allisonhoppermusic.weebly.com · Web viewThe standards addressed in this unit include Content Standard 2, ... demonstrate independence in gathering vocabulary knowledge when considering

Rhythm Strategies for Success: Counting, Speaking, Writing, & Moving

Learning Assessment Model Project

Allison Hopper

High School Beginning Band Grade 9

Hamilton Southeastern High School February 28th – March 15th

Table of Contents

Purpose of the Project…………………………………………………………. Pg. 2

Standards & Objectives……………………………………………………….. Pg. 3

Vocabulary……………………………………………………………………. Pg. 4

Unit Timeline…………………………………………………………………. Pg. 5

Lesson Plans……………………………………………………………………Pg. 6

Communication Item………………………………………………………… Pg. 49

Plans for Display of Work…………………………………………………… Pg. 50

Student Assessment Tools…………………………………………………… Pg. 51

Technology…………………………………………………………………... Pg. 51

Differentiation and Accommodation………………………………………….Pg. 52

Pretest & Teacher Key………………………………………………………. Pg. 53

Post-Test & Teacher Key……………………………………………………. Pg. 65

Pretest Graphs……………………………………………………………….. Pg. 77

Post-Test Graphs……………………………………………………………...Pg. 79

Comparison Graphs…………………………………………………………. Pg. 81

Narrative Statements………………………………………………………… Pg. 83

Project Rubric……………………………………………………………….. Pg. 89

1

Purpose of the Project

The purpose of this unit is to give each student a wide array of strategies to better

understand, experience, read, and perform rhythm. These strategies will be applicable in multiple

environments including concert band rehearsal, chamber ensemble rehearsal, individual practice,

marching band, and leisure instrumental performance. This unit is set up to increase the personal

musicianship of each student to directly influence their daily performance in classroom rehearsal.

The standards addressed in this unit include Content Standard 2, Content Standard 5, and

Secondary Standard 9-10.RV.1. These standards allow the educator to make the unit applicable

to how students use rhythm in their daily lives. Students are provided with active learning

experiences involving performance, reading, notating, vocabulary, movement, and self-

reflection. Students will then be assessed on their ability to perform rhythms, read & notate

rhythms, and use rhythm vocabulary in real-world situations. The very core of this unit is derived

from the principles of Universal Design for Learning, giving students multiple means of

representation of content. My hope is that students will discover what rhythm strategies fit their

learning best and use them successfully in the learning environment.

2

Standards & Objectives

Content Standards – Indiana Academic Standards for Music

Standard 2 – Playing an instrument, alone and with others, a varied repertoire of music.

H.2.3 Play a variety of repertoire accurately and expressively with correct pitches and rhythm, and appropriate tempo, dynamics, phrasing, and articulation.

Standard 5 – Reading & Notating Music.

H.5.1. Read and perform instrumental scores observing symbols pertaining to pitch, rhythm, dynamics, tempo, articulation, and expressive detail.

Secondary Standard – Indiana English & Language Arts Standards: Grades 9 & 10

9-10.RV.1 –Acquire and use accurately general academic and content-specific words and phrases at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Objectives

1. With teacher’s guidance, students will be able to determine the meaning and apply rhythm vocabulary within their technical level and repertoire 80% of the time. (9-10.RV.1)

Be able to identify, understand, and apply rhythm vocabulary used during the unit’s activities and assessments.

2. With instructor’s help, students will be able to accurately perform varying forms of eighth notes, sixteenth notes, & rests in 2/4, 3/4, 4/4, & 6/8 time with an 80% success rate. (Standard 2)

Be able to perform rhythm examples, using primary instruments and body percussion, with accuracy.

3. With teacher’s instruction, students will be able to notate, read, and understand eighth notes, dotted eighth notes, eighth note triplets, eighth rests, sixteenth notes, & sixteenth rests with an 80% success rate. (Standard 5)

Be able to identify, count, speak, and notate note values discussed in class.

4. With teacher’s guidance, students will be able to use Takadimi and the number system to decode and perform rhythms with an 80% success rate. (Standard 5)

Be able to count (number system) and speak (Takadimi) rhythms discussed in class throughout the process of experiencing and performing rhythms.

3

VocabularyBeam – horizontal or diagonal line used to connect consecutive notes

Beat – the steady and recurring pulse that keeps music going

Compound Meter – a division of the beat into three segments

Dictation – the process of notating a heard musical example

Dot (verb: Dotted) – added after the note, increases the duration of the note or rest by half of its value

Dotted Eighth Notes – a musical note that lasts the equivalent of three sixteenth notes in a simple meter

Eighth Notes/Rest – a musical note or rest that last 1/8 the length of a whole note

Flag – the part of an eighth note or sixteenth note that indicates its’ length

Measure – the division of beats into defined groups separated by a bar line

Meter – the aural aspect of music in which a certain number of beats are grouped together

Note – a sign used in musical notation to represent the relative duration and pitch of a sound

Note Head – the oval or elliptical part of a note

Rest – indicates a silence of a specific duration

Rhythm – the grouping, patterning, and dividing of musical sounds, how the music paces itself and moves through time

Rhythm Tree – the diagraph that demonstrates the proportional relationship between note values

Simple Meter – a division of the beat into two segments

Sixteenth Notes/Rests – a musical note or rest that lasts 1/16 the length of a whole note

Stem – the vertical line directly connected to the note head

Subdividing – dividing into a separate unit

Takadimi – a rhythmic syllable system based on the use of specific syllables at certain places within a beat

Time Signature – specifies how many beats are contained in one measure and what note value is to be given one beat

4

Unit Timeline

February 17 th – Administer Pretest (30-35 minutes)

February 22nd/23rd/ 24th – Finish Performance Assessment

Day 1: February 28th – Eighth Notes/Eighth Rests & Meter (30minutes)

Strategies: Rhythm Tree/Counting/Takadimi/Syllables/Performing

Day 2: March 1st – Eighth Notes/Eighth Rests (25 minutes)

Strategies: Movement/Writing/Notating/Playing (& Previous)

Day 3: March 2nd – Sixteenth Notes/Sixteenth Rests (25 minutes)


Day 4: March 6th – Eighth/Sixteenth Review (25 minutes)

Strategies: All Previously Listed

Day 5: March 7th – Dotted Eighth Notes (30 minutes)


Day 6: March 8th – Dotted Eighth Notes (20 minutes)

Strategies: Movement/Writing/Notating/Playing (& Previous)

Day 7: March 9th – Dotted Eighth Notes & Dictation (20 minutes)


Day 8: March 10th – Eighth Note Triplets in 6/8 & Simple Meter/Compound Meter (25 minutes)

Strategies: Review Quiz & Movement/Takadimi/Syllables/Performing

Day 9: March 14th – Eighth Note Triplets in 6/8 (25 minutes)


Day 10: March 15th - Review & Repertoire Reflection Project (30 minutes)


March 16 th – Administer Post-Test (40 minutes)

March 17th & 21st – Finish Assessment

5

Allison Hopper HSEHS – Wind SymphonyFebruary 28th, 2017 – Day 1

Content: Meter/Time Signature & Eighth Notes/Eighth Rests Content Standards – Indiana Academic Standards for Music







Objectives:1. With teacher’s guidance, students will be able to determine the meaning and apply

rhythm vocabulary introduce within the lesson with success. 2. With instructor’s help, students will be able to accurately perform varying forms of

eighth notes & eighth rests in 2/4, 3/4, & 4/4 time with an 80% success rate. 3. With teacher’s instruction, students will be able to notate, read, and understand eighth

notes, & eighth rests with an 80% success rate. 4. With teacher’s guidance, students will be able to use Takadimi and the number system to

decode and perform rhythms with an 80% success rate.Materials: Computer, Projector, Rhythm Tree Diagram, Whiteboard, Whiteboard Marker, Copies of PowerPoint Slides, & Class Notes Document

Strategies: Counting, Takadimi, Syllables (words), & Performing with Body Percussion

Vocabulary: Beam, Beat, Flag, Eighth Notes, Eighth Rests, Measure, Meter, Time Signature, Note, Note Head, Rest, Rhythm, Rhythm Tree, Stem, & Takadimi,

6

Procedure: Move to orchestra room. (get students as close to the board as possible).

Echo Clapping Patterns (use eighth notes & eighth rests)

“Clapping Music”: Point out how interesting and important rhythm is to music.

Unit Introduction & Outline of Today’s Lesson: On PowerPoint

Review: On PowerPoint

Meter & Time Signature:

Meter: Clap patterns in 2/3/4 & ask students to determine how the claps are grouped. Introduce meter and then let students clap their own meters.

Time Signature: Math which leads to the explanation.

Rhythm Tree: Build the Rhythm Tree using post-it notes.

Eighth Notes & Eighth Rests: (Rhythm Dictation) Model an example with eighth notes and eighth rests.

Strategies Counting: Question Takadimi: Model Syllables: Model Perform: Model

Review: On PowerPoint

State Goals for Tomorrow

Assessment:1. While walking around the learning environment, listen and watch for the students’ level

of achievement. 2. Through questioning, determine understanding and achievement of reviewed and new

material.

Future Plans: Review Vocabulary & Eight Note Strategies. Add new strategies and begin on sixteenth notes/sixteenth rests. Expand the rhythm tree.

New Strategies: Movement, Dictation, Notation, and Playing on Primary Instrument

7

Wind Symphony Rhythm Unit – Day 1 (2/28/2017) Notes

Vocabulary

Beam – horizontal or diagonal line used to connect consecutive notes





Meter – the aural aspect of music in which a certain number of beats are grouped together


Note Head – the oval or elliptical part of a note


Rhythm – the grouping, patterning, and dividing of musical sounds, the music paces itself and moves through time





Meter & Time Signatures

Meter- How beats are grouped. Beats are usually grouped in patterns of 2, 3, 4, 5, & 6.

Time Signature- Help us to organize and understand the music we are performing!

The top number is the number of beats per measure.

The bottom number is what type of note gets the beat.

8

Rhythm Tree & Rest Tree

These “trees” help us understand the relationships between rhythms and rests.

Eighth Notes & Eighth Rests Strategies

Counting: Use numbers to read and understand. 1 + 2 + 3 + 4 +

Takadimi: Use the syllables to read and understand. TA DI TA DI TA DI TA DI

Syllables: Use common words or names to read and understand. AP-PLE AP-PLE AP-PLE

Performing: Use clapping or patting to understand, experience, and perform

9

Allison Hopper HSEHS – Wind SymphonyMarch 1st, 2017 – Day 2

Content: Review Meter/Time Signature & Continue Eighth Notes + Begin Sixteenth Notes Content Standards – Indiana Academic Standards for Music








rhythm vocabulary introduced within the lesson with success. 2. With instructor’s help, students will be able to accurately perform varying forms of

eighth notes & eighth rests in 2/4, 3/4, & 4/4 time with an 80% success rate. 3. With teacher’s instruction, students will be able to notate, read, and understand eighth

notes/rests & sixteenth notes/rests with an 80% success rate. 4. With teacher’s guidance, students will be able to use Takadimi and the number system to

decode and perform rhythms with an 80% success rate.Materials: Computer, Projector, Rhythm Tree Diagram, Whiteboard, Whiteboard Marker, Clarinet, & Class Notes Documents

Strategies: Counting, Takadimi, Syllables (words), Body Percussion, Dictation, Playing on an instrument

Vocabulary: Beat, Dictation, Flag, Meter, Time Signature, Rest, Rhythm, Rhythm Tree, Sixteenth Notes/Rests, Takadimi,

10

Procedure: Move to orchestra room. (get students as close to the board as possible).

Echo Clapping Patterns (use eighth notes & eighth rests)

Outline of Today’s Lesson: On PowerPoint

Review: Meter & Time Signature: Sing “Simple Gifts” to review meter & have a student clap an example.

Rhythm Tree: Build with students and ask questions about the relationships. How many eighth notes in a quarter note? How many half notes does it take to sound the length of a whole note? How many eighth notes in a whole note? How many eighth rests in a whole rest?

Eighth Notes & Eighth Rests: HAVE EACH STUDENT WRITE AN EIGHTH NOTE & EIGHTH REST.

Explore the proportional relationship. Leads to counting!

Strategies Counting: Speak One – Write One – To Yourself

Play each example on Concert F

Takadimi: Model using last counting example. Diagram (Compare to Counting)Speak One – Write One – To YourselfPlay each example on Concert F

Syllables: Model Once – Students Echo – Play

Perform: Model using syllable example – Students Echo – Play

Review: You Choose!

Sixteenth Notes & Rests: Echo on instruments.

Use Rhythm Tree to explain relationship.

Strategies:

Counting: Dissect a counting example using previous knowledge. What does our key signature tell us about this example? How many sixteenth notes are in an eighth note?

Thinking outside the box: Let’s say you were a composer and you didn’t want fourth sixteen notes in a row, you only wanted two…what could you do?

Takadimi: Use the diagram on the board to explain syllables.

11

In 4/4 what would straight sixteenth notes be using takadimi?

State Goals for Tomorrow



material.

Future Plans: Review Vocabulary & Eight Note Strategies. Add new strategies and begin on sixteenth notes/sixteenth rests. Expand the rhythm tree.

New Strategies: Movement, Dictation, Notation, and Playing on Primary Instrument

12

Allison Hopper 11:05HSEHS – Wind SymphonyMarch 2nd, 2017 – Day 3

Content: Review Eighth Notes/Rests & Begin Sixteenth Notes/Rest Content Standards – Indiana Academic Standards for Music









eighth notes/rests & sixteenth notes/rests in 2/4, 3/4, & 4/4 time with an 80% success rate.

3. With teacher’s instruction, students will be able to notate, read, and understand eighth notes/rests & sixteenth notes/rests with an 80% success rate.

4. With teacher’s guidance, students will be able to use Takadimi and the number system to decode and perform rhythms with an 80% success rate.

Materials: Class Worksheets, Rhythm Tree Diagram, Whiteboard, Whiteboard Marker, Clarinet, & Class Notes Documents

Strategies: Counting, Takadimi, Syllables, Body Percussion, Dictation, Writing, & Performing

Vocabulary: Beam, Beat, Dictation, Flag, Time Signature, Rest, Rhythm Tree, Sixteenth Notes/Rests, Stem, Takadimi,

13

Procedure:

Concert F: Deep Breath-Even Tone Quality & Roll

Announcements/Pass Out Notes

Rhythmic Dictation: Model-Echo-Dictate-Count-Takadimi-Play

Pass Out Worksheet

Review – Example 1: Review time signature & all four main strategies from yesterday.

You Choose!: Perform the rhythm. Have a student model for each strategy and the class echoes.

Sixteenth Notes & Rests: Echo on instruments with Concert F. Did that example have eighth notes? Were there any rests? Did it have another type of note?

Use Rhythm Tree to explain relationship.

Strategies: Play each example-on Concert F-after counting and takadimi. Counting: Dissect a counting example using previous knowledge. What does our key signature tell us about this example? How many sixteenth notes are in an eighth note?

Thinking outside the box: Let’s say you were a composer and you didn’t want four sixteen notes in a row, you only wanted two…what could you do?

Takadimi: Use the diagram on the board to explain syllables. In 2/4 what would straight sixteenth notes be using takadimi?

Syllables: Do you remember when we used our names and objects for eighth notes, what could we do the same for sixteenth notes?

Body Percussion: (Clapping or Patting) Combine with other strategies.

State Goals for Next Week



material. 3. Use the worksheet to check students’ progress and overall understanding.

Future Plans: Review vocabulary, eighth notes/rests & sixteenth notes/rests. Complete the dictation project.

Rhythm! - Day 3

14

Name: ________________________ Instrument: ________________

Example 1:

Counts: ___________________________

Takadimi: ___________________________

Syllables: ___________________________

Which strategy helped you the best?: _________________________

How many beats in a measure?: _____________________

What note gets the beat?: __________________________

Example 2:

Your Strategy: _________________________

Counts or Takadimi: ________________________

______________________________________________________________________________

Label the Notes on the Lines Provided: Label the Correct Counting:

Whole_____

___________

___________

___________

___________

Example 3: Example 4:

15

1

Counts: __________________________ Counts: ___________________________

Takadimi: __________________________ Takadimi: _________________________

Example 5: Example 6:

Counts: _______________________ Counts: _______________________

Takadimi: _______________________ Takadimi: _______________________

Example 7:

Counts: _______________________

Takadimi: _______________________

Example 8:

Your Strategy: _________________________


Example 9:

Your Strategy: _________________________


Wind Symphony Rhythm Unit – Day 3 (3/2/2017) Notes

16

Vocabulary









Sixteenth Note – a musical note or rest that lasts 1/16 the length of a whole note




Time Signatures




17

Rhythm Tree

Whole

Half

Quarter

Eighth

Sixteenth

Eighth Notes & Eighth Rests Strategies

1 + 2 + 3 + 4 +

TA DI TA DI TA DI TA DI

Counting: Use numbers to read and understand. 1 + 2 + 3 + 4 +

Takadimi: Use the syllables to read and understand. TA DI TA DI TA DI TA DI

Syllables: Use common words or names to read and understand. AP-PLE AP-PLE AP-PLE

Sixteenth Notes & Sixteenth Rest Strategies

1 E + A 2 E + A 3 E + A

TA-KA-DI-MI TA-KA-DI-MI TA-KA-DI-MI

Counting: Use numbers to read and understand. 1 E + A 2 E + A 3 E + A

Takadimi: Use the syllables to read and understand. TA-KA-DI-MI TA-KA-DI-MI

Syllables: Use common words or names to read and understand. WA-TER-MEL-ON

18

Allison Hopper 11:32HSEHS – Wind SymphonyMarch 6th, 2017 – Day 4

Content: Review Eighth Notes/Rests & Sixteenth Notes/Rest – Complete Mini Dictation

Content Standards – Indiana Academic Standards for Music







Objectives:

1. With teacher’s guidance, students will be able to determine the meaning and apply rhythm vocabulary introduced within the lesson with success.

2. With instructor’s help, students will be able to accurately perform varying forms of eighth notes/rests & sixteenth notes/rests in 2/4, 3/4, & 4/4 with an 80% success rate.

3. With teacher’s instruction, students will be able to notate, read, and understand eighth notes/rests & sixteenth notes/rests with an 80% success rate.


Materials: Class Worksheets, Whiteboard, Whiteboard Marker, Clarinet, & Class Notes Documents

Strategies: Counting, Takadimi, Syllables, Body Percussion, Dictation, Writing, & Performing

Vocabulary: Dictation, Eighth Notes/Rests, Flag, Time Signature, Rest, Rhythm Tree, Sixteenth Notes/Rests, Stem, & Takadimi

19

Procedure:

Worksheets: Make sure students each have a Day 3 & Day 4 Worksheet

Review – Example 10: Review time signature & all main strategies. Give students time to think through each strategy and then model. Did I use the correct the counts/Takadimi/clapping?

Example 7 Echoing: Play the first measure of Example 7 on the clarinet. Have students pat the steady beat.

What type of note is in the first beat? How many sixteenth notes? Is the second beat different? Does beat two begin with an eighth note or a sixteenth note? Are the notes after the first one eighth notes?

Example 7: Are there any sixteenth rests in this example? Counting: Work out the counting on the board & have students write it under the

example. Takadimi: Same process as counting. Break down into parts.Body Percussion: Count/Takadimi and do body percussion.

Example 8: Counting/Takadimi: Have students try on their own and check. Body Percussion: with counts & Takadimi

Example 9: EXPLAIN: USE WHATEVER STRATEGY YOU LIKE BUT YOU MUST PROVIDE COUNTS OR TAKADIMI

Are there any sixteenth rests in this example? How do we know it is a sixteenth rest?

Dictation Examples: Make sure students are tapping the steady beat. Ask questions to help students think through examples. Give students strategies to be successful

Review: If time allows, count/Takadimi/play examples 3-6.

Collect Worksheets, Pass Out Class Notes, & State Goals for Next Tomorrow



material. 3. Use the worksheets to check students’ progress and overall understanding.

Future Plans: Review ‘dot’/’dotted’ & introduce dotted eighth notes.

Rhythm! - Day 4

20

Name: ________________________ Instrument: ________________

Example 10:

Beats in the Measure: _________________________

What Note Gets the Beat: _______________________

Eighth Rest: YES or NO

Sixteenth Rest: YES or NO

Remember to put RESTS in parenthesis. Ex.: (+) or (MI)

Counts: _______________________

Takadimi:________________________

______________________________________________________________________________

Dictation: Notate (Write) what the performer plays.

Example 1:

________________

Time Signature: _____________________

Counts:_______________________________

Takadimi: ____________________________

Example 2:

21

_______________________________

Time Signature: _____________________

Counts:______________________________

Takadimi: ____________________________

Example 3:

_________________________________

Eighth Rest: YES or NO

Sixteenth Rest: YES or NO

Counts:____________________________

Takadimi: __________________________

22


Content: Review & Begin Dotted Eighth Notes Content Standards – Indiana Academic Standards for MusicStandard 2 – Playing an instrument, alone and with others, a varied repertoire of music.


Standard 5 – Reading & Notating Music. H.5.1. Read and perform instrumental scores observing symbols pertaining to pitch, rhythm, dynamics, tempo, articulation, and expressive detail.

Secondary Standard – Indiana English & Language Arts Standards: Grades 9 & 109-10.RV.1 –Acquire and use accurately general academic and content-specific words and phrases at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.



eighth notes/rests, dotted eighth notes, & sixteenth notes/rests in 2/4, 3/4, & 4/4 time with an 80% success rate.

3. With teacher’s instruction, students will be able to notate, read, and understand eighth notes/rests, dotted eighth notes, & sixteenth notes/rests with an 80% success rate.



Strategies: Counting, Takadimi, Body Percussion, Writing, & Performing

Vocabulary: Beam, Beat, Dot, Flag, Time Signature, Rest, Sixteenth Notes/Rests, Stem, & Takadimi

23

Procedure: Set Ground Rules: Percussion sit with the band. The more efficient we are, the more time

we have to play. Be ready to play and stay off phones.

Pass Out Notes & Collect Worksheets from Day 3 & 4 – Pass out Day 5

Quick Review: 3 MINUTE MAXIMUM

Questions-Counts-Play-Takadimi-Play-Pat/Clap-Play

Dot & Dotted Review: Lead students through the worksheet. COUNT & CLAP EACH EXAMPLE

Dotted Eighth Visual Representation: Use students to represent subdivision and lead students to figure out counting.

Dotted Eighth with Subdivision ExerciseHalf of the class counts-takadimi-air-play while the other half subdivides sixteenth notes.

Dotted Eighth in Context (Example 1 & 2)TakadimiCountClap/PatPlay

Quick Review Questions & State Goals for Tomorrow


of achievement. 2. Through questioning, determine understanding and achievement of reviewed and new mat material. 3. Use the worksheet to check students’ progress and overall understanding.

Future Plans: Continue Dotted Eighth Notes: Focus on Movement & Body Percussion

24

Rhythm! - Day 5

Name: ________________________ Instrument: ________________

Review Example

Time Signature: _________

How many beats in the measure? ____________________

What type of note gets the beat? ____________________

What type of rest is in this example? ____________________

Counts: __________________________

Takadimi: _______________________

_____________________________________________________________________________

#1

What type of note is the first note in the measure? _________________

How many beats is the first note? ___________________

Why is it that many beats? __________________

The Definition of a ________________ is: __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

#2


How many beats is the first note? ___________________

25

#3


How many sixteenth notes are in the first note? ___________________

_____________________________________________________________________________

______________________________________________________________________________

What type of note do we use to subdivide a dotted eighth note? _____________________

______________________________________________________________________________

Example 1

Takadimi: _______________________

Counts: _________________________

Example 2

Takadimi: _______________________

Counts: ________________________

26

CountsTakadimi

CountsTakadimi

CountsTakadimi

27


Content: Dotted Eighths Continued Content Standards – Indiana Academic Standards for MusicStandard 2 – Playing an instrument, alone and with others, a varied repertoire of music.










Strategies: Body Percussion, Movement, Counting, Takadimi, Writing, & Performing

Vocabulary: Beam, Beat, Dot, Dotted Eighth Notes, Eighth Notes/Rests, Flag, Measure, Time Signature, Rest, Rhythm, Sixteenth Notes/Rests, Stem, Subdividing, & Takadimi

28

Procedure: ACTIVE ENGAGEMENT & PACING

Guidelines & Remind students about Day 3 & 4 Worksheets (in folder slots)

Dotted Eighth Visual Representation: Use hands to go over subdivision and review counting & Takadimi syllables.

Dotted Eighth with Subdivision Exercise (with hand movements examples)Say subdivisions (counting & Takadimi) and clap the two variations of dotted eighths.

Play on Concert F

Dotted Eighth 2/4 Examples: Clap/subdivide (counts & Takadimi)

Spilt class in half: Air & Subdivisions (switch) Play & Subdivisions (switch)

Play examples together on Concert F

Dotted Eighth in Context (Example 1 & 2)TakadimiCountClap/Pat with Counts & TakadimiPlay

Quick Review Questions & Collect the Worksheet




Future Plans: Review Dotted Eighths & Dictation Project (one teacher example and two student examples)

29

Wind Symphony Rhythm Unit – Dotted Eighth Notes

Vocabulary





Dotted Eighth Notes – a musical note that lasts the equivalent of three sixteenth notes in a simple meter






Sixteenth Notes/Rests – a musical note or rest that lasts 1/16 the length of a whole note



Time Signatures




Dots & Dotted Notes

A dot adds half the value of the note.

Half Note = 2 Beats Dotted Half Note = 3 Beats 2 beats + 1 (Half the value of 2) = 3

Eighth Note = 1/2 Beat or Two Sixteenth Notes

30

Dotted Eighth Note =

3/4 Beat 1/2 + 1/4 (Half the value of 1/2) = 3/4 Beat

or

Three Sixteenth Notes 2 + 1 (Half the value of 2)= 3

Understanding Common Dotted Eighth Rhythms

Use sixteenth note subdivisions to help!

1 A 1 E

1 E + A 1 E + A

THERE ARE THREE (3) SIXTEENTH NOTES IN EVERY DOTTED EIGHTH NOTE!

31

Counts 1 ATakadimi TA MI

Counts 1 ETakadimi T

AKA


Content: Review Dotted Eighths & Dictation Project Content Standards – Indiana Academic Standards for Music













Strategies: Dictation, Writing, Performing, Counting, Takadimi, & Body Percussion

Vocabulary: Beam, Beat, Dot, Dotted Eighth Notes, Eighth Notes/Rests, Flag, Measure, Time Signature, Rest, Rhythm, Sixteenth Notes/Rests, Subdividing, Stem & Takadimi

32

Procedure: Guidelines & Hand Out Worksheets (Collect Day 5)

REMIND STUDENTS TO GET WORKSHEETS FROM SLOTS!

Clapping: Ask students to subdivide sixteenths. Clap dotted eighth rhythms and have them echo. Did our rhythm have dotted eighths?

Strategy Focus: AIR, PERFORMING, BODY PERCUSSION, & CONDUCTING

Example 1: How do you count the first beat? Second Beat?

Count – Clap with Subdivision (Takadimi) – Air with Teacher Subdividing(Claps) – Play

JOHN WILLIAMS: Measure 18. Students without the rhythm play Example 1 on F.

Example 2: How do you count the first beat? Second Beat?Count – Clap with Subdivision (Takadimi) – Air with Teacher (Claps) – Play

Example 3: Go through each beat with students. Count – Clap with Verbal Subdivision (Takadimi) – Air with Teacher (Clap) – Play

Dictation Project: Make sure students are tapping the steady beat. Ask questions to help students think through examples. Give students strategies to be successful.

Review Questions if time allows

Collect Worksheets and Set Goals for Friday




Future Plans: Introduce 6/8 as well as Simple & Compound Meter. Use movement to get students to feel 6/8 in two. Keep pacing quick and efficient.

33

Rhythm! - Day 7

Name: ________________________ Instrument: _________________

THERE ARE THREE (3) SIXTEENTH NOTES IN EVERY DOTTED EIGHTH NOTE!

1 A 1 E

1 E + A 1 E + A

Example #1

Counts: __________________________________

Takadimi: ________________________________

Example #2

Counts: __________________________________

Takadimi: ________________________________

Dictation #1: Using the line below, notate the missing sections from what the teacher plays.

____________________

Counts: __________________________ Takadimi: ___________________________

34

Dictation #2: Create your own measure rhythm in 3/4 to play for the class. Include the correct number system counts & Takadimi. You MUST include at least one rest. Only use rhythms we have covered in class.

____________________________________________________

Counts: _________________________________

Takadimi: _______________________________

Dictation #2 Performance: Dictate what your peer played for the class. Remember it had to be in 3/4.

____________________________________________________

Counts: _______________________________________

Takadimi: ____________________________________

Dictation #3: Create your own measure of rhythm in 2/4 to play for the class. Include the correct number system counts & Takadimi. You MUST include at least one dotted eighth note. Only use rhythms we have covered in class.

____________________________________________________

Counts: ____________________________________

Takadimi: __________________________________

Dictation #3 Performance: Dictate what your peer played for the class.

____________________________________________________

Counts: ____________________________________

Takadimi: __________________________________

35

Dictation #4 Performance: Dictate what your peer played for the class.

____________________________________________________

Counts: ____________________________________

Takadimi: __________________________________

36


Content: Review Assignment & Begin 6/8 Content Standards – Indiana Academic Standards for Music









eighth notes in 6/8 time with an 80% success rate. 3. With teacher’s instruction, students will be able to notate, read, and understand eighth

notes/rests with an 80% success rate. 4. With teacher’s guidance, students will be able to use Takadimi and the number system to

decode and perform rhythms with an 80% success rate.Materials: Whiteboard, Whiteboard Marker, Recordings, & Class Notes documents

Strategies: Movement, Conducting, Counting, Takadimi

Vocabulary: Beat, Compound Meter, Eighth Notes, Measure, Rhythm, Simple Meter, Subdivision, Takadimi, & Time Signature

Excerpts: “O Holy Night” - http://www.jwpepper.com/2399418.item#.WMG_adIrLIU“The Moldau” - https://youtu.be/oOxIbhqZsKc“I Put a Spell on You: - https://youtu.be/PwXai-sgM-s?list=PLqnpcPR5O2PgtOT1YDAdTAyt-c2fqtP33

“Song Without Words” - https://youtu.be/jjFb0jB0vVc “Flight of Eagles” - http://www.jwpepper.com/Flight-of-Eagles/2306793.item#.WMHCdtIrLIU

37

Procedure:REMIND STUDENTS TO GET WORKSHEETS FROM SLOTS & DEVICES!

Blackboard Quiz: Remind students that this is an individual assignment. Read through each question and have students answer. Then go back over and review together.

Excerpts: Use 6/8 examples to allow students to experience the meter before it is introduced.

In each example: students should move, conduct, & count.Last Example: Students play on Concert F what they counted. (1-2-3 4-5-6)

Deconstruct 6/8: How many beats were in each measure? The bottom number is 8, so what note gets the beat? What type of note are we play on Concert F?

Have students count and conduct: Do we conduct 6 beats or 2? How many eighth notes are in each grouping?

Because there are three eighths in each beat, we call 6/8 a Compound Meter. What does Compound mean? (made up of several parts) Each beat is made up of several-three-parts!

Have students repeat: 6/8 is a compound meter !

Excerpts: Play a compound meter and then one in simple meter. Is each beat made up of three parts?

This meter is called a simple meter, because it can be broken up into two parts. Have students count and conduct again.

6/8 Review: Review the Time Signature. Count and Conduct an Excerpt. Play straight eighth note concert Fs.

Transition to Mr. Niemiec



material. 3. Use the Blackboard Review Assignment to check student’s understanding and set goals

for next week.

Future Plans: Review 6/8 and do more practice examples. Begin Composition Project.

38

Day 8 – Blackboard Review Assignment

39

40

Allison Hopper HSEHS – Wind SymphonyMarch 14th, 2017 – Day 9

Content: 6/8: Dotted Quarter Notes & Eighth Note Triplets Content Standards – Indiana Academic Standards for MusicStandard 2 – Playing an instrument, alone and with others, a varied repertoire of music.






eighth notes in 6/8 with an 80% success rate. 3. With teacher’s instruction, students will be able to notate, read, and understand eighth

notes/rests with an 80% success rate. 4. With teacher’s guidance, students will be able to use Takadimi and the number system to

decode and perform rhythms with an 80% success rate.Materials: Whiteboard, Whiteboard Marker, Recordings, Worksheets, & Class Notes documents

Strategies: Movement, Conducting, Counting, Takadimi, Playing, & Body Percussion

Vocabulary: Beat, Compound Meter, Dot, Eighth Notes, Measure, Rhythm, Simple Meter, Subdivision, Takadimi, & Time Signature

Excerpts: “O Holy Night” - http://www.jwpepper.com/2399418.item#.WMG_adIrLIU“The Moldau” - https://youtu.be/oOxIbhqZsKc

41

https://youtu.be/oOxIbhqZsKc

Procedure:REMIND STUDENTS TO GET WORKSHEETS FROM SLOTS & PASS OUT DAY 9!

Thank students for their cooperation so far in the unit & set guidelines for today.

Excerpts: Use 6/8 examples to allow students to experience the meter before it is reviewed. In each example: students should move, conduct, & count.

Last Example: Students play on Concert F what they counted. (1-2-3 4-5-6)

Deconstruct 6/8: What was the time signature we learned about on Friday? How many beats were in each measure? The bottom number is 8, so what note gets the beat?

Have students’ count and conduct: Do we conduct 6 beats or 2? How many eighth notes are in each grouping?

If the eighth note gets the beat, what type of note are we play on Concert F?

Because there are three eighths in each beat, we call 6/8 a Compound Meter. What does Compound mean? (made up of several parts) Each beat is made up of several-three eighth notes-parts!

______________________________________________________________________________

Worksheet Diagram: Determine Counting & Takadimi. Clap!

Example 1: Count/Conduct, Clap, & Play

Example 2: Takadimi/Conduct, Clap, & Play

“Flight of Eagles”: We are going to play a section of this piece to determine if it is in a compound meter. Why is 6/8 compound?

Do we divide each beat into two eighth notes or three eighth notes?

Transition to Mrs. Torres



material. 3. Use worksheets to determine students’ understanding of new material.

Future Plans: Review vocabulary and rhythm strategies using the Reflection Project.

42

Rhythm! - Day 9

Name: ________________________ Instrument: _________________Review 1.

How many beats per measure? _____________

What type of note gets the beat?

2. Definition of Compound Meter: ____________________________________________________________________________________________________________________________________________________________

3. Why is 6/8 a Compound Meter? BECAUSE EACH BEAT CAN BE DIVIDED INTO THREE EIGHTH NOTES

OR BECAUSE THERE ARE SIX BEATS IN A MEASURE

Chart 1: Fill out the Number System Counts & Takadimi chart below with the rest of the class.

COUNTS

TAKADIMI

Example 1

Number System Counts (Counts):__________________________________________

How many eighth notes are in a dotted quarter note? __________

Example 2

Takadimi Syllables: _____________________________________________

43

44

Wind Symphony Rhythm Unit – 6/8 Rhythms

Vocabulary


Compound Meter – a division of the beat into three segments






Simple Meter – a division of the beat into two segments

Subdividing – dividing into a separate unit



6/8 Time Signature

6 Beats per Measure

Eighth Note Gets the Beat

6/8 is a compound meter because the beat is divided into THREE (3) Segments.

BEAT ONE BEAT TWO

3 EIGHTHS 3 EIGHTHS

6/8 is normally conducted and counted in TWO (2), so performers can feel the compound meter.

45

COUNTS

TAKADIMI

Example Counting & Takadimi

Counts: 1 2 E A 1 2 E A

Takadimi: TA TA KI DA TA TA KI DA

46

2 E A

TA

KI

DA

1 E A

TA

KI

DA

Allison Hopper HSEHS – Wind SymphonyMarch 15th, 2017 – Day 10

Content: Unit Review & Rhythm Reflection Project Content Standards – Indiana Academic Standards for MusicStandard 2 – Playing an instrument, alone and with others, a varied repertoire of music.





rhythm vocabulary within their technical level and repertoire 80% of the time. 2. With instructor’s help, students will be able to accurately perform varying forms of

eighth notes, sixteenth notes, & rests in 2/4, 3/4, 4/4, & 6/8 time with an 80% success rate.

3. With teacher’s instruction, students will be able to notate, read, and understand eighth notes, dotted eighth notes, eighth note triplets, eighth rests, sixteenth notes, & sixteenth rests with an 80% success rate.


Materials: Whiteboard, Whiteboard Marker, Repertoire Scores, Baton, Review & Reflection Worksheets

Strategies: Movement, Conducting, Counting, Takadimi, Speaking, Writing, & Performing

Vocabulary: Compound Meter, Dot, Dotted Eighth Notes, Eighth Notes/Rests, Flag, Measure, Rest, Rhythm, Rhythm Tree, Simple Meter, Sixteenth Notes/Rests, Takadimi, & Time Signature

47

Procedure: Start Positively & Pass Out Worksheets – Thank students for their cooperation.

Review Section: Call on students to count/Takadimi each beat. Review questions as a class. Keep pacing fast and efficient.

Repertoire Reflection Section: Play sections and give students time to reflect and strategize.

Give them 30 seconds to use their strategies and then play the section again.

“Flight of Eagles” – mm. 64-87“John Williams: Movie Adventure” – mm. 12-40

Ask students if they believe their performance has improved. At the end, ask if they feel their rhythm performance has improved overall.

COLLECT REFLECTION WORKSHEETS

Prep Students for Tomorrow: Pass out notes. Remind them to have a pencil and the other items they usually need for class.



material. 3. Use the reflection assignment to gauge students’ understanding and awareness of

personal rhythmic success.

Future Plans: Complete Written Post-test tomorrow. Finish Post-test by Friday!

48

Rhythm – Day 10!Review

#1

Counts: __________ _____ _______

What do the two components of the time signature tell us? ____________________________________________________________________________________________________________________________________________________________

#2

Takadimi: _______ _____ _____ _____

What does the dot do to the eighth note in this example?

____________________________________________________________________________________________________________________________________________________________

#3

Counts: ________ _______ ___ ________

What note value is represented by the steady beat/metronome? _____________________Repertoire Performance & Self-Reflection

#1 - “Flight of Eagles”

3 2 1 0Accuracy You performed the

rhythms with complete accuracy.

You made 1 or 2 major mistakes in your performance.

You made 3 or more major mistakes in your performance.

You feel your performance needs

major improvement. 6 or more mistakes.

Pulse You stayed with the metronome and your

tempo was consistent.

You stayed with the metronome with

minor mistakes. The tempo may have felt

uneasy or rushed.

You were aware of the pulse but had

major issues staying with the metronome.

You feel your awareness of pulse

needs major improvement.

Confidence You feel completely confident in your performance of

rhythm.

You feel mostly confident. You may need to break down the rhythm for better

clarity.

You are on your way. You need to break the rhythm down and practice counting or using

Takadimi.

You need to use more than one

strategy to make improvement and gain confidence in your performance.

49

#1A. On a scale of 1 (needs major improvement) to 5 (confident and accurate), how was your rhythmic performance overall in the section? Explain your reasoning.__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

#1B. Pick FOUR (4) measures to improve of the section we played. What strategies, that were included in this unit, can you use in your practice? (ex. Count, Clapping, Takadimi)__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

#2 - “John Williams: Movie Adventures”

3 2 1 0Accuracy You performed the

rhythms with complete accuracy.

You made 1 or 2 major mistakes in your performance.

You made 3 or more major mistakes in your performance.

You feel your performance needs

major improvement. 6 or more mistakes.

Pulse You stayed with the metronome and your

tempo was consistent.

You stayed with the metronome with

minor mistakes. The tempo may have felt

uneasy or rushed.

You were aware of the pulse but had

major issues staying with the metronome.

You feel your awareness of pulse

needs major improvement.

Confidence You feel completely confident in your performance of

rhythm.

You feel mostly confident. You may need to break down the rhythm for better

clarity.

You are on your way. You need to break the rhythm down and practice counting or using

Takadimi.

You need to use more than one

strategy to make improvement and gain confidence in your performance.

#2A. On a scale of 1 (needs major improvement) to 5 (confident and accurate), how was your rhythmic performance overall in the section? Explain your reasoning.__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

#2B. Pick FOUR (4) measures to improve of the section we played. What strategies, that were included in this unit, can you use in your practice? (ex. Count, Clap, Takadimi)__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

50

Communication Item

To generate communication between the guardians of each student and myself, I sent individual update emails out at the end of the unit. I chose to send emails to the guardians of students who improved by more than 40% and those who scored above 90%. I selected these two groups so the parents could perceive a major improvement or congratulate their student for their high level of mastery. Within each email, I adjusted the italicized text and placed the student’s score or improvement percentage to individualize the message. As of April 16th, six parents have replied to the update and were grateful for the open line of communication.

Students Who Improved by 40% or Higher – 15 Emails

Dear (Parent of Student),

Hello, my name is Allison Hopper and I am currently student teaching with Mr. Niemiec for the Spring Semester. During my time so far, I have had the pleasure of working with your student and the rest of the Wind Symphony musicians. I have greatly enjoyed leading and assisting Wind Symphony as they experience and learn more about the art of making music. Not only have I enjoyed our time so far, but it has been a rewarding learning experience for me, as a young educator, and I greatly thank your student for this opportunity.

For the past couple weeks, we have been working together on better understanding, experiencing, and performing rhythms. I have challenged your student and his/her fellow musicians to learn new material and understand old material in new ways. Together we have used speech, writing, movement, and performance to explore rhythm within their pieces for the next concert. Like any learning experience, for a beginning teacher and young musician, there were moments of difficultly but we continued on and grew from our mistakes.

Because of your student’s focus and commitment, she/he greatly improved in their rhythm performance! His/her success with understanding and performing rhythm improved by _____ %. This improvement will allow our ensemble to perform our pieces with greater accuracy, sensitivity, and confidence. His/Her work will raise the level of excellence and achievement for the entire ensemble!

If you have any questions about our rhythm unit or would like more information, do not hesitate to contact me at the email located below.

Thanks for your time,

Allison Hopper [email protected] Ball State University – Music Education

51

Students Who Scored Above 90% - 6 Emails

Dear (Parent of Student),Hello, my name is Allison Hopper and I am currently student teaching with Mr. Niemiec for the Spring Semester. During my time so far, I have had the pleasure of working with your student and the rest of the Wind Symphony musicians. I have greatly enjoyed leading and assisting Wind Symphony as they experience and learn more about the art of making music. Not only have I enjoyed our time so far, but it has been a rewarding learning experience for me, as a young educator, and I greatly thank your student for this opportunity.

For the past couple weeks, we have been working together on better understanding, experiencing, and performing rhythms. I have challenged your student and his/her fellow musicians to learn new material and understand old material in new ways. Together we have used speech, writing, movement, and performance to explore rhythm within their pieces for the next concert. Like any learning experience, for a beginning teacher and young musician, there were moments of difficultly but we continued on and grew from our mistakes.

Because of your student’s focus and commitment, he/she is a leader in our ensemble! She/he scored at the very top of the class on the final rhythm assessment activities. This improvement will allow our ensemble to perform our pieces with greater accuracy, sensitivity, and confidence. His/her work will raise the level of excellence and achievement for the entire ensemble!

If you have any questions about our rhythm unit or would like more information, do not hesitate to contact me at the email located below.

Thanks for your time,

Allison Hopper [email protected] Ball State University – Music Education

Plans for Display Area

To display the work of my students, I would like to create a bulletin board where we can build a strategy center for use during and after our rhythm unit. Each day, as I introduced content, we would add rhythms to a class rhythm tree and expand our list of strategies. As a class, we would create definitions for each rhythm and strategy. I would also display Word of the Day vocabulary and KWL charts as we discovered new vocabulary. Having these visuals on a prominent bulletin board would be a great tool to stimulate prior knowledge and build a spiral curriculum. I would also create a space for students to compose their own rhythms for the class to understand, experience, and perform together. As the unit went on, we could also display compositions or student self-reflections. I would like display area to place to introduce and review concepts as well as support student creation.

52

Student Assessment Tools

Written Pretest – 9 QuestionsPg. 53

Performance Pretest – 3 Rhythm ExamplesPg. 56

In-Class Worksheets – 5 Total Located within the Lesson Plan Section

Blackboard Review Quiz – 7 QuestionsPg. 38

Self-Reflection Activity Activity on Pgs. 47-48; Graphs on Pg. 85

Written Post-test – 9 Questions Pg. 65

Performance Post-test – 3 Rhythms Examples Pg. 68

Technology

PowerPoint: Used on Days 1 & 2 of the unit instruction. Because of the location of the projector, it was best to find a new method to visually engage students in their normal learning environment. The PowerPoint presentations included review sections, visual representations of rhythm, and the rhythm examples for the lesson.

Blackboard: Used on Day 8 as a tool for student’s self-reflection. I created a 7-question test to review what students had learned so far before their long weekend.

Sound System: Located in the band room. Used to play music examples for the students when introducing 6/8.

iPad: Connected to the sound system via Bluetooth. Used to access YouTube & Metronome Applications.

NoteFlight: Music writing software used to create rhythm examples for the assessments and throughout the unit instruction.

Computer or Smart Phone: Students used their computer or smart phone to take the Blackboard review quiz.

53

Differentiation and Accommodation

The foundation of this unit was supplying students with multiple strategy choices for understanding and performing rhythm. My hope was each student would discover which strategy helped them best understand rhythm and could apply this to their everyday music performance. In regards to differentiation, students were supplied with multiple representations of content and multiple modes to prove their learning. With each new rhythm, students were provided with visual, aural, and kinesthetic representations. As a class, we performed, notated, and spoke each rhythm. Because of this variation, each student could have success in understanding the content and show their learning through the method that fit them the best. The self-reflection project on the last day was this unit’s inclusion of the affective domain. Each student rated their performance, practiced strategies to improve, and then discussed their improvement. During this activity, students expressed their perceived performance and growth through rubrics, short answer questions, and class discussion.

To meet the needs of learners with special needs, I spend the weeks before the unit collecting the Individual Education Plans & 504 information of each student. I then transferred the information onto a single document where I could tract the accommodations I needed to make each day. Before each lesson, I spent time reviewing this document and would revise my lesson to fit these needs. Many of the accommodations appeared in the assessment portion of the lesson. Students were provided with a test reader, extended test time, word banks, and access to the resource room. During instruction, I provided students with proximity to me, space to move around the learning environment, extra questioning, and redirection when needed. I also provided every student with access to class notes and made sure to provide those students who needed notes, as determined in their IEP or 504, with a copy. To meet the needs of advanced students, I asked them high level questions to keep them engaged in the content. Looking back, I feel I could have done more to engage these students. I spent a majority of my time focusing on students at the lower end of the ability spectrum. I know I missed an opportunity to have students work together through social collaboration and teach each other. In the future, this adjustment could make the material more relatable to students, especially if they are introduced to it through their peers.

54

What Do You Know About Rhythm?

Name: __________________________

Directions: Circle the correct answer.

1. The time signature of the rhythm example below is:

a.

b.

c.

d.

2. Choose the correct number system counting for the rhythm below. Numbers in parenthesis indicate rests.

a. 1 (+) 2 + A 3 E + (4) +

b. 1 2 E + A 3 + A 4 (+)

c. (+) + 2 + A 3 E + (4) +

d. 1 (+) 2 E + 3 + A (4) +

3. Choose the example that includes both an eighth rest and a sixteenth rest.

55

a.

b.

c.

d.

Directions: Label the statements with either TRUE or FALSE. T or F will not be accepted. If False, correct the statement to reflect the example.

4. The Takadimi for the example below is TA-KA-DI-MI TA-MI TA-DI

____________ Correction: ____________________________________

5. The number system counting for the example below is 1 E A 2 E A

____________ Correction: ____________________________________

Directions: Fill in the blank with the correct answer.

56

6. The number system counts OR Takadimi for the rhythm below is _______________.

*Numbers in parenthesis indicate rests

7. A _______________ increases the length of a note or rest by half its value.

8. The correct notation of 1 + (2) E + A is

*Numbers in parenthesis indicate rests.

Directions: Answer the writing prompt using complete sentences.

9. In your own words, define a Time Signature, including the meaning of both its components, and provide three examples.

57

Directions: Perform the following rhythm examples on your primary instrument using Concert F. Demonstrate the ability to use counting OR Takadimi to understand, read, and perform the rhythm.

You may then use whatever strategy to decode the rhythm that will help you the best. Ex. Conducting, Singing, Clapping, or Patting.

1.

2.

3.

58

Rhythm Performance Rubrics

Name: _______________________ Primary Instrument: ______________ Rec. # ______

Example 1 4 3 2 1 0Rhythmic Accuracy

Student performed the rhythm

with complete accuracy.

Student performed the rhythm with one

minor mistake. Ex.

Ending a note too soon, but

continuing on with success.


major mistake. Ex. Not

subdividing and entering

early/late after a rest.

Student performed the rhythm with two or more major mistakes.

Ex. Failing to subdivide and correctly

line up sixteenth

notes.

Student chose not to perform the rhythm or rhythm was

unrecognizable.

Pulse Student confidently stayed with

the metronome

and the tempo was relaxed. No

pulse mistakes.

Student stayed with

the metronome with minor mistakes.

The tempo may have felt uneasy or rushed. One or two minor pulse mistakes.

Student was aware of the

pulse, but had major

issues staying with

the metronome. One or more major pulse mistakes.

Student made no effort to

stay with the metronome. No

evidence of pulse

awareness.

Process: Counting or

Takadimi

Student used counting or Takadimi

with success and purpose. The counting or Takadimi

syllables were

completely correct.

Student used counting or Takadimi with some

success. The counting or Takadimi syllables were not

completely correct (1 or

more mistakes)

and not used with

purpose.


with little to no success.

The majority of the

counting or Takadimi syllables

were wrong. The student

was not purposeful

or confident

Student did not use counting or Takadimi in the performance of

the rhythm example.

Total: Comments:

59






minor mistake. Ex.









line up sixteenth

notes.


unrecognizable.


the metronome


pulse mistakes.

Student stayed with





issues staying with




evidence of pulse

awareness.


Takadimi



syllables were

completely correct.




more mistakes)

and not used with

purpose.



The majority of the



was not purposeful

or confident


the rhythm example.

Total:

Comments:

60






minor mistake. Ex.









line up sixteenth

notes.


unrecognizable.


the metronome


pulse mistakes.

Student stayed with





issues staying with




evidence of pulse

awareness.


Takadimi



syllables were

completely correct.




more mistakes)

and not used with

purpose.



The majority of the



was not purposeful

or confident


the rhythm example.

Total:

Comments:

61

What Do You Know About Rhythm?

TEACHER KEY TOTAL POINTS - 48



a.

b.

c.

d.

Standards: 9-10.RV.1 (Content Standard 5)Objectives: #1 & #3Point Value: 1 point


62

a. 1 (+) 2 + A 3 E + (4) +

b. 1 2 E + A 3 + A 4 (+)

c. (+) + 2 + A 3 E + (4) +

d. 1 (+) 2 E + 3 + A (4) +

Standard: Content Standard 5Objectives: #3 & #4Point Value: 1 point


a.

b.

c.

d.

Standards: 9-10.RV.1 (Content Standard 5) Objectives: #3 & #1Point Value: 1 point

63



False Correction: TA-KA-DI-MI TA-DI TA-MI

Standard: Standard 5Objectives: #4 & #3Point Value: 3 points (One point for false and two points for the correction)


True

Standard: Standard 5Objectives: #4 & #3Point Value: 1 point


6. The number system counts OR Takadimi for the rhythm below is

1A 2E+(A) 3+ || TA-MI TA-KA-DI TA-DI


Standard: Standard 5Objective: #3 & #4Point Value: 3 points (One point for each beat of the measure)

7. A DOT increases the length of a note or rest by half its value.

Standard: 9-10.RV.1Objective: #1Point Value: 1 point

64


*Numbers in parenthesis indicate rests.

Standard: Standard 5Objective: #3Point Value: 2 points (1 point for notating the rest correctly & 1 point for notating the three sixteenth notes)


9. In your own words, define a Time Signature, including the meaning of both its components, and provide three examples.

Definition Option: A symbol made of two numbers that specifies how many beats are contained in one measure and what note value is to be given one beat

Both Components: Made up of two numbers. The top number tells the performer how many beats are in one measure & the bottom number tells the performer what note value is given one beat.

Example Options: 2/4 3/4 4/4 5/4 6/8 7/8 12/8

Standard: 9-10.RV.1Objective: #1Point Value: 5 points (2 points for explaining the components & 1 point for each example)

65



1.

Standards: Content Standards #2 & #5Objective: #2 & #4Point Value: 10 points (Outlined in Rubric)

2.

Standards: Content Standards 2 & 5Objective: #2 & #4Point Value: 10 points (Outlined in Rubric)

3.

Standards: Content Standards 2 & 5Objective: #2 & #4Point Value: 10 points (Outlined in Rubric)

66

What Did You Learn About Rhythm?

Name: ___________________________



____________ Correction: ____________________________________


____________ Correction: ____________________________________


3. In your own words, define a Time Signature, including the meaning of both its components, and provide three examples of a time signature.

67



a.

b.

.

c.

d.


a. (+) + 2 + A 3 E + (4) +

b. 1 2 E + A 3 + A 4 (+)

c. 1 (+) 2 + A 3 E + (4) +

d. 1 (+) 2 E + 3 + A (4) +

68


a.

b.

c.

d.






9. A ____________ increases the length of a note or rest by half its value.

69



1.

2.

3.

70

Rhythm Performance Rubrics






minor mistake. Ex.









line up sixteenth

notes.


unrecognizable.


the metronome


pulse mistakes.

Student stayed with





issues staying with




evidence of pulse

awareness.


Takadimi



syllables were

completely correct.




more mistakes)

and not used with

purpose.



The majority of the



was not purposeful

or confident


the rhythm example.

Total: Comments:

71






minor mistake. Ex.









line up sixteenth

notes.


unrecognizable.


the metronome


pulse mistakes.

Student stayed with





issues staying with




evidence of pulse

awareness.


Takadimi



syllables were

completely correct.




more mistakes)

and not used with

purpose.



The majority of the



was not purposeful

or confident


the rhythm example.

Total: Comments:

72






minor mistake. Ex.









line up sixteenth

notes.


unrecognizable.


the metronome


pulse mistakes.

Student stayed with





issues staying with




evidence of pulse

awareness.


Takadimi



syllables were

completely correct.




more mistakes)

and not used with

purpose.



The majority of the



was not purposeful

or confident


the rhythm example.

Total: Comments:

73

What Did You Learn About Rhythm?

TEACHER KEY TOTAL POINTS - 48



True

Standard: Standard 5Objectives: #4 & #3Point Value: 1 point


False Correction: TA-KA-DI-MI TA-DI TA-MI

Standard: Standard 5Objectives: #4 & #3Point Value: 3 points (One point for false and two points for the correction)


3. In your own words, define a Time Signature, including the meaning of both its components, and provide three examples of a time signature.

Definition Option: A symbol made of two numbers that specifies how many beats are contained in one measure and what note value is to be given one beat

Both Components: Made up of two numbers. The top number tells the performer how many beats are in one measure & the bottom number tells the performer what note value is given one beat.

Example Options: 2/4 3/4 4/4 5/4 6/8 7/8 12/8

Standard: 9-10.RV.1Objective: #1Point Value: 5 points (2 points for explaining the components & 1 point for each example)

74



a.

b.

c.

d.



a. (+) + 2 + A 3 E + (4)

b. 1 2 E + A 3 + A 4 (+)

c. 1 (+) 2 + A 3 E + (4) +

d. 1 (+) 2 E + 3 + A (4) +

Standard: Content Standard 5Objectives: #3 & #4

75

Point Value: 1 point


a.

b.

c.

d.





Standard: Standard 5Objective: #3Point Value: 2 points (1 point for notating the rest correctly & 1 point for notating the three sixteenth notes)


76

1A 2E+(A) 3+ || TA-MI TA-KA-DI TA-DI


Standard: Standard 5Objective: #3 & #4Point Value: 3 points (One point for each beat of the measure)

9. A DOT increases the length of a note or rest by half its value.

Standard: 9-10.RV.1Objective: #1Point Value: 1 point

77



1.


2.


3.


78

Pretest Graphs

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%0

5

10

15

20

25

5

21

11

3

Overall Pretest Score

Percentile

Numb

er of

Stud

ents

7.50%

92.50%

Overall Score Percentages

Above 80% Below 80%

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

2

4

6

8

10

12

14

16

18

1

15 16

6

2

Pretest Results for Content Standard 2

Percentiles

Num

ber o

f Stu

dent

s

7.50%

92.50%

Content Standard 2

Above 80% Below 80%

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

2

4

6

8

10

12

14

16

18

20

2

18

107

3

Pretest Results for Content Standard 5

Percentiles

Num

ber o

f Stu

dent

s

7.50%

92.50%

Content Standard 5

Above 80% Below 80%

79

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%)0

2

4

6

8

10

12

14

9

6

1213

Pretest Results for Secondary Standard: 9-10.RV.1

Percentiles

Num

ber o

f Stu

dent

s

32.50%

67.50%

Secondary Standard 9-10.RV.1

Above 80% Below 80%

80

Post-test Graphs

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%)0

5

10

15

20

25

30

0 2

10

28

Overall Post-Test Score

Percentile

Num

ber o

f Stu

dent

s

57.50%

42.50%

Overall Score Percentages

Above 80% Below 80%

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

5

10

15

20

25

0 0 1

1821

Post-test Results for Content Standard 2

Percentiles

Num

ber o

f Stu

dent

s

57.50%

42.50%

Content Standard 2

Above 80% Below 80%

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

5

10

15

20

25

0 03

16

21

Post-test Results for Content Standard 5

Percentiles

Num

ber o

f Stu

dent

s

55.00%

45.00%

Content Standard 5

Above 80% Below 80%

81

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%)0

5

10

15

20

25

30

26 8

24

Post-test Results for Secondary Standard 9-10.RV.1

Percentiles

Num

ber o

f Stu

dent

s

60.00%

40.00%

Secondary Standard 9-10.RV.1

Above 80% Below 80%

82

Comparison Graphs

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%)0

5

10

15

20

25

30

5

21

11

30 2

10

28

Overall Score Comparison

Pretest Post-test

Percentile

Num

ber o

f Stu

dent

s

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

5

10

15

20

25

1

15 16

62

0 0 1

1821

Content Standard 2 Comparison

Pretest Post-test

Percentiles

Num

ber o

f Stu

dent

s

1 (0%-20%) 2 (21%-40%) 3 (41%-60%) 4 (61%-80%) 5 (81%-100%)0

5

10

15

20

25

2

18

107

30 0

3

16

21

Content Standard 5 Comparison

Pretest Post-test

Percentiles

Num

ber o

f Stu

dent

s

83

1 (0%-25%) 2 (26%-50%) 3 (51%-75%) 4 (76%-100%)0

5

10

15

20

25

30

96

12 13

26 8

24

Secondary Standard 9-10.RV.1 Comparison

Pretest Post-test

Percentile

Num

ber o

f Stu

dent

s

84

Narrative Statements

Unit Narratives

A. Content Standards Standard 2 – Playing an instrument, alone and with others, a varied repertoire of music.



B. Secondary StandardIndiana English & Language Arts Standards: Grades 9 & 1:9-10.RV.1 –Acquire and use accurately general academic and content-specific words and phrases at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

C. Accommodating Students of Different Abilities To accommodate students of various abilities, I used the rhythm strategies to meet students at their individual level. Students could discover which strategy fit their learning and rhythm competence level best, then apply it to their practicing and performing. I also provided students with ample time to practice the new strategies and different modes to prove their learning. Throughout the unit, students performed, clapped, conducted, spoke, listened, notated, and defined content. I also provided students with active learning experiences so they would engage with the new concepts to the best of their ability. Throughout the unit, I closely followed the Individualized Education Plans & 504 Plans of each student. This included providing class notes, extended time, movement, proximity, extra questioning, and redirection. During the assessment process, I also acted as a test reader and allowed students to go to the resource room if they desired. To meet the needs of high-ability students, I asked them high-level questions and often called on them to perform examples for their peers. Overall, this unit allowed students connect to content in the method that fit their learning best.

D. Authentic Critical Thinking and Problem-solving SkillsThroughout this unit, students were learning authentic skills and knowledge they could directly apply to their performance. As a class, we practiced specific types of rhythms and checked basic understanding. Then we applied our knowledge to rhythm examples and used new strategies to better understand each example. Students refined their ability to understand, practice, and perform rhythm in short examples. Once students mastered the types of rhythms, we transferred their knowledge into the current repertoire. On the last day of the unit, we performed sections of their pieces and students directly implemented the strategies they learned. This process allowed students to critically think about their performance and problem-solve using the strategies we practiced. Students directly used their new knowledge and skills to improve their ability to perform on their main instrument. This knowledge can transfer to any instrument or type of music they choose to perform.

85

E. Instructional Strategies - Modeling - Specific Questioning - Movement - Problem-Based Learning - Handouts & Class Worksheets- Performance- Visual Representations - Review Questions & Review Quiz- Self-Reflection & Reflective Discussion - Relationship Charts- Drill & Practice - Brainstorming

F. Technology The technology in this unit included use of a sound system, projector, iPad, online music notation software, Blackboard, & students’ personal devices. The sound system was used to provide students with aural examples of rhythms and new concepts. The iPad provided access to YouTube and a metronome when working on rhythm examples. The music notation software was used to create the rhythm examples in the tests, PowerPoints, worksheets, class notes, and review quiz. Blackboard was used as the hosting site for the review quiz and students used their personal device to take this quiz during class.

Assessment Narratives

A. AccommodationsThe accommodations during the assessment process included a test reader, extended time, access to resource, and teacher guidance. The students who needed a test reader were each offered one during the written and performance part of the assessments. When completing the review quiz, students also had access to a test reader. Students who needed extended time were given extra time on their written test and more time to understand the performance examples. Some students also required guidance, where I would pare down the question to best suit their needs. No student used the resource room during the assessment process.

B. Type of AssessmentsThe student assessment tools throughout this unit were a combination of informal formative assessments and formal summative assessments. The unit began and ended with a formal summative test. This test contained nine written questions, including multiple choice, true/false, fill-in-the-blank, and short answer. The second half of the test was performance-based and worth more than 60% of the full grade. Each student’s performance was graded using a rubric that specifically outlined the criteria. These rubrics were created to make the assessment as objective as possible. For all examples, a separate rubric was filled out to insure the grade reflected the true performance of each student. Every student demonstrated the process of understanding 3 two-measure rhythms, of varying time signatures, and then performed each on their main instrument. During the unit, the assessments were informal formative and used for shaping the following lessons of the unit. The students completed five worksheets, a review quiz, and a reflection project. I created the worksheets to engage each student during the lesson, because of

86

the lack of a projector in the band room. These worksheets, located after their corresponding lesson plan, included the rhythm examples, review questions, and introduction of the new material. These worksheets were completed as a class and allowed me to check student understanding after each lesson. While not having a projector wasn’t ideal, the worksheets gave each student a specific visual representation. The review quiz was used for students to check their own understanding before the weekend. On day 8 of the unit, students completed this quiz and then we moved on to the introduced of 6/8 time. Students were allowed to ask questions and help each other while working on this assignment. I used the final question on the quiz to shape the review for the final week. The final assessment tool was a self-reflection project we completed on the last day of unit. As shown in the lesson plan, we played sections of their repertoire and then each student assessed their own success. The students assessed their performance using a rubric and short answer questions. The rubric was created to give students guidelines on how to rate their performance. Like the rubric during the performance assessment, I used specific criteria to make the students objectively think about their performance. We brainstormed strategies to improve and then the students had time to practice before we played the section again. I hoped this activity allowed students to think more specifically about their rhythm performance and connect our unit to their repertoire. I have included graphs of the students’ perception of their overall rhythm performance below. I think these graphs were an accurate depiction of where their rhythm performance was at the time.

Reflection Project

1 2 3 4 50

2

4

6

8

10

12

0

5

119

6

Student Self-Assessment: "Flight of Eagles"

Rating (1=needs major improvement & 5=accurate)

Num

ber

of S

tude

nts

1 2 3 4 50

2

4

6

8

10

12

2

57

11

6

Student Self-Assessment: "John Williams: Movie Adventures"

Rating (1=needs major improvement & 5=accurate)

Num

ber o

f Stu

dent

s

87

Instructional NarrativesA. DirectionsThroughout the unit, directions were presented to students verbally and visually. Some directions were also shown through modeling. The majority of directions were given in relation to the in-class worksheets. During this process, I would read the directions out loud while students read along. I also had students repeat directions to keep everyone engaged and together as a group.

B. Project – Relation to StandardsIn relation to the standards, the self-reflection project is a combination of all three. During the project, students performed on their instruments, read music, and used content-specific words. I created the project so students would have the opportunity to directly apply their new knowledge and skills to their real world as musicians. While the project wasn’t used for formal assessment, students informally assessed their rhythm ability and I could use their performance to shape future lessons.

C. Project – Differences in StudentsThis project allowed each student to reflect on his or her performance and then choose what strategy to implement. It gave the students, no matter their ability, the chance to improve using the strategy that fit them the best. The project was very individualized to the needs of each student while still meeting the performance needs of the group. Students chose the best way to teach themselves the rhythm and then contributed to the success of the full ensemble during the performance.

D. Project – Application of Knowledge or Skills This project included direct application of knowledge and skills into the ensemble’s current repertoire. I had originally wanted to include a composition project, but I felt the opportunity to include the repertoire would be a more relevant learning experience. It was the students’ first opportunity to take what we had discovered, reviewed, and refined during the unit activities into their Spring Concert pieces. Each member of the ensemble used a specific strategy to improve their performance on four measures and then immediately performed that section with the rest of their peers. As a result, the ensemble’s rhythmic performance improved.

E. Project – Criteria Because this project was not for a grade, there were no specific criteria. Students were informed of the directions through verbal and visual methods. I explained the process and I had a student repeat the directions as well. I also used modeling to further explain the project. Students also had the opportunity to read the directions on their own time during the lesson.

Result/Interpretation Narratives A. Pretest PerformanceOverall, the students performed in the range I expected them to from my previous observations. A majority of the students performed in the middle to low percentiles. For their overall scores, 32 students or 80% scored between 26% and 75%. Only 7.5% or three students scored at or above the overall mastery level. In Content Standards 2 & 5, a high number of students performed in the lowest three percentiles. I did find it shocking that only 3 students consistently scored at or above the 80% mastery level for the content standards. The only standard that varied from this norm was the secondary standard, where 32.5% scored at or above the mastery level of 80%.

88

This could be a result of the number or difficultly of questions. Because of the pretest results, I knew each student could make a lot of improvement over the course of the unit.

B. Changes after Pretest Based on the pretest data, I adjusted multiple aspects of the unit instruction and post-test. I determined that I needed to spend more instructional time on time signatures and meter. During the pretest, the questions involving these two subjects were the most-missed overall. I also adjusted my lessons to make time for more practice writing counts and Takadimi syllables. Like time signatures and meter, a majority of students missed questions involving writing these counts or syllables. Because of the students’ performance, I also decided to lower the mastery level of Takadimi and Counting to 80%. Though it was originally at 90%, I discovered it would be more beneficial to students and my own understanding of the data to lower it to match the other objectives.

During instruction, I also made multiple adjustments to the unit. Because of ISTEP testing, I chose to spend more time on to review eighth notes and eighth rests. I also decided to create worksheets with rhythm examples, instead of PowerPoints, so students could stay in the band room for instruction. At the time of the unit, there was no working projector in the band room. Because of instructional time, I also adjusted the days we spent on sixteenth rests and when we completed the class dictation. The Blackboard review quiz was included to check for understanding before students left for a long weekend. I also used feedback from this quiz to spend more time on the review of Takadimi, 3/4 meter, and dotted eighth notes. Lastly, I changed the initial composition project to a self-reflection project so students could play their repertoire as they desired.

C. Project PerformanceAs mentioned above, the students ranked their performance in the ranged I expected. At the time of the unit, we had just begun to consistently rehearse the two pieces and students were just acclimating to them. I do believe that after their individual practice, using the strategies, we showed major improvement as an ensemble. I did not have any influence over the score each student gave himself or herself. I wanted this project to be a chance for the students to critically think about their performance with very little teacher guidance. There was no total score for the project.

D. Post-test Performance As reflected in the post-test and comparison graphs, each student and the class as a whole showed improvement. It is clear in the comparison graphs that students moved from the lower percentiles into the higher ones on each standard. In regards to their overall scores, 57.5% scored at or above overall mastery level. This is an improvement of 50%. While this is lower than I had hoped, the students below mastery level still showed major improvement. Only two students scored below 50% on the post-test, compared to 26 students who scored below 50% in the pretest. For Standard 2, 57.5% of the class reached mastery level which is an improvement of 50%. There were no students who scored under a 41% in this standard. For Standard 5, 55% of students met mastery level requirements, which is an improvement of 48%. Similar to Standard 2, there weren’t any students who scored under a 41%. For Standard 9-10.RV.1, 60% of students scored at mastery level. More than half of the students scored in the highest percentile, earning a score of 76-100%. These results show a consistent improvement across each objective and corresponding standard.

89

E. Strengths & Weaknesses of Instructional Approaches Based on the post-test assessment data, I feel a lot of my instructional approaches were successful. A majority of students improved across each standard and improved their ability to perform rhythms on their main instrument. Two strengths of my instructional approach were consistently providing students multiple representations of content and modes to prove their learning. The heart of this unit is the principles of Universal Design for Learning. Because of their ability to choose their own strategy, or use a combination of strategies, the unit was individualized to each student’s needs. I also feel my questioning, inclusion of daily review, and modeling were successful strategies implemented in each lesson. The worksheets, though not part of my original plan, helped consistently engage student in the content and provided notes for students to review in the future. I struggled in this unit to provide students opportunity to play their instruments consistently and collaborate with their peers. Students did play their instruments in each lesson, but not their concert pieces. I feel I would have been more successful if I continuously related the new content to their repertoire. In regards to social collaboration, I feel students would have been more invested in the unit if they had they chance to interact. During instruction, classroom management was an issue every day. I could have easily solved this if I allowed the students to interact as we explored the content. I also think teaching and reviewing with other students would have deepened their understanding. Lastly, I think including a wider variety of instructional strategies would have increased the success of my students. While I did use a lot of strategies, I tended to use them in the same order during every lesson. Structure in a unit is important, but keeping students engaged and interested will have a direct impact on their achievement.

Final Statement

I believe this unit was a successful venture for me as a pre-service educator. I pushed myself to meet the needs of my students, provide active learning experiences, and increase the personal musicianship of each individual . First and foremost, I am proud that I chose to do my project with a large ensemble of 44 students. While this class size is not my largest, it challenged me in many aspects. I had to be energetic, alert, and engaging to keep the learning environment positive. Outside of the classroom, I had to spend more time preparing each lesson to ensure I was going to be the most effective educator. In my future teaching, I can use this project as a model to teach rhythm to my ensembles and other classes. From this experience, I feel more confident that I understand what works and what doesn’t when it comes to teaching rhythm at the high school level. I have learned, from my observation and talking with my Cooperating Teacher, that smaller chunks of instructional time over a longer period would be a more successful way to teach rhythm content. I also know to provide students with multiple rhythm strategies to increase their achievement and ample opportunity to apply content in authentic methods. I gained a lot of experience in creating worksheets, class notes, and PowerPoint presentations. I also led students through a self-reflection activity, which gain me the opportunity to truly hear each student’s opinions. I located, read, and integrated information from IEPs and 504 plans for the first time. After this process, I truly felt I was meeting the needs of these students. One of the biggest lessons I learned during this process is that the amount of work I put into a lesson will directly affect the success of my students. I spent hours creating worksheets, when it wasn’t a necessity, but my students greatly benefitted from their inclusion. In the bigger picture, this unit gave me the opportunity to truly think about the needs of my students. For most

90

of my teaching career, I have focused on how I can improve and what I need to do in the future. This instructional unit switched my focus to the needs of my students and how I can best support their growth.

91

Project Rubric

4 3 2 1 0Instructional Effectiveness

Instruction was varied, well paced,

and geared to meet the needs

of every student.

Students were continuously

engaged.

Instruction was mostly

successful. Some work

need to improve pacing or meeting the needs of every

student.

Major work need to improve

engagement and meeting student’s

needs. Teacher should seek

guidance to vary instruction.

Instruction had very little affect

on students’ performance on

standards. A major of

students were disengaged.

Instruction had no affect on

students’ performance.

Quality of Assessment Tools

Assessment tools were

well-constructed,

reliable, authentic, and valid. Criteria

was specific and the pre-

and post-tests were parallel.

Assessment tools were well-constructed and

tests were parallel. More work needed to

make tools reliable, valid, or authentic.

Teacher failed to meet one aspect outlined on the

LAMP syllabus.

Teacher failed to meet two or more aspects

outlined on the LAMP syllabus.

Assessment tools failed to

meet any standards on the project syllabus.

Planning & Preparation

Planning & preparation

was consistent, on-time, and well thought

out. It is clear the teacher put a great

deal of effort into every step of the process.

Planning and preparation was

good, but teacher could

have used more time to refine the project.

Some aspect of the planning or preparation was not successful. Teacher may have needed more time to

adjust the pretest or post-test.

Lesson plans were

consistently not finished before class and many aspects of the

project were not well-planned.

No evidence of planning or preparation.

Meeting the Needs of All Students

All instruction, activities, &

learning environment

meet the needs of all students.

Teacher mostly succeeds to

meet the needs of every student.

Teacher fails to consistently meet the needs of all

students.

The needs of one group of students were

never met during the instruction.

The needs of students were

mostly disregarded

during instruction.

Authentic Application

Skills & knowledge taught are

directly applicable to students’ real

life. Many opportunities are given to

apply knowledge.

Skills & knowledge are applicable to

each student’s real life, however

teacher should provide more opportunities

to apply knowledge.

Skills & knowledge may be applicable to each student’s real life but no

direct connection is made. Teacher needs to greatly

increase the opportunity to

apply knowledge.

Skills & knowledge are

not applicable to each student’s

real life. A large majority of

students cannot apply the

knowledge.

Skills & knowledge are

not applicable to any of the

students. There is no

opportunity or means to apply

knowledge.

92

Activity Effectiveness

Activities provided

students with authentic and

active experiences

regarding the content. They

were well-constructed

and implemented effectively.

Activities were successful but

should be refined to be

more effective.

Some activities were not

implemented with success.

More work need to ensure each

activity is authentic.

Activities did not provide

students with authentic or

active experiences regarding content.

Activities included in the

unit did not relate to the

content in any manner

Social or Collaboration Opportunity

Teacher provided

consistent and frequent

opportunities for students to collaborate and

interact regarding content.

Teacher provided some (3+) specific

opportunities for students to

collaborate and interact

regarding content.

Teacher provided one or two

specific opportunities for

students to collaborate and


Teacher provided some

indirect or incidental

opportunities for students to collaborate and


Teacher provided no

direct or indirect opportunities for

students to collaborate or


93