Lesson 1

Teacher Name: Date:​11/19/19 Location/School: Saint Francis

Richard O’Flanagan Preparatory High School
Grade Level: 10 Music Specialty Area:​ ​String Ensemble
Lesson Plan Supporting IEP/504/ELL/Gifted learners
Information: Identify who needs accommodations (include
Prior academic learning and varied learners, individuals and groups):
prerequisite skills: ​Students have prior
knowledge of the eight notes in the D - all students, including gifted students and
Major scale, proper left hand and slow learners, will be given handouts that show
performance posture, proper right hand blown up text that indicates the “Do Now” as
bow hold. Students also have prior well as the new blown notation shown on the
knowledge of standard musical notation board.
such as measures, notes placements, - Struggling students will be seated closer to
rests, clefs, and simple key signatures. where the teacher is.
Personal, cultural, and community
assets: ​This lesson will exposure to
classical genre, and western musical
notation
Theory and Research:​Vygotsky’s Zone
of Proximal Development
Csikszentmihalyi’s “Flow State”
Harris’s “model of autonomy in high
school choral settings”
Learning Environment Preparation: Technology: ​(Highlight or check all that apply)
- Chairs placed in a half circle, facing ❏ N/A
the board in the front ❏ Doc Cam
- Music stands for each student ❏ Audio Player/Recorder
- Up and down bow notation written on ❏ Video Recorder
the board ❏ Room/Personal Computer
❏ DVD Player
❏ Smart Board
Instructional Resources and ❏ Projector
Materials: ❏ Internet Connection
- Handout that has the “Aim” and “Do ❏ Adapter(s)
Now” questions on the front
- Copies of “Sound Innovations” book
1, for violin, cello, and bass
Central Focus:
Students will be able to identify the new
bowing notation of up and down bows,
perform the new rhythms of quarter
notes, eighth notes, half notes, and
create/perform a musical composition of
their own that incorporates these new
features.
Motivation: AIM: ​What is the Do NOW:​ ​Find your seat, set up a
How many different musical notation for up
stand, and take out your instrument
ways can we move the bow and down bow? and your method books. What words
bow? What kind of do we use to refer to which way the
words do we use to bow is moving? Can you think of any
refer to them? other words we might use?
Learning Objectives: ​Students will be able to accurately identify and perform the
musical notation for both up bows and down bows.
IEP/504/ELL/Gifted and variety of learners ​Identify the teaching strategies and/or
supports used in learning tasks (include language supports) to accommodate varied learners:
Struggling students, such as student #1, will be provided with a hand out with blown up text
of the “Do Now”, “Aim”, a written explanation of the game that they will be playing, and
information regarding down and up bow notation. They will also be seated closer to the
teacher. Students will be able to understand the concepts more easily because the text will
be easier to read.
Instructional Strategies and Learning Tasks (Procedures): ​
Task One -
As students enter the room, the teacher will ask the students to grab music stands, take
their seats, and take out their method books and instruments. The teacher will go from
student to student and tune each instrument and place a worksheet on each stand. Once
all students are prepared the teacher will ask the students “How many different ways can
we move the bow?” Students will be asked to hold their bow in front of them with the tip of
the bow pointed to the ceiling. They will then be asked to touch the ceiling, then the floor.
However, they will need to keep the tip of the bow consistently pointed to the ceiling. Once
students have performed the task of moving the bow upwards and then downwards a few
times they will be asked “Which way is up? Which way is down?”, then they will then be
asked to tilt the bow to the side as if they are playing their instrument. This will translate to
left being up, and right being down, or push and pull as the students are accustomed to
hearing prior to the lesson. They will again be asked to perform up and down bows with the
bow now tilted to the side. Students' attention will then be brought to the board where the
western notation of up bow and down bow will be drawn. Students will be told that the “box
missing a side” is the notation for down bow, and the “V” is the notation for upbow.
Students will then be asked “Which way do we normally start our warmups? With a push or
a pull?”. Students will be asked to look at #20 in their method books ​Sound Innovation​.​
Informal assessment -
- Students will be asked to draw the notation for down bow above the first note of
the exercise. Students will then be asked to perform exercise #20 beginning on a
down bow. If students struggle, they will be asked to play the exercise again. The
teacher should count the students in and play alongside them demonstrating proper
bow and instrument hold, as well as the correct bowing.
Task 2
Students will have an opportunity to play a game that resembles simon says in which a
sheet which shows either the up bow notation or down bow notation. Students will be
asked to move their stands to the side to provide a better line of sight for the sheets that
will be held up in a few moments. Students are first asked to play four open D’s. The
teacher will then ask the students “which way did we go for each note?
Push,pull,push,pull? Or pull,push, push,pull?” They will then be asked to repeat the simple
exercise and then asked to say pull and push in conjunction with the motion of their bow.
Students will be asked to perform the exercise one last time, replacing the words pull and
push with down and up. If students are excelling at the new concept the teacher can
incorporate another exercise from the method book to introduce more difficulty through the
use of different notes rather than simple open strings.
Informal assessment -
- Simon Says game - Students will be shown two sheets of paper; one with a drawn
down bow notation, and up bow notation. Students will be asked to place their bow
in the middle on the open D string. Once each student is prepared, they will be
asked to perform a down bow or up bow based on the notation that they see. If
students are excelling, compelled and excited, the teacher can add a possible
competition of increasingly fast and difficult bowing. If a student fails to perform the
correct notation then they will lose a point, but if they perform it correctly they will
receive a point. The first student to reach ten points can be rewarded with
something.
Students are asked to place their bow at the middle on the string and wait for the teacher
to raise of one of the two sheets of paper hidden behind the stand situated at the front of
the classroom. Once a paper is raised the students may move their bow in the direction
that they feel is correct. Once they have made their decision and performed their bowing,
the class will come together to decide who was right and who was wrong. If students
struggle, they may use the worksheet handed to them at the beginning of the lesson as a
reference sheet to help them. This information will also be available on the board. The
teacher should continue this game until each student shows they have made the
connection between the visual cue and the kinesthetic motion attached to it. “Please put
your bow on the middle of the string. I am going to raise one of the papers and you have to
decide which way your bow should go based on the notation you see. If you are unsure
you can look to either the board or the worksheet on your stand.”
If a student shows that they are struggling, the teacher should bring the students attention
to either the board or the worksheet to review which notation refers to up bow/push and
which one refers to down bow/pull.
Task 3
Students are asked to look back again at example #20. They will be asked to tell tell the
teacher what they think the appropriate bowing is using the terms “up” and “down”. The
teacher will prompt them with phrases such as “What do we think the correct bowing is for
the first measure?” Students will be able to utilize the notation written in in the first
measure which was done during task 1. Students will be asked to consider the rest in the
first measure and what they bow should do during this beat. “How does the rest effect the
bowing? What do we do during rests? Will this change the bowing in the next measure?”
Once students have stated what they should do during the rest, the students will be asked
what the bowing is for the second measure and what the notation should be for the first
note. “Which way does the bow go for the first note of the second measure?”. Once the
students have concluded that the second measure should start on an upbow, the students
will be asked to write in the notation for upbow above the note. Once students are done,
The teacher will ask the students to continue this process and write in the bowing for each
note of the third and fourth measure while the teacher monitors their work. Once the
students have completed this task the students will be asked to perform #20 one more
time, which will be prompted by the question “what bow do we start on? What bow do we
 end on?” This process will then be moved to the final assessment where students are
asked to perform the same task but instead on #27
Informal assessment -
- Students are asked to first work in pairs to write in the correct bowing for the first
note of each measure. While this occurs the teacher will be monitoring the class to
ensure all students are on task and their work is correct. Students will be asked to
state as a class what the bowing is for each note, so that if anyone is unsure or
incorrect, they can fix their work. Students are then asked to play # 27 together and
perform the correct bowing notation.
Homework (Formal Assessment): ​Students are asked to write in the correct bowing
notation for each note of number 28-35. This work will be checked and reviewed during the
next class for completion and accuracy.
Lesson notes/Extension: ​If students are excelling during this lesson students can be
asked to perform increasingly more difficult bowing exercises based on questions offered
in the book. They can also be given out a worksheet where they write in the correct
notation but will not be asked to play. This will allow students to learn the concept for in
depth without the technical requirements.
National Core Art and State Standards: (Include the learning tasks where they can be found)
- MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances
- MU:Pr6.1.E.5b Demonstrate an awareness of the context of the music through
prepared and improvised performances.
- MU:Re9.1.E.Ia Evaluate works and performances based on personally- or
collaboratively-developed criteria, including analysis of the structure and context.
Modeling: ​Instrument in hand__X__ Singing ____ Conducting/Gesture/Movement__X__
Student Demonstration ___X___ Media______ (Include in learning
tasks)
Academic Language: ​Vocabulary: 1. upbow 2.downbow 3. Performance position
Syntax: Students incorporate syntax through reading the visual notes, staff, measure,
pitches, and clefs on the worksheets provided
Discourse: Students working together to identify the correct notation. The teacher prompting
questions, and creating dialogue between students.
Language Function: Playing, performing, connecting, identifying

Lesson 2

Teacher Name: Date:​11/26/19 Location/School: ​Saint Francis

Richard O’Flanagan Preparatory High School
Grade Level: 10 Music Specialty Area: ​String Ensemble
Lesson Plan Supporting IEP/504/ELL/Gifted learners
Information: Identify who needs accommodations (include
Prior academic learning and varied learners, individuals and groups):
prerequisite skills: ​Students have prior
knowledge of the eight notes in the D All students, including gifted students and
Major scale, proper left hand and struggling learners, will be provided a handout
performance posture, proper right hand which indicates a review of the previous class,
bow hold. Students have prior as well as the rhythm exercise and the musical
knowledge of standard musical notation notation for ​Hot Cross buns
such as measures, notes placements, Student 1 will also be given a supplementary
rests, clefs, and simple key signatures. sheet indicating the notes in the D Major scale
Students also have prior knowledge of with the note name below and the fingering
the standard notation for up bows and above​.
down bows.
Personal, cultural, and community
assets: e
​ xposure to classical genre, and
western musical notation. Cultural
connection to ​Hot cross buns,​ and the
celebration of good friday. A handful of
students in class have prior involvement
with this song through singing it when
they were younger or having it sung to
them when they were children.
Theory and Research: ​Vygotsky’s Zone
of Proximal Development
Csikszentmihalyi’s “Flow State”
Harris’s “model of autonomy in high
school choral settings”
Learning Environment Preparation: Technology: ​(Highlight or check all that apply)
- ​Chairs placed in a half circle, facing ❏ N/A
the board in the front ❏ Doc Cam
- Music stands for each student ❏ Audio Player/Recorder
- Up and down bow notation written on ❏ Video Recorder
the board ❏ Room/Personal Computer
❏ DVD Player
- clear written “Do Now” on the board,
❏ Smart Board
along with the notation for ​Hot Cross ❏ Projector
buns,​ the written notation for up bow ❏ Internet Connection
and down bow, and the rhythm ❏ Adapter(s)
exercises
Instructional Resources and Materials:
-​ Handout that has the “Aim” and “Do
Now” questions, the music notation for
Hot Cross buns​ in the required clef, the
review from the previous class of
bowing notation, and the rhythm
exercise that will be conducted during
the lesson
- Copies of “Sound Innovations” book
1, for violin, cello, and bass.

Central Focus:​ ​Students will be able

to identify the new bowing notation of up
and down bows, perform the new
rhythms of quarter notes, eighth notes,
half notes, and create/perform a musical
composition of their own that
incorporates these new features.
Motivation: ​Has AIM: ​How many beats Do NOW: ​What is the written
anyone ever heard of does a half note get? notation for up bow? What is the
Hot Cross buns How many beats does written notation for down bow?
before? Does anyone an eighth note get?
know the lyrics?
Learning Objectives: ​Students will be able to identify and perform the new rhythms of
half, quarter, and eighth notes in ​Hot Cross buns​ with the correct bowing notation.
IEP/504/ELL/Gifted and variety of learners ​Identify the teaching strategies and/or
supports used in learning tasks (include language supports) to accommodate varied learners:
A worksheet will be provided to student 1 which has the notes of the D Major scale with the
required fingering and the letter name coinciding with the note placement to help the
student to recognize the notes in ​Hot Cross buns. A​ ll students, including gifted and
struggling learners, will also be provided with a worksheet stating the “Do Now”, “Aim”, the
rhythm exercise,and a review of the previous class on down bow and up bow notation.
This will help these students as they will more easily understand the new concepts as they
will be easier to read.
Instructional Strategies and Learning Tasks (Procedures):
Review -
As students enter the room, the teacher will ask the students to grab music stands, take
their seats, and take out their method books and instruments. The teacher will go from
student to student and tune each instrument and place a worksheet on each stand. Once
all students are prepared, the teacher will prompt a review of the information that was
provided in the first lesson. “Last class, we learned about two new things we see when we
are reading music that involve which way we move the bow, can anyone tell me what
those two concepts are? What do they look like?”. Students should reply with “down bows
and up bows”. The teacher will ask two students to write those concepts on the board
along with their prior version (push and pull) on the board next to the notation written on
the board. “May I please have two volenteers come up to the board to write in the correct
definition for these two musical symbols”. If students are unsure, they may be prompted to
look back at page 19 in ​Sound Innovations​ in which the bowing notation was written in for
both #20, #27, and #28-35. Once students have written in the correct notation, two more
students will be asked to come up to the board to write in the verbs that they also
associate with up and down bow which are “push” and “pull”. Once this is completed, the
students will be asked to pick up their instruments and place their bow in the middle on the
string. Students will be asked to bow four open D’s, first starting on a down bow, and then
again starting on an up bow.
Task 1 -
Students' attention will be brought to the board where there are 5 examples of rhythms
written out through varying sizes of lines to depict a specific rhythm devoid of musical
notation. The teacher prompts the students to listen to a specific clapping rhythm. Then the
students and teacher will clap that same rhythm together. As this occurs, students should
consider which of the five examples they clapped. “Ok class, I will clap a one of these
rhythms written on the board, then I want us all to try it. Once we have clapped the rhythm
together I would like a volunteer to tell me which example we clapped.” The teacher will
then ask the students what kind of note coincides with the following rhythm. To introduce
the students to the line notation, the teacher should begin with example one which as 4
equal lines which depict quarter notes. If students struggle to understand, the teacher
should redo the rhythm while clapping to help students make the connection between
quarter notes receiving one beat and the line receiving one beat. Once students correctly
state that the lines in the first example are quarter notes, the teacher will write in the
musical notation above the lines drawn. The teacher will then repeat this process, for
example number two which introduces eighth notes. Students will have prior knowledge of
the shortness and quickness of eighth notes but not the actual amount of beats it receives.
Once the second rhythm is clapped together, the teacher will bring attention to the shorter
lines that indicated two eighth notes. “What kind of note do we think these shorter lines
refer to?” The teacher will then have one student come to the board to draw in eighth notes
for the short lines. Then students will be given an opportunity to pick one of the rhythms
not yet clapped, and clap it for the class and have their peers try to figure out which rhythm
they chose. Students will then perform each rhythm together along with the teacher in call
and response through each of the 5 examples. This will lead into task two which involves
Hot Cross buns​, which has all the same rhythms that the students had just clapped
together.

Task 2 -
Students will be asked if they have ever heard of the simple tune ​Hot Cross buns​. “Ok
class, now we are going to learn a piece of music called ​Hot Cross buns​. Has anyone ever
heard of it before? Do you know anything about it? Do you know the lyrics to the piece?”
The teacher will have the students look at the four bar melody written on the bar and
identify the rhythms they had just clapped in each measure. As this occurs, Student will
have an opportunity to utilize their new knowledge of down and up bow notation to write in
the bowing for the first note of each measure. Students will be challenged to consider how
both eighth notes and half notes effect the bowing for each measure. As each student
goes up and writes in the bowing for each note, the students will be encouraged to analyze
and decide if their classmates work is correct or not. If not correct, they may return to the
board to fix it.
Informal assessment -
- Once the bowing notation has been written in for each measure of both the bass
clef version and treble clef version, students will be asked to pick up their
instruments up and bow the four bar melody on open D. This will help them to
decide if the bowing notation written is correct and to support them as they move
into the third task, which is to add in the notes and play the piece.
“Ok class, let’s all play the rhythm of this piece on open D, If you notice that any bowing
notation is incorrect, raise your hand and you will be able to go up to the board to fix it!”
Task 3
Students are asked to play each measure in groups of two in the rote method in which the
teacher will perform the first two measures, then the students. If students struggle, the
students should be asked to identify each note and the fingering required for each note.
Students will only be utilizing the first three notes of the D Major scale. Once the students
have learned the two phrases in ​Hot Cross buns​, they will be asked to play the entire thing
together as a class two or three times to give students an opportunity to become
comfortable with the fingering, bowing, and rhythm. Once each student shows that they are
confident in playing the piece together, they will be asked to play the piece as solos
 Formal Assessment -
- Each student will be asked to individually play ​Hot Cross buns,​ utilizing the correct
bowing, and rhythm. After each performance, the teacher will ask the students what
they did well, and what they could do better. The teacher may also ask the students
classmates what they did well and what they could do better to give students an
opportunity for peer critique.
“Wonderful job! Now what are some things you did well? What are some things you could
do better?”, “Edmin, what are some things that Karen did well? What are some things she
could do better?”

Homework (Formal Assessment): ​Students will be given a worksheet where they will
be asked to compose two measures consisting of the three new rhythms that learned in
class. The homework will then ask students to fill in the bowing notation for each rhythm.
Lesson notes/Extension: ​Students who are excelling in this lesson may be given more
difficult rhythms to perform while playing the ​Hot Cross buns​ which create variations in the
initial rhythm.
National Core Art and State Standards: (Include the learning tasks where they can be found)
- MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances
- MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and
ensemble performances of a varied repertoire of music.
- MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of music.
Modeling: ​Instrument in hand__X__ Singing ____ Conducting/Gesture/Movement__X__
Student Demonstration ___X___ Media______ (Include in learning tasks)
Academic Language:
Vocabulary: 1. Eighth note, 2. Half note, 3. Rhythm
Syntax: students will incorporate syntax through reading the notes, staff, measure,
exercise, pitches, clefs, time signatures, and rhythms in their exercise and in ​Hot Cross
buns
Discourse:Students working together to identify the correct notation. The teacher will
provide questions, which will create dialogue between students. There will also be peer
critique on solo performances for each student.
Language Function: Playing, performing, analysing, identifying

Lesson 3

Teacher Name: Date: ​12/9/19 Location/School:​ Saint Francis

Richard O’Flanagan Preparatory High School
Grade Level:10 Music Specialty Area:String Ensemble
Lesson Plan Supporting IEP/504/ELL/Gifted learners
Information: Identify who needs accommodations (include
Prior academic learning and varied learners, individuals and groups):
prerequisite skills:​Students have prior
knowledge of the eight notes in the D Struggling learners will be provided with
Major scale, proper left hand and worksheets at their stands which have 4 blank
performance posture, proper right hand measures in which the students can write in the
bow hold. Students have prior composed melody. They will also be able to
knowledge of standard musical notation write in the fingering and note names for each
such as measures, notes placements, note if needed.
rests, clefs, and simple key signatures. Struggling students will also be provided a
Students also have prior knowledge of checklist which will offer a review of proper
the standard notation for up bows and performance posture, and right hand bow hold.
down bows and prior knowledge of
eighth note and half note rhythms. Gifted students will be given supplemental
Personal, cultural, and community duties to act as the teachers scribe.
assets:​exposure to classical genre, and
western musical notation.
Theory and Research:​Vygotsky’s Zone
of Proximal Development
Csikszentmihalyi’s “Flow state”
Harris’s “model of autonomy in high
school choral settings”
Learning Environment Preparation: Technology: ​(Highlight or check all that apply)
-​ ​Chairs placed in a half circle, facing ❏ N/A
the board in the front ❏ Doc Cam
- Music stands for each student ❏ Audio Player/Recorder
- Up and down bow notation written on ❏ Video Recorder
the board ❏ Room/Personal Computer
❏ DVD Player
- clear written “Aim” and “Do Now” on
❏ Smart Board
the board, and four blank measures ❏ Projector
written on the board in 4/4 time. In both ❏ Internet Connection
treble and bass clef. ❏ Adapter(s)
Instructional Resources and
Materials:
- Handout that has the “Aim” and “Do
Now” questions, the rhythms introduced
in the previous class, and a review of up
and down bows
Central Focus: ​Students will be able
to identify the new bowing notation of up
and down bows, perform the new
rhythms of quarter notes, eighth notes,
half notes, and create/perform a musical
composition of their own that
incorporates these new features.
Motivation:​How AIM: ​Lets create a four Do NOW: ​How many beats does a
many of you composed measure piece of our quarter note, half note, and eighth
your own music? own as a class note get?
Learning Objectives: ​Students will create and perform a musical composition as a
class and on their own while utilizing quarter notes, eighth notes, half notes, correct bow
notation, and the notes found in the D major scale.

IEP/504/ELL/Gifted and variety of learners ​Identify the teaching strategies and/or

supports used in learning tasks (include language supports) to accommodate varied learners:
Students who are struggling, such as Student 1, will be given a worksheet which shows 4
blank measures for the student to write what they see is composed on the board. They will
also be allowed to write in any fingering and or note names that will help them to perform
the composition at the end of the class. This will help students to play the composition
because it will allow the students to reference what they see with what they already know
more readily
Gifted students will be offered an opportunity to act as a scribe for the teacher. Student 3,
will act as the scribe and transpose the melody written in treble clef to bass clef for both
student 3 and student 2 to read.
Instructional Strategies and Learning Tasks (Procedures):
Review -
Students are asked to review their knowledge of down bow and up bow notation. The
teacher will ask the students to review the verb that they use to differentiate and identify
the difference between up and down (These verbs are “push” for up, and “pull” for down).
Task 1 -
The teacher will first explain to the students what the objective of the day is, which is to
create a four bar melody, utilizing the new concepts that they have learned in the previous
two lessons. This is referring to both the utilization of down and up bow notation as well as
the new rhythms introduced by ​Hot Cross buns​ which are:
1. Quarters notes,
2. Eighth notes (4 of the same note)
3. Half notes
4. Rests
Each student will have an opportunity to choose a note to play that is apart of the D major
scale that they are familiar with to first create the melody. To ensure that students do not
create a piece that is too difficult, the teacher will ask the students to use stepwise motion
over skipping motion for most of the melody, however, skipping motion may be used.
Students who cannot reach the height of the board may ask their classmates to go up to
the board and write the desired notation for them. Each student will be given an
opportunity to come up to the board and write in their own desired melody. Once the
desired melody has been constructed utilizing the notes of the D Major scale, and the
rhythmical values of quarter notes, half notes, eighth notes, and rests, students will then be
asked to analyse their musical creation and identify the bowing notation for the piece.
Informal assessment -
- The informal assessment should take place throughout the compositional creating
stage in which the students are asked to decide if there are enough beats in each
measure or if there are too many/too little (with regards to 4/4 time signature).
 “Class lets, take a moment to go through each measure and make sure that each
measure has the right amount of beats!”
Task 2 -
Students will be asked to play each measure utilizing the notes written. Students will be
asked to play the melody by playing each note four times. E.g. (if the first measure is
D-E-F#-G, then students will play DDDD-EEEE-F#F#F#F#-GGGG) Once students feel
comfortable playing each note in succession they will immediately move to play the notes
in the rhythm that they have created. This process will continue for each measure of the
four bar melody. Once students feel comfortable with each measure, the class will slowly
piece together each measure until they are able to play the melody in its entirety together
lead by the teacher.
Informal Assessment -
- The informal assessment should take place while the students are performing each
measure, which will assess students knowledge of both the new rhythmical values
of half notes and eighth notes, and on their prior knowledge of down bows and up
bows.
Task 3 - ​Task three will act as the final assessment for the lesson unit, which will invite
students to play their musical creation. Each student will have an opportunity to perform
the four bar melody on their own, give themselves personal critiques and supports, and
then have the opportunity to re-perform the piece to fix any mistakes they may have run
into on the first try.
“Ok class, now we are each going to play the melody that you have created.”
Students will need to pay attention to their bow direction, bow speed, the notational values
they see, as well as the rhythmical values that they see.
Formal Assessment -
- Students will be required to play the musical composition that they created as a
solo in front of their peers. After they have each played, the teacher will ask the
students peers what she did well and what she can do better. This assessment
which will be recorded will then be graded on a rubric sheet based on pitch
accuracy, bowing accuracy, and rhythmical accuracy.
Homework (Formal Assessment): ​Students will be asked to write a reflection on
certain aspects that they did well while performing during class as a solo in front of their
peers. They will be asked to provide three key elements that they felt they excelled at, and
three elements that they can improve upon. This can range from, bow hold, to rhythmical
accuracy depending on what the student.
Lesson notes/Extension: ​If students excel while playing the piece, the teacher may
change the notes found in the composition to provide more skipping motion in the melody
to challenge students literacy skills​.
National Core Art and State Standards: (Include the learning tasks where they can be found)
- MU:Cr1.1.E.5a Compose and improvise melodic and rhythmic ideas or motives that
reflect characteristic(s) of music or text(s) studied in rehearsal.
- MU:Cr2.1.E.5a Select and develop draft melodic and rhythmic ideas or motives that
demonstrate understanding of characteristic(s) of music or text(s) studied in
rehearsal.
- MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how
knowledge of formal aspects in musical works inform prepared or improvised
performances.
 - MU:Pr5.3.E.5a Use self-reflection and peer feedback to refine individual and
ensemble performances of a varied repertoire of music.

Modeling: ​Instrument in hand__X__ Singing ____ Conducting/Gesture/Movement__X__

Student Demonstration ___X___ Media______ (Include in learning
tasks)
Academic Language: ​Vocabulary: 1.Rhythm, 2. Eighth notes, 3. Half notes
Syntax: Students will incorporate syntax through reading notes, staff, measure, pitches,
clefs, time signatures while constructing and performing their compositions.
Discourse: Students and the teacher will be working together to identify the correct
notation. The teacher will prompt questions, and create a dialogue between students which
will help them to construct their own piece of music. There will also be peer critique on
each solo performance
Language Function: Playing, performing, analysing, identifying, constructing