Name: Victoria Rogers 3 FORMATIVE Date: 3/3/2020                                   Period: 1st 

Ensemble or Class:  Beginning Band, Period 1   Lesson Topic: F concert Warm-up, G concert scale and
Creepy Crawlies 

Standards: (CCSS/NGSSS)  

MU.68.S.3.1: Sing and/or play age-appropriate repertoire expressively.   

MU.68.S.3.2: Demonstrate proper vocal or instrumental technique.  

 MU.68.S.3.6: Develop and demonstrate efficient rehearsal strategies to apply skills and techniques.  

  

Long Term Goal: The long-term goal is to know 7 Major scales (G, C, F, Bb, Eb, Ab, Db) comfortably so that all
members of the ensemble can approach a piece of music and be able to identify key signatures instantly. As a result,
sight reading, fingerings/slide positions, and overall conceptualization of music should improve significantly.  

Instructional objectives(s):  Students will be able to play the concert Ab scale in one octave.  

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:  

signature and octave.  
Tuner  
  

Critical Thinking:   Lesson Structure:  

Why is it important to listen when we tune and not Tune, Concert F 16 Warm-up, Order of sharps and flats
look at a tuner? review, concert G scale  

What is the relationship between the G concert scale

and Creepy Crawlies? 

Why is it important to have all of the instruments

represented in a band?  

ESE Modifications CPLAMS Access Points  http://www.cpalms.org/Standards/AccesspointSearch.aspx  

(identify access point, if needed)  

Independent:  

Supported:  

Participatory:  

     

Lesson/Rehearsal Procedures:  
Pacing:   Assessment:  
Highlight Differentiated Instruction in Yellow  

   Introduction Procedures:   Use a tuner and ears to

see if sharp or flat.  
      See students push in or
   pull out  
-Concert F 16   Listen for percussion to
3. 3 keep a steady beat and if
min           - tune the low brass and low reeds on concert, they can follow the
   then flutes and Saxophone.  conducting/ snapping  
 Look
4. 2         -B on saxophone.  at student's embouchure  
min    Do they have the right
   - Have everyone play concert F 16  valves pushed down?  
5. 3   Is posture correct?  
min    Immediately listen for intonation in.  Feet flat  
   Double reeds and trombones.  Straight backs  
o Look at trombone slide position. To  Front of chair  
    Horn angle  
make sure its in same relative  Chin position  
   space.  Hand placement  
    For people that have tuners on stand:   Do they have enough
mouthpiece in?  
o Tune with your ears, not your eyes!
6. 3  Are fingers covering the
min    Listen for the waves and adjust often. You entire hole?  
   are ALWAYS tuning!   Are they blocking their
air ways?  
    Use a tuner to “see” what in tune looks like
  Do they have the correct
then eventually move off the tuner to slide position?  
  
“hear” what in tune is. Refer back to the  Ask students in ensemble
   tuner periodically so students can see and the order of sharps and
flats  
   hear if they are correct.
 Have them write in on
white board  
  
Use these phrases:  Show me correct
    “Fit inside” the instruments bigger than fingering and slide
positions for 4  and
th

7. 3 you. 7  note  
th

min    Listen, assume it’s you, adjust, listen more.  Observe if they use their
    Disappear into your neighbor’s sound. fingering charts  

    Does it sound good? If not, then try

something different.
  
 Eliminate the waves.
    Find the center, play to the center, match
8. 30 pitch, get rid of the waves.
seconds    Play to hear others, do not play to hear
9. 2
min   yourself
10. 1
min    Tuning Activity.
11. 4
min  
Stop the band to tune a section. For
   example oboes: Have a student play a note,
and another student tune to the first
  
student. Have band members answer if the
12. 3 2nd student is sharp, in tune, or flat. Let
min   them know they only have a 1 in 3 chance
  
of being correct and it’s fine to be wrong in
13. 3 the guessing. We learn to tune through our
min   
answers to this question. Very useful in
 band warm-up time.
  
Lesson/Rehearsal Procedures: 
1. Have students remind teacher about the
order of sharps and flats. 
 -Pick a student to come write
BEADGCF and FCGDEAB on the
board 
  
2. Review Concert G scale 
3. Everyone look at your G concert scale, it
should be the first one on your scale sheet. 
 
4. without making a sound on your
instrument, every person has 2 new notes. the
3rd and the 7th note. 
o Allow students 1 minute after given
instruction to look to their partner and
figure fingerings and slide positions. 
o look to the person sitting next to
you and discuss with them the
fingering for those two new notes. 
5. go around to each section for 3rd note and  Listen for correct notes,
have them play it - go quickly  pitches and rhythms.
o Trumpets/clarinets - C#  
o Concert Pitch Instruments – B
NATURAL 
o Saxophones – G # 
 Remind trumpets that is a
“yucky” note on the trumpet
and that they must pull out the
3rd slide. 
6. have everyone play the note- percussion =
pitch 
7. go around to each section for the 7th note
have them play it- go quickly 
o Trumpets/clarinets - G # 
o Concert Pitch Instruments – F # 
o Saxophones – G #  
8. Play the scale in HALF NOTES
(SLOW!!!) 
o If it is not okay, go over each note 
 o Trumpets/Clarinets - A B C# D E
F# G #A 
o Concert Pitch – G A B C# D E F#
G 
o Saxophones – E F# G# A B C# D#
E 
9. If scale sounds decent (correct fingers,
pitches – LISTEN FOR 3RD AND 7TH)),
have a  student demonstrate All- State pattern
for us. 
 This should be a student
that has already passed their G
concert scale for pass-offs.  
10. Students will play scale in All-state
pattern  
o Play scale twice 
 Lesson/Rehearsal Procedures:  
1. CREEPY CRAWLIES LESSON PLAN 
2. Run the piece from the beginning to
measure 33. 
3. Ask students what they liked and did well
on 
a. Write list on the board 
4. Ask students what they did not like and
can improve on 
a. Add to list on board 
5. Work with the woodwinds to fix mm. 9
and thirteen 
a. After half note, students should not
breath 
b. Have them show you their pencils
and have them write it in music with no
breath = NB 
6. Have each section play it.
a. Clarinets 
b. Flutes and oboes 
c. Saxophones 
7. Have woodwinds play altogether. 
8. Address French horns at beginning 
a. Sing or demonstrate correct pitches 
b. Have them demonstrate back 
c. Have them put music into context
9. Focus on low brass 
10. Hear them from the beginning 
11. Correct their pitches 
 a. Have trombones and baritones play
together 
b. Tubas 
c. Then play all together 
12. Have every person play from the
beginning 
13. Ask again what they thought they did well
on and could improve on. 
14. If time, continue working on mm. 21-33 
 
 
 
  

Post Rehearsal or Lesson Reflections  

Content Adjustment:   

I did not omit anything from the lesson. Followed as written  

Rehearsal or Lesson Adjustment:  

If you were going to re-teach today’s lesson/rehearsal, how would you have done it differently.   

 I would keep the same lesson plan but I would quicken my pace. Make sure I do not ask each section their
notes individually. Group them together. 
 I did like the outline of the lesson plan, I thought it was effective. 
 

Reflection on Teaching:  

  The lesson went as planned. The step went as planned.  Classroom management could have been dealt
with more effective.  For example, keep my hands up until the students stop talking, tell them to stop talking,
proximity control put in use more while warm-ups and scales are being played.  
I tend not to go to the back of the classroom, so make an effort to do that because a lot of the behavior
issues happen from the back of the room. 

 I tried incorporating a competition into the scale portion of the lesson plan and the students
responded really well to it.  
 The students who were a bit more advanced than other got to show off for their peers which was really
beneficial. Often these students become bored in class, but not today. Today they were engaged and motivated. 
 Because of the competition for the scales, going into Creepy Crawlies, there was a lot of energy and a lot
was accomplished. 
 Having students write pros and cons on the board really makes them listen actively while they are playing.
I t was amazing to see what their ears could hear. 
  Because the cons were coming from peers, I think it was very effective in terms of students wanted to fix
them quickly.  
 It was nice to see that many of the students were trying to participate, even if some of the suggested pros
and cons were slightly off track.