Reading in the Content Area: Reading Projectusers.manchester.edu/student/segreen/ProfWeb/Unit Plan.pdf · Reading in the Content Area: Reading Project. ... and whole rests using iconic

Reading in the Content Area:

Reading Project

Stephanie Green

Education 352

Professor Schilling

December 9,2009

CONTENTS

A. Textbook InfonnationiCoUfse Infonnation

B. Philosophy of Reading in my Content Area

C. Readability Test

D. Trade Books

E. Lesson Plan to Activate Prior Knowledge of Unit's Subject

F. Lesson Plan to Introduce New Vocabulary

G. Lesson Plan Modified for ADHD

H. Lesson Plan Modified for Learning Disabilities

1. Lesson Plan Modified for Gifted and Talented

1. Lesson Plan Modified for Behavioral Disorders

K. Lesson Plan Modified for Autism

L. Lesson Plan Modified for Mental Retardation

M. Lesson Plan Modified for Sensory Impainnent

N. Unit Test and Modified Unit Test

O. Reflection Paper

A. TEXTBOOK/COURSE INFORMATION

NAME OF COURSE/GRADE LEVEL: Elementary Music Third Grade

DESCRIPTION OF COURSE: This is an elementary music class for third graders. This course is designed to help the students develop their music skills based on past knowledge and new

knowledge they willieam in the course.

NAME OF CHAPTERIUNIT: Music is for Everyone!!

DESCRIPTION OF CHAPTERIUNIT: This unit includes information about long and shorter beatings, fermatas, tempo, dynamics, and pitch steps. The students will learn how to describe beatings in their music, the use of the fermatas, the different dynamics and their meanings/use, and the different variety of pitch steps found in music.

TITLE OF TEXTBOOK: MUSIC and YOU

NAME(S) OF AUTHOR(S)/EDITOR(S): Barbara Staton, Merrill Staton, Marilyn Davidson, Phyllis Kaplan

NAME OF PUBLISHING COMPANY: Macmillan Publishing Company

COPYRIGHT DATE: 1988

READING LEVEL OF TEXTBOOK: Third Grade reading level

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STANDARDS:

B. PHILOSOPHY OF READING IN THE CONTENT

Music 3.5.2 Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation.

Music 3.5.3 Read and perfonn expanded pitch patterns and simple songs using solfege and letter names of the treble clef.

Music 3.5.4 Identify and sing or play steps and skips in notated pitch patterns.

Music 3.5.7 Identify and explain the dynamic markings forte, mezzo forte, piano, mezzo piano, crescendo and diminuendo (decrescendo).

Music 3.5.8 Identify and explain the musical symbols for fennata, octave, and D.C. al fine.

IMPORTANCE: The importance ofthis unit is for the students to learn some of the basic elements to understanding music, not only choral but instrumental as well. This unit will cover different rhythmic patterns, the names of the certain notes and the value of beats they receive, and tenns and symbols specific to music.

PHILOSOPHY: Reading in music in general is not as important as other content areas. For English or Social Studies, it is essential for you to read to be able to understand the material and pass the class. Music is not that way. In my content area of choral music, reading is close to nonexistent. From my past experiences, we rarely ever read in choir class unless the administration mandated it.

Reading could be used in choral music to supplement certain lessons. For example, we could be teaching about famous composers and we could have biographies of those composers for the students to read to have a better understanding of those composers' lives. It is harder to incorporate reading into music. I want to experiment with reading in choral music and see how the students receive the idea. Reading the music is helpful in learning music but actual literary reading is not as common in music as in other subjects.

C. READABILITY TEST

Text: Staton, Barbara, Merrill Staton, Marilyn Davidson and Phyllis Kaplan. MUSIC and yOU. New York: Macmillan Publishing Company. 1988.

Excerpt 1

In 1848 gold was discovered in California. Soom many people began to travel west in covered wagons in hopes of finding gold. The journey was long, hard, and dangerous.

An American composer named Ferde Grofe wrote music to suggest the story of these

travelers. This music, called "Desert Water Hole," describes three parts of a day during the journey west.

Section 1: The travelers are very tired and afraid because they are lost and have run out of

water. Suddenly, the animals sense that water is close by. Everyone becomes excited.

Section 2: The travelers give thanks for having found water.

Section 3: They celebrate by (11)

Sentence length: 9.43 sentences

Number of syllables: 161 syllables

Excerpt 2

Spirituals are songs that have a religious or spiritual meaning. The oldest spirituals were not written down but passed on from singer to singer. Spirituals were first sung by

Africans brought to America as slaves. Spirituals can be slow or fast. Often there is hand clapping with the music. Spirituals can be sung by a soloist or a soloist and chorus.

"Train Is A-Coming" is sung by a soloist and chorus. This type of song is called call and response.

Listen to "Train Is A-Coming." Then make up some of your own verses.

Raise your hand when you (106-107)



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Excerpt 3

The ch'in (chin) is a very old Chinese instrument. It is made of wood and has seven

strings. Its shape and sound may remind you of the Appalachian dulcimer on page 54.

The ch'in is laid on a table and played by sliding the fingers of one hand up and down the

strings to make different pitches while the other hand plucks the strings. According to

tradition, the ch'in is played by either scholars or the very wise. The ch'in is usually

played without accompaniment.

The kora (ko'ra) is a stringed instrument from Africa. Its body is round and made from a

(202-203)



The readability test is an excellent rubric for teachers to use when deciding on books for

their classroom. I agree and disagree with the outcome of the readability of the text. The textbook is a sixth grade reading level. In the examples given above, some of the words,

such as accompaniment and Appalachian, may be difficult for third graders to pronounce

but easier for sixth graders to pronounce. I disagree because the illustrations and big text

style would not be seen in a sixth grade book. I did suspect that the book would be

difficult for the students to read but I did not suspect that the book would be at a much

higher level (sixth grade) than the actual level (third grade). Some of the content is for

older students. An example being the idea of the ch 'in. I know personally that I did not

learn about the ch 'in until I was a college student. The book is better suited for an older

audience but it would need a few modifications before that would happen.

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D. ANNOTATED LIST OF TRADE BOOKS FOR MUSIC

Cole, J. (1995). The Magic School Bus: In The Haunted Museum A Book About Sound. New York:

Scholastic, Inc.

This book introduces the concept of sound to children. Through the fun activities that take place

with Ms. Frizzle and the Magic School Bus, the children of the classroom learn how sound is created.

Children also learn how the pitch of the sound can affect the wave of the sound.

Hayes, A. (1991). Meet the Orchestra. San Diego: Harcourt Brace Jovanovich.

This book introduces the orchestra and its instruments to children. The children can learn about

the different characteristics of the orchestra. The author uses animals playing the different instruments to

add fun to the book.

Kampen, V. (1989). Orchestranimals. New York: Scholastic, Inc.

This book shows the different instruments of the orchestra. The author introduces the instruments

as the animals show up who play those instruments. The author also shows other musical terminology in

the pictures that help the children learn more about music and the orchestra.

Koscielniak, B. (2000). The Story ofthe Incredible Orchestra. Boston: Houghton Mifflin Company.

This book shows the progression of orchestra throughout time. The author takes the reader

through the different time periods to learn about the styles of orchestra during that time period and also

the important instruments of the time period. The children will learn all the different instruments from

various style periods until present that were or are used in the orchestra.

Waddell, M. (1991). The Happy Hedgehog Band. Cambridge: Candlewick Press.

This book shows how the sounds of music can bring people together. All the hedgehogs hear the

beat ofthe first drum and want to join in. Children can learn about the friendships and fun created

through music in this book.

Trade books can enrich my classroom's content because they can offer more information about a

topic that a student might find interesting. They will help explain a topic more clearly if the student does

not get the topic the first time through. The trade books are also there for the students to read when there

is extra time in the lesson. The trade books can tie in with the lesson that I am teaching and help enhance

and support the knowledge that the student learned for today. The above mentioned trade books are

especially efficient in elementary school music classrooms because they can help children learn the

basic concepts of music and orchestras in the earlier years of their lives. Trade books can also help draw

in the students' interests to the topic ofthe lesson that day. In music, a section from The Story ofthe

Incredible Orchestra could be read before learning about the Baroque era of music. The storyline of The

Story ofthe Incredible Orchestra could help the students tie the knowledge they learned in their lesson

with another source of information.

E. LESSON PLAN TO ACTIVATE PRIOR KNOWLEDGE OF UNIT'S SUBJECT

MANCHESTER COLLEGE

Department of Education

LESSON PLAN by: Stephanie Green

Lesson: Introduction to Rhythms and Notes (Activate Prior Knowledge)

Length: 45 Minutes

Age or Grade Intended: Third Grade Elementary Music Class

Academic Standard(s):

Music 3.5.2 Notate quarter, eighth, half, dotted half, sixteenth, and whole notes, and quarter,

half, and whole rests using iconic or standard notation.

Performance Objective(s):

1. Given the piece "Li'l 'Liza Jane", the student will circle the quarter notes and rests correctly circling the notes and rests in at least twelve out of the sixteen measures.

2. Given a piece of staff paper, the student will draw quarter notes and quarter rests getting 6 out of 8 drawn correctly.

Assessment:

1. The student will be given a piece of music, "Li'l 'Liza Jane" that they will circle the quarter notes and rests in this piece correctly circling the notes and rests in at least twelve out of the sixteen measures in the piece.

2. The student will be given a piece of staff paper. They must draw eight of each note or rest. They must get at least 6 out of the 8 notes drawn correctly.

Advance Preparation by Teacher:

1. Create examples to show the students what quarter notes and rests look like in music. 2. Select a piece of music, "Li'l 'Liza Jane" that the students can be assessed on by circling

the quarter notes and rests of the song. 3. Make copies of blank staff paper for the students to draw notes on for their assessment. 4. Create a worksheet for the students to practice drawing the different notes and rests.

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Procedure:

IntroductionlMotivation: Play "Long-Legged Sailor", "Supercalifragilsticexpialidocious", "Oh, Dear, What Can the Matter Be?", "Camptown Races", and "Mr. Frog Went Courtin'" for the class. Ask the class to clap their hands, tap their feet or slap their thighs along with the songs. Ask the class which song they liked the best. Ask the students if they know anything about rhythm, what they want to know about rhythm. Explain the slapping, clapping or tapping is called rhythm and we are going to review different rhythms today and throughout this week. (Gardner: MusicallRhythmic) (Bloom: Evaluation)

Step-by-Step Plan:

1. Draw a quarter note on the board. Explain to the class that this is a quarter note and it receives one beat. Clap once and have the class repeat to show what one beat (a quarter note) feels like. (Gardner: BodilylKinesthetic, Visual/Spatial, MusicallRhythmic)

2. Clap several different rhythms with quarter notes and have the class repeat after you. Ask them ifthey have any questions about the rhythm the quarter note gets. (Gardner: BodilylKinesthetic, MusicallRhythmic)

3. Explain that to draw a quarter note they must make a circle and fill it in and draw a straight line on the right side of the circle going up. Demonstrate this and ask if there are any questions. (Gardner: Visual/Spatial, MusicallRhythmic)

4. Ask for three volunteers to come and demonstrate drawing a quarter note. Help them out when needed. Ask the class iftheir quarter notes look right. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Knowledge)

5. Pass out the blank staff paper and have them practice drawing quarter notes. Allow them to work in groups or individually. (Gardner: MusicallRhythmic, Visual/Spatial, Interpersonal, Intrapersonal)

6. Walk around the room and check to make sure they are drawing them correctly. 7. Grab their attention by clapping a beat using quarter notes. Explain that there is also

silence in music as well. Demonstrate by clapping a beat with quarter notes and rests. Ask the class to repeat that beat after you. (Gardner: BodilylKinesthetic, MusicallRhythmic)

8. Explain that the silence is called a rest. Ask the class the class what is the difference between a rest and a beat. Call on an individual. Ifthey do not seem to get it, repeat the difference and ask ifthere are questions. (Gardner: MusicallRhythmic) (Bloom: Comprehension)

9. Draw a quarter rest on the board. Explain that you draw a quarter rest by making a straight line left to right, a diagonal line down to the left from the right side of the straight line, a straight line to the right from the end of the diagonal line, another diagonal line from the end ofthe second straight line going to the left diagonally, and a hook swinging out to the right and down. Explain how to draw the quarter rest as you are drawing. It may take the students a few minutes to understand the concept of drawing the quarter rest. (Gardner: Visual/Spatial, MusicallRhythmic)

10. Ask the students to draw quarter rests on the same sheet as their quarter notes. Tell them they can work in groups or individually. (Gardner: MusicallRhythmic, Interpseronal, Intrapersonal)

----------

1-1

Name:

Cirde the quarter notes and quarter rests in the example below.

Li'l Liza Jane

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------------Name:

Practice drawing quarter notes and quarter rests. Draw on the staff lines below next to the examples given.

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Printed at www.blanksheetmusic.net

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Name: -----L.--'---'-=-:::....:....--_------'--- _

Circle the quarter notes and quarter rests in the example below.

Li'l Liza Jane

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Name: ~0SUJel V...e-t..\

Practice drawing quarter notes and quarter rests. Draw on the staff lines below next to the

examples given.

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F. LESSON PLAN TO INTRODUCE NEW VOCABULARY

MANCHESTER COLLEGE


LESSON PLAN by Stephanie Green

Lesson: Introduction to Rhythms and Notes (Introduce New Vocabulary)

Length: 45 minutes (may last several days to cover all aspects of the standard)



Music 3.5.2 Notate quarter, eighth, half, darted half, sixteenth, and whole notes, and quarter, half, and whole rests using iconic or standard notation.


1. Given the song "Tideo", the student will circle the eighth and sixteenth notes in the song accurately circling at least ten out ofthe first twelve measures of music.

2. Given a piece of staff paper, the student will draw eight eighth notes and eight sixteenth notes accurately drawing at least six out of the each of the set of eight notes.

Assessment:

1. The student will be given the song "Tideo". The student must circle the sixteenth notes and eighth notes found in the first twelve measures of music. They must accurately circle the notes in ten out of the first twelve measures of music.

2. The student will be given a blank piece of staff paper. The student must draw eight eighth notes and eight sixteenth notes. They must accurately draw six out of the eight notes within each set.


1. Create examples for students to see what eighth notes and sixteenth notes look like in music. These examples will be written on the board.

2. Make copies of blank staff paper to hand out to the students for their assessment of drawing the notes.

3. Make copies of "Tideo" for the assessment. 4. Create a worksheet for the students to practice drawing eighth notes and sixteenth notes.

Procedure:

IntroductionlMotivation: Clap out a rhythm and have the students repeat that rhythm. Tap out a rhythm on your legs and have the students repeat that rhythm. Stomp your feet with another different rhythm. Ask them which rhythm they like better and why. Remind the students that we learned about quarter notes and quarter rests yesterday. Today we willieam about eighth and sixteenth notes as well as some new vocabulary. (Gardner: Bodily/Kinesthetic, MusicallRhythmic) (Bloom: Evaluation)

Step by Step Plan:

1. Draw an eighth note with a flag and two eighth notes stemmed together. Explain that the first is an eighth note and it receives 12 of a beat. Clap a short clap and have the class repeat you. Explain that the next is two eighth notes together and they equal one beat same as the quarter note. Clap two short claps and have the class repeat you. (Gardner: Bodily/Kinesthetic, MusicallRhythmic, Visual/Spatial)

2. Have the students take out the staff paper they had from yesterday to draw examples of eighth notes with a flag and two eighth notes stemmed together. Explain step by step how to draw them as the students draw on their paper as you draw on the board. (Gardner: Visual/Spatial, MusicallRhythmic)

3. Ask the students to draw a few more eighth notes with flags and eighth notes stemmed together on their staff paper. Walk around to make sure they are drawing them correctly. (Gardner: Visual/Spatial, MusicallRhythmic, Intrapersonal)

4. Draw a sixteenth note with a flag and two sixteenth notes stemmed together on the board. Explain that the first is a sixteenth note and it gets a 1;4 of the beat. Clap a really short clap and have the class repeat you. Explain that the next is two sixteenth notes together and they equal a half of a beat which is the same as an eighth note. (Gardner: Bodily/Kinesthetic, MusicallRhythmic, Visual/Spatial)

5. Have the students draw examples of sixteenth notes with flags and sixteenth notes stemmed together. Explain step by step how to draw these notes as the students draw on their papers. (Gardner: Visual/Spatial, MusicallRhythmic)

6. Ask the students to set that aside for a moment and have them pull out a few note cards to write some new vocabulary on them. Draw a fermata on the board. Tell the class to draw this on the blank side of the note card. On the back, have them write the definition of a fermata which is to hold out a beat longer than its value. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal)

7. On the next note card, they will draw the forte symbol and write the meaning of loud sound on the back. Have the students write new vocabulary note cards for mezzo forte, mezzo piano. piano, crescendo and decrescendo. Have them draw the symbol of each one on the blank side of the note card and write the definition on the other side. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal)

8. Explain that they will need to know these terms because they are found a lot in music and they are very important to music. Ask them to take them home and study them as flash cards. Also explain that we will review these terms at the beginning of each lesson. (Gardner: MusicallRhythmic)

9. Ask the students to put away their note cards after they are finished. When the whole class is finished, draw examples of a quarter note, eighth note and sixteenth note on the board. Ask the class which one is a beat and have someone come and point to that example. Repeat that for the eighth note and sixteenth note. Ask the students if they have any questions about that. (Gardner: Musical/Rhythmic, Visual/Spatial) (Bloom: Knowledge, Comprehension)

10. Pass out the ten measures of "Tideo." Explain to the class that they must circle the sixteenth notes and eighth notes in the first ten measures of the song. They must circle at least ten out of the twelve measures correctly to show proficiency in this lesson. Explain they must work alone. Pass out a blank piece of staff paper. Explain that the students must draw eight eighth notes and eight sixteenth notes. Explain they can draw flagged or stemmed sixteenth or eighth notes. They must draw six out of eight of each set to show proficiency in this lesson. Explain they must work alone. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal)(Bloom: Comprehension, Application)

Closure:

Collect the papers from the students. Clap out another rhythm to get their attention back on task. Ask the students if they have any questions about eighth notes and sixteenth notes. Explain that there are even more rhythms than eighth notes, sixteenth notes, quarter notes, and quarter rests. Play "Andale Juana" for the class. Explain that this song has half notes and dotted half notes in it as well as quarter notes. Tell the class they will learn about half notes and dotted half notes tomorrow. (Gardner: MusicallRhythmic, BodilylKinesthetic)

AdaptationslEnrichment:

Girl with ADHD-Hyperactive: Have the girl take frequent breaks as needed. Also have her come up to the board and write out the different examples of eighth notes and sixteenth notes when volunteers are needed.

Self-Reflection: How did the lesson go? Are there aspects that I could do differently next time? Did the students understand the topics taught in this lesson? Was the lesson successful? Did the adaptation seem appropriate? Did any of the lesson need to be taught again for the students to

understand it fully?

Name: ------------

Please circle the eighth notes and sixteenth notes in the following example.

Score Tideo Unknown

Skip one win-dow ti-de-o. skip two win-dows ti-de-o. Skip three win-dows ti-de-o.

Jin -gle at the win - dow ti -de -0; Ti-de-o. ti-de-o. Jin -gle at the win - dow ti -de-a.

--------Name:

Practice drawing eighth notes flagged, eighth notes stemmed together, sixteenth notes flagged and sixteenth notes stemmed together. Draw on the stafflines below. Next to the examples

gIven.

Printed at WNW.blanksheetmusic.net

Please circle the eighth notes and sixteenth notes in the following example.

Score Tideo Unknown

11 Skip one win-dow ti-de-o. skip two win-dows ti-de-o. Skip three win-dows ti-de-o.

Jin -gle at the win - dow ti -de· 0: Ti-de-o. ti-de-o, Jin-gle at the win - dow ti-de-o.

Name: A~{ V~'-'\

Practice drawing eighth notes flagged, eighth notes stemmed together, sixteenth notes flagged and sixteenth notes stemmed together. Draw on the stafflines below. Next to the examples

gIVen.

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G. LESSON PLAN MODIFIED FOR ADHD

MANCHESTER COLLEGE



Lesson: Introduction to Rhythms and Notes (Modified for a student with ADHD)

Length: 45 minutes





1. Given the piece "High Is Better Than Low", the student will circle the half rests and half notes in the song accurately circling at least fourteen out of the last sixteen measures correctly.

2. Given a blank piece of staff paper, the student will draw eight half notes and eight half rests accurately drawing at least six out of each of the sets.

Assessment:

1. The students will be given the piece "High Is Better Than Low". The student will circle the half rests and half notes in the last sixteen measures. The students must accurately circle the half rest and half notes in at least fourteen out of the sixteen measures.

'") The students will be given a blank piece of staff paper. The students will draw eight half rests and eight half notes. The students must accurately draw at least six out of the eight notes within each set.


1. Create examples for the students 10 see what half notes and half rests look like in music. These examples will be written on the board.

2. Create a worksheet for the students to practice drawing half notes and half rests. 3. Make copies of the blank staff paper to hand out to the student for their assessment of

drawing notes. 4. Make copies of the song "High Is Better Than Low".

Procedure:

Introduction/Motivation: Read the following passage from Rubber-Band Banjos and a Java Jive Bass: Projects & Activities on the Science ofMusic & Sound by Alex Sabbeth, which is found in the library, to your students: "Music uses a simple method to indicate rhythm. Notes are symbols that show how long a musical sound should last." Clap out several different rhythms after you finish reading this passage. Draw some notes on the board. Ask the students to point out which ones are eighth notes and which ones are sixteenth notes. Explain that there are all the different types of rhythms in music and notes like the sixteenth and eighth notes we learned yesterday. Tell the class that we will learn about half notes and half rests today. (Gardner: MusicallRhythmic, BodilylKinesthetic, VerballLinguistic)

Step by Step Plan:

1. Draw a half note on the board. Explain that this is a half note and it receives two beats. Clap two longer claps. Have the class repeat after you. (Gardner: VisuaVSpatial, Musical!Rhythmic, BodilylKinesthetic)

2. Have the students take out their staff paper from the past two days to draw examples of half notes on it. Explain step by step how to draw a half note correctly. Explain the step by step process as you draw a half note on the board and as the students draw a half note on their staff paper. (Gardner: Musical!Rhythmic, VisuaVSpatial)

3. Ask the students to draw several more examples. Walk around the class to make sure they are doing it correctly. (Gardner: Musical!Rhythmic, VisuaVSpatial, Intrapersonal)

4. Draw a half rest on the board. Explain that this is a half rest and it receives two beats just like the half note. Ask the class what is the difference between a rest and a note. Call on a student to answer the question giving at least 5-10 seconds for the students to think about their answer. (Gardner: Musical!Rhythmic, VisuaVSpatial) (Bloom: Knowledge)

5. Ask the students to draw examples of half rests on the staff paper. Explain step by step how to draw a half rest correctly. (Gardner: MusicallRhythmic, VisuaVSpatial, Intrapersonal)

6. Ask the student to draw several more examples of half rests. Walk around the room to make sure that the students are drawing the half rests correctly. (Gardner: Musical!Rhythmic, VisuaVSpatial, Intrapersonal)

7. Ask the students if they have any questions about half rests and half notes. Draw different examples of notes and rests on the board. Ask the students to point out which example has a quarter note or rest, eighth or sixteenth note, and half note and half rest in it. This will call on their past knowledge from the first lesson. (Gardner: MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension, Knowledge, Application)

8. After this exercise is finished. ask if the class has any other questions before passing out the materials for the assessment.

9. Erase the board and ask the students to put away their staff paper. 10. Pass out the blank staff paper. Explain to the students that they must draw eight half

notes and eight half rests. They must draw six out of each eight correctly to meet the objective. Explain that they must work alone.(Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Application)

11. Pass out "High Is Better Than Low". Explain to the students that they must circle the half notes and the half rests in the measures seen on the page. They must circle the half notes and the half rests correctly in fourteen out of the last sixteen measures. Explain that they must work alone. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Application)

Closure:

Collect the papers from the students once everyone is finished. Stomp a rhythm to get the students' attention focused again. Ask if there is anything other questions over half notes and half rests. Repeat the quote from the beginning of class from Rubber-Band Banjos and a Java Jive Bass: Projects & Activities on the Science ofMusic & Sound by Alex Sabbeth to your students: "Music uses a simple method to indicate rhythm. Notes are symbols that show how long a musical sound should last:' Explain that there are more simple rhythms that help to indicate rhythm. Explain that there are dotted half notes, whole notes, and whole rests which they will learn about tomorrow. (Gardner: Musical/Rhythmic, BodilylKinesthetic, VerballLinguistic)


Student with ADHD- ill: When clapping out the rhythms of music, have the student stand up and stomp or jump to the rhythm you clapped. Have the student stand and stretch before the assessment to let them burn some energy before they took the assessment. If you need a volunteer, have the student come up so they can burn some energy. Let the student work in groups when they are drawing examples of the half notes and half rests on the staff paper, but they must work alone during the assessment.

Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? How did the adaptation work for the student with ADHD-HI?

---------------

r

Name:

Please circle the half notes and the half rests in the following example.

High Is Better Than Low Dietz and Schwartz

If your spir-it is bub - bly you'll ",in man-y a friend, Bub - bly's bet-ter than

trou - bly. so ree - om - mend_ Sin where-eY - er you go.

High is bet-ter than low. You'll be bet-ter if you say it's so. _

----------Name:

Practice drawing half notes and half rests. Draw on the staff lines below next to the examples gIven.


Please circle the half notes and the half rests in the following example.

High Is Better Than Low Dietz and Schwartz

If your spir-it is bub - bly you'll viin man-y a friend. Bub -bly's bet-ter than

trou - bly. so rec - om - mend_ Sin where -ey - er you go.

High is bet-ter than low. You'll be beHer if you say it's so. _

Name: A~[ K.€>---\

Practice drawing half notes and half rests. Draw on the staff lines below next to the examples gIven.

@!l ~_. - -1- - - ·~,U,! ~- •••

H. LESSON PLAN MODIFIED FOR LEARNING DISABILITES

MANCHESTER COLLEGE



Lesson: Introduction to Rhythms and Notes (Modified for a student with a learning disability)

Length: 45 minutes





1. Given the song "Amen", the student will circle the dotted half notes, whole notes and whole rests in the song circling at least six out of the eight measures correctly.

2. Given a blank sheet of staff paper, the student will draw eight dotted half notes, eight whole notes, and eight whole rests drawing at least six out of each of the sets correctly.

Assessment:

1. The student will be given the song "Amen". The student will circle the dotted half notes,

whole notes, and wholes rests in the song. The student must circle at least six out of the eight measures correctly.

2. The student will be given a blank sheet of staff paper. The student will draw eight dotted half notes, eight whole notes, and eight whole rests. The student must draw at least six out of each set of eight correctly.


1. Create different examples using dotted half notes, whole notes and whole rests as well as

past rhythms that they have learned throughout the unit. 2. Make copies of the blank staff paper to pass out for the assessment. 3. Make copies of the song "Amen".

Procedure:

IntroductionlMotivation: Write several different examples of rhythms on the board. Clap one and ask students where it is example ABCD. After the students answer, clap the rhythm again and have the students repeat after you. Explain that some of the rhythms (half note and half rests) that were just clapped we learned yesterday. Explain that there are three more types of rhythm that they will learn about today. Explain that they are called dotted half notes (draw an example on the board), whole notes (draw an example on the board) and whole rests (draw an example on the board). (Bloom: Comprehension and Application) (Gardner: Musical/Rhythmic, VisuaVSpatial, BodilylKinesthetic)

Step by Step Plan:

1. Clap three beats and have the students repeat after you. Point to the example of a dotted half note that you have drawn on the board. Explain that the three beats you just clapped represent the amount of beats that the dotted half note receives. (Gardner: Musical/Rhythmic, VisuaVSpatial, BodilylKinesthetic)

2. Ask the students if they remember how many beats that a half note receives from yesterday's lesson. Explain that a half note receives two beats. Put your finger over the dot of the dotted half note to show that the note receives two beats. (Bloom: Knowledge) (Gardner: Musical/Rhythmic)

3. Point to the dot and explain that the dot represents half of the beats of the big note it is besides. So in this case the dot represents 1 because half of 2 is 1. Explain that when the dot with the half note together equals three. Have the students clap the rhythm with your hand covering the dot. Then uncover the dot and ask the students to clap that rhythm. Ask the students if they have any questions. (Gardner: VisuaVSpatial, Musical/Rhythmic, BodilylKinesthetic)

4. Ask the students to get out their staff paper from the past three days to practice drawing dotted half notes on. Explain that the dotted half note is just like the half note but with a dot behind it. Draw an example on the board for the students to follow. Then walk around making sure that the students are drawing them correctly. (Gardner: VisuaVSpatial, MusicaVRhythmic)

5. Get the student's attention back on task by clapping out a rhythm and having them repeat after you. Clap four beats and have the students repeat after you. Point to the whole note and explain that whole note receives four beats. Clap another four beats and have the students repeat after you to make sure that they understand the concept.

(Gardner: VisuaVSpatial, MusicaVRhythmic, BodilylKinesthetic) 6. Have the students draw examples of whole notes on the same staff paper as the dotted

half notes. Draw an example on the board explaining how to draw it as you go. Have the students draw several examples on their staff paper and walk around to make sure they are drawing them correctly. (Gardner: VisuaVSpatial, MusicaVRhythmic)

7. Clap to get your students back on task. Draw a whole rest on the board. Explain that this is a whole rest and it receives the same amount of beats as a whole note but when it is written in music not sound is made.(Gardner: VisuaUSpatial, MusicallRhythmic, BodilylKinesthetic)

8. Explain how to draw a whole rest while drawing it on the board. Have your students use the same staff paper as before to draw their whole rests on. Walk around the room to make sure that the students are drawing the rests correctly. (Gardner: VisuaUSpatial, MusicallRhythmic, BodilylKinesthetic)

9. Draw several examples of notes on the board. Clap out the different beats associated with those notes and have the students go up and point to which one is the correct note. Also draw the rests that the students have learned in this unit and have them point to the rests that equal that clapped beat as well. (Bloom: Comprehension, Knowledge)(Gardner: VisuaUSpatial, MusicaURhythmic, BodilylKinesthetic)

10. Pass out the song "Amen". Explain to the students that they must circle the dotted half notes, whole notes and whole rests in the song. Tell the students that they must circle six out of the eight measures correctly. Explain that they must work alone. (Bloom: Application)(Gardner: VisuaUSpatial, MusicaURhythmic, Intrapersonal)

11. Pass out the blank sheet of staff paper. Explain to the students that they must draw eight dotted half notes, eight whole notes and eight whole rests. Tell the students that they must draw six out of each eight correctly. Explain that they must work alone.(Bloom: Application)(Gardner: VisuaUSpatial, MusicallRhythmic, Intrapersonal)

Closure:

Collect the papers from the students once they are finished. Write a simple note pattern on the board. Write solfege under the notes. Explain that solfege is a concept in singing music that can help with different pitches. Tell the class that we wi11learn more about solfege and its uses tomorrow. (Gardner: MusicaURhythmic)


Student with a Learning Disability: Make sure that the student is sitting by someone who is supportive and can help them understand the concept if they do not get it. Go over the section about the dot with the dotted half note several times to make sure the concept is understood. Also provide examples for the student to see what the dotted half note looks like in music. Teach at a slower pace so the student can have time to understand and comprehend the material. Give the student enough time to answer the question and talk with the student before hand to warn them about when you would ask them a question.

Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Does the concept of rhythms and beats seem to be understood after the four lessons? How did the adaptation work for the student with the learning disability?

--------------Name:

Please circle the dotted half notes, whole notes, and whole rests in the following example.

Amen Afro-American Round

--------------Name:

Practice drawing dotted half notes, whole notes, and whole rests. Draw on the staff lines below next to the examples.


-

7

Please circle the dotted half notes, whole notes, and whole rests in the following example.

Amen Afro-American Round

i l ~ ~~~'\,e~S~ A - - men. A men. A men. A

~ ~~! J J men. A - men.

Practice drawing dotted half notes, whole notes, and whole rests. Draw on the staff lines below next to the examples.

IDeia~-~1-"- ,.!J... ..I) Q()O tI'(j~ .. oa" I == :

d- d- d- r)- J. d- ;).~-=-------

o cJ o a o 0 0 d


r

I. LESSON PLAN MODIFIED FOR GIFTED AND TALENTED

MANCHESTER COLLEGE



Lesson: Do, Re Mi: Introduction to Solfege (Modified for a student who is gifted and talented)

Length: 45 minutes

Age or Grade Intended: Third Grade Elementarv Music Class


Music 3.5.3 Read and perform expanded pitch patterns and simple songs using solfege and letter names of the treble clef.


1. Given the song "Little Tommy Tinker", the student will write the solfege symbol under each note writing the solfege symbols in at least 6 out of the 8 measures correctly.

2. Given a blank copy of the hand symbols, the student will write the name of the solfege symbol next to the corresponding hand symbol correctly indentifying at least 6 out of the 8 hand symbols.

Assessment:

1. The student will be given the song "Little Tommy Tinker". The student must write the solfege symbol under each note. The student must correctly write at least 6 out of the eight measures of the song.

2. The student will be given a blank copy of the hand symbols. The student must identify the symbol and write the name next to the symbol. The student must identify at least 6 out of the eight hand symbols correctly.


1. Make copies of "Little Tommy Tinker" for the assessment. 2. Make copies of the blank hand symbol sheet. 3. Make copies of a hand symbol sheet with the names next to it. 4. Make copies of "Nani Wale Na Hala" and "There Was a Crooked Man" for the students

to practice writing solfege symbols under.

Procedure:

IntroductionlMotivation: Clap a simple rhythm to get the students attention.. Play the song "Do, Re, Mi" from the Sound ofMusic. Write on the board the solfege symbols that are being sung in the song. Play the song again but this time have the students sing the words when you point to them. Explain that music is made up of rhythms like the rhythms we learned in last lesson but music is also made up of notes. Explain that the notes in music have symbols which are solfege symbols which we will learn about in class today. (Gardner: Musical/Rhythmic, Visual/Spatial, Bodily/Kinesthetic)

Step by Step Plan:

1. Pass out the hand symbol sheet. Explain that we are going to learn the symbols for solfege as well as the hand signs that go along with it.

2. Hold your hand in a fist. Explain that this is the symbol for Do. Have the class hold a fist in front of the stomach and repeat the word Do. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial)

3. Explain that Do is the most important note in a song and sometimes the first but not always. Explain that Do also has a friend that is located at the end of the solfege symbols but we will learn about that friend later. Tell the class we will look at song examples later.

4. Hold your hand at a 45 degree angle. Explain that this is the symbol for Re. Re comes after Do. Repeat the symbol for Do then follow it with Re. Ask the class if they remember from the Sound ofMusic song what symbol comes next. Playa small clip to remind them if they do not remember what symbol comes next. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial) (Bloom: Knowledge)

5. Hold your hand flat in front of your stomach. Explain that this is the symbol Mi. Repeat the symbols Do, Re, Mi several times so the students understand the order. Ask the students if they have any questions before you move on. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial)

6. Hold the different symbols of solfege that the students have learned so far in front of you. Call on students to answer what the symbol is. (Bloom: Comprehension) (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial)

7. Hold your hand in a fist with your thumb pointing down. Explain that this is the symbol for Fa. Repeat the symbols they have learned so far to make sure that the students are understanding the concepts. (Gardner: MusicaI/Rhythmic, Bodily/Kinesthetic, Visual/Spatial)

8. Hold your hand straight in front of you with your thumb pointing to the ceiling. Explain that this is the symbol for Sol or So. Repeat the symbols they have learned so

far to make sure that the students are understanding the symbols. (Gardner: MusicallRhythmic, Visual/Spatial, Bodily/Kinesthetic)

9. Hold your hand cupped in front of you with the underside of your hand pointed to the floor. Explain that this is the symbol for La. Repeat the symbols that they have learned so far. Ask the students ifthey have any questions so far. (Gardner: MusicallRhythmic, Visual/Spatial, Bodily/Kinesthetic)

10. Hold different symbols of solfege in front of you and ask the students what symbol that is. Call on different students than before to answer what the symbol is. (Bloom: Comprehension)

11. Hold your hand in a fist with your pointer finger pointing at a 45 degree angle. Explain that this is the symbol for Ti which comes right before Do, the friend of the first Do. (Gardner: MusicallRhythmic, Bodily/Kinesthetic, Visual/Spatial)

12. Repeat the symbols and ask the students if they have any questions. Write a C major scale on the board with the solfege symbols underneath it. Pass out the practice song sheet to the students. Go over the first song as a class filling in the solfege under the notes. Have the class work on the second song in groups. Walk around to make sure that everyone is understanding the concept. (Gardner: MusicallRhythmic, Visual/Spatial, Interpersonal) (Bloom: Comprehension, Application, Knowledge)

13. Ask the students to put all the materials from today away. Pass out the hand symbol sheet for assessment and the sheet with "Little Tommy Tinker" on it. Explain the instructions for both sheets and that they must work by themselves. (Bloom: Application) (Gardner: MusicallRhythmic, Intrapersonal)

Closure:

Collect the papers and clap a rhythm to get the students' attention again. Play the Sound ofMusic "Do, Re, Mi" and have the students use their hand symbols along with the song. Explain that there are many concepts of music and some of that are the dynamics or loud and soft moments in music which we will learn about tomorrow. (Gardner: MusicallRhythmic, Bodily/Kinesthetic)


Student that is Gifted and Talented: Have the student be a student peer to help those students who do not understand the concept of solfege. During the song at the beginning of the lesson, have the student demonstrate the solfege symbols as the song is playing. Their leadership skills and confidence can help their peers to understand the concept of solfege plus they can be a huge help to you whenever needed.

Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Do the students seem to understand solfege or will you need to review it more later on? Does the adaptation/emichmenl for the gifted and talented student seem appropriate?

One adaptation/enrichment that would be used numerous times throughout this unit would be the student peer assistant. I would have the student help me around the classroom with not helping their peers with certain problems but also to help explain topics with different varieties. I would choose this specific enrichment for two reasons. One reason would be because as a teacher I can try to make it to all the individuals in my classroom but I cannot focus on all my students at once. Using the student who is gifted and talented would help all the students to get their questions answered. Another reason would be because the gifted and talented student could gain confidence from helping their peers.

Another adaptation/enrichment would be connecting the gifted and talented student with another organization outside of the classroom. This may not be used as much throughout this unit as the first adaptation. I would contact an organization with talented young musicians or contact the local high school choir. I would see if those organizations or groups would be willing to work with this student. This would help develop the skills of this student to a different level that cannot be achieved in the classroom. The student would be challenged and learning more about their talent in this setting than they would in the regular classroom.

Another adaptation/enrichment would be having the student not only assist with other students' questions but other activities as well. During the notes and rhythms lessons, the student could write up different rhythms to help test the students. During later lessons in the unit, the student could help the teacher by playing notes on the piano while the students followed in their music. This would help the teacher because the teacher could focus on helping the students get their notes instead of focusing on the playing of the pitches. This would also develop the skills of the4 student because they would be practicing piano by playing pitches allowing them to grow and become more enriched in music.

Name: --~-------

Please write the solfege symbol under the notes of the example below. The first symbol is given.

Little Tommy Tinker

Do

--------Name:

Practice writing in the solfege symbols under the examples below. The first solfege symbol is given in each example.

Nani Wale Na Hala

There Was a Crooked Man

----------

-

Name:

Fill in the names of the solfege next to the symbol it belongs with.

~ _~~" ,f!

~-....:....' , . ..., ~ r ~

---------------Name:

This is a hand symbol sheet for solfege for your own use.

~

~ ~ '.. . \.''>@

I

~

do'

ti

fa

so

fa

ml

re

do

Name: Answer keL-

Fill in the names of the solfege next to the symbol it belongs with.

dot~ ti~ la~

@, ,S! so

g;:~

fa

~ mi

re ~ do~

-

Please write the solfege symbol under the notes of the example below. The first symbol is given.

Little Tommy Tinker

• j J J J J ij. t uJ.Ac ~, tJ', Re.. ~e... ~ Do

Practice writing in the solfege symbols under the examples below. The first solfege symbol is given in each example.

Nani Wale Na Hala

There Was a Crooked Man

. ~o f"- 2> ~....' fA s. 'r-", s.. ;:;,. $c \ iA S<; lA, Sc p:, Sc 'I};. 'h

6

J. LESSON PLAN MODIFIED FOR BEHAVIORAL DISORDERS

MANCHESTER COLLEGE



Lesson: Loud and Soft: Dvnamics of Music (Modified for a student with a behavior disorder)

Length: 45 minutes



Music 3.5.7 Identify and explain the dynamic markings forte, mezzo forte, piano, mezzo piano, crescendo and diminuendo (decrescendo).


1. Given an excerpt from Gospel Magntficat, the student will circle the dynamic markings displayed in the soprano line circling at least 5 out of the 6 markings correctly.

2. Given a list, the student will match the terms with their meanings and symbols correctly matching at least 6 out of the 7 terms.

Assessment:

1. The student will be given a sheet with an excerpt of the soprano line from Gospel Magntficat. The student will circle the dynamic markings in the music. The student must circle at least 5 out of the 6 markings correctly.

2. The student will be given a sheet of paper with two lists. One list will be the name of the terms and the other list will be the meaning and symbol of the terms. The student will match the terms with their meanings and symbols. The student must match at least 6 out of the 7 terms correctly.


1. Create an assessment with the Gospel Magntficat example on the sheet. 2. Create an assessment with the terms, meanings and symbols on the sheet. 3. Create a worksheet for the students to write out the definitions of the symbol next to the

corresponding symbol.

Procedure:

IntroductionlMotivation: Clap a rhythm to get the students attention. Have the students take out a piece of paper and write about what was the topic in yesterday's lesson and the 8 syllables that went with that topic. Collect the papers and then play Billy Joel's "Scenes from an Italian Restaurant". Ask the students to talk about what they hear in this song. Explain that one of the aspects of the song is the different dynamics or the loud and soft moments. Tell the class that we are going to learn about dynamics today. (Gardner: MusicallRhythmic, VerballLinguistic) (Bloom: Synthesis)

Step by Step Plan:

1. Hand out the worksheet with the symbols. Explain to the students that they can use this as the lesson goes on to fill in the definitions of the different dynamics. (Gardner: Visual/Spatial)

2. Draw the symbol for forte on the board. Explain that this is called forte and it is the f on their worksheet. Forte means loud. Clap loud and have the class repeat after you so they can understand. (Gardner: MusicallRhythmic, Visual/Spatial, Bodily/Kinesthetic)

3. Draw the symbol for mezzo forte on the board. Explain that this is called mezzo forte and it is the mf on their worksheet. Mezzo forte means a little loud. Clap loud but not as loud as the forte clap and have the class repeat after you so they can understand. (Gardner: MusicaIJRhythmic, Visual/Spatial, Bodily/Kinesthetic)

4. Ask the students if they have any questions so far. Clap loud and ask the class if this was forte or mezzo forte. (Bloom: Knowledge)

5. Draw the symbol for piano on the board. Explain that this is called piano and it is the p on their worksheet. Piano means soft. Clap soft and have the class repeat after you to understand the concept of piano. (Gardner: MusicallRhythmic, Visual/Spatial, BodilylKinesthetic)

6. Draw the symbol for mezzo piano on the board. Explain that this is called mezzo piano and it is the mp on their worksheet. Mezzo piano means a little soft. Clap soft but not as soft as piano and have the class repeat after you to understand the concept of mezzo piano. (Gardner: MusicaIJRhythmic, Visual/Spatial, BodilylKinesthetic)

7. Ask the students if they have any questions so far. Draw the dynamic symbols they have learned on the board. Ask which one stands for a little loud and ask a student to come up and point to the symbol. Ask which one is piano and ask another student to come point to that symbol. (Gardner: Visual/Spatial) (Bloom: Application)

8. Draw the symbol for diminuendo on the board. Explain that this is called a diminuendo. Explain that a diminuendo is gradually getting softer. Clap several claps

starting loud and getting soft. Have the class repeat after you to explain the concept of diminuendo. (Gardner: VisuaVSpatial, MusicallRhythmic, BodilylKinesthetic)

9. Draw the symbol for crescendo on the board. Explain that this is called a crescendo. Explain that a crescendo is gradually getting louder. Clap several claps starting softer and getting loud. Have the class repeat after you to explain the concept of crescendo.

(Gardner: VisuaVSpatial, MusicallRhythmic, BodilylKinesthetic) 10. Clap different examples and ask the class if that was forte, mezzo forte, piano, mezzo

piano, crescendo or diminuendo. (Bloom: Knowledge) 11. Pass out the sheet for matching tenns. Explain that they must match the term with the

symbol it belongs with. The students must work alone. (Gardner: VisuaVSpatial, Intrapersonal) (Bloom: Application)

12. Collect the matching tenns sheet. Pass out the excerpt from Gospel Manificat. Explain to the class that they must circle the dynamics in the piece. They must work alone. (Gardner: VisuaVSpatial, Intrapersonal) (Bloom: Application)

Closure:

Clap a rhythm to get the students' attention back on task. Explain that dynamics are important in music. Other markings such as fennatas, D.C. and D.S. are important as well. WE will learn about those tomorrow. To end the class as an exit slip, have the students take out another sheet of paper and answer that question, what are three important things I learned about dynamics today? (Gardner: VerballLinguistic)


Student with a Behavior Disorder: Sit down and discuss with the student the options they have if they feel uncomfortable. Explain that they are allowed to go to the counselor whenever throughout the lesson. If they work in groups, have them work with someone who is supportive of them. Allow them to have extra time on the assessments if needed. Provide the student with a schedule of the day to make them feel more comfortable.

Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Do the students understand the concepts of dynamics? Do you need to review the subject at another time? Did the adaptations/enrichments seem appropriate for the student with a behavior disorder?

-

----------------Name:

Below is an excerpt from Gospel Magnificat. Please circle the dynamic markings ( p, mp, mf, f. cresc., dim., etc.) in the excerpt.

Gospel Magnificat

My soul's re - joic-ing in-lhe Lord. _ in the Lord._

in

13

~1~i~ZlzJ.~

the Lord. _ in the Lord. My _

mf soul's_ re - joic-ing in_ the Lord.

~.~#j re - joic - ing in--=- the L~ re - joic - ing in_ the Lord._ re -

joic - ing in_ the Lord. _ rc - joic - ing in __ the Lord. re - joic - ing. joic

ing in the Lord. _ in the Lord. _ in the Lord. _

I ,'.~. 30

---------Name:

Match the following symbols with their terms.

SYmbols

f 1.

2.

3. _P

mp 4.

::: 5.

<6.

Terms

A. Gradually get louder; crescendo

B. Soft; piano

C. Loud; forte

D. Gradually get softer; diminuendo

E. A little loud; mezzo forte

F. A little soft; mezzo piano

--------Name:

Use this worksheet to fill in the definition of the dynamic next to its symbol.

f or forte is

mj or mezzo forte is

p or piano IS

mp or mezzo plano IS

or diminuendo is

< or crescendo is

Name: --'----------'=---------'-------

Below is an excerpt from Gospel Magn((icat. Please circle the dynamic markings ( p, mp, mf, f, cresc., dim., etc.) in the excerpt.

Gospel Magnificat

My soul's re - joic-ing in-the Lord. _ in the Lord._

in the Lord.__ in the Lord. ~ soul's_ re - joic-ing in_ the Lord.

13 ~

~'~b§l} §.~#j).~ re - joic - ing in_ the L~' re - joic - ing in_ the Lord._ re

18 crescoGi; ~I}i} u

joic - ing in_ the Lord. re - joic - ing in__ the Lord. re - joic - ing. ioic

ing in the Lord. _ in the Lord. _ in the Lord. _

30

j~~~b~I};~)~~~~~~~~~~~~~~~~

Match the following symbols with their terms.

Symbols

f c1.

mj 2. t

3. P _

mp ~ 4.

: \J5.

6. < ~

Terms

A. Gradually get louder; crescendo B. Soft; piano c. Loud; forte D. Gradually get softer; diminuendo E. A little loud; mezzo forte F. A little soft; mezzo piano

Use this worksheet to fill in the definition of the dynamic next to its symbol.

f or forte is

mf or mezzo forte is

p or plano IS

11tp or mezzo plano IS

a ~Q\l,"1. 5e~ 30-\ W or diminuendo is J yc 1

<

K. LESSON PLAN MODIFIED FOR AUTISM

MANCHESTER COLLEGE



Lesson: Markings In Music and their MeaningsCModified for a student with autism)

Length: 45 minutes



Music 3.5.8 Identify and explain the musical symbols for fermata, octave, and D.C. al fine.


1. Given an excerpt from the song "Christmas Is Joy", the student will circle the musical symbols seen in the song correctly circling the two symbols in the excerpt.

2. Given a worksheet, the student will explain what the musical symbols (fermata, octave, and D.C. al fine) mean describing at least two out of the three symbols correctly.

Assessment:

1. The student will be given an excerpt from the son "Christmas Is Joy". The student will circle the musical symbols (i.e. fermata, octave, and D.C. al fine) that they see in this excerpt. The student must circle the two symbols in the excerpt correctly.

2. The student will be given a worksheet. The student will explain what each of the musical symbols mean next to that corresponding symbol. The student will describe at least two out of the three symbols correctly.


1. Create an assessment with the excerpt from "Christmas Is Joy". 2. Create a worksheet that will be used as an assessment for the students to explain what

each musical symbol means. 3. Create a worksheet that the students can write what each musical symbol means.

Procedure:

IntroductionlMotivation: Stomp a beat to get the students' attention. Draw some of the symbols from the last lesson on the board. Ask the students what each symbol is and what it means. Explain that today we are going to learn about three different symbols in music that are important just like those we learned in yesterday's lesson. (Gardner: VisuaUSpatial) (Bloom: Knowledge)

Step by Step Plan:

1. Pass out the worksheet with the symbols for D.C. al Fine, octave, and fermata on it. Explain to the class that they will fill out the meaning of the symbols next to them when we discuss them. (Gardner: VisuaUSpatial)

2. Write D.C. al Fine on the board. Explain that this means go back to the beginning and play or sing until the Fine sign. D.C. al Fine sign is usually seen at the end of a piece. (Gardner: MusicallRhythmic, Visual/Spatial)

3. Ask the class if they have any questions about D.C. al Fine. Ask where you would go back to if you saw aD. C. al Fine? (Gardner: MusicallRhythmic) (Bloom: Comprehension)

4. Draw a fermata on the board. Explain to the class that this means hold until the teacher/ conductor cuts you off. Explain that sometimes you hold a note for double its value. (Gardner: MusicallRhythmic)

5. Ask the class how long you hold the fermata for. Explain that there are two answers to this question. (Bloom: Comprehension)

6. Draw the symbol for an octave. Explain that this means to sing or play the note an octave above or below. Explain that ifthere is va that means you sing or play the note an octave above. If there is a ve that means you sing or play the note an octave below. (Gardner: MusicaURhythmic, Visual/Spatial)

7. Ask the class what a va means if it is next to the octave symbol? Ask what a ve means ifit is next to the octave symbol? (Gardner: MusicallRhythmic) (Bloom: Comprehension)

8. Draw the different symbols from the lesson. Ask the class to name each one and explain what they are when you point to that specific symbol. (Gardner: MusicallRhythmic, Visual/Spatial) (Bloom: Analysis)

9. Have the students break off into small groups. Explain that this will be a racing game to see who understands the symbols from the lessons. Draw some symbols on the board and ask a question about a symbol. Have one student from each group run up and point to the correct one. Keep points and have the winning team receive some candy. Keep the game going until you have run through all of the symbols from the lesson (Gardner: MusicaURhythmic, Interpersonal, Visual/Spatial, BodilylKinesthetic) (Bloom: Application)

10. Pass out the assessment with the excerpt from "Christmas Is Joy". Explain that they must circle the musical symbols seen in the excerpt. They must work alone on this assessment. (Gardner: MusicallRhythmic, Visual/Spatial, Intrapersonal) (Bloom: Application)

11. Pass out the worksheet assessment. Explain that next to the symbols they must explain what that symbol means. They must work alone on this assessment. (Gardner: MusicallRhythmic, Intrapersonal) (Bloom: Comprehension)

Closure:

Collect the papers and clap a rhythm to get the students back on task. Ask the students if they have any questions about the musical symbols they learned in today's lesson. Explain that there are different steps and leaps involved with singing. We will look at those different steps and leaps in tomorrow's lesson. (Gardner: Musical/Rhythmic, BodilylKinesthetic)


Student with Autism: Have the student participate with a group while writing down the information taught in the lesson on the worksheet. Include multiple visuals in the lesson that help the student learn more efficiently. Explain to the student individually what you want them to do with the assessments. Warn the student before class about the transitions throughout the lesson to the different musical symbols. Provide them with a communication board if needed.

Self-Reflection: How did this lesson go? What were some changes that could take place to make this lesson more effective next time? Was there enough time planned for the lesson? Do the students understand the musical symbols? Were the adaptations/emichments appropriate for a student with autism? Does any ofthe material need to be changed for the next lesson?

---------------

------

Name:

Circle the musical symbols (fermata, D.C. al Fine or octave) below in the excerpt.

Christmas Is Joy

Christ-mas is joy_ when e\,'· ry-one's hap py.- Christ-mas is love_ when

7 Fme

~§.: Joy_ Joy_ Let's eel - ebrate as_ we may. Joy_ Joy

14 D. C. al Fine

i]~~<~F~.~IJ~~§~~:gg£~. ~ Come sing it thie hap - - py day.

---------Name:

Describe the meaning of the musical symbol next to the corresponding symbol.

D.C al Fine

800 ---------------------------------,

~b-----------------------------------------~

---------Name:

Write down the meaning of the musical symbol next to its corresponding symbol during the

lesson.

D.C. al Fine

800 ---------------------------------,

8°O-----------------------------------------~

Name: A(\ ?A& \k,-\

Circle the musical symbols (fermata, D.C. al Fine or octave) below in the excerpt.

Christmas Is Joy

Christ-mas is joy_ when ev' - ry-one's hap - py._ Cluist-mas is love_ when

ev' - ~. -one e~_ Joy_ Joy_ Let's eel - eerate as_ we may. Joy_ Joy

14

~. J. Come

t¥? sing

§ it thie

jgtJ ~

hap - -

(DC afF};)

S9. ~ py day.

Describe the meaning of the musical symbol next to the corresponding symbol.

t:'\ I-\oIJ \}vl'\'r,\ ~\ ~ .\t<.e1W' k()~ue\v{ cu~s \[GU of ~ ~(f\i1-imQS 'fU- \\o\J-- '\\ ~O(~w·-\~\~'S V<A\u.e..

D.C af Fine jo ~ .'\0 ..\~ ~;(Iit,<'j ".('.-\Iu_::>d':i (1f\~ ~ l"-\{ 0 ( s""5 Lenf, \

--\k- t>rltt, S'(Jl\

8 00---------------------------------,

8 00------------------------------- ---------~

Name: j\f\5Jje.J Vvl>.{

Write down the meaning of the musical symbol next to its corresponding symbol during the

lesson.

t:\ ho\cl \)v(\~\ \ 1V\Q.. ~(\ Ca~+o{ cuA') \f0v.. oA +S00\li1~~ 'foll \\c\J \\ -\o{ ~ w') t:sL ,\~ vr...\.u..Q..

D,CalFine 30 \Jc~k~u 1M- be.5 1n(\,flj ()t~YI~lSo(\~ere\- ?lo.~o{ Sin) (,Lftftl\

~ 'F,N.- (i))JV\

8 00 ---------------------------------,

8°O-----------------------------------------~

L. LESSON PLAN MODIFIED FOR MENTAL RETARDATION

MANCHESTER COLLEGE



Lesson: Steps and Leaps in Music (Modified for a student with mental retardation)

Length: 45 minutes





1. Given the song "Garden Song", the student will label the intervals between the circled note pairs correctly labeling at least twelve out of the sixteen circled note pairs.

2. Given different intervals, the student will identify what type of interval it is (i.e. unison, 2nd

, etc.) correctly identifying three out of the five intervals.

Assessment:

1. The student will be given the song "Garden Song". The student must label the intervals of the circled notes. The student must label at least twelve out of the sixteen circled note pairs correctly.

2. The student will be given a worksheet with different intervals on it. The student must identify what type of interval is between the two notes. The student must identify at least three out of the five intervals correctly.


1. Create an assessment using the "Garden Song". 2. Create an assessment with different intervals. 3. Create examples of intervals to use on the board.

Procedure:

IntroductionlMotivation: Playa song and have the students stand up and act out the musical aspects of the song (dynamics, phrasing, etc.). Ask the class what were some aspects that they liked about this and yesterday's lesson. Explain that there are important steps and leaps that

make up music that we willleam about today. (Gardner: MusicallRhythmic, BodilylKinesthetic) (Bloom: Evaluation)

Step by Step Plan:

1. Draw a unison note pair on the board. Explain that this is a unison note pair. Explain that you can tell it is unison because the notes are on the same line or space as the one before or after it. Have the students lay flat on the ground and explain that this is what a unison is because they are on the same level. Explain that the students are flat against the ground explaining that they are on the same level as the ground. (Gardner: MusicallRhythmic, Visual/Spatial)

2. Draw different intervals including unisons on the board and call on some students to come to the board to point out which one is the unison note pair. Ask the students if they have any questions about unison. (Gardner: MusicallRhythmic, VisuaI/Spatial)(Bloom: Comprehension)

3. Draw an interval of a second on the board. Explain that this is an interval of a second. Explain that you can tell if it is a second or not because the notes are on the space or line right above or below the note. It has to be right next to the note. Have the students sit with their legs crossed on the floor. Explains that this represents how an interval of a second looks like. (Gardner: MusicallRhythmic, Visual/Spatial)

4. Draw an interval of a third on the board. Explain that this is an interval of a third. Explain that you can tell if it is a third or not because the notes are on the space or line above or below the note with a line or space between the two notes. Have the students sit on their knees and explain that this represents how an interval of a third looks like.(Gardner: MusicallRhythmic, Visual/Spatial)

5. Draw different intervals including unison, a second, and a third. Call on some students to point out the intervals that they have leamed so far. Ask them to just point out one at a time. Ask the students if they have any questions about the intervals they have learned so far. (Gardner: MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension)

6. Draw an interval of a fourth on the board. Explain that this is an interval of a fourth. Explain that you can tell if it is a fourth or not because the notes are on a space or line above or below the note with a line and a space between the two notes. Have the students be kneeling but not sitting on their knees and explain that this is what an interval of a fourth looks like. (Gardner: MusicallRhythmic, Visual/Spatial)

7. Draw an interval of a fifth on the board. Explain that this is an interval of a fifth. Explain that you can tell if it is a fifth or not because the notes are on a space or line above or below the note with either two lines and a space or two spaces and a line between the two notes. Have the students stand but be bending over and explain that this represents how an interval of a fifth looks like. (Gardner: MusicallRhythmic, Visual/Spatial)

8. Draw different intervals on the board including unison, a second, a third, a fourth and a fifth. Call on some students to point out the intervals that they have leamed so far. Ask them to just point out one at a time. Ask if they have any questions about the intervals they have leamed so far today. (Gardner: MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension)

9. Ask the students if they have any questions again. Pass out the assessment with the song "Gardner Song". Explain that they must write the interval of the circled note pairs. Explain that they must work alone on this. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal)(Bloom: Application)

10. Pass out the assessment with the different intervals. Explain that they must identify the interval that is shown. They must also work alone on this as well. (Gardner: Musical/Rhythmic, Visual/Spatial, Intrapersonal) (Bloom: Comprehension)

Closure: Collect the assessments and stomp a rhythm to get the students' attention. Have the students get with a partner and write steps on how to identify the different intervals. An example would be a unison are two notes next to each other on the same line or space. Collect the guidelines once they are finished. Ask the students if they have any questions about the intervals they learned today. Explain that there are more intervals in music that we will learn about in tomorrow's lesson. (Gardner: Verbal/Linguistic, BodilylKinesthetic)

Adaptations/Enrichment:

Student with Mental RetardationlIntellectual Disability: Include lots of visuals throughout the lesson. Provide the student with extra time on the assessments and understanding the differences between the intervals. When working with a group at the end of class, make sure that they are with supportive individuals. Alert the student to the transitions within the class and the change in any daily activities that they are accustomed to.

Self-Reflection: Was there enough time planned for the lesson? How did the lesson go? Did the students seem to enjoy the lesson? What were the changes that needed to be made in order to enhance the lesson for next time? Did the adaptation for the student with mental retardation/intellectual disability seem appropriate? Did the students seem to understand the intervals learned in today's lesson? Will you need to review these intervals before the unit test?

----------------Name:

Identify the interval by writing the name of the interval next to the interval.

1.

2.

3.

4.

5.

--

~ ..... -,. ..:J.~-- .--~,.::. , ~':"""'_'--- ~_ .... - -_..=. -'-

-

S·"· ! 7f!, '--"

,".,- -:Jer

....

If'

l~\'-.- __

-

; ~- .-~......r-.;;:.;.. .-; ,~ c_ ~ L '"", l.......l...

v..v\\. "'-'\" 'J'"

&:;3

, ?~ % '---'

T -

c "----"" :

~.

,0, ,"

v--..,:.:x){\

.::L...J;

____ :rr:n:o"'"

# S € fi G

c , :\-;:'-. • .,:.1; ..

-

Name: fA ('SJ.:fd \6L~


1.

$...----::eo--z-2.

3.

4.

5. 3

M. LESSON PLAN MODIFIED FOR SENSORY IMPAIRMENT

MANCHESTER COLLEGE



Lesson: Steps and Leaps in Music (Modified for Hearing Impainnent)

Length: 45 minutes





1. Given an excerpt from "Baby, It's Cold Outside", the student will label the circled

intervals in the excerpt correctly labeling at least four out of the five circled intervals. 2. Given different intervals, the student will identify what type of interval it is (i.e. sixth,

seventh, etc.) correctly identifying at least two out of the three intervals.

Assessment:

1. The student will be given an excerpt from "Baby, Ifs Cold Outside". The student will label the circled intervals in the excerpt. The student must label at least four out of the five circled intervals correctly.

2. The student will be given a worksheet with different intervals on it. The student will identify what type of interval is shown. The student must correctly identify at least two out of the three intervals.


1. Create an assessment using "Baby, It's Cold Outside". 2. Create an assessment with different intervals.

3. Create examples to be used on the board. 4. Make a graphic organizer to hand out to the students.

Procedure:

IntroductionlMotivation: Clap to grab the students' attention. Have the students review the body movements that are related to the intervals from yesterday. Say the interval and then have the students get into the position related to that interval. Ask the students if they had any questions from yesterday's lesson. Explain that today we are going to learn about three more intervals. (Gardner: BodilylKinesthetic, Visual/Spatial, MusicallRhythmic)

Step by Step Plan:

1. Draw an interval of a sixth on the board. Explain that this is an interval of a sixth. Explain that it is a sixth because it has two lines and two spaces between it and the note is located above or below the first note. Have the students stand slightly hunched over and explain that this represents the interval of a sixth. (Gardner: BodilylKinesthetic, MusicallRhythmic, Visual/Spatial)

2. Ask the class what an interval of a sixth looks like. Ask the class ifthey have any questions. (Gardner: BodilylKinesthetic, MusicallRhythmic) (Bloom: Application)

3. Draw an interval of a seventh on the board. Explain that this is an interval of a seventh. Explain that it is a seventh because it has two lines and three spaces between it and the note is located above or below the first note. Have the students stand with their chin touching their chest and explain that this represents the interval of a sixth. (Gardner: BodilylKinesthetic, MusicallRhythmic, Visual/Spatial)

4. Draw an interval of an octave on the board. Explain that this is an interval of an octave. Explain that it is an octave because it has three lines and three spaces between it and the note is located above or below the first note. Have the students stand tall and explain that this represents the interval of an octave.(Gardner: BodilylKinesthetic, MusicallRhythmic, Visual/Spatial)

5. Ask the class what an interval of an octave looks like. Ask the class what has two lines and two spaces as an interval. Ask the class if they have any questions. (Gardner: Bodily/Kinesthetic, MusicallRhythmic) (Bloom: Application, Knowledge)

6. Pass out the graphic organizer. Have the students pair up. Explain that they must fill in the graphic organizer with the different intervals they have learned in the today's and yesterday's lessons. Explain they should include ways to distinguish the intervals under each interval. (Gardner: Verbal/Linguistic, Verbal/Spatial, Interpersonal) (Bloom: Application)

7. Go over the graphic organizer as a class to make sure that everyone has the correct information filled in. Ask the class if they have any questions over what they learned in today's lesson.

8. Pass out the assessment with "Baby, It's Cold Outside". Explain that they must on the assessment identify what interval the circled pair of notes is. They must work alone. (Gardner: Intrapersonal, MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension)

9. Pass out the assessment with the different intervals. Explain that they must label what the interval is next to that interval. They must work alone. (Gardner: Intrapersonal, MusicallRhythmic, Visual/Spatial) (Bloom: Comprehension)

Closure: Collect the assessments from the students. Clap to get the students' attention. Ask the students if they have any questions about intervals. Explain that tomorrow we will review for the upcoming unit test.


Student with a Hearing Impairment: Wear a microphone while teaching so the student can hear more clearly. Also provide the student with the main points that you will cover in the day. Have the student sit towards the front of the class so they can read your lips as well. Repeat information when needed. Make sure the student understands the concept. When working in the group, have someone who is supportive of the student.

Self-Reflection: Was there enough time planned for the lesson? How did the lesson go? Did the students seem to enjoy the lesson? What were the changes that needed to be made in order to enhance the lesson for next time? Did the adaptation for the student with a hearing impairment

seem appropriate? Did the students seem to understand the intervals learned in today's lesson? Will you need to review these intervals before the unit test?

-------------------

---------

Name:

Please write what interval the circled pair of notes is under the circled pair of notes.

Baby, It's Cold Outside Frank Loesser

~~ J3 J 'way._~

I

~ go __

~

so ve - J:\ nice._

i

moth-er will start to So

i i '~ #; ;Qj~ J ~~~ztt#@~J~~ • • J J ~. real-ly I'd bet - tel" scnr-J:\'__ Well. may - be just a few min-utes more._

----------------Name:


1.

2.

3.

Or-----! 00

o

Name: A~ ~~\ Identify the interval by writing the name of the interval next to the interval.

()

~ l. ~ -e-

oc~vJL

()

2. ~ -e- V

3.

5

Name: AV\?NJU \&'--\

Please write what interval the circled pair of notes is under the circled pair of notes.

Baby, It's Cold Outside Frank Loesser

: ~-IY can't

• § sray. _

beeu _

moth -er will srart to

~\J. J wor-ry__ ------

',~~ '~J~i~~~J~.~J~":~lJ~'~!~~~j~J~'~J~J~~~g.~~ real-IY I'd bet - ter scur-ry------__ Well. ma~' - be just a few min-utes more._

---------

N. UNIT TEST

Name:

SECTION ONE: MATCHING

Match the following musical symbols with their meanings, which are located at the bottom of the page. Write the letter in the space next to the symbol.

f 1.

::: ")....

t:\ 3.

800 ---------------------------------.4.

D.C. al Fine 5.

Terms

A. Play the notes an octave above.

B. Hold the note for twice its value or until the conductor cuts you off. C. Loud D. Go back to the beginning and repeat until the Fine sign. E. Gradually get softer.

SECTION TWO: DRAW NOTES

Below there are names of notes. Draw the note next to the name of that note.

Quarter note

Sixteenth note

Whole note

Dotted Half note

Eighth note

SECTION THREE: SOLFEGE

Fill in the name of the solfege next to the conesponding hand symbol.

'I!}\'I \ __

I ~~ \

SECTI02\ FOl~R: APPLICATIO?\ D MeSIC

Given the example below. circle ALL dynamics (fone. mezzc, piano. etc.). ALL the

decrescendos and the crescendos. and ALL the musical symbols Ifel111ata. D.C. al Finei. Also

label the ALL circled intervals in the examole.

\\Then I Survey the \\7ondrous Cross An. Mike Fisher

~

/1: ,'\ .mf I (p-, i-8-'

G 5 \~; • 9- ::): (. t~<,

I ~ ~ '?"' Wer~ the "'hole rcalm of 1'W . rure 111111C. (ha: were an of· fen11g

rnp ~ ,~ = .;:..\ 9- eF £L -Go- -$-'

= r;.:y r f ;: ~ F , ~ ~ :" !p !

' "-./

far lOO_ small: ]m·e. sc· - nUl zlng_ so dl '-tIle." f

, 0 > > > > ":' G- .. .. .. s:X : : r ! f IIp f f

nl~'de mands rny son!. iife

'3'

N. UNIT TEST


Match the following musical symbols with their meanings, which are located at the bottom of the

page. Write the letter in the space next to the symbol.

1. f c :::

2.

t:\ 3.

8 00 ---------------------------------, A4.

D.C. at Fine 5.

Terms

A. Play the notes an octave above.

B. Hold the note for twice its value or until the conductor cuts you off.

C. Loud

D. Go back to the beginning and repeat until the Fine sign.

E. Gradually get softer.



Quarter note

Sixteenth note

Whole note

Dotted Half note

d· Eighth note

-


Fill in the name of the solfege next to the corresponding hand symbol.

~ do'

~ ti

~ la

~ , t~ so

- -~ fa

~ mi

~ re

~ do

-

SECTION FOUR: APPLICATION IN MUSIC

Given the example belo",', circle ALL dynamics (forte. mezzo piano. etc. l. ALL the

decrescendos and the crescendos. and ALL the musical symbols (fennata, D.C. al Fine). Also

label the ALL circled interYals in the example.

When I Survey the 'Vondrous Cross Arr. Mike Fisher

c; ri.LQ IG

j I J I ' i IT @: rFb& cb

far 100_ small: love. so a - ma - zillg_ so di - vine.

f2 > >13 > .,s.. ... ...

Sf g ¥p ]r f t f de mands lllY soul. In' life

Were the whole realm of na - rure nUllC, that were an of fenn"

:J= .. r f1 !¥fSJ[f~r(~t¥~!i~r~§f~If~f~-·~liG~~~2?~=

-

---------

MODIFIED UNIT TEST

Name:




f 6.

:: 7.

t:\ 8.

Terms

F. Hold the note for twice its value or until the conductor cuts you off.

G. Loud H. Gradually get softer.

•



Quarter note

Whole note

Dotted Half note


Fill in the name of the solfege next to the con-esponding hand symbol.

-


Given the example below, circle the two dynamics (forte. mezzo piano. etc.). one decrescendos or crescendos. and one musical symbols (fermata, D.C. al Fine). Also label three out of the five circled intervals in the example.

When I SunTey the "londrous Cross Arr. Mike Fisher

!'\ e (-e-\mf J @E ~'fJ ~ c

IT gr I ii) :

I Iz;: ! f 'Were the whole realm of na - ture lllllle. that were an of - ferillg

mp ----..= .p. = -5 -5 e' Ir r I:9:

~ £ ~. r r f< [' tI I F: i F f C/ i IT i F I

far 100_ smaIL love. so a - Inn - zing_ so di Ylne.

f J3 > > t:\> .. ..>

.): 19

r i) r r F ! F £ F ! ~ I

de mands my soul. my life.

-

These modifications made in the unit test are appropriate it because allows the student

less to focus on in a specified time period. I will warn the student ahead of time about the unit

test and what they are expected to do. I will assign a study partner to the student as well so that

the student can have someone else to go to when they have questions. I will make sure that the

study partner is very supportive. Also I will give the student extra time on their test if needed. I

will make sure the student understands the concepts by asking them before or after class of the

review day if they have any questions or concerns about the information on the unit test.

The modifications made in the unit test are having only three matching and three drawing

questions in those two sections. The student also has different requirements in section four. The

different requirements for the student are in bold. The student only has to find one dynamic, one

decrescendo or crescendo, and one musical symbol. The student only has to label three out of the

five intervals as well. This will allow the student to focus on other things during the test. The

student will not feel rushed to have to finish the test in the allotted time. The modifications in the

test as well as other modifications mentioned above are appropriate because it will allow the

student extra time and a supportive environment in which to take the test.

-

MODIFIED UNIT TEST




f G6.

::: rt7.

t:\ ,"--'

8. Y

Terms

F. Hold the note for twice its value or until the conductor cuts you off.

G. Loud

H. Gradually get softer.

-



Quarter note

Whole note

o

Dotted Half note

d


Fill in the name of the solfege next to the corresponding hand symbol.

~ do'

~ ti

~ la

@. ,~ so

-~ ~

fa

~ mi

~ rc

~ do

-~ (\Sl>J~( \I.e-'-'\


Given the example below, circle the two dynamics (forte. mezzo piano. etc.), one decrescendos

or crescendos. and one musical symbols (fermata. D.C. al Fine). Also label three out of the five circled intervals in the example.

When I Sun7ey the Wondrous Cross Arr. Mike Fisher

9:, /j' F r I' Were the whole reahn of na • ture nUlle. that were an of - fering

~

Ire; cf:.J'0oJJ<.., ~ !2 ~-=)

i F~'? ~.r ffTIP • I i ~ i Ir r I ri?'~r = F I

© 100_ small: ]m'e. so a . ma - zing_ so di ,ine.

13 -(? ...> ... ...>>

! ,<fSr t r ~ r ! !I I

de mallds my soul. my life.

•

O. REFLECTION PAPER

My attitude toward reading in music has not always been the highest. I have felt that

reading in music is rare. I have learned that reading in music is extremely important. The

students must read in order to sing the text or lyrics in the song. The students must read in order

to understand the biographies of different composers and different styles. Reading is important in

every subject. As student needs to be able to read in order to succeed. It is our job as teachers to

help the student read at the appropriate levels.

I have learned that less work or more work is not necessarily the right modifications for

exceptional learners or students with disabilities. A student will not want to do more work than

needed. If you give an exceptional learner more work, they might not do that work. If you give a

student less work, they might not understand the concept as well as everyone else because they

did not have a chance to practice it as much as everyone else. I have also learned to think of the

age and attention span of the student when planning lessons. Not every student will want to sit

through a forty-five minute lecture while other students may not want to be physically active for

forty-five minutes. An excellent teacher should be able to incorporate multiple teaching styles in

their lesson plan to make it a truly effective lesson plan.

One tool that will be most helpful in teaching my future students with the textbook found

in this unit plan is the writing to learn strategies. The entrance and exit slips I think are very

effective. A teacher can see exactly what the student may have enjoyed or dislike about the

lesson or concepts that the student does not fully understand because of the entrance and exit

slips. The concept of guidelines for a writing to learn strategy is effective as well especially in

music. Guidelines are helpful in music in setting steps to follow when determining the intervals

-

of two pitches or, in the case of older students, the steps to follow when analyzing a piece of

music. The strategies can help a teacher teach more effectively in tum enhancing student

leaming.

Documents

Reading in the Content Area: Reading Projectusers.manchester.edu/student/segreen/ProfWeb/Unit Plan.pdf · Reading in the Content Area: Reading Project. ... and whole rests using iconic