as society. This gives valuable information to all of my students, not just the ones that are going to join a musical ensemble.

V. Instructional Design and Implementation- Unit (due by week 10)

(Music student teachers must do 2 … one at each level)

Common UNIT Plan

MUSIC

Teacher Candidate Ms. Delayna LaBelle

Cooperating Teacher Mrs. Kelly Wieser

Grade Level5th/6th Grade

SubjectElementary Music

DateOct. 11, 2015

Common Core/State Standard(s)

South Dakota State Standards

Anchor Standard 4: K-8.Pr.4: Analyze, interpret, and select artistic works for presentation.

Analyze: analyze the structure and context of varied musical works and their implication for performance.

5.MU.Pr.4.2.b When analyzing selected music, read and perform using iconic and/or standard notation.

6-8.MUg.Pr.4.2.b Read and identify standard symbols for rhythm, pitch, articulation, dynamics, tempo, and form.

Anchor Standard 9: K-8.Re.9: Apply criteria to evaluate artistic works.

Evaluate: Support personal evaluation of musical works and performance(s) based on analysis, interpretation, and established criteria.

5.MU.Re.9.1.a Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music.

6-8.Mug.Re.9.1.a Apply teacher or personally-developed criteria to evaluate musical works or performances.

Learning Objective(s): Students will be able to…(SWBAT)

Students will be able to:

· Explain in their own words what the purpose of a key signature is.

· Write the order of the flats and order of the sharps.

· Identify prewritten key signatures that contain flats or sharps.

· Write their own key signature containing flats or sharps.

· When looking at a piece of music: 1) identify the key signature, 2) circle or highlight every time “home” (tonic) appears in the piece, and 3) circle of highlight each note that is affects by the key signature.

Planning

Rationale

All but one student in the 5th/6th grade elementary music class is currently learning a band instrument. Beginning musicians tend to struggle with what the purpose of a key signature is and how it relates to the music they are playing. By having students not only learn to identify a key signature but also learn how that relates to tonal tendencies within a given piece, students will be better equipped to perform music in different keys with understanding of the melodic structure.

Pre-Assessment

Students are given a one page quiz where they are asked the order of the flats, identify key signatures containing sharps or flats, and write key signatures containing sharps or flats.

Materials

Promethium projector, laptop, white board, expo markers, teacher created “Key Signature” packet, pencils, markers/highlighters

Evaluation

Students are given a one page quiz where they are asked the order of the flats, identify key signatures containing sharps or flats, and write key signatures containing sharps or flats.

Unit Reflection

My goal was to expose my students to the concept of key signatures. I wish that the final quiz results ended up better. This was a lot to throw at my students at one time. Hopefully, this is a topic that they will continue to hear about throughout their musical career. I should have made them work on their own more often so I could see how much they did not understand earlier on in the unit. At the same time, because this was my student’s first real introduction to the concept of key signatures, I am happy that we worked as a group.

Key Signatures Lesson Plan

Pre-Quiz, Gravity, Flats

Date: Oct. 12, 2015



· Explain in their own words what the purpose of a key signature is.

· Identify prewritten key signatures that contain flats

Lesson Plan Implementation

Lesson Opening (Hook)

Explain to students the purpose of the pre-quiz and that they are not being graded on it even though they should do their best. Tell them that this information is something that I do not expect them to know but that we will learn more about it over the next two weeks.

Teaching Procedures (Step-by-step instructions)

· Ask students to shut their eyes and tell me “Fist to Five” (“Fist”= very confused; “Five”= very confident) how they felt about the quiz.

· Reassure them that the quiz will not reflect badly on their grade and we can only get better from here.

· Tell students that just like gravity pulls meteors into Earth, music has gravity that pulls all the notes in a song to a final note. The purpose of the key signature is to tell us what that note is.

· Play examples (“Mary Had a Little Lamb”, “London Bridge”, “Row, Row, Row Your Boat”) out of “Jump Right In!” clarinet solo book one. Have students sing along as I play the melody and harmonize on the piano. Stop before the last note. Have students sing it even though I am not playing it.

· Ask them how they knew that was the next note? Help them understand the music was pulling them there = musical gravity.

· Change keys and play the same song. Have students sing along. Again, pause before the last night then have students sing it together. Explain that I changed keys and that changes were “gravity” is pulling us.

· Hand out packets that will serve as an instructional guide for the next two weeks. Students put names on packets.

· Give students a minute to do the “Review” part of page one themselves. Project page one on Promethium Projector. After a minute, bring the class back together so I can make sure everyone has the same answers. Show the class on the board what their answers should look like.

· Explain the order of the flats and its importance.

· Explain how to find a flat key signature by looking at the second to last flat.

· Do the bottom half of page one together. Students filling out their packets while I write on the Promethium board.

· Do example one on page two together as a class.

· Have students pair up and work examples 2-7.

· Check answers as a class.

Lesson Closing (Transition)

Tell class we will continue this later in the week. Instruct students to put packets on the edge of the piano as they leave.

Reflection

I had to reassure students many times that their pre-quiz would not count against their grade and I did not expect them to know anything on it. Luckily, most students knew the order of the flats. This helped me to scaffold onto finding the key of a piece with flats rather easily. In looking at the students’ packets after class, I found that I need to explain that the key of F is not “F ♭” but the other flat keys have “flat” in their name.

Key Signature Lesson Plan

Review Identifying Flats; Start Writing Flats

Date: Oct. 14, 2015



· Identify a key signature containing flats.

· Write a key signature containing flats.



Hand out packets. Review with students what was done last class. Have them explain to me what we did and why. Ask students to shut their eyes and tell me “Fist to Five” how confident they feel with flat key signatures.


Write examples of flat signatures on whiteboard. Talk through as a class how to solve them. Do three to four examples.

· Reverse the processes. Tell the class a key signature that contains sharps and guide them through how to figure it out. Write out “beadgcf” to help them. Explain that if I am looking for A♭, that means that A♭ is the second to last flat, therefore the key of A ♭contains B, E, A, and D-flats. Show how to write flats correctly on a line or space. Relate it to writing a note on a line or space.

· Do two more examples of writing key signatures.

· Do the first example in the packet as a class.

· Have students partner up to do the remaining examples.

· When groups are done, class comes back together to check answers and talk through problems.


Have students put packets on the piano as they leave.

Reflection

My 5th graders missed the first twenty minutes of class. This gave me time to work one on one with the 6th to check their answers from the last class. We did not get as much done today as I would have liked to get done. The combination of the 5th grade being gone and moving slow to make sure everyone understood in 6th slowed the lesson down more than I thought it would. After we checked answers with the 6th graders on identify written flat key signatures, I introduced them to writing flat key signatures. I then let them work on writing flat key signatures while I worked with the 5th graders. The 5th graders were still a little confused but I helped them to understand during the last ten minutes we had together. They seemed to get it much easier when I had them write out the flats in the key (ex: BEAD) and then draw an arrow from the last flat to the second to last flat (ex: A D). Just with that visual, most of the rest of my struggling 5th graders understood. I need to finish this lesson next class period.

Key Signature Lesson Plan

Review Reading and Writing Flat Key Signatures

Date: Oct. 19, 2015



· Identify a key signature containing flats.

· Write a key signature containing flats.



Have directions written on whiteboard instructing students to get a sheet of paper, a paper clip, a pencil, and a music stand. Guide class through making a name tag to go over their music stand. Hand out packets


· Tell the class a key signature that contains flats and guide them through how to figure it out. Write out “beadgcf” to help them. Explain that if I am looking for A♭, that means that A♭ is the second to last flat, therefore the key of A ♭contains B, E, A, and D-flats. Show how to write flats correctly on a line or space. Relate it to writing a note on a line or space.

· Do two more examples of writing key signatures.

· Work through the examples in the packet to make sure everyone has everything filled out.

· Reintroduce how to write flat key signatures for 5th graders who were gone.

· Practice, as a class, the examples out of the packet.


Have students put packets on the piano as they leave.

Reflection

Last class, my 5th graders where gone for half of, this class I spent time looking for additional music for my cooperating teacher who was at a festival with a group of students. My flow is messed up and it is difficult for me to tell if students are understanding and bored or lost with the constant interruptions. When I give them time to work together, they make some progress but we are moving much slower that I would have liked to. I am just taking my cues from them and adding in additional review when needed. Today, we reviewed how to write in flat key signatures and began to analyze music. I almost think it would be better to separate my class into pods and have them work together while I help those that seem to struggle the most.


Flats (Real Music Review); Introduce Sharps

Date: Oct. 21, 2015



· Identify a key signature containing flats in real music.

· Identify tonic/do/home and high light that note in real music.


Lesson Opening (Hook) Students grab packets. Students tell me what we did last class and why. Review the purpose of a key signature.


· Finish examples on writing key signatures containing flats guiding class through all the steps.

· Pass out markers.

· Turn to page in packet with real music examples containing flats.

· As a class, identify the key of the first example. Work through the piece and highlight anytime that note appears.

· Give students a few minutes to work alone or in pairs on example two.

· Come back together as a class and talk through how to identify the key signature and where tonic/do/home is in the piece.

· Point out that tonic/do/home is often the first and last note in a piece.

· Introduce identifying sharps by telling students the order of the sharps (order of flats, backwards).

· As a class, do the first example that explains all the steps.

· Ask class what the last sharp in the key signature is.

· Ask class what is the next note up on the staff from the last sharp of the key signature.

· Tell class to look back to see if there is a sharp or flat on that line earlier in the key signature.

· If there is a sharp, the key would be the note above the last sharp sharped. If there is not a sharp, the key would be the note above the last sharp.

· Do first three examples as a class, going through every step.


· Have students put packets on the piano as they leave.

Reflection

I skipped one of my real music examples because we were running out of time. Probably about a third of the class understands how to read sharps. I need to go through that again next class. When I looked through my students’ packets, I could tell that some understood and some were very confused.


Reading Sharps; Writing Sharps

Date: Oct. 26, 2015



· Identify a written key signature containing sharps.

· Write a key signature containing sharps.


Lesson Opening (Hook) Students grab packets.


· Talk through first three examples from last class.

· For the first example, call on a student to explain how to figure out the sharp key signature.

· After that student answers correctly, call on another student to explain it in a different way.

· Go on to the second and third examples having two different students explain how they found the answer.

· Have students pair up.

· Give students three minutes to figure out what the last three examples are.

· After a group gets done, they are instructed to check their answers against another group.

· When all groups have found answers, come back together as a class.

· Check answers by writing the examples on the board then having different students explain how they found the answer.


· Have students put packets on the piano as they leave.

Reflection

My cooperating teacher had to help me a little to explain how to write sharp keys. It occurred to me that I did not know a “fool proof” way to explain this concept to my students. We need a lot of review on this. Probably about two third of my students understood today but that does not mean they will remember next class.


Practice Reading Sharps

Date: Oct. 28, 2015



· Identify prewritten key signatures containing sharps.



· Have students grab their packets.


· Write the key signature for D major on the board.

· Ask class who knows it and could explain to others.

· Student answers, I help to clarify their answer.

· Keep add one sharp (G)

· Ask what the last sharp in the key signature is. (G)

· Ask what the next note up is. (A)

· “What is the key?” (A)

· Add one sharp (D)

· Ask what the last sharp in the key signature is. (D)

· Ask what the next note up is (E)

· “What is the key?” (E)

· Continue adding one sharp at a time until all sharps are added. Wait until at least 80% of the class raises their hand before calling on someone.

· Review key of C (nothing), C-sharp (all 7 sharps), C-flat (all 7 flats)


· Tell students to close key signature packets and open the Christmas packets.

Reflection

This is taking way longer than I thought it would. More students are understanding, I just need to drill the steps of identifying the key until it becomes automatic. I did “Fist to Five” with them and had them shut their eyes. At the beginning of class, over half of my class gave me a three. By giving longer wait time, I can “see the gears turning” with a lot more of them.


Practice Writing Sharps

Date Nov. 2, 2015



· Write a key signature containing sharps



· Review the purpose of a key signature


· Open packet to page that has examples of how to write sharp key signatures

· Review steps to writing a sharp key signature (Go one letter name down from the sharp key signature you are asked to write, find that note in the order of the sharps, write every sharp, left to right, up to and including the note that is one letter name down from the key signature you are asked to write.)

· Do three examples as a class giving increased “think time” as students work to figure out the key signature.


· Open Christmas packet to “Beautiful Christmas”

· Students identify the key signature (D major)

· Look at the last measure, 3 of the 5 notes are D.

Reflection

Every day, more students are understanding key signatures. Giving more “think time” is helping students to not just wait for someone else to say the answer. I wanted to quiz them this week but I don’t know if that will happen.

Date Nov. 4, 2015

Writing Key Signatures with Sharps; Real Music



· Given the name of a key signature containing sharps, write the key signature.

· Identify the key of a piece of music

· Identify tonic/do/home in a piece of music.



Students start reviewing their packet as soon as they get to their seats.


· With an electronic copy of the packet projected onto the wall, ask students what the first step would be to writing the key signature for the forth example.

· Wait until two-thirds of the class has their hands raised then call on someone.

· Student says go one note down on the staff for what the key signature is

· Ask class what that note means.

· Wait until two-thirds of the class has their hands raised then call on someone.

· Student says that in the order of the sharps, you read from left to right until you get to that note.

· Ask if another student can explain it in a different way.

· Someone else explains why the note below the name of the key signature is important.

· Give students time to figure out the fifth example by themselves. When they get done, tell them to review flats for the quiz next week.

· When it looks like majority of students are done with the example, talk through how to write the key signature as a class.

· Give students time to figure out the sixth example by themselves. When they get done, tell them to review flats for the quiz next week.

· When it looks like majority of students are done with the example, talk through how to write the key signature.

· Turn page in packet to Real Music Example One.

· Ask students what key the example is in.

· Student answers question.

· Have a different student example how they got the answer.

· Have another student example how they got the answer in a different way.

· Ask students to identify every time do/tonic/home appears in the example.


· Tell students to turn to the song in D in their Christmas packets.

Reflection

As soon as I figured out that I need to go through every step at the beginning of each class, this unit got a whole lot easier. Most students are understanding but just not confident in their abilities. There are about four students that are not understanding. These students are all fifth graders and still have another year of elementary music. They also have just started playing their instruments. At this point in their musical development, I am not too worried about them. They understand when I am one on one with them in class and they will continue to get this information throughout the rest of their time in music classes. It just takes some students longer than others.

Date Nov. 9, 2015

Review





· Have packets sitting on students’ chairs when they walk in the door. Tell students to find their spots, a music stand, and a pencil.

· Instruct students to start reviewing their packet as soon as they get to their spot.


· Write the key signature for the key of E-flat on the board.

· Ask students to raise their hand when they figure out the key signature AND how to explain the process for finding the key signature.

· When about half of the class gets their hand raised, tell the people with their hands raised to find someone without their hand raised and explain the PROCESS to find the key to them.

· Monitor student conversation to make sure it is on topic.

· After a couple minutes, have students go back to their spots.

· Ask students to raise their hand when they figure out the key signature AND how to explain the process for finding the key signature.

· Call on student who did not have their hand raised last time.

· Student answers correctly. Restate what student said.

· Ask for someone to explain the process in a different way.


· Write “D-flat” on the board. Ask class to write the key signature for D-flat on the back of their packets.

· Ask students to raise their hand when they figure out how to write the key signature AND how to explain the process for finding the key signature.

· When about half of the class gets their hand raised, tell the people with their hands raised to find someone without their hand raised and explain the PROCESS to find the key to them.

· Monitor student conversation to make sure it is on topic.

· After a couple minutes, have students go back to their spots.

· Ask students to raise their hand when they figure out how to write the key signature AND how to explain the process for finding the key signature.

· Call on student who did not have their hand raised last time.


· Ask for someone to explain the process in a different way.



Ask students to close their eyes. When all eyes are closed, ask student who still does not understand flat key signatures.

Reflection

Only two students raised their hands at the end! Hopefully their quiz scores reflect that and they are not just afraid to tell me that they do not understand. I like the idea of using peer helpers because I cannot go around and explain the concepts to every student who needs it individually. I had to stress that helping is not just telling your friend the answer. By teaching students appropriate ways to help one another, I get more students to understand my material faster and am giving them skills they can using later in life.

Date Nov. 11, 2015

Quiz



· Identify a written key signature containing sharps or flats.

· Write a key signature containing sharps or flats.



· Have packets sitting on chairs for students.

· Instruct students to get a pencil and music stand to find their spots.


· Review how to find the name of a key signature containing sharps.

· Review how to write a key signature containing sharps.

· Review how to find the name of a key signature containing flats.

· Review how to write a key signature containing flats.

· Instruct students to spread out.

· Hand out quizzes.


· Instruct students to hand their quizzes in on the music stand.

Reflection

Some students asked me questions while we were reviewing. Most seemed confident but their quiz grades will let me know how they did.

Handout, Quizzes, and Results

Objectives to Pre/Post Assessment:

1. Students will be able to identify a written key signature containing sharps or flats.

2. Students will be able to notate a key signature containing sharps or flats.

Results

Pre-Quiz Mean= 19%

Pre-Quiz Mode= 21%

Pre-Quiz Median= 21%

Summary of Pre-Assessment Results

According to the results of the pre-quiz, none of the thirty-one students received a passing grade. These results were expected given the instrumental background of the students. This is a mixed class containing 5th graders who have only been playing their instrument since school started and 6th graders who have only been playing for a little over a year. Most students have heard of key signatures but have not spent time studying key signatures. Because of these results, I know that I need to explicitly teach the steps to finding and writing key signatures.

Use of Packet

The most direct way to explain the concept of key signatures to students is through use of a packet. The packet has step by step instructions for students along with all the examples, practice problems, and real music examples they need to complete this unit.

Post-Quiz Results

Post-Quiz Average: 38%

Post-Quiz Mode: 28.5%

Post-Quiz Median: 32%

Post-quiz is an exact copy of the pre-quiz. Only the term “pre-quiz” is changed to “post-quiz”.

The average quiz result doubled from the pre-quiz to the post-quiz. Eight of the thirty-one students received at least four more points correct on the fourteen point post-quiz than they did on the fourteen point pre-quiz. Eleven of the thirty-one students received two to three more points correct on the post-quiz than they did on the pre-quiz. Ten students received the same score or only changed by one point from the pre-quiz to the post-quiz. Of the ten students who received the same score or only change by one point from the pre-quiz to the post-quiz, eight of them are fifth graders who have only been learning their instrument for about two months.

Common UNIT Plan

MUSIC

Teacher Candidate Ms. Delayna LaBelle

Cooperating Teacher Mrs. Kelly Wieser

Grade Level7th-12th Grade

SubjectBand

DateOct. 18, 2015

Common Core/State Standard(s)

South Dakota State Standards

Anchor Standard 4: 9-12.Pr.4: Analyze, interpret, and select artistic works for presentation.

Select: Select varied musical works to present based on interest, knowledge, technical skill, and context.

HSp.MUe.Pr.4.1.a Select a variety of repertoire to study based on interest, elements of music and technical skills of the performing ensemble. Explain the criteria used in selecting the repertoire.

HSp.MUe.Pr.4.2.a Demonstrate, using music reading skills, how the elements of music contribute to understanding the context of the music in prepared or improvised performances.

HSp.MUe.Pr.4.1.a Develop and apply criteria to study and perform repertoire that challenges the performing ensemble.

Anchor Standard 4: K-8.Pr.4: Analyze, interpret, and select artistic works for presentation.

Select: Select varied musical works to present based on interest, knowledge, technical skill, and context.

6-8.MUe.Pr.4.2.a

Demonstrate, using music reading skills, how the elements of music contribute to understanding the context of the music in prepared performances.


Students will be able to, as a band:

· Play from start to finish “Christmas Sketches” by Sean O’Loughlin.

· Understand the basic principles of how “Christmas Sketches” is orchestrated.

· Identify areas of improvement in “Christmas Sketches”.

· Identify skills needed to get “Christmas Sketches” performance ready.

Planning

Rationale

This unit will serve as an introduction to “Christmas Sketches”.

Pre-Assessment

Each day, students will be asked to rehearse a different section. Pre-assessments happen at the beginning of each class when students first start to rehearse a piece. I listen to what the band sounds like and use that as a pre-assessment.

Materials

Students need personal instruments and their part for “Christmas Sketches”.

Percussion instruments

Music stands

Pencils

Teacher needs full band score for “Christmas Sketches”

Evaluation

Band will perform “Christmas Sketches” for start to finish without stopping.

Unit Reflection

Overall, when I break the music down more the band gets it but I almost have to rote teach the music to them. I just have to be patient but direct with the band. I can think of fundamentals that I want to work with my future band on. The band got as far as I wanted them too. Now we just need to refine the music for the concert. Music is more than just notes and I need to help my students understand that.

Lesson Plan

Date: Oct. 19



· As a band, perform measures 1- 13 without stopping.

· Identify which section has the melody and which section has accompaniment in measures 1-13.



· Talk about tuning. Have the lead trombonist play a middle “C”, then I play a “D” and glissando down to the “C” slowly. When the notes get in tune, hold the “C”.

· Have the lead trombonist hold a “C” again. This time I play a “B-flat” in 5th position and glissando up to the “C”. When the notes get in tune, hold the “C”.

· As a band, play the B-flat concert scale in whole notes, holding notes until they come more in tune than they were.

· Teaching Procedures (Step-by-step instructions)

· Instruct students to get the music for “Christmas Sketches” on their stand.

· Tell students that we are starting at the beginning.

· Clarify who is on snare drum for the opening.

· Give students tempo.

· Give count off for beginning of “Christmas Sketches” and cue in snares then flutes.

· Flutes fell apart. I did not expect that to happen.

· Cut off band.

· Instruct flutes to start at measure 5.

· Do count off slower and sing flute part.

· Point out to flutes that the rhythm in measures 9 and 12 are dotted eighth-sixth not two eighth notes.

· Start at measure 5 again with just flutes. (Flutes start phasing, phasing is where half of the section is playing at one tempo and the other half is playing at a different tempo.)

· Ask a trusted snare drummer to play eighth notes constantly to help flutes.

· Count flutes in again at measure 5. They stay together this time.

· Start from the beginning of “Christmas Sketches” with percussion and flutes.

· Cut off at measure 13.


Tell band that they did a good job today and make the switch to choir.

Reflection

When I did the tuning example with my trombone, I could see some of the students understood just by the facial expression when the notes came in tune. I learned that if I do not take a deep breath during the count off, students do not come in. It took me a while to figure this out but I had students tell me later in the day that my count off was strange to them. Then they explained that I needed to take a deep breath the way my cooperating teacher does in the count off. I will try that next time I direct the band. The seventh and eighth graders were gone so I need to go over this introduction again. Making the switch from marching band, where they have been playing the same song for the last month and a half, to sight reading new music is a hard change for the band. I also need to plan so that I am working on one section that features woodwinds and one section that features brass so my students do not get bored. I heard some grumbling from the trumpet section about not playing. My mistake. I will work to manage my time better.

Lesson Plan

Date: Oct. 20




· Identify how their section’s part fits in with the rest of the band from measures 1-40.



· Write the rhythm the trombones have in measures 13 and 14 on the white board.

· Ask band if anyone knows how to play the rhythm.

· When no one answers, ask band to find where the “big beats” are. (1, 2, 3, 4)

· Mark arrows over “big beats”.

· Ask band if anyone know how to play the rhythm.

· Student answers correctly.

· Have entire band chant rhythm on repeat until it sounds like most of them are getting it.

· Have band play scale on rhythm. (Concert B-flat for two measures, then up to C)


· Start at measure 13 with tenor saxophones, baritone saxophones, trombones, and baritone.

· Ask students how to play the rhythm at 13.

· Students point out that the rhythm is the same as the rhythm we worked on for the scale.

· Count off for low saxophones and low brass to start at 13.

· Play from measure 13 to 26.

· Play the same thing with the same people.

· Measure 15 with clarinets and alto saxophones.

· Ask clarinets and alto saxophones how the rhythms in measure 19 and 22 are different.

· Student answers that there is a dotted eighth-sixteenth instead of eighth notes.

· Count off and start at measure 15 with alto saxophones and clarinets.

· Good job saxophones and clarinets.

· Start at measure 13 with everybody. Cut off at measure 26.

· Call attention to flute part at the pick up to measure 17.

· Count through the rhythm as a section without playing.

· Practice with flutes measure, 17 to 26.

· Flutes struggle with sixteenth notes on count four.

· Practice the pick up to measure 17, the pick up to measure 19, the pick up to 21, measure 23, and the pick up to measure 26.

· Tell full band that we are starting at measure 13. Count off. Cut off at 26.

· Regroup at 26. Tell band we are going to play to measure 40.



· Tell band “Good job today, thanks for your hard work”.

· Tell students to make the switch to choir.

Reflection

It worked out well to have the band figure out a rhythm and practice it on the scale. It is hard for the band to focus on tone right now anyway because they are still in marching band mind set. By doing a rhythm from “Christmas Sketches” on the scale, the entire band gets practice on that rhythm. I do not have to spend as much time working with a specific section during rehearsal and that is awesome. We need to go over the background at measure 28 because that was rough today. Trombones have melody at 28 and they might need sectional work to get the melody together.

Lesson Plan

Date: Oct. 26



· As a band, rehearse background from measures 26- 40.

· As a band, perform measure 26- 40 without stopping.

· Develop a basic understanding of uniformity in articulation.

· State whether they are melody or background.



· Write the rhythm that the flutes have in measures 28 and 29 on the board.

· Ask band if anyone knows how to play the rhythm.

· When no one answers, ask band to find where the “big beats” are. (1, 2, 3, 4)

· Mark arrows over “big beats”.

· Ask band if anyone know how to play the rhythm.

· Student answers correctly.

· Have entire band chant rhythm on repeat until it sounds like most of them are getting it.

· Have band play scale on rhythm. (Concert B-flat for two measures, then up to C)


· Start with flutes, clarinets, alto/bari saxophones, trumpets, mallet percussion, and snare drums at measure 28.

· Play measures 28- 40.

· Ask group what measures messed them up.

· Group answers, “32-34”.

· Ask group why those measures.

· Group answers, “the rhythm is different”.

· Instruct group to chant rhythm starting at measure 32.

· Cut off group at measure 36.

· Chant rhythm for group starting at measure 32 ending at 36. Point out that in measure 33 the second eighth note is on beat two, not the “and” of two.

· Have group chant measure 33 twice.

· Have group start at measure 28, count off at measure 36.

· Have group play measure 26 to measure 36.

· Ask for trombones and tenor saxophones on the melody at measure 28.


· Ask trombones/tenor saxophone where their rhythm is inconsistent. (Where does the rhythm change from quarters and eighths to dotted eighth sixteenth?)

· Have trombones and tenor saxophones circle where there are dotted eighth sixteenth rhythms.

· Have trombones/tenor saxophones play from measure 28- 38.

· Call full band to play starting at measure 26, cut off at 40.

· Have full band play 26 to 40 again. Tell band that they need cleaner articulation in the background. Remind band that there are E-naturals/F-sharps in the melody.


“Good job band. Make the switch to pep band.”

Reflection

I think that went pretty well. I wish I knew how to teach things faster but for ten minutes of actually working on a piece, we got done what I wanted to get done. I have only been in front of the band about half a dozen times at this point and some of those were pep band. I need to learn how to be direct with the band but not come across angry with them. I also need to figure out how to help them be more responsive.

Lesson Plan

Date: Oct. 28



· As a band, perform measures 72-86.





· Write the rhythm the flutes have in measure 72 on the board.

· Ask the band if anyone knows how to figure out this rhythm.

· Student answers, but only gets part of the answer correct (beats 2 and 4).

· Ask band to isolate beat one.

· Students stare blankly.

· Ask students how they would count that beat if it was all sixteenth notes.

· Student answers, “1, E, &, A”.

· Praise student.

· Write “1E&A” on the board. Cross off “E&”.

· Ask band how to count what is written on board.

· Student answers “1 A” .

· Correct, praise student.

· Write “1 A” and “3 A” in on the original rhythm.

· Demonstrate how to count the rhythm to the band.

· Have band chant measure over and over again until it sounds like most of the band understands the rhythm.

· Have band play example measure on each note of the B-flat concert scale.


· Instruct flutes, clarinets, alto saxophones, mallet percussion, and snare drums to slowly play starting at measure 72, cut off at 86.

· Ask group what the hardest part is.

· Student answers “measure 81”.

· Ask group why measure 81.

· Blank stares from students.

· Ask students what the rhythmic idea is from measure 72 to the start of 81.

· Student answers, “The rhythm on the board”.

· Correct, praise student.

· Ask students what the melodic idea is at measure 81- 85.

· Student answers, “Smooth eighth notes”.

· Point out that the part changes from rhythmic background to a smooth flowing line.

· Have group start at measure 81 slowly, cut off at 86.

· Give group 10 seconds to figure out the notes themselves.

· Start again with full group at measure 81 slowly, cut off at 86.

· Repeat a little faster.

· Start in measure 79 with full group slowly, cut off at 86.

· Start in measure 79 with full group a little faster, cut off at 86.

· Start in measure 79 with full group a little faster, cut off at 86.

· Start in measure 72 at rehearsal tempo with full group, cut off in measure 86.

· Praise group. Tell them to silently do the fingerings through that section that they still struggle with while I am working with the brass.

· Ask for trombones, trumpets, and tenor saxophones at measure 73.

· Start at 73 with group, end at 86.

· Ask full band what happens at 72 that affects notes.

· Group sigh. Student answers “key change”.

· Tell trumpets and tenor saxophones they now have F-natural. Tell trombones they now have E-flat.

· Start at 73 with trumpets, trombones, and tenor saxophones, cut off at 86.

· “Much better”.

· Have full band start at 72, cut off at 86.

· “That was a little rocky”. Remind students that keeping the pulse is everyone’s responsibility.

· Start with full band at 72, cut off at 86.

· “Pretty good. One more time then we’ll move on.”



Tell band to switch to “Wonderful Christmas Time”

Reflection

Putting new rhythms on the B-flat concert scale is helping a lot to get background parts figured out! I feel sorry for the brass players sometimes because I spend so much time with the woodwinds. I do not know what else to do because the brass players have strong leaders and can play the parts accurately in less time. The flutes and saxophones are doing okay but I worry about the clarinets. There are only five clarinets but they are shy and do not play out. When I ask them to play louder, they just get upset with me because they say they are playing out and I am just not hearing it. Maybe I can start having the brass players do their part first then sing and finger/slide along while I am working with the woodwinds. By doing this the younger brass students in the band get more repetition on the part and have something mentally stimulating to do while I work with other sections.

Lesson Plan

Date: Oct. 30



· As a band, perform “chunks” of the piece as follows: measures 40-58, measures 13-40, and measure 72-86.





· Since the junior high students were gone last time I did the tuning example, do the example again. (Have the lead trombonist play a C in third position. I grab my trombone and do a glissando from D in first position to C in third position, then do a glissando from a B-flat in fifth (alternate) up to C in third position.)

· Tell band that we will hold out notes until they sound closer to in tune than normal.

· Start on the first note of the B-flat concert. Instruct students that if they do not sound like the person next to them, they have to change in some way. Check the fingering first then pull out on the mouth piece/tuning slide/head joint, etc.

· Hold notes until they are close to in tune.

· Cut off band. Address tuning problems with saxophones. They sound really off today.

· Start with the lead saxophonist and add one saxophone at a time to the sound.

· Start band again where we left off in the scale.

· Complete scale.


· Start at 40 with full band. Cut off at 58.

· Good job saxophones. Clarinets louder. Flutes, I will focus on helping you get your part this time.

· Start at 40 with full band. Sing flute part to flute section. Cut off at 58.

· Ask for more melody line at 40.

· Start at 40 with full band. Cut off at 58.

· Review tenor saxophone, baritone saxophone, trombone, and baritone rhythm at 13.

· Have group play from 13 to 26.

· Instruct full band to start at 13. Cut off at 40.

· Ask for trumpets at the two-four measure, slowly to work on notes.

· Have trumpets play from the two-four measure to 26 three more times.

· Ask for flutes, clarinets, alto saxophones, trumpets, and snare drum at 28. Cut off at 40.

· Remind group that the rhythm is slightly different in 32-35.

· Start at 32. Cut off at 35.

· Remind group that in measure 34, they only play on beats 1 and 3.

· Again from 32, cut off at 35.

· Start with group again at 28, cut off at 40.



· Switch to measure 72 with full band. Remind flutes, clarinets, and alto saxophones of the change between measure 80 and 81.

· Start with full band at measure 72 with full band. Cut off at 86.


· Tell band I appreciate their hard work. Make the switch to choir.

Reflection

Rehearsal today went really well. I need to learn how to be direct with my instructions without coming across as rude. There is a fine line between making sure the rehearsal keeps moving along and being too direct with the instructions so it sounds rude.

Lesson Plan

Date: Nov. 5








· Briefly talk about tuning again.

· Tell band that we will hold out notes until they sound closer to in tune than normal.

· Start on the first note of the B-flat concert. Instruct students that if they do not sound like the person next to them, they have to change in some way. Check the fingering first then pull out on the mouth piece/tuning slide/head joint, etc.

· Hold notes until they are close to in tune.

· Cut off band. Address tuning problems with trombones. They sound really off today.

· Start with the lead trombonist and add one trombonist at a time to the sound.

· Start band again where we left off in the scale.

· Complete scale.


· Instruct band to start at measure 58. Tell band that this section is a round with team trumpets versus team bass clarinet, baritone saxophones, and the lead baritone player.

· Start at 58 with trumpets. Cut off at 66.

· Start at 58 with bass clarinet, baritone saxophones, and the lead baritone player. Cut off at 66.

· Start with full band at 58. Cut off at 72.

· Good. There was enough leadership that we do not need to go through that again right now.

· Start at measure 66 with full band slowly to get the different entrances.

· Start at measure 66 a little faster.

· Start at measure 66 a little faster.

· Start at measure 58 with full band. Cut off at 72.


· Tell band to switch over the “Wonderful Christmas Time”.

Reflection

Once I figured out how much I need to break the parts down for my students, we are doing really well. The next step with this piece is getting the junior high students to play their parts and adding in dynamics. The band right now is just playing everything heavy and straight ahead.

Lesson Plan

Date: Nov. 11



· Work as a team in sectionals to improve director chosen parts of “Christmas Sketches”.

· Play “Christmas Sketches” from start to finish with minimal stopping.



· Tell band that they will have time today to go off and work in sectionals.

· Give sections assigned parts.

· Flutes- 5-13, 40-58, 90-94

· Clarinets- 40- 58, 15-26,

· Alto Saxophones- 15-26, 40-58, 72-86

· Trumpets- 72- 86, 58-66, 23- 40

· Trombones- 13- 40, 73-86

· Baritones- Trust section leader

· Bass Clarinet/Baritone Saxophone- 58-66, 26-40, 13-26

· Percussion- Work with cooperating teacher in band room on “Christmas Sketches”.


· Tell section leaders to be back in 15 minutes.

· Work with trombone section on their music.

· When the band comes back start at the beginning of the piece. Play until the end.


· Talk about what is happening tomorrow and Monday.

· Tell band good job. Switch to choir.

Reflection

The students did pretty well. I got messed up a couple times with the changes from four-four to two-four. There was a combination of students coming in wrong around the two-four measures and me not being confident on knowing exactly where the two-four measures were. The band is playing everything straight ahead with no dynamic contrast. I need to get confident with the cues that different sections need. I got most of them but I forgot about my trumpet players sometimes and they did not come in correctly. The band accomplished what I wanted them to accomplish for this unit.

VI. Analysis of Student Learning (due by week 10)

Pre-Quiz/Post-Quiz of Individual Students in Class

Pre-Quiz Mean= 19%

Pre-Quiz Mode=21%

Pre-Quiz Median=21%

Post-Quiz Mean= 38%

Post-Quiz Mode= 28.5%

Post-Quiz Median=32%

According to the results of the pre-quiz, none of the thirty-one students received a passing grade. These results were expected given the instrumental background of the students. This is a mixed class containing 5th graders who have only been playing their instrument since school started and 6th graders who have only been playing for a little over a year. Most students have heard of key signatures but have not spent time studying key signatures. Because of these results, I know that I need to explicitly teach the steps to finding and writing key signatures.

Post-quiz is an exact copy of the pre-quiz. Only the term “pre-quiz” is changed to “post-quiz”.

The average quiz result doubled from the pre-quiz to the post-quiz. Eight of the thirty-one students received at least four more points correct on the fourteen point post-quiz than they did on the fourteen point pre-quiz. Eleven of the thirty-one students received two to three more points correct on the post-quiz than they did on the pre-quiz. Ten students received the same score or only changed by one point from the pre-quiz to the post-quiz. Of the ten students who received the same score or only change by one point from the pre-quiz to the post-quiz, eight of them are fifth graders who have only been learning their instrument for about two months.

Pre-Quiz to Post-Quiz Change: Range of Student Scores

On the pre-quiz, the lowest student score was 7% correct. On the post-quiz, the lowest student score was 21% correct. On the pre-quiz, the high student score was 31% correct. On the post-quiz, the highest student score was 89% correct. Both the lowest and highest scores nearly tripled from the pre-quiz to the post-quiz. This shows that student’s understanding increased in the subject although few students achieved the level of mastery.

Pre-Quiz to Post-Quiz Change: Achievement Level

Series 1 – High Achievement; Series 2 – Moderate Achievement; Series 3 – Low Achievement

Out of the thirty-one students in the class, eight students were high achieving and increased their score four or more correct answers from pre-quiz to post-quiz. Of these students, three were sixth graders and five were fifth graders. Eleven students obtained a moderate level of achievement and increased their score two to three more correct answers from pre-quiz to post-quiz. Of these students, six were sixth graders and five were fifth graders. Ten students obtained a low level of achievement and maintained their score or increased it by one correct answer. Of these students, two were sixth graders and eight were fifth graders.

By looking at the achievement breakdown by grade, I can see that this may have been a bit difficult for fifth grade students to understand. Many fifth graders are still struggling to read the lines and spaces on a staff. Although I had note names written on the board, fifth graders’ lack of confidence reading music may have impacted their ability to learn key signatures. The achievement breakdown for sixth grade students is similar to a bell-curve. The level of improvement in the sixth grade class is what I expect when I am introducing an idea to them formally for the first time.

Factors that May Have Influenced Student Learning

Although many factors can explain the quiz results, in discussing this with my students after the quiz we all agreed that the hardest part of the unit was learning something on Wednesday then not thinking about it again until Monday. Even my most confident Wednesday students needed reminders of how to complete a task by the time they come back to class on Monday. I do not know if there is anything I could have done about this. It is just the way the class is scheduled.

Factors that I could not control include student absences, class trips, students with poor vision, and ex

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