Jr.

Experience Unit
Alexander J. Gray Music Education

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Table of Contents
Abstract .pg. Unit !esson Plan " #ay 1...pg. $ %anana %oat &ong...pg. ' %(#(A &ig)t *eading C)art...pg. + Practice Guide.pg , Unit !esson Plan " #ay -.pg. 1. Unit !esson Plan " #ay .pg. 1 Unit !esson Plan " #ay $.pg. 1/ Unit !esson Plan " #ay 0.pg. 1, Unit *eflection &tandard 1.pg. -&tandard $.pg. &tandard 0.pg. -$ &tandard +.pg. -0

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Abstract 12 Alexander Gray2 3ill use 4y 5no3ledge of teac)ing to )elp c)ildren of Cole4an Ele4entary sc)ool learn to play a song in t)e Tradition of Excellence boo52 called 6T)e %anana %oat &ong.7 1 teac) t)e c)ildren different foundational ideas2 including )o3 to practice t)eir instru4ent2 3)at to loo5 for in ne3 4usic2 perfor4ing dyna4ic control2 and )elping t)e4 perfor4 4a8or scales as stepping stones to finali9ing and learning t)e piece as a 3)ole. Eac) day of teac)ing t)e unit 1 3ill be self:reflecting on )o3 effecti;e 1 3as as a teac)er2 and ulti4ately s)o3 )o3 1 i4pro;ed t)e c)ildren<s playing abilities.

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Missouri Western Lesson Plan Name Alexander J Gray Grade Level Junior Date February 1, 2013 Content Area Instrumental Musi ! "rass and Per ussion Lesson title "anana "oat # $i%&t 'eadin% ( Pra ti e )e &ni*ues Are t&ere any ultural ontributions t&at you an identi+y in t&is lesson, I+ so, -&at are t&ey, Many contests that high school bands go to have a portion of the contest called the Sight Reading portion D!ring this time" all of the st!dents are given a piece of m!sic they#ve never seen before $hey can not play their instr!ments at all" or be dis%!alified& it 'as against the r!les So" the st!dents have to loo( at the page" inta(e as m!ch information as they can" and play from 'hat they gathered in the piece .o- -ill you a ommodate +or t&e /arious ultural learnin% styles in your lass,

) 'ill !se plenty of lect!re for this lesson" b!t not so m!ch that it#ll bore the (ids to death& after all" they#re there to play )#ll incorporate involvement by as(ing st!dents 'hat they might thin( 'o!ld contrib!te to sight reading" and 'hat they can do to prepare themselves .o- -ill you a needs, ommodate t&is lesson +or students -it& learnin% disabilities or s0e ial

None of the st!dents have special needs at this time& ho'ever" there are plenty of special tools that the st!dents can obtain for their specific obstacle As for myself" ) can only give enco!ragement that they can and 'ill be able to play 1b2e ti/es! *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic Reading m!sic +NAfM, -. /nderstanding m!sic in relation to c!lt!re +NAfM, 0. Assessments! *re1assessment2 ) 'ill record the class#s first attempt of the song cold +No practice" no preparation" straight read1thro!gh. ) 'ill also as( the st!dents 'hat they do 'hen they practice *ost1assessment2 ) 'ill as( st!dents 'hat they have learned and 'ill !se in their lessons ) 'ill also as( 'hat they learned abo!t 'hat to do 'hen they get a ne' piece Materials3'esour es! 3anana 3oat Song" 3oo( of ,4cellence

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Addressin% Learnin% $tyles! M!sical2 ,verything done in this class involves m!sic )n this case" the song itself 3odily15inesthetic2 6ine motions to !se valves and (eys properly and concisely )nterpersonal2 ) 'ill be as(ing open1ended %!estions that 'ill get the st!dent thin(ing )ntrapersonal2 $he st!dent 'ill reflect and practice their instr!ment on their o'n time 'hen not in class )&e )ea &er Will! 14 7ave the class play 8 and record 8 3anana 3oat Song 'itho!t any g!idance +e4cept cond!cting" and p!tting the class together if it gets too !nrecogni9able. 24 As( the st!dents 'hat they do to prepare themselves for a ne' song" if any 34 $each the class the first steps to learning a ne' piece" !sing an e4cerpt from the 3oo( of ,4cellence +Sight1reading. 54 As( the class 'hat they do to practice 64 Give the st!dents some pointers on practicing" as 'ell as hand o!t *ractice G!ide 74 As( each st!dent 'hat 'as one thing he or she learned to do 'hen practicing or getting ne' m!sic )&e $tudent Will! : *lay 3anana 3oat Song 'itho!t any practice - Respond 'ith a fe' ans'ers ; Listen to lect!re" and play along 'hen as(ed < Respond 'ith a fe' ans'ers = Listen to lect!re and ta(e the g!ide" (eeping it in their techni%!e boo( > Respond 'ith an ans'er ) provided either by lect!re or from the paper given to them

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8aily Lesson 'e+le tion A4 W&at did you see students doin% -&ile you -ere tea &in% t&is lesson,

6or the most part" ) had little tro!ble (eeping the st!dents# attention Many loo(ed friendly and 'ere respectf!l )n bet'een m!sic" tho!gh" they too( more time than ) 'o!ld have e4pected them to "4 W&at did you &ear students say -&ile you -ere tea &in% t&is lesson,

Many did seem negligent to spea( !p and 'ere conf!sed 'hen ) as(ed them 'hat do they do 'hen they get a ne' song" b!t it 'as predicted ?hen 'e messed !p on m!sic some children tend to 'ant to spea( !p more than others 94 8o you belie/e t&is lesson -as e++e ti/e, .o- do you :no-,

) believe this lesson 'as mostly effective" beca!se ) as(ed each child before they left one thing they learned to do 'hen they get ne' m!sic or practice Many ans'ered %!ic(ly" b!t a co!ple too( a little bit of time to remember something 84 "ased on -&at you sa- and &eard as -ell as -&at you belie/e about t&e e++e ti/eness o+ t&is lesson, -&at -ould you do di++erently i+ you tau%&t t&is lesson a%ain, $he ne4t time ) teach this lesson" ) 'ill give deeper e4planation as to 'hy yo! 'ant to practice slo'& that if yo! learn it right the first time" the m!sic is m!ch easier to play than if yo! get it 'rong the first time ;4 "ased on -&at you sa- and &eard, -&at -ill you di++erently tomorro- about lassroom mana%ement, ) 'ill assert my po'er to act!ally control the class by having them move %!ic(er in getting to the page 'e#re 'or(ing on

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Banana Boat Song

(Removed for copyright)

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New Music??!!
What Shou d ! do??
"hec# it $ut!
Before you p ay% < =)at >ey signature is it in? < Are t)ere any repeating parts in t)e 4usic? < Are t)ere any @tric5s< in t)e 4usic? AAccidentals2 3eird 8u4ps2 etc.B < =)at style is t)e song in? < Are t)ere any area 3)ere t)e 4usic c)anges? ATe4po2 >ey c)ange2 etc.B

&isten 'p!
Whi e you(re p aying% < A4 1 5eeping steady 3it) t)e conductor? < A4 1 balanced 3it) t)e rest of t)e band? Can 1 )ear all t)e parts? < =)at is 4y part in t)e band as a 3)ole? =)at do ot)ers play 3)en 1 play at t)is 4easure(section?

)hin# *+out !t!

*fter you p ay% < Were there any mista#es ! can easi y fi,? *ny +ig ones ! have to practice on my own? < -o ! need to circ e areas where ! might have missed a change to remind myse f? < $vera . What do ! need to change to p ay it +etter ne,t time?

What do you understand now that you didn(t understand +efore?

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/ractice 0uide
< Ma#e sure your instrument is ready to p ay!
o 1f your instru4ent is in no condition to play2 you 3on<t get a good soundC

< Warm up! (Sca es do Wonders)

o Just li5e 3or5ing out2 if you 8ust 8u4p into practicing 3it)out 3ar4ing up2 you 4ig)t get bad results2 co4pletely 3asting your practice ti4e2 or e;en 3orse2 listening to 3rong tones t)in5ing t)at t)ey<re rig)tC

< /ractice parts that are -!11!"'&)!

o 1t<s al3ays si4ple to play t)e easy parts2 but t)e point of practicing is to get t)e )arder parts do3nC &o focus on t)e stuff you trip up on 3)en you play t)roug) a song.

< /ractice 2S&$W&32!!!

o #on<t 8ust play t)roug) t)e pieceD t)in5 about )o3 your fingers are 4o;ing2 )o3 4uc) air you<re putting t)roug) t)e instru4ent2 and see 3)at you are playing as eac) note passes by.

< /ractice 2*""'R*)4&32!

o T)ey say t)at if you 4ess it up once2 it ta5es &EEEF repetitions of playing it rig)t to put it bac5 on trac5C &o get it rig)t t)e first ti4e2 and your c)ances of success increases #*AMAT1CA!!GC APracticing slo3 )elpsCB

< 'se a Metronome!

o Gou )a;e to be sure t)at you<re playing t)e rig)t r)yt)4s 1F T1ME2 and t)e best 3ay is to eit)er )a;e a conductor or a 4etrono4e. T)e conductor 3on<t be t)ere for you 3)en you practice2 so in;est in oneC

< 1inish Strong!

o Hinis) off your practice 3it) so4et)ing you 5no3 you can play. Playing it after a practice session of i4pro;e4ent 3ill lea;e a refres)ing2 successful feelingC

< 2222/R*")!"4 454R3 -*3!2222

o =or5ing on a s5ill is li5e gro3ing a treeI if you don<t care for it e;ery day2 it 3ill 3it)er. E;en if it<s 8ust 1. 4inutes2 do 3)at you can to practice regularlyC

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Missouri Western Lesson Plan Name Alexander J Gray Grade Level Junior Date February 1, 2013 Content Area Instrumental Musi ! "rass and Per ussion Lesson title "anana "oat 2 # 8ynami 9ontrol and 9ondu tors Are t&ere any ultural ontributions t&at you an identi+y in t&is lesson, I+ so, -&at are t&ey, $here are many songs o!t there that are all !ni%!e in their o'n 'ay @ne reason is beca!se of the different intensities of so!nd the bands" singers" or orchestras prod!ce in their m!sic" called dynamics .o- -ill you a ommodate +or t&e /arious ultural learnin% styles in your lass,

) 'ill be !sing vario!s e4amples to convey different ideas of dynamics" as 'ell as have the st!dents themselves share their interpretation of dynamics .o- -ill you a needs, ommodate t&is lesson +or students -it& learnin% disabilities or s0e ial

Again" there#s no st!dent that has a learning disability& ho'ever" for a st!dent that might be hard1of1 hearing might not get a solid concept of dynamics 7earing aids sho!ld help solve the problem 1b2e ti/es! Listening to" analy9ing" and describing m!sic +NAfM, >. Reading m!sic +NAfM, =. *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic +NAfM, -. Assessments! *re1assessment2 St!dents 'ill be as(ed 'hat a dynamic is" and ho' they control ho' lo!d their playing *ost1assessment2 St!dents 'ill be as(ed to preform a step crescendoAdecrescendo e4ercise Materials3'esour es! 3anana 3oat Song Addressin% Learnin% $tyles! M!sical2 St!dents 'ill have to listen as they play different dynamic levels 3odily1(inesthetic2 St!dents 'ill have to remember ho' they played at a specific dynamic level Logical1Mathematical2 St!dents 'ill have to ma(e connections and find a solid relationship to a certain dynamic level and ho' lo!d he or she sho!ld be playing

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)&e )ea &er Will! : As( the st!dent 'hat a dynamic is" and ho' they play a forte and a piano - As( ho' they 'o!ld describe a cond!ctor#s Bob is ; Describe the different aspects of a cond!ctor" b!t emphasi9e dynamic levels for the sa(e of this lesson < Cond!ct different dynamic levels" so st!dents can have a ro!gh estimation to ho' they sho!ld play relative to the cond!ctor = 7ave the st!dents play some dynamic games > *lay thro!gh 3anana 3oat Song" reminding the st!dents to !se 'hat they learned abo!t dynamics )&e $tudent Will! : Ans'er 'ith their responses - Ans'er 'ith their responses ; Listen to the lect!re < Listen to lect!re and 'atch the teacher#s different movements = *lay on their instr!ments" participating in the game > *lay 3anana 3oat Song" applying their ne' insight on dynamic levels to the m!sic

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8aily Lesson 'e+le tion A4 W&at did you see students doin% -&ile you -ere tea &in% t&is lesson,

) sa' st!dents starting to become more responsive" b!t in a negative 'ay ?henever someone messes !p" a child or t'o 'o!ld e4aggerate their distress" disr!pting the flo' of the class "4 W&at did you &ear students say -&ile you -ere tea &in% t&is lesson,

) heard one partic!lar st!dent consistently tal( thro!gho!t my class 'hen it 'asn#t necessary" and 'hen they didn#t raise their hand first 94 8o you belie/e t&is lesson -as e++e ti/e, .o- do you :no-, ) believe this lesson 'as effective" beca!se the st!dents all had some idea to 'hat a cond!ctor 'as" and all 'as right" and 'ere very receptive to the arm movements ) made as a cond!ctor 84 "ased on -&at you sa- and &eard as -ell as -&at you belie/e about t&e e++e ti/eness o+ t&is lesson, -&at -ould you do di++erently i+ you tau%&t t&is lesson a%ain, Ne4t time ) teach this lesson" )#ll e4plain forte as bigger so!nd rather than lo!der" and reaffirm that dynamics is relative" meaning that ho' m!ch one 'o!ld be lo!d or soft depends on the m!sic being played ;4 "ased on -&at you sa- and &eard, -&at -ill you di++erently tomorro- about lassroom mana%ement, ) 'ill try the ignoring method 'ith the st!dent 'henever they spea( o!t of t!rn" and not necessarily chastise them" b!t let them (no' that ) (no' 'henever someone doesn#t play right" and it#s my Bob to fi4 it& calling their name o!t doesn#t fi4 anything" it B!st ma(es them feel 'orse

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Missouri Western Lesson Plan Name Alexander J Gray Grade Level Junior Date February 1, 2013 Content Area Instrumental Musi ! "rass and Per ussion Lesson title "anana "oat 3 < Ma2or $ ales Are t&ere any ultural ontributions t&at you an identi+y in t&is lesson, I+ so, -&at are t&ey, All songs have a pattern that notes follo' Abo!t 00C of the time the notes that are played are in the pattern $hese pattern of notes that go by 'hole or half steps are called scales .o- -ill you a ommodate +or t&e /arious ultural learnin% styles in your lass,

) 'ill be !sing a 'hiteboard 'ith a staff on it to give the st!dents a vis!al aspect of a scale" as 'ell as play it on an instr!ment for them to listen to .o- -ill you a needs, ommodate t&is lesson +or students -it& learnin% disabilities or s0e ial

1b2e ti/es! *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic +NAfM, -. Composing and arranging m!sic 'ithin specified g!idelines +NAfM, <. Reading and notating m!sic +NAfM, =. /nderstanding m!sic in relation to history and c!lt!re +NAfM, 0. Assessments! *re1assessment2 ) 'ill as( the st!dents 'hat a scale is" and if so" 'hat the step pattern is *ost1assessment2 ) 'ill have them play the concert 31flat scale and as( them if 3anana 3oat Song !ses the concert 31flat scale or not Materials3'esour es! ?hiteboard" ,raser" dry1erase mar(er" 3anana 3oat Addressin% Learnin% $tyles! Dis!al1SpatialALogical1Mathematical2 thin(ing in half and 'hole steps in a scale 3odily15inesthetic2 !sing their fingers and embras!re to play Ling!istic2 lect!ring abo!t scales

)&e )ea &er Will!

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14 24 34 54 64

As( the st!dents if they (no' 'hat a scale is As( the st!dents if they (no' 'hat a MAE@R scale is" !sing half and 'hole steps $each concert 31flat maBor scale" first playing it as an e4ample" then have the st!dents play it As( the st!dents 'hat scale 3anana 3oat Song !ses 7ave the st!dents play 3anana 3oat Song

)&e $tudent Will! : Respond 'ith ans'ers - Respond 'ith ans'ers !sing half1steps and 'hole steps ; Listen to lect!re and e4ample" then respond by playing the concert 31flat scale < Respond 'ith ans'ers = *lay 3anana 3oat Song

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8aily Lesson 'e+le tion A4 W&at did you see students doin% -&ile you -ere tea &in% t&is lesson,

) sa' one partic!lar st!dent that didn#t have their instr!ment play 'ith their stand as if it 'as a crossbo' Another st!dent messed 'ith their instr!ment to the point 'here a part fell off "4 W&at did you &ear students say -&ile you -ere tea &in% t&is lesson,

?hile ) 'as teaching the lesson" the st!dents paid attention and listened %!ietly as ) did my lect!re )n transitional spots" ho'ever" different children often as( the same %!estion on 'hat page to t!rn to 94 8o you belie/e t&is lesson -as e++e ti/e, .o- do you :no-, ) believe the lesson 'as effective" beca!se ) correlated part of the scale to t'o pieces of m!sic they have already played before and (no' 'ell Doing this attaches ne' information to an already placed schema 84 "ased on -&at you sa- and &eard as -ell as -&at you belie/e about t&e e++e ti/eness o+ t&is lesson, -&at -ould you do di++erently i+ you tau%&t t&is lesson a%ain, Ne4t time ) teach this lesson" ) 'ill have the children play the m!sic first" then incorporate the scale into it" rather than the other 'ay aro!nd $his 'ay" it prepares the st!dent for the ne' information" rather than getting ne' information first" then fig!ring o!t 'hat to do 'ith it ;4 "ased on -&at you sa- and &eard, -&at -ill you di++erently tomorro- about lassroom mana%ement, ) sho!ld have ta(en the stand a'ay from the child" so the problem is more 'ithin myself to not be afraid to get a'ay from my o'n stand and 'al( over to the st!dent Also" ) 'ill e4ert more of my o'n presence and reinforce the r!les ) have given them as a teacher

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Missouri Western Lesson Plan Name Alexander J Gray Grade Level Junior Date February 1, 2013 Content Area Instrumental Musi ! "rass and Per ussion Lesson title "anana "oat 5 # 8ynami 9ontrol 2 Are t&ere any ultural ontributions t&at you an identi+y in t&is lesson, I+ so, -&at are t&ey, Many orchestral pieces greatly emphasi9e dynamics" and another 'ay they manip!late their vol!me is by !sing crescendos and decrescendos .o- -ill you a ommodate +or t&e /arious ultural learnin% styles in your lass,

) 'ill be !sing my o'n voice to give an e4ample of crescendos and decrescendos" and !se the 'hiteboard to sho' ho' they 'o!ld appear on paper .o- -ill you a needs, ommodate t&is lesson +or students -it& learnin% disabilities or s0e ial

$here sho!ldn#t be too m!ch of a problem !nless one is deaf )f so" then ) 'o!ld have to also e4press the idea !sing bodily lang!age" ma(ing more grand and e4aggerated movements for lo!d" and small" mee( demeanor for soft 1b2e ti/es! *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic +NAfM, -. Reading and notating m!sic +NAfM, =. /nderstanding relationships bet'een m!sic" the other arts" and disciplines o!tside the arts +NAfM, F. Assessments! *re1assessment2 $he st!dents 'ill revie' different dynamic levels from the second lesson to see ho' m!ch information 'as retained *ost1assessment2 $he st!dents 'ill perform a crescendo d!ring the song 3anana 3oat Song Materials3'esour es! 3anana 3oat Song" ?hiteboard" ,raser" Dry1erase Mar(er Addressin% Learnin% $tyles! Dis!al1Spatial2 !sing the 'hiteboard to sho' different presentations of crescendoAdecrescendo M!sical2 CrescendoAdecrescendo 'ill be e4ampled !sing my voice" and the 'ill" in t!rn" !se their instr!ments to provide !nderstanding Ling!istic2 Same as above +Lect!re.

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)&e )ea &er Will! 14 Revie' the different dynamics 'ith the st!dent 24 $al( to the st!dents" !sing crescendoAdecrescendo vocally" and as( 'hat m!sical term it is to grad!ally get lo!der or softer 34 7ave the st!dent try crescendo and decrescendo 'hile holding one note " then have them try to crescendo and decrescendo over - notes 54 7ave the st!dent play 3anana 3oat Song closing section" !sing crescendo )&e $tudent Will! : Respond 'ith 'hat they remember" and listen if needed re1instr!ction - Ans'er if they (no'" or if not" be reminded ; *lay a crescendoAdecrescendo on their instr!ment 'hen instr!cted < *lay 3anana 3oat Song closing section !sing crescendos

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8aily Lesson 'e+le tion A4 W&at did you see students doin% -&ile you -ere tea &in% t&is lesson, ) sa' most st!dents being attentive 7o'ever" some st!dents 'ere also being disr!ptive& fe' tended to 'ant to tal( after every time ) stopped them from playing so ) co!ld give instr!ction "4 W&at did you &ear students say -&ile you -ere tea &in% t&is lesson ,ither the st!dent 'as commenting half1Bo(ingly abo!t ho' another st!dent messed !p" or they 'o!ld tal( abo!t ho' 'ell they played 94 8o you belie/e t&is lesson -as e++e ti/e, .o- do you :no-, ) believe this lesson 'as mostly effective beca!se the children (ne' the term 'henever ) as(ed of them 'hat the sign 'as and 'hat it means $hey also performed a crescendo in e4cerpts of the $radition of ,4cellence boo( 'here ) had them man!ally place Gimaginary# crescendos and decrescendos 84 "ased on -&at you sa- and &eard as -ell as -&at you belie/e about t&e e++e ti/eness o+ t&is lesson, -&at -ould you do di++erently i+ you tau%&t t&is lesson a%ain, ) 'o!ld have them ma(e a vocab!lary sheet 'ith the terms 'e learn and have the st!dents dra' the symbols and 'rite do'n meanings for their o'n !se 84 "ased on -&at you sa- and &eard, -&at -ill you di++erently tomorro- about lassroom mana%ement, ) 'ill re1assert the r!le of no playing 'hile 'e are rehearsing )t is fine for them to tal( before and after class& ho'ever" 'hen practicing" it is important they donHt tal( every time they stop playing" beca!se it not only disr!pts the flo' of class" they can miss o!t on important information to get better

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Missouri Western Lesson Plan Name Alexander J Gray Grade Level Junior Date February 1, 2013 Content Area Instrumental Musi ! "rass and Per ussion Lesson title "anana "oat 6 # Puttin% It )o%et&er Are t&ere any ultural ontributions t&at you an identi+y in t&is lesson, I+ so, -&at are t&ey, *laying m!sic !tili9es many different techni%!es and practices to be played 'ell and play m!sically So!nds red!ndant" b!t it#s really 'hat sets apart those 'hose m!sic is B!st so!nd and 'hose m!sic moves others .o- -ill you a ommodate +or t&e /arious ultural learnin% styles in your lass,

$his lesson is all hands1on $here 'ill be only instr!ction +very little lect!re." and the st!dents 'ill have to reflect on their playing .o- -ill you a needs, ommodate t&is lesson +or students -it& learnin% disabilities or s0e ial

Dery little" if any& this is maBorly a revie' of the past fo!r lessons 1b2e ti/es! *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic +NAfM, -. Reading and notating m!sic +NAfM, =. ,val!ating m!sic and m!sic performances +NAfM, I. /nderstanding relationships bet'een m!sic" the other arts" and disciplines o!tside the arts +NAfM, F. Assessments! *re1assessment2 Revie' scales" dynamic control" and reading m!sic *ost1assessment2 *lay and listen to 3anana 3oat Song before and after !tili9ing techni%!es learned Materials3'esour es! 3anana 3oat Song Addressin% Learnin% $tyles! M!sical2 *laying 3anana 3oat Song )ntrapersonal2 Listening to themselves play and reflecting on their playing )&e )ea &er Will! : J!ic(ly revie' scales" dynamic contrast" and approaching m!sic - Rehearse sections of 3anana 3oat Song that still need 'or(ing ; *lay and record 3anana 3oat Song

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< 7ave the st!dents listen to their first play1thro!gh of 3anana 3oat Song" then the one they B!st did = Converse 'ith the st!dents on ho' they did& try to p!ll for specific ans'ers )&e $tudent Will! : Revie' 'ith the $eacher - *lay sections of 3anana 3oat Song 'hen applicable ; *lay 3anana 3oat Song for recording < Listen to" and reflect" on 3anana 3oat Song before and after rehearsing = Give tho!ghtf!l ans'ers

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8aily Lesson 'e+le tion A4 W&at did you see students doin% -&ile you -ere tea &in% t&is lesson,

St!dents 'ere attentive and stayed %!iet 'hile 'e too( the test $hey seemed e4cited 'hen they 'ere given a n!mber for some reason "4 W&at did you &ear students say -&ile you -ere tea &in% t&is lesson,

Some st!dents as(ed if 'e 'ere going to do crescendos and decrescendos again" 'hile others as(ed if 'e 'ere going to do chromatic scales in different note lengths other than half notes 94 8o you belie/e t&is lesson -as e++e ti/e, .o- do you :no-,

) believe this lesson 'as effective beca!se it made st!dents have to play by themselves in front of their classmates and helped them !nderstand that theyHll be playing in front of gro!ps all the time as a band member Also" they sho'ed every aspect of past lessons& they 'ere loo(ing at the cond!ctor for c!es" they became soft d!ring the ending portion of the song" and 'ere overall receptive to 'hat 'as happening aro!nd them 84 "ased on -&at you sa- and &eard as -ell as -&at you belie/e about t&e e++e ti/eness o+ t&is lesson, -&at -ould you do di++erently i+ you tau%&t t&is lesson a%ain, )f ) ta!ght this lesson again" ) 'o!ld go over the song 'ith the st!dents" b!t let them as( 'hat they feel are places that they 'o!ld need to go over to practice as a gro!p& allo' them to give inp!t to 'hat they feel needs 'or( ;4 "ased on -&at you sa- and &eard, -&at -ill you di++erently tomorro- about lassroom mana%ement, $hey 'ere mostly 'ell today 7o'ever" ) m!st ma(e s!re to be consistent on (eeping them from tal(ing in bet'een playing" or ) may not last very long

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=nit 'e/ie&tandard 1I >no3ledge of &ub8ect Matter T)e preser;ice teac)er 5no3s t)e sub8ect applicable to t)e area of certification or endorse4ent. Je or s)e understands t)e central concepts2 tools of inKuiry2 and structures of disciplineAsB 3it)in a global society and creates learning experiences t)at 4a5e t)ese aspects of sub8ect 4atter 4eaningful.

As a m!sic teacher" ) have to be a'are of the 0 National Standards of M!sic ,d!cation" better (no'n as NAfM,2 : Singing" alone and 'ith others" a varied repertoire of m!sic - *erforming on instr!ments" alone and 'ith others" a varied repertoire of m!sic ; )mprovising melodies" variations" and accompaniments < Composing and arranging m!sic 'ithin specified g!idelines = Reading and notating m!sic > Listening to" analy9ing" and describing m!sic I ,val!ating m!sic and m!sic performances F /nderstanding relationships bet'een m!sic" the other arts" and disciplines o!tside the arts 0 /nderstanding m!sic in relation to history and c!lt!re ) am able to ta(e these nine different components and !tili9e them in my classroom $he foc!sed g!idelines for me as an aspiring instr!mental m!sic teacher 'o!ld be K-" =" >" and I thro!gh teaching the st!dents their instr!ment& ho'ever" ) can easily involve K: by having the st!dents sing their part" K- and ; thro!gh Ba99 ensembles" KF by e4plaining different 'ays m!sic affects every day life +movie" meditation" learning" etc . and K0 thro!gh famo!s composers in the past +3ach" 3eethoven" Chopin" Lis9t" etc . )n order for me to teach my !nit" the st!dents had to (no' their fingerings for their instr!ment first and foremost" and ho' to prod!ce a so!nd 'ith their instr!ment" as 'ell as (no'ing different lengths of notes& Mr Ma4'ell already instr!cted them on ho' to do that in the past semester" and by 'atching them myself in my first fe' days of observation $he rest comes from the st!dents paying attention to the notes on their page and !tili9ing their prior (no'ledge in the class to ma(e m!sic

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&tandard $I Planning2 14ple4enting2 L E;aluating

T)e preser;ice teac)er recogni9es t)e i4portance of long:range planning and curriculu4 de;elop4ent and de;elops2 i4ple4ents2 and e;aluates curriculu4 based upon rele;ant national2 district and state perfor4ance standards. As a instru4ental teac)er2 1 use t)e second set of G!E<s in t)e unitI de;elop and apply instru4ental 4usic s5ills to perfor4 and co44unicate t)roug) t)e arts. Ta5ing 3)at t)e students already 5no32 1 i4ple4ented a ne3 idea e;ery ti4e 3e 4et t)at is rele;ant to learning 6T)e %anana %oat &ong.7 1n t)e beginning2 after t)e pre:test2 1 ga;e t)e4 a s)eet describing 3)at t)ey can do to )elp t)e4 learn a song Kuic5er 3)en t)ey first get ne3 4usic2 rat)er t)an 68ust loo5ing at it and play.7 1 also ga;e t)e4 a s)eet and discussed near t)e end on )o3 to practice t)eir instru4ent properly. 1 ga;e t)e4 goals and ob8ecti;es 3)en learning ne3 4usic2 increasing a student<s c)ance of success. As 3e learned t)e concepts of learning ne3 4usic2 1 used t)e Tradition of Excellence boo5 to )a;e t)e4 try out t)e ne3 concept and apply it t)e4sel;es 3it) an exercise t)ey )a;en<t done before. 1 3al5ed t)roug) t)e steps 3it) t)e4 and )o3 eac) point applies to t)eir 4usic. Hor t)e crescendo and decrescendo practices2 1 started 3it) a single pitc) so 1 5ne3 3)o 4ig)t need )elp and 3)en e;eryone got it2 1 used 4ore fa4iliar and easier songs so t)ey could focus 4ore on t)eir breat)ing le;els and t)e concept rat)er t)an t)e 4usic itself. Ulti4ately2 1 )ad t)e students i4ple4ent 3)at t)ey learned into t)e song 3)ic) is t)e long:ter4 goal of t)e unitD play 6T)e %anana %oat &ong7 4usically. 1 use 4y for4ati;e assess4ents not only as a 3ay to see )o3 4uc) t)e students )a;e retained fro4 t)e last lessons2 but 1 continuously use t)e4 t)roug)out t)eir 3ar4:up songs. =)en 3e do c)ro4atic scales2 1 so4eti4es c)ange t)e duration of t)e note to 4a5e sure t)ey are paying attention and to see 3)o understands t)e concepts 1 as5 of t)e4. #uring songs in t)e Traditions of Excellence boo52 1 )a;e t)e4 do different t)ings 3it) t)eir song2 )a;ing t)e4 i4agine different dyna4ics t)roug)out t)e piece. Many ti4es during 6T)e %anana %oat &ong7 1 )ad to go o;er 4easures ' and + repeatedly because t)ey didn<t focus on t)e different r)yt)4 c)anges Ayet si4ilar notesB2 but as t)e tables in standard + 3ill s)o32 t)ey )a;e all ;astly i4pro;ed in t)ose 4easures2 as 3ell as t)e rest of t)e song.

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&tandard 0I Multiple 1nstructional &trategies

T)e pre:ser;ice teac)er uses a ;ariety of instructional strategies to encourage students de;elop4ent of critical t)in5ing2 proble4 sol;ing and perfor4ance s5ills.

1 used different strategies2 4aterials and tec)nology to 4eet student needs and )elp t)e4 gro3 acade4ically. Hor instance2 1 used ;erbal 3it) ;isual cues to explain crescendo and decrescendo2 and also explained it in a 4at)e4atical 6greater t)an2 less t)an7 3ay to )elp t)e students understand better. 1 also perfor4ed t)e differences 4yself2 using 4y ;oice to s)o3 t)e difference to t)e students. 1 used t)e 3)iteboard to s)o3 3)at it 3ould loo5 li5e in 4usic2 and )ad t)e4 try t)e4sel;es on t)eir o3n instru4ents. T)e entirety of t)e unit re;ol;es around t)e 4usical aspect of 4ultiple intelligences. 1 used crescendos2 decrescendos2 piano and forte2 repeats and notesD all of t)ese 3ere 4usical ter4s used to )elp t)e c)ild succeed in playing 6T)e %anana %oat &ong.7 T)ere are also a lot of bodily:5inest)etic processes in;ol;ed2 because e;ery student )as to use t)eir body to play t)eir instru4ent2 3)et)er it is 4o;ing t)eir fingers to press do3n t)e rig)t ;al;e or co;er t)e rig)t )ole2 breat)ing properly to ensure a good sound2 or flic5ing t)e 3rist t)e rig)t 3ay to bring out t)e sound in a dru4. 1 use a bit of ;isual:spatial tec)niKues as 3ell in 4y lessons2 using 4y o3n ar4s and a 3)iteboard to s)o3 t)e students 3)at 1 3ant t)e4 to learn2 and gi;ing sy4bols in relation to t)e staff in a 4usical score.

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&tandard +I Assess4ent of &tudent !earning

T)e preser;ice teac)er understands and uses for4al and infor4al assess4ent strategies to e;aluate and ensure t)e continuous intellectual2 social and p)ysical de;elop4ent of t)e learner.

)able 1ne! $tudents> Pre3Post $ ores and Gro-t&

Pre )est Post )est $tudent 1 $tudent 2 $tudent 3 $tudent 5 $tudent 6 $tudent 7 $tudent A $tudent @ $tudent B $tudent 10 $tudent 11 $tudent 12 $tudent 13 $tudent 15 $tudent 16 $tudent 17 $tudent 1A $tudent 1@ $tudent 1B $tudent 20 12 12 B 7 13 @ 1@ 17 15 6 @ C3A 10 @ C3A A B A @ 16 27 23 20 26 27 2@ 30 2B 30 21 2@ 2A 2B 23 30 17 1B 30 26 30 )otal Points Possible 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 Pre )est $ ore 50? 50? 30? 20? 53? 2A? 70? 63? 5A? 1A? 2A? 0? 33? 2A? 0? 23? 30? 23? 2A? 60? Post )est $ ore @A? AA? 77? @3? @A? B3? 100? BA? 100? A0? B3? B0? BA? AA? 100? 63? 73? 100? @3? 100? Per ent In rease 5A? 3A? 37? 73? 55? 77? 50? 55? 63? 73? 77? C3A 73? 60? C3A 30? 33? AA? 67? 60?

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St!dents K<" >" 0" :L" ::" :;" :<" :F" :0" and -L all made very good improvements St!dent :- and := are NAA for the pre1test beca!se they did not have their instr!ment for that day" b!t they 'ere still present for the class Since they get to hear the song" their pre1test isnHt valid according to my standards 7o'ever" ) thin( that %!ite a bit of the pre1test data may be a bit s(e'ed considering that most st!dents did not ta(e me very serio!sly at the beginning )Hm s!re that all of the st!dents co!ld have had at least :L points in their pre1test

All students de4onstrated learning and i4pro;e4ent fro4 t)e pre to post test. All students 4ade i4pro;e4ents of at least .M2 t)e 4ost being ''M AUnless t)ose 3)o didn<t ta5e t)e pre:test are in;ol;ed2 in 3)ic) case 1..MB. &ince t)e students )ad ;ery little to no prior 5no3ledge of sig)t reading2 4any stu4bled and )esitated 3)en 3e 3ent t)roug) 6T)e %anana %oat &ong7 for t)e ;ery first ti4e 3it)out any explanation of )o3 it goes or 3)at to loo5 out for2 resulting in A4ostlyB poor results. Hortunately2 no student s)o3s any negati;e learning2 and t)e students practicing at least 1. 4inutes a day can constitute to3ards t)at. T)ose t)at s)o3ed 4ore 4oti;ation in t)e classroo4 tended to do better t)an ot)er students2 suc) as students N+2 ,2 1+ and -.. Ot)ers2 suc) as student N and 1.2 3ere a bit 4ore distant and s)o3ed ;ery little interest during class2 or forget t)eir instru4ents freKuently. T)ey all2 )o3e;er2 do grasp 4usical concepts pretty Kuic5ly2 especially 3)en t)ey apply it to t)e 4usic t)ey play.

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