1.

Understanding Statement: Learners will build upon their preexisting

understanding of musical structure through body movement. This

includes beat division, phrases, and repeated actions. Discussion after

the movement activity will provide an opportunity to analyze the

components used in the activity and relate the teacher’s decisions to the

musical subject.

2. “I can” Statements:

• I can move my body to the big beat and little beat of a song

• I can talk about the movements I did and why they were used

3. Materials: “Breezin’” by George Benson, off the album Breezin’ (1976)

4. Detailed Procedure:

• Free movement during flute intro?

• Tap feet (16 beats) - double coordinated

• Wave hand right (16 beats) – single coordinated

• Wave hand left (16 beats) – single coordinated

• Wave hands together (12 beats) - double coordinated

• Slow hands up (4 beats) - double coordinated

• Right finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Left finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Right finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Left finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

(1:54)

• Shoulder Boogie (8 beats) - double coordinated

• Shoulder boogie fists down (8 beats) - double alternating

• Shoulder boogie elbows out (12 beats) – double alternating

• Slow hands up (4 beats) - double coordinated

• Right finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Left finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Stomp alternating feet (16 beats) – double alternating

• Stomp with head bob side to side (16 beats) – complex

• Stomp alternating feet (16 beats) – double alternating

• Stomp with head twist (16 beats) - complex

• (3:29)

• Knee-shoulder-head-shoulder right (8 beats) – single coordinated

• Knee-shoulder-head-shoulder left (8 beats) – single coordinated

• Knee-shoulder-head-shoulder right (8 beats) – single coordinated

 • Knee-shoulder-head-shoulder left (8 beats) – single coordinated

• Knee-shoulder-head-shoulder both (16 beats) - complex

• Shoulder-out-shoulder-head right (8 beats) – single coordinated

• Shoulder-out-shoulder-head left (8 beats) – single coordinated

• Shoulder-out-shoulder-head right (8 beats) – single coordinated

• Shoulder-out-shoulder-head left (8 beats) – single coordinated

• (4:21)

• Right finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• Left finger point (8 beats) – Single alternating

• Wave hands together (8 beats) - double coordinated

• (4:47)

• Shoulder Boogie (8 beats) – double alternating

• Wave hands together (8 beats) - double coordinated

• Shoulder boogie fists down (8 beats) – double alternating

• Wave hands together (8 beats) - double coordinated

• Shoulder boogie elbows out (8 beats) – double alternating

• Wave hands together (8 beats) - double coordinated

• Shoulder boogie elbows out (8 beats) – double alternating

• Wave hands together (8 beats) - double coordinated

5. Assessment: Informal observation and discussion

 • Watching to see if learners are moving together and following me. If

people are lost, we go back to knee pats until we are all together.

• Questions after the experience including: Why did we do these

movements? What did this song make you think of? What did you

notice about beats? Were all the movements the same speed or

not?

6. Extensions: The movements could be scaled out and lengthened for

younger groups or increased in complexity for older groups. There could

be a freestyle/improvisatory section inserted, and used as in

introduction a unit or lesson series on that (examples within the song,

etc.)