Lesson Planning Form for Accessible Instruction Calvin College Education Program

Teacher

Karen Yonkers

Date 11-18-16

Subject/ Topic/ Theme Musical Quality: Listening Activities for Ensemble

Grade __7-12_____

I. Objectives
How does this lesson connect to the unit plan?
This final lesson in the Unit Musical Quality involves listening activities to nurture ensemble playing. Here we pull together the basics of the previous lessons: Musical
Elements, Aesthetics, modality: scales and chords, and individual practice strategies, to contribute to the ensemble sound as a whole.
cognitiveR U Ap An E C*

Learners will be able to:

R,Ap
U, Ap
Ap, An, E,
C
Ap, An, E,
C

Apply the unit elements to playing by listening around the circle.

Perform their Bb concert scale in many ways with and without direction.
Create music and evaluate according to rubric their individual sound.
Create music and evaluate according to rubric their ensemble sound

physical
development

socioemotional

x
x

Common Core standards (or GLCEs if not available in Common Core) addressed:
ART.M.I.8.3 Sing and play accurately as a soloist, and in both small and large ensembles, with appropriate technique and breath control.
ART.M.III.8.5 Evaluate the quality and effectiveness of ones own and others musical performances and creations by applying specific and appropriate criteria and
offering constructive suggestions for improvement.
ART.M.1.HS.3 Perform an appropriate part in large and small ensembles, demonstrating well-developed ensemble skills.
ART.M.III.HS.1 Demonstrate extensive knowledge and use of the technical vocabulary of music.
(Note: Write as many as needed. Indicate taxonomy levels and connections to applicable national or state standards. If an objective applies to particular learners
write the name(s) of the learner(s) to whom it applies.)
*remember, understand, apply, analyze, evaluate, create

II. Before you start

Identify prerequisite
knowledge and skills.

At least one year on their instrument, knowledge of typical sound of their instrument, Bb concert scale,
intervals, chords, and listening examples experiences in previous lessons of unit. Ability to follow
conducting cues.
Pre-assessment (for learning):

Students play familiar scales and chorale with a new set up, applying skills.
Outline assessment
activities
(applicable to this lesson)

What barriers might this

lesson present?
What will it take
neurodevelopmentally,
experientially,
emotionally, etc., for your
students to do this lesson?

Formative (for learning):

Students review for remembering scale and chord structures from lesson three.
Formative (as learning):

Students play with and without conductor, creating listening skills across the group.
Summative (of learning):
Students use rubric to evaluate their individual scale performance.
Provide Multiple Means of
Representation
Provide options for perceptionmaking information perceptible
Students use aural skills to
evaluate ensemble sound.

Provide Multiple Means of Action

and Expression
Provide options for physical actionincrease options for interaction
Students use eye contact, subtle
movements, and unison breathing
as cues with ensemble playing

Provide options for language,

mathematical expressions, and
symbols- clarify & connect
language

Provide options for expression and

communication- increase medium
of expression

The language of music,

explicitly written on the music
score, and implicit in the variety
of tone color and dynamic will
be explored in this lesson.

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Students will have opportunities

to express using musical
expressions discussed
throughout the unit.

Provide Multiple Means of

Engagement
Provide options for recruiting
interest- choice, relevance, value,
authenticity, minimize threats
Students raise hands to contribute to
discussion and ask questions.
Teacher will encourage all
contributions by affirming the value
of the statement/question.
Provide options for sustaining effort
and persistence- optimize challenge,
collaboration, mastery-oriented
feedback

Students will have opportunities

to unify their non verbal
communication while playing,
the circle set up increases eye
contact and awareness of other
musicians

Provide options for comprehensionactivate, apply & highlight

The rubric will be modeled in

whole class evaluation of
ensemble, and then individual
evaluation by each student.

Materials-what materials
(books, handouts, etc) do
you need for this lesson
and are they ready to
use?

How will your classroom

be set up for this lesson?

Provide options for executive

functions- coordinate short & long
term goals, monitor progress, and
modify strategies

All the musical elements will

come together in this lesson,
applying terms, demonstrating
understanding through
performance, and evaluating
with the rubric.

Provide options for self-regulationexpectations, personal skills and

strategies, self-assessment &
reflection

Expectations to strive for the

best sound, intonation, balance,
and communication with
conductor and other ensemble
members is the focus of the
lesson today. Self assessment is
part of the rubric at the end of
class today.

Students need instruments, music, chairs, music stands, pencils.

Rubric to evaluate tone, rhythm, technique, intonation, and musicality
Sources:
Morrison, S. J. (2000). Effect of Melodic Context, Tuning Behaviors, and Experience on the Intonation Accuracy of Wind
Players.Journal of Research in Music Education, 48(1), 39. Intonation has everything to do with ensemble playing, and one of
the elements of music which depends on everyone working together.

Classroom set up is circle. Conductor stands in center. If group too large, do inner and outer circle, with lower voices outside.
Students sit by section.

III. The Plan

Time

Components

00:01

Motivation
(opening/
introduction/
engagement)

Describe teacher activities

AND
student activities
for each component of the lesson. Include important higher order thinking questions and/or
prompts.
Good day. Remember how I said yesterday we would
do something different? I want us to be able to see and
hear each and every member, so we are going to rehearse
in a circle today! [activating prior knowledge]
Classroom set up is circle. Conductor stands in center. If group
too large, do inner and outer circle, with lower voices outside.
Students sit by section. Tune carefully (intonation) with Bb
concert scale: whole notes.
Social aspect emphasized in these activities.

Students sit in sections. Tune carefully by section,

then whole group, beginning with low instruments.

00:06
Development
(the largest
component or
main body of
the lesson)

Let's begin with the chorale in the book.

[Play tone study or chorale (or scale, or chord progression: Bb,
Eb, F, Bb, if more advanced) with conductor.]

1) Watch me, breathe together on my prep beat [Emphasize

prep breath: breathe together, play together. ]
2) Watch each other, move bodies to show note beginning and
end. [play first note and hold]

3) Let's play that final chord [Emphasize voicing: low and

tonic loudest, then 3rds, then 5ths. ]

Students play warm up.

Students evaluate sound.
Students follow directions, applying listening and
understanding conducting cue skills. Physical
skills in breathing together, playing together,
watching and moving bodies together.

Students with concert Bb play

Students with concert D play

4) Who has the root, the one of the chord? [sing tonic]. 5)
who has the third? [sing third] and fifth? [sing fifth]

Students with concert F play

5) Be sure to listen, match pitch, and play a bit louder if you

Remembering 1st, 3rd, and 5th of chords from day

three.

are a low instrument, so we have a triangle of sound [hold

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hands up to illustrate a triangle with wide base and small tip]

6) Now that we are tuned well, let's play scale in round by

thirds. So Low brass and Woodwinds, you start Bb scale on half

Students play the Bb concert scale in a round.

notes. When they get to the third, sax, horn, begin on your
concert Bb, you are the 'middle' and when they get to third,
clarinets and flutes, 'high' voices will start the Bb concert scale.
Watch me for your entrances [be sure to say 'low,' 'middle',
'high' along with conductor cue, as they are spread out around
you]

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Students listen and watch and play.

half notes:... [students play]

7) Now, let's do that again, and you listen for when to come in
[give conductor cue for each entrance, but no verbal cue]

8) How did you do? [at this point, if it seems strong, continue

Students evaluate accuracy: intonation, playing

with group of high, middle, or low.

with the scale in thirds. If not, revert to all playing scale together
for next two activities]
9) Here's a challenge: Play scale and progression again without
my conducting: you'll have to listen and watch one another. Use

Students play scale (together or thirds, according to

ability), demonstrating understanding of ensemble
playing, and applying observation skills to group
playing.

eye contact, remember to breathe together, think of what ways

you can communicate through slight movements, breathing, and
eyes. [if students struggle with this, try getting them started
with beat and breath cue, then drop out and let them finish
alone]

Students raise hands to share experience,

evaluating how they did as individuals.

Repeat until the majority of students show understanding

10) Now, play scale and progression with eyes closed. Have to
listen. Remember to breathe together, play together. [conductor
audible prep breath to help them begin together] How did you

Students play scale, staying together through

physical and social movements, non-verbal
communication, applying observation skills to
ensemble playing.

do? Was that hard? Easy? Why? What did you focus on? Raise
your hand to share...
11) Okay, now we will work on watching the conductor cues
for dynamics. [choose scale or chorale, depending on group

Students exemplify understanding by playing

exercise together, in correct time and notes.

ability] Play with conductor: vary dynamics (phrase). Repeat

exercise with variations a few times.
12) I would like to experiment with the tone color of chords.
Let's play a Bb concert chord. Choose which note you want to
play if you are middle or high. Low instruments play the Bb

Students play, then raise hands to share and

evaluate how they communicated with eyes closed
[possible answers, listening, counting, hearing
others inhale, phrasing and expression of musical
line) Students create unity in performance.

concert, root, of the chord. Watch me, I will hold up 1, 3, or 5

fingers to show that I want that pitch to be brought out and
played louder. If you need a breath, take one, and come in at the
same pitch and volume. Play with conductor: bring out 1,3 or

Students respond to conductor cues for dynamic

contrast on scale [or chorale].

5th of Bb chord as directed. Listen, adjust (intonation)'

EXTRA ACTIVITY: [If time (on a block day): extend the
listening experience: Play concert piece: move bodies to sit by
someone NOT on their instrument. If no time for this activity,
consider it for another day. It is a good way to make students
aware of other parts in their piece.]

00:35

Closure
(conclusion,

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Ensemble evaluation: Give 60 seconds to sit back in sections.

(if extra activity, above, is done)
Display rubric on document camera. Here is a rubric of playing

Students show understanding of chord structures,

apply dynamic contrast and analyze intonation and
tone color while playing. Students watch
conductor's hands for 1, 3 or 5 and play their note
louder when given nonverbal cue. Students create
varying tone colors.

Students move back to sections.

Students follow along while teacher reads rubric.

00:40

culmination,
wrap-up)

which we can apply to our playing (read points on rubric)

Let's play that chorale again, making it as close as we can to
the right column [may also play concert piece]
Play chorale, or portion of concert piece again.
Give me a show of fingers for your ensemble evaluation.
[Discuss ratings, decide on scale and record on document in the
front. ]
Individual evaluation: To wrap up, I'd like each of you to rate
your own individual performance on our Bb scale exercise. Play
with whole notes, half notes, quarter notes, eighth notes, triplets
and sixteenths [again final two for High School group only].
Any questions?
[Direct from center, rotating slowly around to see all. ]
Section leaders, please help me pass out a rubric to each
student. When you have finished, make sure your name is at the
top, turn it in, and you may put away instruments for the day.

Students play excerpt as directed.

Students hold up fingers for which number on rubric they
feel they played as an ensemble when pointed to by
teacher.
Students evaluate ratings through discussion.

Students raise hands to ask questions.

Students play Bb scale pattern together.
Students fill out rubric, turn in.
Students put away instruments.

Your reflection about the lesson, including evidence(s) of student learning and engagement, as well as ideas for improvement
for next time. (Write this after teaching the lesson, if you had a chance to teach it. If you did not teach this lesson, focus on the
process of preparing the lesson.)
I did not teach this lesson in an actual classroom. I have, however, participated in this type of rehearsal setting as a performer. I found the circle
playing to be especially good in developing ensemble awareness, listening, intonation accuracy, and to be socially beneficial in group cohesiveness.
Again, this type of lesson could be extended into a whole week of activities. This lesson is probably more directed toward the high school level, as
middle school players simply do not have the maturity of nature or sound, generally speaking, to pul this type of activity off successfully. I would
say that it is successful when the students are able to play with more sensitivity by listening to others. They also need a certain proficiency of
creating a typical sound for their instruments, and have knowledge and ability to produce this sound within several ranges of their instruments.
Understanding the elements of music, how they fit together, what they should sound like as individual players and as an ensemble is a skill which
takes several years of experience. The way these things are introduced, the ages of the students, the year they begin playing, and how many times a
week they are able to rehearse together all affect the ability to incorporate specialized listening activities in music classes. If I were to approach this
subject with middle school, the lesson would involve more listening to the desired sounds as modeled by professional recordings, since the beginners
would be unable to produce the typical sound for their gourp. This listening, while evaluating what they are hearing with terms which are defined for
them, is a great way to develop the sensitivity and knowledge of what type of sound to set as a goal.

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