A Resource Guide for Implementing Sheltered Instruction for English Learners in Music

A Resource Guide for

Implementing Sheltered

Instruction for

English Learners in Music

Cara Faith Bernard

Associate Professor of Music

Education

Neag School of Education

University of Connecticut

Storrs, CT

Joseph Michael Abramo

Associate Professor of Music

Education

Neag School of Education

University of Connecticut

Storrs, CT

Elizabeth R. Howard

Associate Professor of Bilingual

Education

Neag School of Education

University of Connecticut

Storrs, CT

Photo credit: iStock

A Resource Guide for Implementing

Sheltered Instruction for English

Learners in Music

Table of Contents

An Introduction to Sheltered Instruction and SIOP in Music

Education Page 4

Cara Faith Bernard, Joseph Michael Abramo, and Elizabeth R. Howard

SIOP in Music Education Lesson Plan Template Page 20

Elementary Lesson Plans

16th Note Rhythms through Movement and Composition Page 23

Rex Sturdevant

Strong and Weak Beats through Visuals and Conducting Page 29

Sarah Ryan

Types of Voices Page 33

Jon Dyson and Kristy Ledwith

High and Low Page 40

Amanda Violone

Middle School Lesson Plans

What is Music? Page 50

Grace Carver

C & G7 Chord Accompaniment Arranging Page 59

Emily Renski

Form Analysis Page 66

Marguerite Abramo

Theme and Variation Page 77

Nicholas McBride

Composing with Emojis Page 86

William Sauerland and George Nicholson

High School Lesson Plans

Interpreting Fermatas in Ensemble Page 93

Matthew Rotjan

Musical and Poetic Interpretation Page 101

Rebecca Martinez

Pre-Assessment Models for Ensemble Page 113

Deanna Loertscher

Photo credit: iStock

Introduction

Music is the universal language. Where words fail, music speaks. These clichés

speak to what some see as the power of music to connect people and communi-

cate in ways that transcend language. These adages also are often a go-to for music

educators to describe music as a welcoming, inclusive activity that can connect

people regardless of language or background.

While music has great potential to form connections among people, its lan-

guage may not be shared by all. Students come to the music classroom with dif-

ferent linguistic and cultural backgrounds. For those classied as English learners

(hereafter referred to as ELs), the ability of music teachers to scaffold instruction

in order to make it meaningful and help the students develop English prociency at

the same time is essential.

In the United States, according to the federal govern-

ment, there are currently 5 million EL students (10.1 percent of the total U.S. stu-

dent population), and this statistic has increased every year with a predicted con-

tinued upward trajectory (National Center for Education Statistics, n.d.).

Without supports in place, ELs often experience challenges in the classroom

setting. These challenges are related to their comprehension of the academic con-

tent as well as their ability to engage meaningfully with their teacher and peers for

social or academic purposes. Even in the music classroom, ELs may struggle with

the linguistic demands put upon them, from unknown vocabulary in an Appalachian

folk song to navigating a score in an orchestra rehearsal, to understanding and be-

ing able to follow directions for a class activity.

Take the following scenario, for example: Sebastian is a fourth-grade student

who recently moved from Puerto Rico to the mainland U.S. with his family. Ms.

Schmidt, the music teacher, welcomes Sebastian to music class, unaware that he is

classied as an English learner. She wasn’t provided with any information about Sebas-

Several terms have emerged to describe students who are learning English—Emerging

Bilinguals; English Language Learners, etc. We have chosen the term “English Learners” (EL)

because this is the ofcial classication used by the federal government.

While music has great potential to form

connections among people, its language may not

be shared by all.

tian’s EL status, and even if she was, she is not very clear about what that designation

means. Ms. Schmidt has been given only limited opportunity to participate in any dis-

trict-sponsored professional development about working with ELs; the one profes-

sional development she attended focused on reading and writing with little applica-

tion to music education. Coming from Puerto Rico, a U.S. territory where English is

used in some contexts, Sebastian does have some conversational English. In her brief

conversation with Sebastian, Ms. Schmidt incorrectly concluded that he did not need

any additional support with his English language or musical development.

Ms. Schmidt begins class with the singing game, “Let Us Chase the Squirrel,”

which involves students chasing one another. He sees students running around, but

he is unsure why because the teacher never gave directions. This is a game that Ms.

Schmidt plays regularly with the class, so she merely announced that they would be

playing the game without giving instructions. Sebastian has never played the game

before; furthermore, he doesn’t know what a squirrel is because they’re not native

to Puerto Rico. Sebastian—unaware that the person chosen as “it” at the end of

the verse gets to run—begins running all around the classroom. Ms. Schmidt brings

Sebastian back to the circle and explains that he can only run when he is tagged by

another student. Because he doesn’t understand and wants to join in the fun with

his classmates, he continues to get up and run around, and Ms. Schmidt continues

to correct him and make him sit down. Meanwhile, Sebastian, Ms. Schmidt, and the

rest of the class become increasingly frustrated. By the end of the class, Sebastian

is disengaged and has decided that he dislikes music class, and Ms. Schmidt has con-

cluded that she has a troublemaker on her hands.

As a result of not knowing what was happening during class, Sebastian expe-

rienced linguistic, academic, and social isolation—he was not able to participate in

a meaningful way in the class activity and learn the musical content; he was not giv-

en the opportunity to further his language development; and he was disconnected

from other students in the class who were having fun and making social connec-

tions while playing the game. How can music educators help their students to bet-

ter connect to the musical content, to language, and to one another?

Teachers can better address ELs’ needs through sheltered instruction (Eche-

varría, Vogt, & Short, 2017). Sheltered instruction is an approach that enables ELs

to access grade-level material while also gaining English language prociency. In this

way, it helps ELs learn the content while also gaining key academic language, vocab-

ulary, and language use in English. Providing sheltered instruction is crucial, because

without professional support in how to work effectively with ELs, teachers may be

inclined to water down the curriculum by giving these students easier assignments

that may match their language abilities but not other areas of development. For

example, in a high school English class, while other students read a novel, an EL

might read picture books written for students in the primary grades. Or, in music

classes, students like Sebastian are left to sink or swim, if they are even given ac-

cess to music education at all. Sometimes ELs do not receive music class with the

justication that “they have to learn English and don’t have enough time for band,

chorus, or orchestra.” As a result, ELs may be rerouted to English as a Second Lan-

guage programs (ESL) or other support services during music instruction, which

may be considered “less essential” by some. These unfortunate beliefs and strate-

gies deny ELs the opportunity to learn the same content as all other students. This

doesn’t have to be the case, however. ELs’ emerging English prociency should not

be a reason to exclude them from learning about and engaging with grade-level

concepts in all academic areas, including music. Purposeful planning and instruction

grounded in sheltered instruction can result in successful involvement of ELs in all

classroom activities.

Sheltered Instruction

Sheltered instruction, a form of differentiation for ELs, provides a structure that

supports students in learning age- and grade-appropriate content while simultane-

ously gaining English language prociency (Echevarría, Vogt, & Short, 2017; Marcos

& Himmel, 2016). Sheltered instruction can be viewed as an on-ramp to promote

language and literacy development while also making the content more accessible.

As the term suggests, these strategies “shelter” EL students from the demands of

language that might inhibit them from learning the content of the course. More-

over, while sheltered instruction strategies are absolutely essential for ELs, they are

benecial for all students. Sheltered instruction provides greater contextualization

as well as more explicit opportunities for language and literacy development for all

students. In short, sheltered instruction can help connect students to the content,

to language, and to one another. Sheltered instruction encourages teachers to build

on students’ background knowledge (including language and literacy skills in the

home language) using an asset-based approach that afrms and centers what stu-

dents know and can do (Short et al., 2018).

This resource provides music teachers with information about sheltered in-

struction in the context of music education, along with examples of sheltered mu-

sic lesson plans from across the K–12 continuum. This resource aims to provide

teachers with examples of sheltered instruction in a variety of musical settings,

with varied objectives and goals. Some lessons are more geared toward notation

literacy, while others are more focused on creating and responding. We have pro-

vided this variability so that music educators might see themselves in these lesson

plans and better understand how sheltered instruction can improve varying

approaches, philosophies, and methods in music teaching. In each lesson, the teach-

er has made decisions in order to meet the needs of their students. It is our hope

that these lessons provide some representation of the depth and breadth of music

teaching and learning in the eld.

The Sheltered Instruction Observational Protocol (SIOP)

The Sheltered Instruction Observational Protocol (SIOP) (Echevarría, Vogt,

& Short, 2017) is one widely implemented approach for sheltered instruction. It

consists of a detailed instructional framework and corresponding evaluation rubric

designed to help classroom teachers effectively implement sheltered instruction. It

assists administrators and instructional coaches in providing systematic and specic

feedback to teachers to improve instruction. In order to make the attributes of ef-

fective sheltered instruction explicit, SIOP consists of 30 features organized within

eight components, as shown in Table 1.

The eight components (the categories in the grey boxes in the chart) corre-

spond to major categories of lesson planning and delivery, while the features within

each component indicate specic strategies to bring each component to life. For

example, successfully planning a SIOP lesson involves:

● identifying and articulating appropriate content and language objectives

● ensuring that the topic is standards-based and grade-level-appropriate

● identifying or creating supplementary materials to help students understand

the content and participate meaningfully in instruction

● differentiating materials and activities by levels of English prociency

Table 1. SIOP Components and Features

Preparation

1. Content

objectives

clearly

dened,

displayed and

reviewed

with students

2. Language

objectives

clearly

dened,

displayed and

reviewed

with students

3. Content

concepts

appropriate

for age and

educational

background

level of

students

4. Supplemen-

tary materials

used to a

high degree,

making the

lesson clear

and meaning-

ful

5. Adaptation

of content

to all levels

of student

prociency

6. Plan

meaningful

activities that

integrate

lesson

concepts

with language

practice

opportunities

for reading,

writing,

listening, and/

or speaking

Building Background

7. Concepts explicitly linked

to students’ background

experiences

8. Links explicitly made

between past learning and

new concepts

9. Key vocabulary

emphasized

Comprehensive Input

10. Speech appropriate for

students’ prociency levels

11. Clear explanation of

academic tasks

12.A variety of techniques

used to make content

concepts clear

Strategies

13. Ample opportunities

provided for students to

use learning strategies

14. Scaffolding techniques

consistently used, assisting

and supporting student

understanding

15.A variety of questions for

tasks that promote higher-or-

der thinking skills (e.g., literal,

analytical, and interpretive

questions)

Interaction

16. Frequent opportunities

for interaction and discus-

sion between teacher/stu-

dent and among students,

which encourage elaborat-

ed responses about lesson

concepts

17. Vary

grouping

congura-

tions

18. Sufcient

wait time

for student

responses

consistently

provided

19. Ample opportunities

for students to clarify key

concepts in L1 (student’s

primary language) as

needed with aide, peer, or

L1 text

Practice and Application

20. Hands-on materials and/

or manipulatives provided

for students to practice using

new content knowledge in

the classroom

21.Activities provided for

students to apply content

and language knowledge in

the classroom

22.Activities integrate all

language skills (i.e., reading,

writing, listening, and

speaking)

Lesson Delivery

23. Content objectives

clearly supported by lesson

delivery

24. Language

objectives

clearly

supported

by lesson

delivery

25. Students

engaged ap-

proximately

90% to 100%

of the time

26. Pacing of the lesson

appropriate to students’

ability levels

Review and Assessment

27. Comprehensive review of

key vocabulary

28. Com-

prehensive

review of key

concepts

29. Regular

feedback

provided to

students on

their output

30.Assessment of student

comprehension and learning

of all lesson objectives

throughout the lesson

Table 1. SIOP Components and Features (continued)

● and ensuring that there are opportunities to practice all four language modal-

ities—listening, speaking, reading, and writing.

In addition, teachers will want to:

● build background

● make sure that there is comprehensible input through: modeling, echoing, etc.

● use effective teaching strategies and promote the development of learning

strategies

● and provide multiple opportunities for students to work independently, in

pairs, small, or large groups to practice and apply the material

● carry out ongoing review and assessment to gauge learner progress and com-

prehension.

Within each of these eight components, there are more specic features that

further solidify the need for supports, leading to specic strategies. As the gure

of SIOP components and features indicates, it helps teachers support students by

including multiple materials, such as visual aids and manipulatives; asking questions

in multiple ways; weaving student interest and background into instructional con-

tent; and continuously reviewing previously introduced information. These different

components work together to promote comprehension and language and literacy

development.

SIOP in Music Education

As is the case with other subjects, SIOP can help music teachers support ELs.

However, since the SIOP text doesn’t include examples from music classrooms,

that might not be immediately apparent. When rst looking at SIOP components

and features, music educators might be unsure about the usefulness of the model

for music instruction, or how to incorporate it into lesson planning and delivery.

Because a purpose of music education focuses on music- making—a supposedly

non-linguistic process—one might think that scaffolding instruction for ELs is not

as pressing in music as in other subjects. However, SIOP can provide the same op-

portunities for enhanced comprehension coupled with greater language develop-

ment in music classrooms as it does in other disciplines without detracting from

music-making.

Music educators might also think that SIOP implementation means more time

devoted to explicit language and literacy instruction, time that could take away

from the central focus of music education—to learn about and through music. Mu-

sic educators might wonder why they should devote instructional time to writing

in, say, orchestra class when the main focus should be performance. Or, perhaps

addressing language development evokes particular district mandates or teacher

evaluation requirements to incorporate more reading and writing in classes in ways

that seem forced or inappropriate to music educators. Using an alternative framing,

music educators might consider the opportunity to embrace sheltered instruction,

including a strengthened focus on language and literacy development, as a way to

reimagine their practice.

Even in music class, much, if not most, communication is through language.

Incorporating language and literacy in music education can provide students with

opportunities and skills to express their thoughts and feelings about an evocative

piece of music; to ask for clarication when they do not understand how to play

forte or allegro; to state their opinions about how a particular piece should be ar-

ranged; to provide a captivating introduction to a musical piece at a school con-

cert; or to discuss the importance of music in their lives in a college essay. At the

same time, incorporating SIOP can help music instruction extend beyond singing

and playing because, after all, musicians engage in different activities as artists in ad-

dition to performance. For example, conductors often need to communicate ver-

bally through speaking or gestures in rehearsals. Composers may need to explain

their work to producers, conductors, or performers. Musicians might communicate

through writing emails, posting on social media, or crafting marketing correspon-

dence to secure and promote performances. In summary, more than simply some-

thing “added on” or yet another initiative that music teachers are required to fulll,

SIOP strengthens music instruction for ELs and other students and ameliorates

barriers for students to experience music and music-making.

When music educators incorporate SIOP strategies, they may also simulta-

neously honor their students’ backgrounds and interests by, say, using different mu-

sical styles such as popular music or music pertinent to the student’s background

or primary language. Recall Sebastian and Ms. Schmidt from earlier in this section.

Sebastian’s family is from Puerto Rico, and his family listens to a lot of salsa music.

One way for music educators to create connections to Sebastian’s background is

through culturally responsive teaching (Gay, 2018; Lind & McKoy, 2016). He has a

different set of experiences than English monolingual students who have grown

up in the mainland U.S. These cultural experiences are assets, and when they are

not acknowledged in the classroom, it creates a missed opportunity to connect to

such students’ experiences to create new meanings and further their learning. For

example, Ms. Schmidt might nd out about Sebastian’s interest in this musical style

and play salsa music for a movement activity. Additionally, the other students would

benet from learning about and performing salsa music. When seeking out EL stu-

dents’ preferences, it is important that teachers do not assume students like music

simply because of their country of origin. For example, because they are from Mex-

ico, they are familiar with and like mariachi. Instead, it is important to ask EL stu-

dents their preferences and experiences.

However, while culturally responsive teaching aims to honor and center stu-

dents’ ways of knowing from outside of school in their community, it may or may not

involve support for language acquisition. In addition to incorporating these culturally

responsive strategies, Ms. Schmidt may

also implement SIOP strategies. She

may incorporate more hand gestures

when giving directions for visual con-

text to help him and other students

gain new vocabulary, while also regu-

larly referencing a word wall of musi-

cal vocabulary that includes pictures

for each target word. Or, she might

provide sentence frames to support

students’ responses to key questions, such as “My favorite part of the song was [X]

because [reason here]” or “I noticed/heard [X] at this moment in the music.” Addi-

tionally, Ms. Schmidt may vary grouping activities in class and pair Sebastian up with a

student who speaks Spanish, Sebastian’s home (or L1) language, so that they can talk

about the activity together in Spanish. These are just some of the many strategies that

are available to educators looking to provide sheltered instruction for ELs.

While SIOP provides these types of opportunities to both improve and ex-

pand practice, it need not involve the creation of a new style of teaching. Many

strategies commonly used in music classrooms are easily compatible with SIOP. Mu-

sic teachers often use non-linguistic communication and instructional techniques

such as dance, movement, conducting, puppets, listening maps, and iconic notation.

With conscious effort, these techniques can easily be incorporated into SIOP les-

sons, along with other commonly used techniques across the content areas, such as

think-pair-share and pair checks, rotation of small groups, or pairing an EL student

with another student with the same home language. Visual strategies such as graph-

ic organizers, use of gesture and other body language when giving instructions,

posters, and KWL (What I Know, What I Wonder about, What I Learned) charts

might also be used. Last, using different assessment strategies including “Is this the

same or different?” exit slips, written or verbal reection, and summaries can be

helpful for teachers to chart student musical and linguistic progress. Table 2 pro-

vides examples of SIOP strategies commonly used in music classrooms in particular

as well as across content areas.

Even in music class,

much, if not most,

communication is

through language.

Even in music class,

much, if not most,

communication is

through language.

Use of SIOP strategies in music is not always about creating completely new

strategies, but identifying effective strategies already in place, slightly modifying

them, and leveraging them in new ways. While many of the SIOP strategies listed in

this introduction and in the accompanying lesson plans might seem central to the

elementary classroom and therefore developmentally inappropriate for older stu-

dents, music educators of all grade levels can benet from their use. For example,

the use of scarves in an ensemble setting can aid in teaching phrasing, both shelter-

ing musical content and reinforcing language.

SIOP in music education, then, is about providing the linguistic and cultural

tools that do not isolate ELs or create linguistic and academic barriers that inhibit

their success. Music educators might carefully consider their instructional practic-

es to support students in meaningful ways. SIOP adds to these aims by providing

a sheltered instructional environment where students’ language and cultural prac-

tices are valued, and where they are adequately supported in developing language

prociency while learning the academic content.

How to Use This Document

This document provides (1) a lesson plan template to aid in the creation of

SIOP lessons and (2) sample music lesson plans that use this SIOP lesson plan tem-

plate.

Table 2. Examples of SIOP Strategies for Music Education

Strategies commonly

used in music

Strategies commonly used across content

areas

•

Dance

• Movement

• Conducting

• Puppets

• Listening maps

• Iconic notation

• Other visual manipulatives

(scarves, Hoberman

spheres, popsicle sticks,

Legos, blocks, etc.)

• Improvisation

• Small group work, “think-pair-share,” pair checks,

rotation of small groups (pairing EL students with

another L1)

• Graphic organizers

•

Writing content and language objectives on the

board

•

Gesture and body language

•

Posters

•

Word walls

•

KWL (What I Know, What I Wonder About,

What I Learned) charts

•

“Is this the same or different?”

•

Exit slips

•

Written or verbal reection, and summaries

The Template

The template (adapted from template 2 in Echevarria et al., 2017) allows for

music educators to incorporate the SIOP model in a way that both focuses on mu-

sical content and pedagogy and language development. The lesson plan template

can be used in any musical setting, from general music at any level, to theory and

technology, to ensembles. The top portion of the template contains typical lesson

plan information, including objectives, standards, and materials.

We provide space for the National Core Arts Standards as well as language

standards. When incorporating SIOP components and features, it is important to

create both content and language objectives because they focus lessons on both

learning music content and providing ELs opportunities to read, write, speak, play,

and listen in ways that are necessary in the music classroom. Language objectives

also help teachers clearly identify key vocabulary that they will need to introduce

explicitly during the lesson. Music teachers have several sets of standards to choose

from. The National Core Arts Standards provide a framework for content stan-

dards. Many organizations have created language standards. Which music teachers

might elect to list will depend upon the state in which they work, but will likely be

World-Class Instructional Design and Assessment (WIDA), English Language Pro-

ciency Assessments (ELPA), or individual state language standards.

The “Lesson Tasks/Activities” portion of the lesson plan follows the arc of a

typical music lesson with specic spots for lesson tasks and activities that we have

connected to the SIOP components:

1. An opening. This serves as an introduction which serves as a motivation and

allows for building background of musical skills and language concepts;

2. The presentation and application. This “heart” of the lesson presents concepts,

models them, and provides students ample opportunities to practice and apply

the newly learned material in different formats.

3. A closing consisting of summary, review, and assessment.

4. Extensions for future lessons, elaboration, and deepening of learning.

5. Context for SIOP strategies provides an explanation of how the SIOP features

relate to the learning process.

Teachers might ultimately not choose to follow this trajectory strictly, but it pro-

vides structure from which teachers might begin to craft activities.

Finally, educators might nd many similarities between SIOP and other curricu-

lum designs. For example, teachers might notice how SIOP and Universal Design for

Learning’s (Cast, 2018) focus on multi modes of representation is similar to SIOP’s

components 6 (Plan Meaningful Activities that Integrate Lesson Concepts with Lan-

guage Practice Opportunities for Reading, Writing, Listening, and/or Speaking) and

12 (A Variety of Techniques Used to Make Content Concepts Clear). Similarly,

immersing students in hand-on experiences has similarities to Understanding by

Design (Wiggins, & McTighe, 2005). These are only two of many connections that

educators can make between SIOP and other curriculum designs. We encourage ed-

ucators to draw upon these other designs when writing lessons and units using SIOP.

Sample Music Lesson Plans

Each of the 12 lessons included here provides a real-life example of how to

use the template to create lesson plans in music education. These lesson plans

were written by practicing music educators in general music, chorus, and instru-

mental settings, for a variety of grade levels.

While the lessons all use this same SIOP template, readers will notice vari-

ations across lessons. For example, some of the educators have decided to write

formal learning objectives (such as “students will …); others are presented as stu-

dent-friendly objectives to be written or projected on a board, beginning with “I

can …”. We encourage music educators to ll out the template according to their

needs and preferences.

Most of the lesson plans were developed in Connecticut, where the Con-

necticut English Language Prociency (CELP) standards are used; we encourage

readers to adjust as needed to incorporate the language standards used in their

state. Additionally, most, but not all of these lessons are geared toward EL students

whose home language is Spanish, as Spanish is the home language of 74.8% of ELs

in the U.S. (National Center for Education Statistics, 2020). This does not mean that

these lesson plans cannot be modied for use with other EL populations or in het-

erogeneous classes with ELs from a variety of home language backgrounds, and we

encourage music teachers to adapt for their students as necessary.

Some of the educators have decided to veer from the opening/presentation

and application/closing format that we included in the music education SIOP tem-

plate in favor of adhering more closely to a standard SIOP lesson plan template

(Echevarría, Vogt, & Short, 2017). Despite the fact that some of the lessons depart

from the structure of our template, all still continue to be infused with the SIOP

features and components. This demonstrates the exibility available to music edu-

cators when using the template to plan SIOP lessons.

Similarly, in the Lesson Tasks/Activities section, we provide two ways to high-

light the SIOP features. Some lessons have the SIOP features annotated on the side

of the lesson plan to show directly how each step of the lesson corresponds to

the SIOP components (which are listed in Table 1 in this introduction). Others pro-

vide a full annotation of specic SIOP features at the bottom of the lesson, while

still others provide more of an overarching explanation of how the SIOP features

were incorporated. Finally, we encourage music educators to look outside of les-

sons central to their sub-content (orchestra, general music, elementary-middle-high

school) for a breadth of strategies and responsive practices that they may apply in

lessons that are more aligned with their respective sub-content.

As these modications show, we encourage readers to use the lesson plan

template and examples in their own classrooms in ways that they nd useful. Of

course, this template is not set in stone. Music educators might modify it to any

specic needs that they may have. For example, a teacher might not necessarily

want to use a warm-up. Regardless of any modications, the components and fea-

tures should always remain present in each lesson.

Despite considerable variation in sub-content and grade-level, as well as in

how they adopted the template, each of these lessons uses common music instruc-

tional practices while also bringing SIOP features to the fore. The lesson plans in-

cluded in this compilation are introduced below, categorized by elementary general,

secondary piano and general music, and then instrumental and choral ensembles.

Rex Sturdevant’s second-grade general music class practices sixteenth-note

rhythms through movement and composition. To teach this common musical concept

in elementary curricula, Rex uses fruits (e.g. strawberry, plum, pomegranate, peaches)

displayed as icons, written text, and notation to identify sixteenth-note rhythms.

Sarah Ryan’s elementary general music lesson focuses on strong and weak

beat patterns, performing using strong and weak beat patterns and assessing their

performances using key musical vocabulary. As with Rex’s lesson, music educators

might nd this helpful in addressing a common concept taught in elementary music.

Jon Dyson’s and Kristy Ledwith’s kindergarten lesson focuses on types of

voices—high, middle, and low; thinking, whispering, and singing—a common concept

taught in early elementary music classes. They invite students to name and practice

these types of voices through songs, listening, stories, and movement.

Amanda Violone’s lesson invites kindergartners to identify binaries of high and

low as they sing, chant, move, and listen. Using graphic organizers, scarves, and pic-

tures, she draws upon students’ home languages to represent high and low in nu-

merous ways.

Grace Carver’s middle school general music lesson approaches the perennial

question, “What is music?” Students construct their ideas about what qualies sound

as music and present arguments about

it to one another. Grace’s lesson pro-

vides clear ways that music teachers

can use varied small-group settings and

explicit description of tasks to help ELs

and other students make connections

to the content. She also uses sentence

frames (e.g., “I think that …”) to help

students construct their debate argu-

ment. Grace’s use of graphic organizers

translated into Spanish also demon-

strates how music educators can use

students’ home language.

Emily Renski’s lesson positions her high school piano students as arrangers.

Students draw from known vocabulary to make musical decisions around what

kind of accompaniment, dynamics, and phrasing to use in “Ode to Joy.” Students

then annotate their musical scores to visually represent their decisions and later

perform their new arrangements.

Marguerite Abramo’s lesson approaches a common topic in secondary gener-

al music—identifying and analyzing form. This lesson focuses on how music educa-

tors can use ELs’ home cultures in teaching common concepts. This not only helps

EL students make connections to their previous experiences and feel that their

cultures are a valuable part of the learning environment, but it also provides all stu-

dents the opportunity to experience these rich traditions. This lesson might also

hint at the ways SIOP and culturally responsive teaching are compatible.

Nicholas McBride explores theme and variation through known jingles and

theme songs. Students create their own theme and three ways to vary it, changing

the style, rhythm, harmony, tonality, or melody. Nicholas provides sentence frames

such as “I liked …,” “I noticed …,” and “Maybe you could add …” to help students

provide peer feedback to one another.

William Sauerland and George Nicholson provide a general music lesson

easily accessible for elementary or middle school. In this lesson, students become

composers and, using emojis as their notation base, create melodic motives. They

perform and discuss their choices in creating musical motives.

Matthew Rotjan’s ensemble lesson allows students to become conductors,

naming what important qualities a conductor possesses to decide how long a fer-

mata should be held and ways to best communicate this with performers through

body language. Matthew’s lesson demonstrates how conducting and musical ges-

Photo credit: Sean Flynn/UConn

tures, when used in a SIOP setting, can be a powerful way to help ELs understand

content, make musical interpretations, and then communicate those interpretations.

Rebecca Martinez uses distinctions between direct and poetic translations to

discuss meaning in the text of the Portuguese-language song “Peixinhos do Mar.”

In addition to using many graphic organizers to help EL students, the lesson also

highlights how SIOP can help create strategies to teach languages other than En-

glish to all students in chorus and other singing classes. Rebecca demonstrates how

music educators can engage students in the act of translation and help students

understand the interpretive process involved in translating texts. This can provide

all students deeper insights into the lyrics they sing and make interpretive musical

decisions based on those insights.

Deanna Loertscher varies somewhat from the other lesson plan authors; rath-

er than providing a more traditional lesson plan, her contribution focuses on the use

of pre-assessment as a way to create and tailor supports for ELs and other students.

Since implementation of Race to the Top legislation in the 2010s, educators increas-

ingly are required to implement pre-assessments and benchmark assessments. Dean-

na’s lessons show ways music

educators can leverage this

requirement to help differ-

entiate lessons and provide

supplemental materials for

ELs. Deanna’s assessment pro-

cesses can be combined with

the other lessons in this re-

source to more robustly and

accurately create supplemen-

tal materials. Finally, Deanna

works in a school that has a

signicant Japanese-speaking

population. The supplemental materials in this lesson show her work with this com-

munity and provide an example of working with non-Spanish-speaking ELs.

As these lessons demonstrate, sheltered instruction can be used in meaning-

ful ways in music education classrooms to improve practice and serve students’

needs. For example, music educators who incorporate sheltered instruction will

become reective about the participation and performance of ELs in their classes,

asking themselves questions such as:

● Were my content and language objectives clear to students?

● Did I sufciently break down the content and language demands of the lesson

Making music education

more accessible to

learners from a variety

of backgrounds can and

should be a priority for all

music educators.

Making music education

more accessible to

learners from a variety

of backgrounds can and

should be a priority for all

music educators.

and scaffold learning?

● Did I provide enough opportunity for the students to process the informa-

tion, or did I move too quickly?

● Did I engage my students today by providing them time to interact with other

students and use the material in active ways?

SIOP provides a framework for educators to reect on and respond to these

questions, thus improving their practice not only with EL students, but with all stu-

dents. Making music education more accessible to learners from a variety of back-

grounds can and should be a priority for all music educators.

Additional Resources

For those interested in learning more about sheltered instruction, particularly

in the context of music education, the following resources might be helpful:

Sheltered Instruction:

Echevarría, J., Vogt, M. E., & Short, D. J. (2017).

Making content comprehensible for

English Learners: The SIOP model (5

ed.). Pearson.

Gibbons, P. (2015). Scaffolding Language, Scaffolding Learning. Heinemann.

Short, D. J., et al. (2018). The 6 Principles for Exemplary Teaching of English Learners

TESOL Press.

SIOP materials from the Center for Applied Linguistics (CAL) website:

https://www.cal.org/siop

Language Development and Music Education:

Supporting ELLs in the music classroom: https://nafme.org/english-language-

learners-in-music-class/

Engaging ELLs in your ensemble: https://nafme.org/engaging-english-language-

learners-ensemble/

Music and language learning: http://www.colorincolorado.org/article/music-and-

language-learning

Integrating reading into the music classroom: https://isharesps.org/websitedoc/

CommunityRelations/jeffries%20music%20teacher.pdf

Kayi Aydar, H., & Green Eneix, C. (2019). Shared identities through translanguaging

practices in the multilingual mariachi classroom. TESOL Journal, 10(4), e502.

Melodies, Rhythm, and Cognition in Foreign Language Learning (includes a chapter

on TESOL, Teachers of English to Speakers of Other Languages):

https://books.google.com/s?hl=en&lr=&id=E_d&pg=PA163&dq=sam-

my+alim&ots=BVIwsHmqf&sig=7RlnyyYvMAf4R_mf2R0XdBym3Lc#v=onep-

age&q=sammy%20alim&f=false

Walby, Nathan (2011). Tell me what you hear: Vocabulary acquisition and application

in the general music middle school classroom. Music Educators Journal, 98(2),

55-60.

References

CAST. (2018). Universal Design for Learning Guidelines version 2.2. Retrieved from

http://udlguidelines.cast.org

Echevarría, J., Vogt, M. E., & Short, D. J. (2017).

Making content comprehensible for

English Learners: The SIOP model (5th ed.). Pearson.

Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice

. Teachers

College Press.

Lind, V. R., & McKoy, C. (2016). Culturally responsive teaching in music education: From

understanding to application. Routledge.

Markos, A. & Himmel, J. (2016, March). Using sheltered instruction to support

English learners. Cal Practitioner Brief, 1-15. https://www.cal.org/siop/pdfs/briefs/

using-sheltered-instruction-to-support-english-learners.pdf

National Center for Education Statistics (n.d.). English Language Learners in public

schools. https://nces.ed.gov/programs/coe/indicator_cgf.asp

National Center for Education Statistics (2020, May). Status and trends in the

education of racial and ethnic groups. https://nces.ed.gov/programs/

raceindicators/indicator_rbc.asp

Short, D. J., Becker, H., Cloud, N., Hellman, A. B., & Levine, L. N. (2018).

The 6

Principles for Exemplary Teaching of English Learners. TESOL Press.

Wiggins, G., & McTighe, J. (2005). Understanding by design. ASCD. BTDgAAQBA

J&oi=fnd&pg=PA163&dq=sammy+alim&ots=BVIwsHmqf&sig=7RlnyyYvMA

f4R_mf2R0XdBym3Lc#v=onepage&q=sammy%20alim&f=false

SIOP Lesson Plan Template in Music

Class/grade(s):

Content Objectives

Language Objectives

Standards

National Core Arts Standards Language

Key Vocabulary:

Materials:

Lesson Tasks/Activities

Lesson Sequence

SIOP Components and

Strategies Used

Warm-Up/Motivation

(building background)

Presentation (language and content

objectives, comprehensible input,

strategies, interaction, feedback)

Application (meaningful activities,

interaction, strategies, practice/

application, feedback)

Closing (review objectives and

vocabulary, assess learning)

Review and Assessment(s)

Possible Extensions

Elementary Lesson Plans

16th Note: Rhythms through Movement and Composition

Rex Sturdevant

Class/grade(s):

2nd Grade General Music

Content Objectives

I can draw a picture to show one, two, or four sounds on a beat.

I can perform rhythms containing one, two, or four sounds on a beat, from a

visual representation.

Language Objectives

I can chant “Alligator Pie” and represent its text through movement.

I can clap the syllables of a given fruit.

Standards

National Core Arts Standards Language

MU:Cr2.1.2b Use iconic or standard

notation and/or recording technology

to combine, sequence, and document

personal musical ideas.

CELP.2-3.1. An EL can construct

meaning from oral presentations and

literary and informational text through

grade-appropriate listening, reading, and

viewing.

MU:Pr4.2.2b When analyzing selected

music, read and perform rhythmic

and melodic patterns using iconic or

standard notation.

CELP.2-3.2. An EL can participate in

grade-appropriate oral and written

exchanges of information, ideas, and

analyses, responding to peer, audience,

or reader comments and questions.

Key Vocabulary:

alligator, stew, fuzzy, hat, shoe, apple,

pomegranate, peaches, plums, birthday

Materials:

REPERTOIRE:

● “Alligator Pie” (from Lee: Alligator Pie, Macmillan of Canada,

1983)

● “William He Had Seven Sons” (from Feierabend/Trinka:

There’s A Hole in my Bucket, GIA Publications, 2006)

● “Apple, Pomegranate, Peaches, Plum” (a composed

variant of #27 from Abrahams, ed: Counting-out Rhymes, a

Dictionary, University of Texas Press, 1980)

● “Ding Dong Diggi-Diggi Dong” (Orff/Keetman: Music for

Children, vol 1, Schott, 1976)

● “Apple, Apple, on the Tree (Brumeld: First We Sing!: 100

Little Songs and Rhymes for Reading, Writing, and More!, Hal

Leonard, 2018)

MATERIALS:

● Visuals for “Alligator Pie” and “Apple, Pomegranate,

Peaches, Plums”

● Drum

● Cat puppet or stuffed animal

● Rhythm Fruit Stand poster/interactive whiteboard le

● Rhythm Fruit Stand notation worksheet (four beat lines)

● Bingo chips/Unix cubes

● Document camera

● Fruit rhythm cards (for exit ticket assessment)

Lesson Tasks/Activities

Opening: “Alligator Pie”

1. Ss follow T’s pantomime of the rst stanza (taught in a previous lesson). (8,

12)

2. Ss chant the words while pantomiming the rst stanza. (12)

3. T uses pictures to teach the key components of the second stanza: stew, fuzzy

hat, shoe.

Lesson Tasks/Activities (continued)

4. In four exible groupings, Ss work to devise motions for each phrase of the

stanza. In small groups, Ss come to the front and teach their motion to the

rest of the class.

5. Ss assemble the motions and perform the stanza as a class, with new motions.

6. Ss clap the rhythm of the words of the second stanza. Ss clap again, while T

plays the steady beat on a drum.

7. “For which words did our hands clap the fastest?” (alligator) (15)

8. “Show on your ngers how many claps we did for ‘alligator.’” (4, 18)

9. Show with your arms if the 4 sounds were fast like a cheetah, or slow like a

turtle. (18)

Movement: “William He Had Seven Sons” [Starting Pitch = D]

1. Ss move to prerecorded track or T’s singing. T uses pictures to show the rst

three verses.

2. For verses 4–7, students suggest movement activities. Ss can devise one from

their head, show the movement and have it named by the T or other Ss, or

select a movement from a series of pictured suggestions on the board.

3. TRANSITION (sung to the tune of the song): The sons went to a birthday

party …

Presentation: “Apple, Pomegranate, Peaches, Plums”

1. Ss chant rhyme and suggest beat motions to perform as accompaniment.

One S leader points to pictures that represent the text. (20, 19)

2. Ss point to visual representation of steady beat (two rows of four lines)

while chanting the rhyme. (20, 30)

3. “Let’s use these shapes to represent the rhythm of the words in the rst

phrase. Show on your ngers how many syllables are in the word ‘plums.’”

Ss work together to derive the rhythm of the rst phrase through iconic

notation. (20, 17, 30, 19, 9)

4. Ss convert icons into known rhythms (ta/ti-ti). Ss discover that none of the

known rhythms t for “pomegranate.” (9)

5. Ss clap the phrase alone and with others. (17, 30)

6. TRANSITION: T rearranges the icons one by one to reveal the opening

motive of the song. Ss clap and identify the “mystery song” (taught in a

previous lesson.

Lesson Tasks/Activities (continued)

Change of Pace: “Ding Dong Diggi-Diggi Dong” [Starting

Pitch = D]

1. Ss sing and pat the beat.

2. Ss sing and clap the rhythm.

3. Ss play a cat-hiding game. One S comes to the front and closes their eyes.

Another S receives a cat stuffed animal that they hide in their desk. The S

at the front listens to a “meow” from the S with the cat, and attempts to

identify their vocal timbre.

4. TRANSITION: While the cat had disappeared, she went to visit a fruit stand!

Application: Rhythm Fruit Stand

1. T introduces the “rhythm fruit stand,” where Ss clap the rhythms of several

new fruits containing one, two, or four syllables.

2. Given a worksheet, Ss choose four fruits from a “rhythm fruit stand” and

notate their rhythms using icons such as pictures, bingo chips, or Unix

cubes.

3. Ss share their creation with a neighbor and practice each other’s rhythms.

4. Several Ss share their work with the class using a document camera. The class

claps their visual representation and helps correct any notation errors.

5. TRANSITION: Listen as I sing another song about a fruit. Show the

movements if you know the tune.

Ending: “Apple, Apple, on the Tree” [Starting Pitch = A]

1. T reviews text of song using pictures and pantomime.

2. Ss play the singing game (taught in a previous lesson).

Exit Ticket: Fruit Clapping

1. Ss select the correct visual representation for a “missing fruit” from a set of

four, then clap the corresponding rhythm. (28)

Review and Assessment(s)

The teacher can triangulate assessment data from the following sources:

● The students’ visual representation of their fruit stand rhythm

● The students’ performance of the exit ticket activity

● The students’ clapping of the target rhythm during chanting/singing of “Alligator

Pie”; “Apple, Pomegranate, Peaches, Plums”; and “Ding Dong Diggi-Diggi Dong”

Possible Extensions

● Students suggest different fruits from their culture to include in the rhythm

activity.

● Students record their fruit composition using FlipGrid, or layer electronic

backing tracks using Incredibox or GarageBand.

● Students chant their fruit compositions as an ostinato to a familiar song or

recorded art music.

● Students compose a new stanza to “Alligator Pie.”

● Students notate their own version of “William He Had Seven Sons” using

technology or by drawing pictures. Students can perform individually, in small

groups, or with their family members, and record a video to share with the

class.

● Students come up with a backstory to “Ding Dong Diggi-Diggi Dong.” Why

is the cat missing? What other environmentally-appropriate onomatopoeia

could be used to create an ostinato or chant?

Context for SIOP Strategies Used

8. Links explicitly made between past learning and new concepts. Ss will be led

to the discovery that the second stanza shares the same format as the rst stanza,

which was learned in a previous lesson. Ss identify which words are the same/

different.

12.A variety of techniques used to make content concepts clear.

By using a pantomime, students represent the text of the poem through pantomime,

as well as through pictures. (See Opening, #1)

15.A variety of questions or tasks that promote higher-order thinking skills

(e.g., literal, analytical, and interpretive questions). Teacher uses a variety of

questioning strategies to draw attention to the target rhythm: tika tika

(four

beamed sixteenth notes). This line of questioning can be used in other contexts to

build awareness of the rhythm’s critical attributes.

18. Sufcient wait time for student responses consistently provided. When

Ss provide movement ideas, T reminds the class of the importance of letting the

respondent come up with their own answer, and empowers the Ss to use supports

as needed.

Here, Rex uses the term “tika tika” to represent four sixteenth notes, or four sounds on a

beat. You may use a different system of notation in your own classes, accordingly.

20. Hands-on materials and/or manipulatives provided for students to practice

using new content knowledge in the classroom. Ss use manipulatives of worksheets,

Unix cubes, or colored chips to represent the rhythm of the fruit combination they

created.

15. A variety of questions or tasks that promote higher-order thinking skills (e.g.,

literal, analytical, and interpretive questions). T uses a similar line of questioning

strategies from the opening activity, but this time, prompts prior knowledge by using the

known rhythms ta and ti-ti.

17. Vary grouping congurations. Ss work individually, with partners, and with the

whole class.

30. Assessment of student comprehension and learning of all lesson objectives

throughout the lesson. Throughout the lesson, the Ss demonstrate their understanding

of the target rhythm tika tika. They show their understanding kinesthetically (clapping

rhythms, playing games), aurally (responding to assessment questions from T about

sounds on a beat), and visually (through shapes and icons).

9. Key vocabulary emphasized. Pictures of fruits are iconic notation. This helps the

students with vocabulary.

19. Ample opportunities for students to clarify key concepts in L1 (student’s

primary language) as needed with aide, peer, or L1 text. The T may provide a version

of the fruit stand in L1, or with translations next to the English words.

28. Comprehensive review of key concepts. The T is able to informally assess the

Ss’ notation reading abilities using icons, as well as their performance abilities through

rhythm clapping, in this fast-paced exit activity.

Context for SIOP Strategies Used (continued)

Rex Sturdevant is a Connecticut-based music educator and percussionist. He

is the music teacher at Melissa Jones School in Guilford, where he teaches K–4

general music, and he also maintains a private studio of beginner percussionists.

Mr. Sturdevant has presented on project-based learning, teacher evaluation, and

LGBTQ-inclusive teaching practices at the local, state, and national level. Currently,

Mr. Sturdevant is on the Education Committee of the New Haven Symphony

Orchestra, and during the summers, he is the band chair of Laurel Music Camp. Mr.

Sturdevant holds an M.A. in Curriculum and Instruction, B.S. in Music Education,

and B.A. in Music from the University of Connecticut, as well as a Kodály Level III

Certicate from Portland State University.

Strong and Weak Beats through Visuals and Conducting

Sarah Ryan

Class/grade(s):

2nd- / 3rd-Grade Music

Content Objectives

Students will identify the strong and weak beat patterns in 4/4 meter.

Students will perform the strong and weak beat pattern in 4/4 meter through

ostinati and conducting.

Language Objectives

Students will dene key vocabulary by creating an addition to a word wall.

Students will use key vocabulary to assess musical performance.

Standards

National Core Arts Standards Language

MU:Pr4.1.2a Demonstrate and

explain personal interest in, knowledge

about, and purpose of varied musical

selections.

CELP.2-3.2. An EL can participate

in grade-appropriate oral and written

exchanges of information, ideas, and

analyses, responding to peer, audience,

or reader comments and questions.

MU:Cr3.1.2a Interpret and apply

personal, peer, and teacher feedback to

revise personal music.

CELP.2-3.1. An EL can construct

meaning from oral presentations and

literary and informational text through

grade-appropriate listening, reading, and

viewing.

MU:Pr4.2.2b When analyzing

selected music, read and perform

rhythmic and melodic patterns using

iconic or standard notation.

CELP.2-3.7. An EL can adapt language

choices to purpose, task, and audience

when speaking and writing.

Key Vocabulary:

Conduct, strong beat, weak beat, 4/4 meter,

ostinato

Materials:

Repertoire: “Ding, Dong, Diggi-Diggi, Dong”

Visuals: four-point star meter conducting maps, strong and

weak beat ostinato map, word wall

Lesson Tasks/Activities

“Ding Dong Diggi Diggi Dong”

1. T and S sing a known song and pat beat on shoulders.

2. S sing and pat on their own.

3. T pats strong on lap and weak beats on shoulders following the strong,

weak, weak, weak, pattern. Ss follow.

4. T asks:

a. Where did I pat the strong beat? (lap)

b. Where did I pat the weak beat? (shoulders)

c. What is the pattern of strong and weak beats? (s , w, w, w)

d. T: What do musicians call music that follows the pattern of 1 strong and

3 weak beats? (4/4 meter) (6, 9)

5. Ss suggest places to pat strong and weak beats from visuals on the board.

Visual shows the body part, pattern.

6. Ss perform by chanting strong weak, weak, weak, then sing and pat.

Presentation:

1. T: We showed the strong and weak pattern of 4/4 meter through an ostinato,

or a repeated pattern like (demos) s , w, w, w. Musicians have another way of

showing the strong and weak beat pattern in music it is called CONDUCTING.

a. T shows the visual of a four-point star map. (20)

2. Ss locate the starting point (star) and predict how you would use the map to

conduct. (Follow the numbers of 1, 2, 3, 4).

3. Ss chant 1, 2, 3, 4 and follow the map with their ngers by pointing. Ss

eventually transition to using their hand to follow the map and say numbers

in their heads.

4. Ss sing and conduct at the same time.

5. T models how an ensemble can follow a conductor. T conducts and students sing.

Application:

6. With other maps posted around the classroom, Ss are split into small groups

to practice conducting.

a. One S conducts while the other Ss follow and sing the song. Ss provide

feedback to one another about seeing and singing strong and weak

beats—beginning with “I saw,” “I heard,” or “I noticed.” (21)

7. T oats, checks for understanding, and provides feedback to students. (29)

8. After all Ss have conducted in their small group, bring Ss back to full group

and conduct all together again, singing and following the main map at the

front of the room.

9. Individual Ss are asked to come to the front of the room and conduct their

peers. T and Ss provide feedback to student conductors.

Closing:

1. Together, Ss and T create poster for music word wall. Ss generate ideas of what

to add to the “conducting” poster. Ideas can include 4/4-meter map, a baton,

and a picture of a conductor. (27)

Lesson Tasks/Activities (continued)

Review and Assessment(s)

The T can triangulate assessment data from the following:

● The Ss choose where to put strong and weak beats on beat icons on board.

● The Ss physically represent strong and weak beats in 4/4 meter through

singing and conducting.

● The Ss visually represent words associated with conducting (baton, etc.) in

word wall/poster.

Possible Extensions

“Conducting Lab”: Ss are given choices of

music to conduct to. Ss explore and pick

which music they would like to conduct

and respond to the different qualities each

conductor showed.

4-Meter Composition: Ss compose an

8–16 measure rhythm in 4/4 meter

with a small group. Ss perform on

instruments of their choice and a

student conducts performance.

Context for SIOP Strategies Used

Plan meaningful activities that integrate lesson concepts with language practice

opportunities for reading, writing, listening, and/or speaking

By using iconic notation, students demonstrate strong and weak beats on different parts

of body.

9. Key vocabulary emphasized

Students choose and name places to keep beat on body.

20. Hands-on materials and/or manipulatives provided for students to practice

using new content knowledge in the classroom

Students use manipulatives of 4-point star conducting map to physically represent

strong and weak beats.

21.Activities provided for students to apply content and language knowledge in

the classroom

Students respond to visual conducting by singing, demonstrating strong and weak beats.

Students practice giving feedback utilizing vocabulary.

29. Regular feedback provided to students on their output

Teacher individually assesses students in small groups as they demonstrate strong and

weak beats in 4/4-meter, as well as how students utilize vocabulary to provide feedback

to one another.

27. Comprehensive review of key vocabulary

By adding new vocabulary of “conducting” to the word wall, students consider ways to

represent the word through visuals or movements.

Sarah Ryan is the music teacher at Guilford Lakes Elementary School where

she teaches PreK–4 general music. Before coming to Guilford, Ms. Ryan studied

at the University of Connecticut, where she toured through Ireland and Germany

with UConn Choirs, sang at Carnegie Hall, and completed an internship in London,

England, where she conducted research on Human Rights Education in the music

classroom. Ms. Ryan holds an M.A. in Curriculum and Instruction, a B.S. in Music

Education, and a B.A. in Music from the University of Connecticut.

Types of Voices

Jon Dyson and Kristy Ledwith

Class/grade(s): Kindergarten General Music

Content Objective

I can speak and identify high/alta, middle/media, and low/baja voices and

instruments.

Language Objective

I can use my “high,” “middle,” “low,” “thinking,” and “singing” voices.

Standards

National Core Arts Standards Language

MU:Pr4.2.Ka: With guidance, explore

and demonstrate awareness of music

contrasts (such as high/low, loud/soft,

same/different) in a variety of music

selected for performance.

CELPK.1: An EL can construct

meaning from oral presentations

and literary and informational text

through grade appropriate listening,

reading, and viewing.

CELPK.2: An EL can participate in

grade appropriate oral and written

exchanges of information, ideas, and

analyses, responding to peer, audience,

or reader comments and questions.

Key Vocabulary:

High, middle, low voice, whisper, singing, thinking, talking

voice

Materials:

Repertoire:

● “Hello, Everybody”

● “Oh My, No More Pie” (from Feierabend & Trinka:

Had a Little Rooster, GIA Publications, 2019)

● “Chop Chop Chippity Chop” (chant) (from Jill

Trinka, Had a Little Rooster, GIA Publications, 2019)

● “Goldilocks and the Three Bears” (chant) (as

recorded by Lindsay Müller, You are Amazing, 2018,

https://lindsaymuller.com/track/1575629/three-bears-

rap)

● “Trotting Down the Road” (from Kaye Umansky,

Three Little Pigs, HarperCollins, 2013)

Materials:

● Yummies (rings with googly eyes)

● Play microphone

● “Chop Chop”: images

● Sticks

● Boomwhackers

● Triangles

● Three Little Pigs book (by Kaye Umansky)

● Images of key vocabulary words in English and

Spanish with paired image (high, middle, low, whisper,

singing, thinking, talking)

Lesson Tasks/Activities

Warm-Up/Motivation

1. Welcome Song: “Hello, Everybody” (2 min)

Everyone taps and sings “Hello, everybody! So glad to see you! Hello to

___.” Each S takes turns saying their name. Repeat till all Ss have had a

turn. Ends with T: “So glad to see you!”

Lesson Tasks/Activities (continued)

2. Vocal Warm-up: Yummies (3 min)

Using yummies on ngers (20), Ss and T review terms high/alta, middle/

media, and low/baja. T models and Ss echo. Including high, low, whisper,

singing, thinking, and talking voices. (3, 9). Ss and T say vocabulary in

English and Spanish (6, 19)

After each term, T pauses (18) for think time. Ss answer with a partner

before raising their hand for class response, and whole group demos

(17).

T asks, “Do you think my talking voice sounds like my high voice? Does

it sound like my low voice? It is somewhere in the middle. We can call it

our middle voice.” (10, 12)

3. Echo song: “Oh My No More Pie” (3 min)

T sings, Ss echo.

Ss sing as a whole class then pass mic around for student solos. Remind

Ss when they do not have mic to sing in a thinking voice.

4. “Chop Chop Chippity Chop” (5 min)

T. “The bears are coming, so we need to make them some food, since

we are all out of pie.”

When chopping, students can use a little (high), medium (medium), big

(low) knife to chop the food they pick, pointing their imaginary knives

in their designated locations (14) and chop a steady beat with their

hand. Ss can change the pitch of their voice to match their knife size.

Practice/Application

1. “Goldilocks and the Three Bears” chant with

instruments (7–10 min)

T puts images of vocabulary on board (9). Review story of Goldilocks

and the Three Bears from last class, T/Ss speak through the entire chant

while patting steady beat slowly.

T: “We use three voices in our story. What voices do we use?” think

time “Talk with your partner about what voices you think are in the

story (17). Correct answer: 3 voices—one for each bear

T: “Does anyone in your life use these voices?” think time (18) “Talk

to your partner about who in your life uses either a high, middle, or

low voice. Give sentence example: “My ____ uses a ____ voice.” Ss

turn and talk to their partners (13).

T: “I have three instruments to represent the high (triangle) / middle

(sticks) / and low voice (red Boomwhacker). Our 3 instruments

match our 3 different bear voices. Let’s match the h, m, & l sounds the

instruments make to the h, m, & l voices we have been using for our

bears.”

What instrument do you think would best t a baby bear/osito?

Think time. Partner, then class responses. Give the sentence frame

“___ instrument should be used because it sounds like the ___ voice.”

Two class responses: Give thumbs-up if you guessed that instrument.

Give thumbs-down if you guessed a different one. T places image of

instrument next to baby bear/osito. Repeat for papa and mama bear.

Split class into three sections for three bears. Hand out instruments

for one bear to one section; play instrument and say poem in

thinking voice/voz pensativa; rest of class speaks rap and pats steady

beat; collect instruments; repeat for next bear (17).

“Let’s visit the bears’ friends down the street.” (22)

2. “Trotting Down the Road” (2 min)

T sings while students keep the steady beat with feet and copy motions.

Ss join in singing when comfortable.

“We have made it to the house of the three little pigs.”

3. Read Three Little Pigs story (7 min)

While reading the story, ask throughout, “What voice does the [name

of character] use?” think time “Talk to your neighbor, then the whole

class (24).

(High voice—pigs, low voice—wolf, middle—man & mom)

Ss create sound effects for house falling, slamming doors, and wolf

blowing and climbing.

Students say pig and wolf lines in correct voices.

Note—this is an excellent moment to observe as a class that mama’s voice can be played by the Boomwhacker

(low) or dad’s voice played by the sticks (middle); just because they are mom or dad or boy or girl does not mean their

voice is necessarily higher or lower.

Lesson Tasks/Activities (continued)

Closing (2 min)

1. Review “I can” statement. I can speak and identify high/alta,

middle/media, and low/baja voices and instruments.

Ss give a thumbs-up, thumb-sideways, or a thumbs-down if they feel like they

completed the “I can” statement (28).

Review and Assessment(s)

● Review “I can” and assess comfort level at the end of the lesson

● Pre-assessment for matching pitch from echo song

● Informal assessment of high, middle, and low understanding demonstrating

with voice during solos and instrument selection during performance

Possible Extensions

● Echo-singing assessment

● Three little pigs with instruments

● Identify high, middle, low sounds they may hear every day

● Other stories that can be used to teach high, middle, and low: “Goldilocks

and the Three Little Bears” and “The Three Billy Goats Gruff”

● Listening, movement—using pop or other styles of music, students move

body to high, middle, low based on what they hear

Context for SIOP Strategies Used

20. Hands-on materials and/or manipulatives provided for students to practice

using new content knowledge in the classroom. Ss use hands-on manipulatives in

the yummie warm-up when using the eye rings.

3. Content concepts appropriate for age and educational background level of

Lesson Tasks/Activities (continued)

students. High and low and types of voices are a core musical component of the K–1

music classroom experienced through musical exploration.

9. Key vocabulary emphasized. High and low, whisper, singing, talking, thinking voices

are said and practiced

6. Plan meaningful activities that integrate lesson concepts with language practice

opportunities for reading, writing, listening, and/or speaking. Ss practice listening

and speaking key vocabulary with partners and then apply it in a large-group setting.

19. Ample opportunities for students to clarify key concepts in L1 (student’s

primary language) as needed with aide, peer, or L1 text. Ss and the teacher

review high, middle, low voices in both English and Spanish. T will circle back to L1 for

clarication throughout the lesson and reinforce in partner work. Pictures and visuals

are used within the lesson to display the key vocabulary words on the word wall with

English and Spanish translation.

18. Sufcient wait time for student responses consistently provided. Ss are given

“think time” and then share their answer with a partner before contributing to the

large group.

17. Vary grouping congurations. Ss engage in “think time” on their own, share out

with a partner, and then demonstrate to the whole class

10. Speech appropriate for students’ prociency levels. T speaks clearly and slowly

when providing prompts and questions.

12. A variety of techniques used to make content concepts clear. By using

yummy manipulatives and partner work, students represent high, middle, low through

movement, speaking, and demonstrating.

13. Ample opportunities provided for students to use learning strategies. Ss use

the play microphone to take a solo in singing or playing instruments during the chant.

14. Scaffolding techniques consistently used, assisting and supporting student

understanding. Motion paired with its corresponding vocabulary word (point up, stay in

middle, or point down) to represent high, middle, and low.

12. A variety of techniques used to make content concepts clear. Ss pair gestures

with the vocabulary being taught.

Context for SIOP Strategies Used (continued)

9. Key vocabulary emphasized. Pictures are used during the bear chant for key

vocabulary and instruments.

17. Vary grouping congurations. Ss think alone, with partners, and others, to apply

high, middle, and low voices to the characters in Goldilocks.

18. Sufcient wait time for student responses consistently provided. “Think

time” is used to connect voices with Goldilocks story characters before students share

responses with one another in pairs.

13. Ample opportunities provided for students to use learning strategies. Using

“turn and talk” to a partner strategy with prompts of, “My ___ uses a ___ voice,” Ss

think and practice identifying people in their lives as high, middle, and low voices.

17. Vary grouping congurations. Ss work in small groups and as a whole class to

keep a steady beat, say a Goldilocks rap, or play instruments.

24. Language objectives clearly supported by lesson delivery. Prompts are given to

provide support for students to condently answer questions about applying voices to

story characters.

28. Comprehensive review of key concepts. Ss review the “I can” statement at the

end and assess their comfort level with meeting the goal of identifying high, middle, low

sounds/voices.

Kristy Ledwith is a music teacher at Skinner Road School in Vernon,

Connecticut, where she teaches K–5 general music and chorus. In addition, Ms.

Ledwith is a soloist and section leader for churches in West Hartford and Terryville.

She graduated in 2019 with an M.A. in Curriculum and Instruction and in 2018

earned a B.A. in Music and a B.S. in Music Instruction from the University of

Connecticut.

Jon Dyson is an elementary general music and chorus teacher for Ingalls

School of Lynn Public Schools in Lynn, Massachusetts. He teaches Kindergarten

through 5th Grade and a combined 4th- and 5th-grade chorus. After graduating

in 2019 with an M.A. in Curriculum and Instruction, a B.A. in Music and a B.S.

in Music Instruction from the University of Connecticut, Jon moved to Boston,

Massachusetts, and continues to reside there.

Context for SIOP Strategies Used (continued)

High and Low

Amanda Violone

Class/grade(s):

Kindergarten Music

Content Objective

Students will identify the difference between high and low sounds through

hearing, seeing, and moving with the support of all known songs, materials, graphic

organizers, SMART board les, and a worksheet.

Language Objective

Students will identify the difference between high and low sounds by describing

the relationship between sound direction and physical direction using the specic

vocabulary high & low in the sentence frame, “When the sound was (high/low),

then ______ went (up/down).” with the support of all known songs, scarves,

graphic organizers, SMART board les, and a worksheet.

Standards

National Core Arts Standards

Language

MU:Re7.2.K: With guidance,

demonstrate how a specic music

concept (such as beat or melodic

direction) is used in music.

CELPK.2: An EL can participate in

grade appropriate oral and written

exchanges of information, ideas, and

analyses, responding to peer, audience,

or reader comments and questions.

MU:Pr4.2.K.a: With guidance, explore

and demonstrate awareness of music

contrasts (such as high/low, loud/soft,

same/different) in a variety of music

selected for performance.

CELP.K.8: An EL can determine

the meaning of words and phrases in

oral presentations and literary and

informational text.

Key Vocabulary:

High, low, up, down

Materials:

Repertoire:

● Come and Follow Me

● Engine, Engine (Library of Congress, AFS 4013 B7,

Collected by John A. and Ruby T. Lomax)

● Bee, Bee, Bumblebee (Forrai, Katalin. Music in

Preschool. Queensland, Australia. Clayeld School of

Music: 1998. p. 102)

Materials:

● Scarves

● High/low SMART board les

● White board high/low graphic organizer

● Magnetic pictures

● Worksheets

● Pencils

● Crayons

Lesson Tasks/Activities

Warm-Up/Motivation

1. Greeting: High/Low Vocal

Expectation (~3 min)

a. T greets Ss at the door and sings the routine

welcome song, “Come and Follow Me” as they

walk in a line and sit in a circle around the rug. T

has a basket of scarves. “Today, the scarf is going

to follow the direction of my voice. If the scarf is

up here (T holds a scarf above her head), do you

think that means I’m singing a high sound or a low

sound? How about if the scarf is here (T

Lesson Sequence

SIOP Components

and Strategies Used

3. Choose content concepts

appropriate for age and

educational background

level of students.

4. Identify supplementary

materials to use (graphs,

models, visuals).

5. Adapt content (e.g., text,

assignment) to all levels of

student prociency.

holds scarf down on the oor), will my voice be

high or low?”

b. T: “Let’s see if you’re right! I will go rst (points to

herself), then you go (points to class).” T sings a

high & low vocal sigh with scarf following melodic

contour. Ss copies with voices and hands.

c. T passes out scarves to all Ss and sings two more

high & low vocal sighs with the scarf showing the

melodic contour as S follows by copying with their

voices and scarves.

d. T asks for a student solo to create their own high

& low sigh with their voice and their scarf for the

class to copy. (T chooses 2 student solos)

e. T: “This time, I’m going to make my voice sound

like something that you drive. Listen and try to

gure out what my voice sounds like.” T sings one

last high & low vocal sigh (sounding like a shrieking

re engine) with a scarf showing the melodic

contour as Ss follows by copying with their voices

and scarves. “What did our voices sound like?”

f. Transition: Exactly, a re engine! I see a re engine on

the white board! Come over to the white board so you

can see the chart with two words on each side, who

can read one of the words on this side of the board?

Good job reading and sounding out the word from

the board! It says alto and the second word is alto

in English, high. Repeat after me, alto means high (T

reaches up to sky). Who can read one of the words on

the other side of the board? Great job reading clearly,

it says bajo and the second word is bajo in English, low.

Repeat after me bajo means low (points down). On this

side of the chart it says bajo or low (points down) and

on the other side of the chart it says alto or high

(reach up). Where do you think the re engine should

go? Does it have a high sound or low sound? Who can

come up and move it on the high side of the chart?

6. Plan meaningful

activities that integrate

lesson concepts (e.g.,

surveys, letter writing,

simulations, constructing

models) with language

practice opportunities for

reading, writing, listening,

and/or speaking.

7. Explicitly link concepts

to students’ backgrounds

and experiences.

8. Explicitly link past

learning and new concepts.

9. Emphasize key

vocabulary (e.g., introduce,

write, repeat, and

highlight) for students.

10. Use speech

appropriate for students’

prociency level (e.g.,

slower rate, enunciation,

and simple sentence

structure for beginners).

11. Explain academic tasks

clearly and in multiple

modes.

12. Use a variety of

techniques to make

content concepts clear

(e.g., modeling, visuals,

hands-on activities,

demonstrations,

gestures, body language).

Lesson Tasks/Activities (continued)

2. Graphic Organizer: Is It High or Is It Low

Whiteboard Activity (~6 min)

a. Ss will nd a partner around them; each group has a

magnetic picture. Ss talk with a partner and gure out if what

is pictured would make a high or a low sound. “Once you

and your partner have decided high or low, come on up and

put the magnetic picture on the high or the low side of the

board.”

b. T organizes students into pre-determined partners based

on their language prociency levels by making sure to pair

students who are pre- to early production stage English

learners with students who are more procient English

speakers and can also speak the same rst language of the

pre- to early production English learners. Students are

partnered off by T calling their names and handing them one

picture that they need to decide together if it has a high

sound or a low sound.

c. T gives each partner group 30 seconds to determine if their

picture makes a high or low sound. T walks around the room

to each pair and provides specic partner feedback if needed.

d. Once all pictures are posted on the board, T and class goes

through each picture one by one and gives thumbs up if the

picture is in the right spot or thumbs down if it is not in the

right spot.

e. T: “Turn back to your partner and come up with one high or

low sound that you hear everyday that isn’t on the board.”

f. T: gives 30 seconds for partners to “Turn and Talk.”

g. “Who can share a sound that isn’t on the board that is high

or low?” Calls on all Ss that raise their hands to share.

h. “What about this sound?”

i. Transition: T makes a high train sound with pulling movement.

“Who can make that sound?” Ss copies. Come follow behind me

as we sing, “Engine, Engine Number Nine…” T and Ss march

around the room to the steady beat forming a “train” as they

chant the song twice. “This time as we pass, point to where our

objectives are today and sit in front of them.”

16. Provide

frequent

opportunities

for interaction

and discussion

between

teacher/student

and among

students about

lessons concepts,

and encourage

elaborated

responses.

17. Use group

congurations

that support

language

and content

objectives of the

lesson.

20. Provide

hands-on

materials and/

or manipulatives

for students to

practice using

new content

knowledge.

21. Provide

activities for

students to

apply content

and language

knowledge in

the classroom.

Lesson Tasks/Activities (continued)

Presentation/Application

3. Stating of Objectives (~2 minutes)

a. “Great job following directions by pointing to and

sitting in front of the objectives on the wall!”

b. As T reads both objectives and sentence frames

orally, she points to each word of the written

objective for the students to see and hear the words.

c. “Our content objective for today is to identify the

difference between High sounds and Low sounds

aurally, visually, and kinesthetically with the support of

all known songs, scarves, graphic organizers, SMART

board les, and a worksheet.”

d. “Our language objective for today to identify the

difference between High sounds and Low sounds by

describing the relationship between sound direction

and physical direction using the specic vocabulary

high & low in the sentence

frame, “When the sound was (high/low), then

______ went (up/down).” with the support of all

known songs, scarves, graphic organizers, SMART

board les, and a worksheet.”

e. T: “Under our language objective we have our

sentence frame. Who can read our sentence frame?...

Great job reading slowly and clearly! This sentence

frame will be up here for the whole class in case

we forget later on how to describe the connection

between the direction

of the sound and direction of whatever follows

the sound, like when our scarves followed the way

our voices moved.”

4. Engine, Engine (~5 minutes)

a. T nonverbally motions for Ss to come sit in front

of SMART board as T and Ss chant the song once

through.

1.Write content

objectives clearly for

students.

2. Write language

objectives clearly for

students.

6. Plan meaningful

activities that integrate

lesson concepts (e.g.,

surveys, letter writing,

simulations, constructing

models) with language

practice opportunities

for reading, writing,

listening, and/or

speaking.

13. Provide ample

opportunities for

students to use

strategies, (e.g.,

problem solving,

predicting, organizing,

summarizing,

categorizing, evaluating,

self-monitoring).

14. Use scaffolding

techniques consistently

(providing the right

amount of support

to move students

from one level of

understanding to a

higher level)

throughout the lesson.

Lesson Tasks/Activities (continued)

b. “Let’s sing the song like the train went up on top of

a mountain (reaches up)! Would that sound high or

low? What does high sound like?”

c. T and Ss sing the song once high.

d. “Now let’s sing the song like the train went down

low (points down) into a valley. Does anyone know

what a valley is? Valley or Valle is a low place of land

in between two mountains or hills. It looks like

this. (T pulls up a picture of a valley on the SMART

Board) If our train goes in a valley will that sound

low or high? What does low sound like?”

e. T and Ss sing the song once low.

f. T clicks on the next SB page. There is a picture on

the right side of the screen of a mountain top with

an arrow pointing up next to it and the label high/

alto above the picture. There is another picture on

the left side of the screen of the previous valley

with an arrow pointing down

next to it with the label low/bajo above the picture.

g. T points nonverbally to the mountain and sings

“ready, here we go…” T and Ss sing high.

h. T points nonverbally to the valley and sings “ready,

here we go…” T and Ss sing low.

i. “Who can come up to the board to point to the

picture and tell us if we should sing high or low?”

j. T chooses 3 students to come up to choose high

or low and point to the picture as the class sings.

k. Transition: When we were on the train at the top of the

mountain, I heard this sound (bzzz, bzzz, bzzz). What

animal makes this sound? T stands and starts speaking

rhyme while marching to the beat as the students

follow.

5. Bee, Bee Bumble Bee (~5 minutes)

a. T and Ss play the out game once through. Whoever

the T is pointing to at the end of the rhyme is out.

15. Use a variety of

question types including

those that promote

higher-order

thinking skills throughout

the lesson (e.g.,

literal, analytical, and

interpretive questions).

16. Provide frequent

opportunities for

interaction and

discussion between

teacher/student and

among students about

lessons concepts, and

encourage elaborated

responses.

18. Provide sufcient

wait time for student

responses consistently.

19.Give ample

opportunities for students

to clarify key concepts in

L1 as needed with aide,

peer, or L1 text.

20. Provide hands-

on materials and/

or manipulatives for

students to practice using

new content knowledge.

21. Provide activities for

students to apply content

and language knowledge

in the classroom.

Lesson Tasks/Activities (continued)

The game is played until there is one person left.

b. “This time, put your hands in the air when you

hear my voice sound like the bee is ying high up on

the mountain top. Touch the carpet when you hear my

voice sound like the bee is ying low down

in the valley.”

c. T will do this activity twice with the class’s eyes open.

d. “Now, try the same thing with your eyes closed.” (T

closes her eyes and points to them)

e. T will do it once through with the class’s eyes closed.

f. “Who can do what I did with their voice? Inside your

head (T points to head) you can decide to make your

voice sound like the bee is ying high up on top of

the mountain or like the bee is ying low down in the

valley. Everyone’s eyes can be open this time.”

g. T chooses two individuals to choose and speak the

rhyme as a solo as the class puts hands in the air

or on carpet depending on students’ improvisation

choice with their eyes open

h. Transition: This time sing it down low as you sit on your

bottoms, “Bee, Bee…”

22. Provide activities

that

integrate all language

skills (i.e., reading,

writing,

listening, and speaking).

23. Support content

objectives clearly.

24. Support language

objectives clearly.

25. Engage students

approximately 90-

100% of the period

(most students

taking part and on task

throughout the lesson).

26. Pace the lesson

appropriately to the

students’ ability level.

27. Give a

comprehensive review

of key vocabulary.

28.Give a

comprehensive

review of key content

concepts.

29. Provide feedback

to students regularly

on their output (e.g.,

language, content,

work).

Closing (review objectives and vocabulary, assess

learning)

6. High/Low Worksheet (~7 minutes)

a. T chooses a silent student to pass out crayon bags to

partners and T passes out worksheets to all S.

b. T gives directions to S to “I’m going to sing three

songs you know. There are three rows on your

worksheet. What pictures of songs do you notice?

Listen to my voice to hear if it sounds high or alto

like it is on a mountain top (T points high), if it does

sound high or alto, then circle the high mountain. If it

sounds low or bajo like it is in a valley, then circle the

picture of the valley.”

Lesson Tasks/Activities (continued)

c. T will sing: Bee, Bee Bumble Bee, Engine, Engine, & Starlight

Starbright

d. In between each song, T will remind Ss to move to the next

row to circle either the mountain or valley.

e. “Now turn to the back side of the worksheet. What do we

see here? Exactly, it’s our sentence frame for today. Let’s all

read and point together… Now, turn to the person next

to you and use your sentence frame to describe what you

noticed when we sang high or low, what happened to our

movements with our hands or the scarves or the stories.

Fill in your sentence frame in your head (T points to head).

Then, “Turn and Talk” to your neighbor and share your

lled sentence frame.”

f. T waits 30 seconds for everyone to share their lled

sentence frames and walks around and provides specic

feedback when needed.

g. “Who can share their lled sentence frame? What did you

notice when our voices went high or low, what did our

movements do? Did they follow our voices or were they

different?”

h. T calls on all students who raised their hands to

share and provides specic praise and feedback if needed.

i. “I’m looking for one silent person to collect the papers.

Once that person has taken your paper, please put your

crayons away and come sit back down in your spot.” T

chooses a student to collect papers.

7. Closure/Wrap-up (~2 minutes)

a. T: “If you think you can hear the difference between high

sounds and low sounds, give a thumbs up! If you think

you’re still working on hearing the difference between high

sounds and low sounds, give a thumbs down. If you can

describe the relationship between sound direction and

physical direction, give a thumbs up! If you’re still working

on describing it, give a thumbs down.”

b. T and Ss sings Goodbye routine song as Ss lines up at the

door for their classroom teacher.

30. Conduct

assessments

of student

comprehension

and learning

throughout

lesson on all

lesson

objectives (e.g.,

spot checking,

group response).

Lesson Tasks/Activities (continued)

Review and Assessment(s)

● Student solos to demonstrate high low with scarves

● High/low graphic organizers

● High/low worksheet

Amanda Violone is a general music teacher and choral director at Rowayton

Elementary School in Rowayton, CT where she teaches music to kindergarten

through fth grade students. She has also been appointed to serve as a member of

the curriculum writing team for the Norwalk Public Schools Music Department.

In addition, Amanda has served as a director of the Faireld Warde High School A

Cappella Group for the past two years where she conducts the ensemble as well

as arranges repertoire. Amanda graduated in 2019 with a Master of Arts Degree

in Curriculum and Instruction from the University of Connecticut Neag School

of Education Integrated Bachelor’s and Master Music Education program. Further,

she received her Level 1 Kodály Certication from the Intermuse Kodály Academy

at Brigham Young University in Provo, UT and is currently enrolled in the Loyola

University Maryland Kodály Music Education Masters and Certication Program

in order to attain a second Masters Degree. In her free time, Amanda sings as a

soprano for the Wilton Singers located in Wilton, CT and is a Qualied Adjudicator

for CMEA to evaluate musicians for acceptance into regional and all state festival

ensembles.

Middle School Lesson Plans

What Is Music?

Grace Carver

Class/grade(s):

6-8th Grade General Music

Content Objective

Students will discuss “What is Music?” by listening to contrasting pieces of music

and engaging in pair and classwide discussion.

Language Objective

Students will describe what qualies something as music/musical using

background knowledge and personal anecdotes to construct a Word Web.

(For example, “music is a way to express feelings,” “music can be fast, slow, or

medium,” “music is what my family plays at our parties,” etc.)

Students will write a defense to justify whether the listening sample is music/

musical using the support of a sentence structure.

Yes, this is music [or] No, this is not music because ______________ (parameters of

music heard in song).

Standards

National Core Arts Standards

Language

Interpret MU:Re8.1.6a Describe

a personal interpretation of how

creators’ and performers’ application of

the elements of music and expressive

qualities, within genres and cultural and

historical context, convey expressive

intent.

CELP 6-8.2 An EL can participate

in grade- appropriate oral and written

exchanges of information, ideas, and

analyses, responding to peer, audience,

or reader comments and questions.

CELP 6-8.4 An EL can construct

grade appropriate oral and written

claims and support them with

reasoning and evidence.

Key Vocabulary:

Parameters (of music), sound, defend

Materials:

● Whiteboard/Marker (Word Web)

● What Is Music? Prezi (with listening excerpts

included)

● Introduction to John Cage (on Prezi)

● Is What You’re Hearing Music? Worksheet

Lesson Tasks/Activities

Warm-Up/Motivation

Teacher starts the class by projecting the objectives on the board and asking

students to read each content objective and the language objectives. (1, 2).

“Last week we nished our What is Music? project in which you designed

and drew a poster portraying images and words of what music is to you. We

also did a gallery walk in which you went around the room to look at other

students’ displayed posters. What are some themes or keywords you drew on

your poster or observed on other posters?” (8, 9, 27)

Teacher draws a Word Web with “What is Music?” as the center of the web. (9)

Teacher also writes the word “parameter” on the whiteboard (separate from the

Word Web) for visual support. (27)

“Using any background knowledge you have, tell me what you know about the

word ‘parameter.’” Teacher gives students the opportunity to raise their hands

and answer, using clues, like what “parameter” means in math class, to help

prompt students. (7, 26)

Teacher says out loud and then writes on the whiteboard, “Parameters of music

are the characteristics and factors that we use to talk about and describe

music.” Teacher then uses examples familiar to students to emphasize this key

vocabulary. For example, the music teacher might say, “What makes a movie a

horror movie?”

Lesson Tasks/Activities (continued)

Students might list factors like “violence; darkness; jump-scares; blood and gore;

monsters.” Teacher follows this with, “Great! These are examples of parameters

that make up a horror movie. Today in class, we are going to talk about the

parameters of music.” (7, 9)

Teacher returns to the Word Web that reads “What is music?” and asks students

what qualies something as music. Teacher expands upon the Word Web with

themes and words that students contribute to the Web. Teacher additionally

translates provided vocabulary and concepts into Spanish or other L1.

— Students raise their hands and give examples of what key words or

themes they brainstormed for their poster project or noticed while

observing others’ projects.

Ex: “Music is with instruments”; “Can be different genres”; “Music can be any

sound”; etc. (19, 21)

Presentation and Application

Teacher projects the What Is Music? Prezi on the Smartboard and hand out Is This

Music? worksheet to each student. “You have a lot of ideas about what music is,

as shown on our Word Web.” Teacher asks a student to volunteer to read the

directions of the next task. (20)

“Your next task is to

(1) Listen to samples from several songs written by different composers I will play.

(2) While you listen to the song being played, write down or bullet point in

the empty box what parameters of music that you hear.

(3) Decide if you think this listening sample is music to you or not. Fill in

the sentence structure to create a defense. For example, ‘Yes, this is music

because ________’ or “No, this is not music because ______.’

(4) Think, Pair, Share.”

Teacher asks a student to explain a Think, Pair, Share while simultaneously

displaying it on the board.

Think—Think about what you what you’re hearing (rst impressions).

Pair—Turn to the person next to you.

Share—Share your thoughts and opinions with your partner. Then, as a class,

we will expand the “share” into a whole-class discussion. (11)

Lesson Tasks/Activities (continued)

Teacher will play listening examples one at a time. Play a 2- to 3-minute excerpt

from each listening example. “Once you have come to a conclusion about the

listening example, turn to the person next to you, and share your thoughts.”

Teacher pairs ELs in groups of two if possible. Teacher gives students two to

three minutes to Think, Pair, Share

— Students listen and create a defense for or against the position—Is this

music? (21)

After students have shared with their partner, the teacher calls the class to come

together as a whole.

— Students share their opinion and defense with the person next to them.

(16, 17, 21)

“Raise your hand if you think this piece is music. Now raise your hand if you

think this piece is not music.”

The teacher chooses one or two pairs of students to share their defense (one or two

for and one or two against). Teacher will write defenses as bullet points on the board.

— Students raise their hand to “vote” on whether the excerpt can be

considered music or not.

— Selected students will share their defense with the class. (21)

Teacher will repeat the procedure above for all four listening samples.

— Students complete Is This Music? Worksheet for each listening

example. (13)

Closing

“We listened to several different song examples today. Let’s look at the Word

Web we created before we began listening.” Teacher revisits and presents the

Word Web, What Is Music? (if not already visible to students). (27)

“What parameters do you see on our Word Web that we used to defend

whether the song example should be considered music or not?”

— Students respond with what parameters they see on the Word Web that

were also used to determine whether the music they heard in class qualied

as music. (28)

Review and Assessment(s)

● Students’ defense of whether a listening example is m

usic.

● Worksheet

● The closure where students return to the Word Web and naming the

parameters of music.

Possible Extensions

● Sound exploration, cr

eating music with found sound.

● Students (individually, in pairs, or in small groups) can adapt John Cage’s

“Living Room Music” to suit their own musical tastes.

● Students interview family members about their musical memories or what

music is to them and share ndings with one another; additionally, students

might explore ways the music is used in different everyday occurrences, such

as (family, cultural, religious) traditions

Context for SIOP Strategies Used

#1 Content objectives c

learly dened, displayed and reviewed with students

By placing the content objectives on the boar

d and reading them with

students, these objectives are made explicit.

#2 Language objectives clearly dened, displayed, and reviewed with students

By placing language objectives on the board and reading them with students,

these objectives are made explicit.

#8 Links explicitly made between past learning and new concepts

By reviewing the previous “What is music?” unit and drawing attention to the

vocabulary used in that unit, the teacher is making explicit reference to past

learning, and linking it to the content and language of this lesson.

#9 Key vocabulary emphasized

By having students review previous vocabulary, the key vocabulary is

emphasized

Context for SIOP Strategies Used (continued)

#27 Comprehensive review of key vocabulary

By having students review previous vocabulary, the key vocabulary is

reviewed

#9 Key vocabulary emphasized

Use of a word web emphasizes the vocabulary.

#27 Comprehensive review of key vocabulary

The key vocabulary word “parameter” is emphasized and then reinforced by

writing it on the whiteboard.

#7 Concepts explicitly linked to students’ background experiences

Asking students to describe previous experiences with the word “parameter”

in math class and elsewhere links to students’ background experiences.

#7 Concepts explicitly linked to students’ background experiences

Using examples like horror movies provide opportunities to link the key

vocabulary “parameter” to previous experiences.

#26 Pacing of the lesson appropriate to students’ ability levels.

When asking students to nd previous times they have experienced

parameters, it is important to give sufcient wait time for students to think.

#9 Key vocabulary emphasized

By placing “parameter” within the context of music, the vocabulary is

emphasized.

#19 Ample opportunities for students to clarify key concepts in L1 as Needed with Aide,

Peer, or L1 Text

Student are provided opportunity to connect vocabulary to L1

#21 Activities provided for students to apply content and language knowledge in the

classroom

While describing what constitutes music, students are encouraged to use key

vocabulary of this lesson and past lessons.

#20 Hands-on materials and/or manipulatives provided for students to practice using

new content knowledge in the classroom

Worksheet serves as a hand-on material.

#11 Clear explanation of academic tasks

Teacher is clear about what is expected of students in “think, pair, share”

small groups.

Context for SIOP Strategies Used (continued)

#21 Activities provided for students to apply content and language knowledge in the

classroom

By creating a defense, students are given an opportunity to apply the language

and content knowledge to achieve objectives of the lesson.

#16 Frequent opportunities for interaction and discussion between teacher/student and

among students, which encourage elaborated responses about lesson concepts

By discussing their defense in small groups, in the whole class, and with the

teacher, the students are given opportunity for frequent discussion.

#17 Vary grouping congurations

By rst doing a think, pair, share and then teaming up with other pairs, the

grouping is varied.

#21 Activities provided for students to apply content and language knowledge in the

classroom

Provides yet another opportunity to apply content and language.

#21 Activities provided for students to apply content and language knowledge in the

classroom

Provides yet another opportunity to apply content and language.

#13 Ample opportunities provided for students to use learning strategies

By using four listening samples, students have ample opportunity to use

learning strategies.

#27 comprehensive review of key vocabulary

By returning to the word web, key vocabulary is reviewed.

#28 comprehensive review of key concepts

By using vocabulary to rene their denition of music, key concepts are

reviewed.

Grace Carver teaches middle school general music in Connecticut. She attended

the University of Connecticut where she obtained a BS in Music Education, a BA

in Music, an MA in Curriculum and Instruction, and a graduate certicate in voice

performance. When she isn’t teaching, Grace enjoys traveling, hiking, cooking, and

writing and recording music.

Is What You’re Hearing Music?

¿Es música lo que estas escuchando?

Task: Miss Carver is going to play several excerpts of music written by dierent

composers. Your job is to consider whether this is music to you or not. Use the boxes to

write down rst impressions and keywords as you listen. en, defend why this is or is

not music to you using the sentence structure. Be specic!

Tarea: Miss Carver va a reproducir varias muestras de música escritas por diferentes

compositores. Tu trabajo es considerar si esto es música en tu opinión o no. Utilice los

cuadros para escribir las primeras impresiones y palabras clave a medida que escucha.

Luego, deende por qué esto es o no es música en tu opinión usando la estructura de la

oración. ¡Se especíco!

Name/Nombre: ________________

Period/Clase: __________________

Listening Sample 1/Muestra de escucha 1:

Circle one: Yes, this is music. || No, this is not music.

Hacer un círculo alrededor: Sí, esto es música. || No, esto no es música.

because/porque... ____________________________________________________

__________________________________________________________________

Listening Sample 1/Muestra de escucha 2:

Circle one: Yes, this is music. || No, this is not music.

Hacer un círculo alrededor: Sí, esto es música. || No, esto no es música.

because/porque... ____________________________________________________

__________________________________________________________________

Listening Sample 1/Muestra de escucha 3:

Circle one: Yes, this is music. || No, this is not music.

Hacer un círculo alrededor: Sí, esto es música. || No, esto no es música.

because/porque... ____________________________________________________

__________________________________________________________________

Listening Sample 1/Muestra de escucha 4:

Circle one:

Yes, this is music. || No, this is not music.

Hacer un círculo alrededor: Sí, esto es música. || No, esto no es música.

because/porque... ____________________________________________________

__________________________________________________________________

C & G7 Chord Accompaniment Arrangement

Emily Renski

Class/grade(s):

Beginning Piano, High School, Grades 9-12

Content Objectives

Students will read and play block and broken C & G7 chords independently and

with partners

Language Objectives

Students will identify vocabulary, including melody, accompaniment, block, broken,

inverted, minor, major, cluster chords to create their own accompaniments for

“Ode to Joy.”

Students will derive the chord progression of “Ode to Joy” using C & G7 chords,

and perform the piece with two hands.

Students will arrange and perform short melodies of “Ode to Joy” using block,

broken, and inverted C & G7 chord accompaniments.

Using a feedback template, students will provide feedback to student performers

using key vocabulary of chords, dynamics, phrasing.

I noticed (dynamics, phrasing, chord playing)

I wonder (dynamics, phrasing, chord playing)

Standards

National Core Arts Standards

Language

Perceive and analyze artistic work –

MU:Re8.1.H.Hs novice: Identify

interpretations of the expressive intent

and meaning of musical selections,

referring to the elements of music,

context (personal and social), and (when

appropriate) the setting of the text

CELP 9-12.2 Level 3 – An EL can

participate in grade-appropriate oral

and written exchanges of information,

ideas, and analyses, responding to

peer, audience, or reader comments

and questions.

Key Vocabulary:

● Dynamics (pianissimo, piano, mezzo piano, mezzo

forte, forte, fortissimo, crescendo, decrescendo)

● Phrasing (slur, accent, staccato, legato)

● Chord—block, broken, inverted, major, minor, cluster

Materials:

● Word wall with key vocabulary

● Electric pianos, headphones for each student

● Yellow and purple Post-It Notes

● Smartboard—with C & G7 piano chord projections

● Handout—“Ode to Joy” (C major), RH melody;

prompts on back (I noticed, I wonder)

Lesson Tasks/Activities

Lesson Sequence

Opening/Preparation:

1. C and G7 chords are projected on

Smartboard as chord shapes on keyboard and

as notation.

2. T tells Ss, “In the last class, we learned two

new chords, C & G7. Let’s review what they

Components

4. Supplementary materials

used to a high degree,

making the lesson clear and

meaningful

Lesson Tasks/Activities (continued)

look and sound like together, and then we will

practice using them in a piece of music and then

create our own melodies.” T draws attention to

objectives written on board:

a. Content objective: I can read and play

block and broken C & G7 chords

independently and with a partner.

b. Language Objective: I can identify

vocabulary, including melody,

accompaniment, block, broken, inverted,

minor, major, cluster chords by creating

and performing my own accompaniment.

3. The following rhythm is on the board for Ss to

clap in common time (T may use any rhythmic

makeup based on students’ prior knowledge):

Comprehensible Input:

4. After addressing any rhythmic issues that may

arise, Ss will add some sort of dynamic

marking, using their word wall for choices

(forte, mezzo forte, mezzo piano, piano,

crescendo, decrescendo). T asks, “let’s add some

dynamics—or levels of volume—to our rhythm.

1. Content Objectives

clearly dened, displayed

and reviewed with

students

2. Language Objectives

clearly dened, displayed

and reviewed with

students

8. Links explicitly made

between past learning and

new concepts

9. Key Vocabulary

Emphasized

Lesson Tasks/Activities (continued)

We know some different dynamics—take a look

at our Word wall, what pops up?” T will call on

students and one S will write the marking on

the board under the rhythm. Ss clap rhythm as a

class with added dynamics. For example, Ss may

choose p—T asks, “piano marking tells us how

to play? (softly) Where do you think we should

put a soft—or piano—marking on our rhythm?

Keeping dynamics, T changes rhythm to:

Ss clap new rhythm with dynamics.

5. “Ode to Joy”: T passes out RH melody of

“Ode to Joy” on staff (key of C). “Let’s look at a

new piece of music. Here we have the right

hand (RH), with the melody written. Let’s clap

the rhythm.” Ss clap rhythm as a class. “Where

have we seen this rhythm?” (exercise on board).

“Take a moment and play the RH melody to

yourself.” Ss play independently.

“This piece, ‘Ode to Joy,’ needs an accompaniment,

something to support the melody. We can play this

accompaniment in our LH with chords we know.”

12. A Variety of Techniques

Used to Make Content

Concepts Clear

17. Vary Grouping

Congurations

Lesson Tasks/Activities (continued)

Strategies:

6. T passes out yellow (C) and purple (G7) post-

its to students. “With a partner, see where you

think C and G7 chords should be played with

the melody.” In pairs, students gure out where

they think each chord belongs (alternatively,

this could be done as a whole class on a Smart

Board), putting the Post-It in its appropriate

place under the melody. One S plays RH, other

plays LH. Switch parts.

Interaction:

7. “What dynamics can you add to this melody?

Make some decisions and be ready to discuss

why you picked your dynamics and put them in

particular places.” Ss work together in pairs to

add dynamic markings to piece.

8. Ss play together with chosen dynamics—one on

RH, one on LH. Switch.

9. Ss then practice putting both hands together

and playing melody/accompaniment with their

dynamics. T circulates among pairs to check

in and hear how students are making dynamic

choices.

Practice/Application:

10. In same pairs, Ss create arrangements to “Ode

to Joy,” varying their accompaniments. T gives

suggestions, demonstrating after each one:

a. What are ways you can make two chords

sound very different? Can they be played

as clusters? Speed up the tempo? The

rhythm? Maybe you swing the melody. Any

inversions of the chord? Leave a note out,

11. Clear explanation of

academic tasks

13. Ample opportunities

provided for students to

use learning strategies

17. Vary Grouping

Congurations

14. Scaffolding Techniques

consistently Used,

Assisting and Supporting

Student Understanding

16. Frequent

opportunities for

interaction and discussion

between teacher/student

and among students, which

encourage elaborated

responses about lesson

concepts

Lesson Tasks/Activities (continued)

change a note in the RH or LH, or

turn it from major to minor; create an

ostinato in the left hand; could do in a

different key (if students know key of

G, perhaps); arpeggio/broken chord or

Alberti bass; LH melody; 6/8 or other

time signature.

b. Notate on staff, or using iconic notation

or other visual representation.

c. Ss can look at the word wall for

inspiration and help as you make

choices.

11. Ss brainstorm and make choices about their

accompaniment and arrangement—adding

and writing on the original handout. Ss

practice new arrangements, either with one

group of Ss on RH and another on LH, or

hands together

Closing/Review and Assessment:

12. Mini-performance: Each pair shares with

another pair to perform their arrangements.

As each pair plays, the listeners will ll out

the back of the handout, which says “I noticed

… I wonder …” After each performance,

listeners will share their thoughts. Performers

will describe what musical choices they made

using the key vocabulary from the word wall

to help them. T prompts more writing and

discussion in groups: “what was helpful about

this sharing experience? What did you notice

about your arrangement and the other pair’s

arrangement? Anything in common? What was

different?”

21. Activities provided for

students to apply content

and language knowledge in

the classroom

20. Hands-On Materials and/

or Manipulatives Provided for

Students to Practice Using

New Content Knowledge in

the Classroom

22. Activities integrate all

language skills (i.e., reading,

writing, listening, and

speaking)

27. Comprehensive review

of key vocabulary

28. Comprehensive review

of key concepts

Review and Assessment(s)

The teacher can triangulate assessment data from the following sources:

● The students’ visual representation of their “Ode to Joy” accompaniment

and arrangement

● The students’ performance of their “Ode to Joy” accompaniment and

arrangement

● The students’ feedback to one another about what they heard, and their

own rationale for what musical choices they made, using key vocabulary to

describe such choices.

Possible Extensions / Adaptations

● Students could perform their “Ode to Joy” arrangements for the entire class.

● Students swap arrangements with one another and play/perform them,

discussing in pairs or small groups the musical choices and rationales to

utilize key vocabulary.

● Students take the melody of another new or known song—either from class

or an easy pop melody and create an accompaniment.

Emily Renski is a passionate and caring educator, clarinetist, singer, and social

justice advocate. She is a graduate of University of Connecticut with a B.S. in

Music Education, B.A. in Music, and an M.A. in Curriculum and Instruction. Renski

teaches Choir at East Lyme Middle School in East Lyme, Connecticut. She is a

writer for the Connected, Respected, and Celebrated Curriculum for the Unied

Arts team across the elementary schools in the Ledyard Public Schools District.

Renski believes every voice matters within the school community, especially when

it comes to the social-emotional well-being of students, and she strives to make

every student feel valued and respected whenever possible.

Form Analysis

Marguerite Abramo

Class/grade(s):

Middle School/High School General Music

Content Objectives

Demonstrate the form of the song “Llorarás” (“You Will Cry”) by Oscar d’Leon

through movement

Analyze the form of “Let it Be” by The Beatles through verse, chorus, bridge, coda

Language Objectives

The students will identify and use key vocabulary during an analysis of the form

of “Let it Be”.

Identify the terms associated with “form” including verse, chorus, bridge through

listening to a pop song.

Standards

National Core Arts Standards

Language

MU:Re7.2.6a. Describe how the

elements of music and expressive

qualities relate to the structure of the

pieces.

WIDA ELD-SI 4-12 Explain:

● Generate and convey initial thinking.

● Follow and describe cycles and

sequences of steps or procedures

and their causes and effects.

Standards (continued)

National Core Arts Standards

Language

● Compare changing variables, factors,

and circumstances.

● Offer alternatives to extend or

deepen awareness of factors that

contribute to particular outcomes.

● Act on feedback to revise

understandings of how or why

something is or works in particular

ways.

WIDA ELD-LA 9-12 Inform

Interpretive: Interpret informational

texts in language arts by

● Identifying and/or summarizing

central ideas.

● Analyzing descriptions and

inferences in textual evidence

for key attributes, qualities,

characteristics, activities, and

conceptual relationships.

● Evaluating cumulative impact and

renement of author’s key word

choices over the course of text.

Key Vocabulary:

equal, different, musical form, verse, chorus, vridge, intro/

introduction, coda, repetition, and contrast

Materials:

Music:

● “Llorarás” by Oscar D’Leon

● “Let it Be” by The Beatles

MATERIALS:

● Recordings of above music

● Marker board, computer projection, or

SMARTboard

● Large paper to display form. Each paper has the

letter A and/or Verse or B and/or Chorus written

on it in large letters.

● Paper says “Same = [with a picture of two apples]

and “Different = [with a picture of an apple and an

orange]”.

● Essay on The Beatles and modied essay for

sheltered instruction.

Lesson Tasks/Activities

Lesson Sequence

Opening:

1. Vocabulary “equal” and “different”

Show the Ss the paper with oranges and apples.

T says, “I want to show you this paper. Here

we have two apples. These are equal. Here,

we have an apple and an orange. They are

different.

2. T says, “Today, we’re going to talk about parts

of songs and whether they are the same or

different. This is called identifying ‘form.’” Write

the objectives on the board and review with

students:

a. Content objective: I can analyze the

musical form of the song “Let it Be” by

the Beatles.

Components

14 Scaffolding techniques

consistently used, assisting

and supporting student

understanding. By reviewing

same and different, this

vocabulary used to distinguish

different parts of the form are

made explicit.

1 Content objectives clearly

dened, displayed and

reviewed with students.

2 Language objectives

clearly dened, displayed, and

reviewed with students.

Lesson Tasks/Activities (continued)

Lesson Sequence

b. Language Objective: I can identify the

words equal, different, musical form by

listening , writing , and reading .

3. Dance to “Llorarás.” T says, “Please get

up. We’re going to dance to a song.” Play the

song and repeat after me, and then show the

movements of the dance. Then say, “Look”

and change the movements of the dance. (Any

movements will do, as long as they represent

the change in form from one section to

another.) Listening and doing the movements,

T can hold up papers with A or B, or Verse and

Chorus to show the students visually the parts

of the form. Repeat this process with another

song. Possible song: “Me Enamoré” (“I Fell in

Love”) by Shakira.

4. Preparing to listen to “Let it Be.” T

says, “Ok, let’s listen to another song with the

name ‘Let it Be’ by the Beatles” (and point to

the title in the objectives written on the board).

Hand out the form chart. Say, “Under number 1,

write ‘Intro.’ Now write an A under number 2.”

Practice/Application:

5. Listen to “Let it Be” form. Break

students up into pairs or small groups. Tell

students they are going to ll out this chart

using either A or B (see attached for the

sheet and the key).

“Now, let’s listen. Are you

ready?”

1 There is also a bridge and an outro (or coda) that should be

labeled with a C. Depending on students’ abilities, the teacher might tell

them this is a possibility or give them the answer to those before listening

to the song.

Components

20 Hands-on materials and/

or manipulativ

es provided

for students to practice using

new content knowledge in

the classroom. By using dance,

the students will experience

the form of the song using

kinesthetics. Papers demonstrate

the form visually.

7 Concepts explicitly linked

to students’ background

experiences. By using music

from the EL’s background

(in this case, a well-known

recording of Salsa), links to

previous experiences and is

culturally responsive.

11 Clear explanation of

academic tasks. When asking

students to get up to dance it

is important to gesture so that

tasks are clear. When helping

students ll out the chart

use the board to make the

directions clear. In addition, be

explicit about the required tasks

when breaking students into

pairs.

Lesson Tasks/Activities (continued)

Lesson Sequence

(You can add students’ L1 language here as

well, for example, in Spanish “¿Ustedes están

listos?”) Play song and help the Ss complete

the paper. It is important to put the board

on the chart calling out the different parts of

the song and pointing to the numbers as the

various parts arrive. After Ss have completed

listening to the song and analyzing the form in

pairs, have Ss combine into quartets to share

and then compare their answers.

6. Listen for instruments in “Let it Be.”

Repeat #4, this time instead of listening for

the form, ask students to list the different

instruments (including voices) that they hear in

each of the sections.

7. Introduce “contrast” and

“repetition.” Ask, “what are some patterns

you notice?” Possible answers might be

that although the form repeats, there is no

repetition with the same instrumentation. T

then introduces the terms “repetition” and

“contrast.” T puts the words on the board

and/or adds them to a word wall. T can then

relate these terms back to the terms “same”

and “different” T then describes how all music

balances repetition and contrast.

Closure:

8. Dance to another song. Possible song: “Loma

de Cayenas” (“Cayenes/Hibiscus Hill”) by

Vicente García and Juan Luis Guerra. While

dancing to this song, do not model the changes

in form; allow the class to take the lead to

change the moves for the changes.

Components

16 Frequent opportunities

for interaction and discussion

between teacher/student

and among students, which

encourage elaborated

responses about lesson

concepts. Breaking students

into pairs provides opportunities

for students to practice

speaking and apply content.

19 Ample opportunities

for students to clarify key

concepts in L1 as needed

with aide, peer, or L1 text.

When breaking into pairs, allow

ELs to work with each other to

review information in L1.

17 Vary grouping

congurations. By meeting rst

in a pair to listen to the song

together, then in another group

to share their answers, and

then a third group to read the

essay, the students are in varied

congurations.

27 Comprehensive review of

key vocabulary

28 Comprehensive review of

key concepts

The teacher should review and

help students apply the key

vocabulary of verse and

chorus, introduction, and other

vocabulary through the closure.

Review and Assessment(s)

● Students’ complete form chart.

● Observation of students’ movements in the closure.

Possible Extensions

● Dance to additional songs.

● Either individually or in small groups, students create a visual representation

of the form of a song of their choosing.

● Write an original composition using form, either individually or in small groups.

● If the teacher is particularly interested in fortifying vocabulary, students can

read an essay on The Beatles or on The Beatles’ use of musical form. Students

may do this activity in pairs. A common strategy in SIOP is modifying text.

This extension demonstrates this strategy. The essays can be modied for

ELs by (1) adding pictures that contextualize the information, (2) simplifying

difcult language, (3) adding information about U.S. culture that someone

from another country might not know. (See attached essays as an example of

how music educators might modify these texts). This fullls: 5 Adaptation of

content to all levels of student prociency.

● Analyze the form of song chosen by students. Students could:

● Create their own dances.

● Make their own charts.

● Offer other representations of the form.

● Write a song with a simple ABA or verse/chorus form. Differentiation could

include:

● Use of loops in GarageBand or other recording and sequencing

software.

● Create a hip hop track where the chorus of “Let it Be” is used as the

hook.

● Students can rehearse and perform “Let it Be.” This can range from students

singing, to playing all instruments, to creating their own arrangement. Through

this extension, the teacher can reinforce the concepts taught using the

academic language of contrast and repetition.

Marguerite Abramo is a retired music teacher who taught in the Port

Jefferson Schools in New York State. Over her thirty-year career in the district,

she taught K–12 general music, chorus, orchestra, music theory, and visual arts, and

served as a Dean of Students. She would like to acknowledge the late Dr. Lawrence

Eisman, a professor of music education at Queens College, City University of New

York for teaching her an early iteration of this lesson that she adapted over the

course of her career.

Let It Be

1 2 3 4

5 6 7 8

Form

Instruments

(timbre, or-

chestration)

9 10 11 12

13 `14 15 16

Form

Instruments

(timbre, or-

chestration)

Let It Be “Key”

1 2 3 4 5 6 7 8

Form A

(Intro)

(Verse)

A B

(Chorus)

A A B B

Instruments

(timbre, or-

chestration)

9 10 11 12 13 14 15 16 17

C (Bridge) A

(Guitar

Solo)

B A A B B B

(Outro)

e Beatles

From Encyclopedia Britannica

https://www.britannica.com/topic/the-Beatles

e Beatles, formerly called the Quarrymen or the Silver Beatles, by name Fab

Four, British musical quartet and a global cynosure [focus of attention] for the hopes

and dreams of a generation that came of age in the 1960s. e principal members were

John Lennon (b. October 9, 1940, Liverpool, Merseyside, England—d. December 8,

1980, New York, New York, U.S.), Paul McCartney (in full Sir James Paul McCartney;

b. June 18, 1942, Liverpool), George Harrison (b. February 25, 1943, Liverpool—d.

November 29, 2001, Los Angeles, California, U.S.), and Ringo Starr (by name of

Richard Starkey; b. July 7, 1940, Liverpool). Other early members included Stuart

Sutclie (b. June 23, 1940, Edinburgh, Scotland—d. April 10, 1962, Hamburg, West

Germany) and Pete Best (b. November 24, 1941, Madras [now Chennai], India).

Formed around the nucleus of Lennon and McCartney, who rst performed

together in Liverpool in 1957, the group grew out of a shared enthusiasm for American

rock and roll. Like most early rock-and-roll gures, Lennon, a guitarist and singer,

and McCartney, a bassist and singer, were largely self-taught as musicians. Precocious

composers, they gathered around themselves a changing cast of accompanists, adding

by the end of 1957 Harrison, a lead guitarist, and then, in 1960 for several formative

months, Sutclie, a promising young painter who brought into the band a brooding

sense of bohemian style. After dabbling in skie, a jaunty sort of folk music popular

in Britain in the late 1950s, and assuming several dierent names (the Quarrymen, the

Silver Beetles, and, nally, the Beatles), the band added a drummer, Best, and joined a

small but booming “beat music” scene, rst in Liverpool and then, during several long

visits between 1960 and 1962, in Hamburg—another seaport full of sailors thirsty for

American rock and roll.

e Beatles

e Beatles were a musical group of four

musicians during the 1960s. ey were

from Liverpool, England. e members

were John Lennon, Paul McCartney,

George Harrison, and Ringo Starr.

John Lennon and Paul McCartney began

performing together in 1957. e group

grew out of a love of American rock and

roll. Like most early rock-and-roll gures,

Lennon and McCartney were largely self-

taught as musicians. Lennon was a guitarist

and singer. McCartney is a bassist and

singer. ey were strong writers of music or

composers at an early age.

“Let It Be” is a song written about Paul

McCartney’s mother, Mary, who died when

he was 14.

Above, clockwise from top left: John Lennon,

Paul McCartney, Ringo Starr, and George

Harrison.

A composer writes music.

Theme and Variations

Nicholas R. McBride

Class/grade(s):

Elementary or middle school general music (can be

adapted for mixed levels, grades, etc.)

Content Objectives

Students will identify a theme in a musical example, understand ways to create

variations, and then compose their own themes and variations.

Students will build on existing understandings of rhythm and melody.

Language Objective

Students will use the terms theme and variations to describe musical examples.

Students will identify and describe rhythm, melody, tempo, and harmony to discuss

and provide feedback for peer compositions.

Standards

Language

National Core Arts Standards

MU:Pr4.3.E: Develop personal

interpretations that consider

creators’ intent historical context,

convey expressive intent.

MU:Re9.1.E: Process Component:

MTE— Evaluate—Support personal

evaluation of musical works and

performance(s) based on analysis,

interpretation, and established

criteria.

ELD-LA .4-5 .Inform .Interpre-

tive: Interpret informational texts in

language arts by

• Identifying and summarizing main

ideas and key details.

• Analyzing details and examples

for key attributes, qualities, and

characteristics.

National Core Arts Standards

ELD-SI 4-12 Explain:

• Generate and convey initial thinking.

• Follow and describe cycles and

sequences of steps or procedures and

their causes and effects.

• Compare changing variables, factors,

and circumstances.

• Offer alternatives to extend or

deepen awareness of factors that

contribute to particular outcomes.

Standards (continued)

Language

Key Vocabulary:

● Theme and variations

● Rhythm

● Melody

● Tempo

● Harmony

Materials:

● Scratch/staff paper and writing implements

● Traditional and nontraditional/improvised

instruments

Lesson Tasks/Activities

Warm-Up/Motivation:

1. Students listen to several versions of a [popular theme song](e.g., nd a few

different versions of The Simpsons, Family Guy, Super Mario Brothers, Victorious,

iCarly, Big Time Rush, The Ofce, Parks and Rec.) and respond to the question,

“What changes do you hear between each version of this song?” Teacher

or volunteer student writes answers to the question on the board. (3, 6,

10, 15, 30)

2. Through guided discussion, students connect the experience with similar

concepts from other arts, cultures, and students’ lived experiences. As an

example of cultural variations on a story students may know, the teacher

Lesson Tasks/Activities (continued)

asks students about the “Cinderella” folk tale, focusing specically on the

differences in the story from different cultures, literature, lm, and media.

Depending on student responses, the teacher may present examples of

the story from various cultures, using visual representations and alternate

character names to help students connect to the story from within their own

culture. (6, 7, 15, 16, 18, 19, 22)

Presentation/Application:

1. Teacher introduces the concept of theme and variations as a musical form,

describing ways to vary a theme (e.g., melodic, rhythmic, tempo, tonality,

instrumentation, genre, etc.), composers who use it (e.g., Mozart), and

several popular examples, including a fun YouTube video explaining the

concept (3, 7, 9)

2. Teacher explicitly introduces the content objective: “Today we will compose

themes and variations of our own using anything in this room.” Groups may

compose their own theme or use a teacher-composed theme. Groups will

compose at least 3 variations on their theme. (5, 6, 10, 11, 19, 20)

3. Teacher writes objectives on board:

a. “I can identify a theme.”

b. “I can identify rhythmic variations.”

c. “I can identify melodic variations.” (1, 2, 3)

4. Teacher engages students in a call-and-response activity using a short, simple

melody sung on a neutral syllable. After each successful response, the teacher

uses one of the variation methods explained earlier to demonstrate several

possibilities to students. For example, the teacher might vary the theme as a

Reggaeton style and add a traditional Reggaeton beat with their hands. Teacher

emphasizes vocabulary during this activity. (9, 12)

5. Students break into small groups to quickly come up with 1 variation each on

the teacher’s short theme. The teacher plays the theme again and asks each

small group to sing or hum their short variation. “You can hear how many

different compositions you can come up with on just this short melody. Now

it’s your turn to try composing 3 variations on a theme. You can write your

own theme, or if you need some ideas, I can help you write one.” (11, 17, 19)

Lesson Tasks/Activities (continued)

6. Students work in small groups to compose a theme and at least 3 variations

(or at least 3 variations on a teacher-provided theme) using the information

they learned earlier in the lesson. Each group can use scratch or staff paper

to notate their compositions using traditional or nontraditional notation.

Alternatively, students can use notation software or recording software. If

students have a difcult time creating their own theme, they can choose an

existing theme they know. (8, 14, 17, 21, 23, 26, 30)

Closing:

1. Each student group shares their compositions. Other groups and the

teacher offer constructive criticism and evaluate compositions. Teacher

will provide a handout or information will be posted on the board with

language suggestions for offering peer feedback. For example, “I liked

___________,” or “I noticed that___________,” or “Maybe you should

add_______________,” etc. (10, 15, 16, 22, 23, 29, 30)

2. Groups then revise and rene their compositions based on feedback and

present their nal compositions to the class. (14, 15, 18, 19, 23, 29

3. Teacher asks students to talk about their composition and revision process,

reviewing vocabulary and helping students see connections between

previously learned skills and their compositions.

a. “How did you use the feedback to revise your compositions?” (“I used the

feedback from my teacher and peers to change __________________ in

my variation.” For example, the tempo, instrumentation, tonality, dynamics,

etc.

b. “What types of variations could you identify from other groups’

performances?” (“I noticed that the other groups changed the

_______________ of the music in their variations.” For example, the

tempo, instrumentation, tonality, dynamics, etc.)

c. “Where else do you nd themes and variations in your life?” (“I see

variation in my life in __________________.”) (8, 9, 16, 18, 22, 27, 28, 30)

Review and Assessment(s)

The teacher can triangulate assessment from the following sources:

● Student responses to discussion questions

● Original student compositions

● Revised student compositions

● Final group performances

Possible Extensions

● Students can pr

esent (reading aloud, reciting from memory, etc.) their

versions of “Cinderella” to the class. Perhaps one version could be developed

into a short play for which students can supply composed incidental music.

● Watch several videos of performances involving themes and variations,

including some improvisatory performances (this can segue into discussions

of several improvisatory genres of music, e.g. jazz, baroque [da capo arias]).

● Discuss the history of variations and other ways variations appear outside

music.

● Students present a Themes and Variations concert or showcase to other

classes or as part of an assembly or school concert.

Context for SIOP Str

ategies Used

3. Content concepts appropriate for age and educational background level of

students.

Lesson is relatable to students’ prior learning and lived experiences and is adaptable

to a variety of backgrounds.

4. Supplementary materials used to a high degree, making the lesson clear and

meaningful.

Materials include several excerpts from different cultures’ versions of “Cinderella,”

Copland’s “Simple Gifts,” and excerpts from popular music and television shows

relevant to students.

5. Adaptation of content to all levels of student prociency.

During the student activities, groups are built to pair students of varying levels and

Context for SIOP Strategies Used (continued)

the teacher is available to help develop original compositions. The exible nature of

composing variations makes the content objective level-independent. Other activities

and examples are easily adapted to meet the needs of the students.

6. Plan meaningful activities that integrate lesson concepts with language practice

opportunities for reading, writing, listening, and/or speaking.

Lesson incorporates several opportunities for volunteer responses, written responses,

peer-to-peer discussion, and group discussion.

7. Concepts explicitly linked to students’ background experiences.

The teacher relates the theme and variations concept to culturally relevant music,

stories, and art (“Cinderella” variations, popular music examples, and student-

provided examples).

8. Links explicitly made between past learning and new concepts.

Throughout the lesson, the teacher will draw from previously learned concepts (e.g.,

melody, harmony, tempo, etc.) to provide examples of themes and variations.

9. Key vocabulary emphasized.

Key vocabulary is introduced during the opening, repeated several times during the

presentation, incorporated into student activities, then reviewed during and after

students’ nal presentations.

10. Speech appropriate for students’ prociency levels.

Throughout the lesson, the teacher uses language appropriate to students’

prociency and avoids jargon and slang.

11. Clear explanation of academic tasks.

The teacher provides thorough explanations for all tasks, using language

appropriate to the prociency of the students.

12. A variety of techniques used to make content concepts clear.

Throughout the lesson, the teacher will use various differentiated learning

techniques (lecture, visual and aural examples, call and response, and group

activities) to engage students of all learning types and to ensure the content

concepts are fully understood.

14. Scaffolding techniques consistently used, assisting and supporting student

understanding.

Teacher provides numerous culturally relevant examples, asks guiding questions at

several points in the lesson, and engages students in a call-and-response activity.

Context for SIOP Strategies Used (continued)

15. A variety of questions or tasks that promote higher-order thinking skills (e.g.,

literal, analytical, and interpretive questions).

Students respond to aural examples, noting differences; consider the extension of

the musical concept of theme and variations into other aspects of their lives; and

interpret key concepts (i.e., types of variations) as they appear in their own and

their peers’ compositions.

16. Frequent opportunities for interaction and discussion between teacher/

student and among students, which encourage elaborated responses about lesson

concepts.

The lesson begins with an open discussion that establishes a basic concept of

introducing differences to an existing musical work. Students work in small groups

several times to discuss and develop compositions that include examples of key

vocabulary. At the close of the lesson, students engage in a guided discussion that

intentionally incorporates references to content concepts.

17. Vary grouping congurations.

Students engage as a class and work in small groups throughout the lesson.

18. Sufcient wait time for student responses consistently provided.

The teacher must always provide adequate time for students to fully understand

questions and tasks and to then form responses.

19. Ample opportunities for students to clarify key concepts in L1 (student’s

primary language) as needed with aide, peer, or L1 text.

Students have several opportunities to speak with their peers in L1 during the call-

and-response activity as well as during the group theme and variations activity.

20. Hands-on materials and/or manipulatives provided for students to practice

using new content knowledge in the classroom.

All classroom materials and objects are available for use in student compositions.

21. Activities provided for students to apply content and language knowledge in

the classroom.

Students use content and language knowledge to compose their themes and

variations and to then discuss the compositions using key vocabulary.

22. Activities integrate all language skills (i.e., reading, writing, listening, and

speaking).

Students may volunteer to write responses to questions on the board. They will listen

Context for SIOP Strategies Used (continued)

to a presentation and respond to guiding questions phrased appropriately for their

prociency.

23. Content objectives clearly supported by lesson delivery.

The lesson is sequenced and scaffolded to ensure students meet content and

language objectives. Various types of culturally relevant visual and aural examples

are provided, and activities are appropriate to students’ level.

24. Language objectives clearly supported by lesson delivery.

The teacher will introduce new terms in combination with visual and aural cues and

examples and using language appropriate to students’ prociency.

26. Pacing of the lesson appropriate to students’ ability levels.

The teacher will pace the lesson appropriately for students, scaffolding concepts in

order to support student understanding.

27. Comprehensive review of key vocabulary.

The students and teacher will review key vocabulary as they listen to, analyze,

critique, and discuss their compositions.

28. Comprehensive review of key concepts.

The teacher will ask guiding questions to review key concepts, encouraging students

to draw connections to other aspects of their lives.

29. Regular feedback provided to students on their output.

Students receive feedback on their verbal and written responses as well as to their

compositions.

30. Assessment of student comprehension and learning of all lesson objectives

throughout the lesson.

The teacher will triangulate assessment using students’ written and verbal

responses, original theme and variation compositions, and revised compositions.

Nicholas R. McBride is Associate Professor of Music Education at The

College of New Jersey where he teaches various undergraduate courses in Music

Education. In addition, he advises masters theses and teaches graduate History &

Philosophy of Music Education at Westminster Choir College and The University

of Delaware. Dr. McBride is a contributing author to the texts Narratives and

Reections in Music Education, Teaching Music through Performance in Middle School

Choir, Planning Instruction in Music, and has published scholarly articles in the Bulletin

of the Council for Research in Music Education, Music Education Research, Visions of

Research in Music Education, and Music Educators Journal, and serves on the editorial

board of Visions of Research in Music Education and Journal of General Music Education.

His research interests include LGBTQ and Gender issues in Music Education,

Queer Pedagogies & Curricula, Music Teacher Education, and Empathic Learning

Processes in Music Education. McBride is proud to have spent nearly a decade as

a middle and high school choral director and general music teacher in the New

Jersey Public Schools. He earned doctoral and master’s degrees in Music Education

from Teachers College–Columbia University, his dual Masters in both Choral

Conducting and Music Education from Northwestern University, and a bachelor’s in

Music Education from Westminster Choir College.

Composing With Emojis

William Sauerland and George Nicholson

Class/grade(s):

General Music/Middle School

Content Objectives

Students will:

1. Create a new song using emojis as musical notation.

2. Audiate and combine motives from preexisting songs.

3. Perform a newly-arranged composition through singing.

Language Objectives

Students will:

1. Discuss the emojis and musical motive they share with classmates.

2. Explain the musical choices made in group work..

Standards

National Core Arts Standards

Language

Creating: MU:Cr2.1.3a:

Demonstrate selected musical ideas for

a simple improvisation or composition

to express intent , and describe

connection to a specic purpose and

context.

ELD-SI.4-12.Inform

• Dene and classify facts and

interpretations; determine what is

known vs. unknown

• Report on explicit and inferred

characteristics, patterns, or behavior

Standards

National Core Arts Standards

Language

MU:Cr2.1.3b: Use standard and/

or iconic notation and/or recording

technology to document personal

rhythmic and melodic musical ideas.

MU:Cr3.1.5a: Evaluate, rene,

and document revisions to personal

music, applying teacher-provided and

collaboratively- developed criteria and

feedback, and explain rationale for

changes.

MU:Cr3.2.5a: Present the nal

version of personal created music

to others that demonstrates

craftsmanship, and explain connection

to expressive intent

Performing:

MU:Pr4.1.5a: Demonstrate and

explain how the selection of music

to perform is inuenced by personal

interest, knowledge, and context, as well

as their personal and others’ technical

skill.

MU:Pr6.1.5a: Perform music, alone

or with others, with expression,

technical accuracy, and appropriate

interpretation.

• Describe the parts and wholes of a

system

• Sort, clarify, and summarize

relationships

• Summarize most important aspects

of information

ELD.SI.4-12.Explain

• Generate and convey initial thinking

• Follow and describe cycles and

sequences of steps or procedures

and their causes and

effects

• Compare changing variables,

factors, and circumstances

• Offer alternatives to extend or

deepen awareness of factors that

contribute to particular outcomes

• Act on feedback to revise

understandings of how or why

something is or works in particular

ways

Key Vocabulary:

composing, form, lyrics, melody, motive

Materials:

● Reusable emoji icons (laminated printouts or digital

images)

● Traditional and nontraditional/improvised

instruments List of songs previously learned or

studied in class (optional)

Lesson Tasks/Activities

Preparation/Building Background

1. After welcoming students to class, teacher

displays four emojis on the board or using

overhead projector.

2. Teacher explains and shows written on the

board the objective of the lesson: Today, we will

be using emojis to create new compositions.

First, we will create melodies together, and then

in small groups, you will be using the emojis

to create new melodies. Near the end of class,

each group will perform their newly-created

composition for the whole class. (1, 2, 3)

3. Teacher reviews the key vocabulary by having

students describe composing, melody, motive,

and form. (9)

Preparation

1. Teacher introduces a short melodic motive

for each emoji, teaching each motive through

mimicry, using gestures to indicate when

the teacher is demonstrating and when the

students are invited to sing. (4, 5)

SIOP Components &

Features

1. Content Objectives clearly

dened, displayed and

reviewed with students

2. Language Objectives clearly

dened, displayed and

reviewed with students

3. Content concepts

appropriate for age and

educational background level

of students

9. Key Vocabulary Emphasized

4. Supplementary materials

used to a high degree,

making the lesson clear and

meaningful

5. Adaptation of content to all

levels of student prociency

Lesson Tasks/Activities (continued)

Examples:

a. star represents the rst measure of

“Twinkle, Twinkle Little Star”

b. teapot represents the rst measure of

“I’m a Little Teapot”

c. mouse represents the rst measure of

“Three Blind Mice”

d. rowboat represents the rst measure of

“Row, Row, Row Your Boat”

Comprehensible Input

2. Students are asked to describe the motive or

identify the song from which the motive is

derived. Guiding questions from the teacher

might include:

e. How many beats are in each motive?

f. Is our tempo slow or fast?

g. How could we reorganize the order of the

emojis to create a new melody? (10)

3. Students are invited to review the lyrics of each

motive. (Here teacher might need to review the

word “lyric.”) Teacher writes the lyrics of each

melody under each emoji. Review the words

and melody of each emoji. (11, 12)

4. Teacher re-orders the emojis to show how a

new melody can be created.

Strategies

5. Allow students to rearrange the motives

to create a new order. Students sing newly

arranged melody. (13)

6. Teacher introduces a longer melody (6 or 8

measures) by duplicating the above emojis.

7. Repeat Step #4 to engage students in creating

SIOP Components &

Features

10. Speech appropriate for

students prociency levels

11. Clear explanation of

academic tasks

12. A Variety of Techniques

Used to Make Content

Concepts Clear

13. Ample opportunities

provided for students to use

learning strategies

17. Vary Grouping

Congurations

Lesson Tasks/Activities (continued)

longer melodies using the same emojis. Repeat

until all students appear to understand the

activity. (13)

Interaction

1. Divide students into groups of four (17).

Students are asked individually to choose an

emoji; then, students are asked to assign a short

motive of a song of their choosing. (Teachers

need not worry if motives are of different lengths or

motives, so long as they are singable. For students

who struggle in thinking of a song, a teacher might

want to have a list of songs the class has previously

learned or studied from which students can draw

on for a melodic motive.) (16, 22)

Practice & Application

2. In small groups, students teach each other their

emoji motive. (17, 21, 22)

3. Student groups arrange their emojis in a specic

order to create a new melody of eight emojis.

Students are invited to include the emojis

learned by the whole class. (20, 21)

4. Students practice singing their melodies as a

group.

SIOP Components &

Features

16. Frequent opportunities

for interaction and discussion

between teacher/student

and among students, which

encourage elaborated

responses about lesson

concepts

20. Hands-On Materials and/

or Manipulatives Provided for

Students to Practice Using

New Content Knowledge in

the Classroom

21. Activities provided for

students to apply content and

language knowledge in the

classroom

22. Activities integrate all

language skills (i.e., reading,

writing, listening, and speaking)

Review & Assessment

1. Each student group performs their newly-

created composition for the whole class

2. Students discuss the emojis used to

represented melodic motives (28)

3. Teacher reviews key vocabulary (27)

28. Comprehensive review of

key concepts

27. Comprehensive review of

key vocabulary

Review and Assessment(s)

Assessment occurs through the following activities:

1. Teacher observes how students dene key vocabulary.

2. Teacher observes interaction and discussion between group members.

3. Teacher observes the informal “performance” of group songs.

Possible Extensions

1. Students create an ostinato as accompaniment for newly-created

compositions.

2. Students sing compositions together to create and evaluate harmonies.

3. Teacher records compositions to listen to and self-evaluate.

4. Students discuss and evaluate group compositions.

5. Students analyze the musical forms of each composition.

6. Students perform compositions on musical instruments or improvising

accompaniment to the compositions.

William Sauerland is an Assistant Professor of Music and Director of Choral

Studies at Pur

due University–Fort Wayne. Dr. Sauerland’s publications appear in

the Choral Journal, Journal for Music Teacher Education, Journal of Singing, and chapters

in The Choral Conductor’s Companion (GIA Publishing, 2020) and Resonance: A Choral

Methods Textbook (Pavane Publishing, 2021).

George Nicholson was born in Ridgewood, New Jersey, and grew up studying

music in the Ridgewood public school system as well as at the Manhattan

School of Music Preparatory program. He earned a bachelor’s degree from the

University of Miami, FL, and a master’s degree from the University of Georgia.

Nicholson had the privilege of teaching orchestra in Cobb County, GA at the

middle school and high school level to wonderful, passionate, and thoughtful

students. In 2014, Nicholson moved to New York City to pursue his doctorate

in music education at Teachers College at Columbia University where he was a

Florence K. Geffen fellow under Randall E. Allsup. His research interests focus on

the connection of theory to practice, in realms of policy, social justice, teacher

identity, and creativity. Nicholson is currently an Assistant Professor of Music

Education at the University of New Mexico.

High School Lesson Plans

Interpreting Fermatas in Ensemble

Matthew Rotjam

Class/grade(s):

Middle school or elementary ensemble (this

lesson focuses on an orchestral classroom,

but can be used in other ensemble settings)

Content Objectives

Students will identify the term and symbol fermata and apply it to a musical

example (our warm ups).

Students will conduct a fermata, developing basic conducting skills.

Language Objectives

Students will use the term fermata in speaking to make judgments about how

long a note should be held.

Students will perform a fermata as a group following a conductor.

Students will discuss, describe, and evaluate how they conduct and perform the

fermata.

Students will write about their choices and experiences of playing/conducting a

fermata in the repertoire.

Standards

National Core Arts Standards

Language

#MU:Pr4.3.E Develop personal

interpretations that consider creators’

intent.

#MU:Re9.1.E Process Component:

MTE—Evaluate—Support personal

evaluation of musical works and

performance(s) based on analysis,

interpretation, and established criteria.

WIDA ELD-SS 6-8 Explain

Interpretive: Analyzing sources for

logical relationships among contributing

factors or causes.

WIDA ELD-LA 6-8 Narrate

Interpretive: Identifying a theme or

central idea that develops over the

course of a text; Evaluating impact of

specic word choices about meaning

and tone.

WIDA ELD-LA 6-8 Narrate

Expressive: Engage and adjust for

audience.

Key Vocabulary:

fermata, conduct, “throw the yo-yo; catch the y,” long,

short, hold

Materials:

For this lesson students will need

● instruments

● copy of Scale Stuff #1, the harmonized scale sheet

used for warm ups. Scale Stuff may be substituted

with a similar harmonized scale, a simple chorale,

or a unison exercise (Exercise #14 in Livingston

Gearhardt and Fritz Gearhardt, Rhythm Sessions for

String. Ludwig Music).

● Picture of a cyclops

● Pencils

Lesson Tasks/Activities

Warm-Up/Motivation (building background)

1. We will tune our instruments together and warm up with our “Scale Stuff

#1” warm-up. (The teacher might elect to replace “Scale Stuff #1” with a

similar harmonized scale, a simple chorale, or a unison exercise.) The teacher

leads the warm up through the sequence.

2. Students are asked to describe what it would be like if we all decided to

make the last note longer. “Would we all know to make it long or short to

hold it?” “How would we know?” “Do we think it would work to just guess?”

While asking these questions, the teacher might use gestures, particularly on

the words “long,” “short,” and “hold.” (10, 14, 15)

3. The teacher introduces the term fermata, showing the symbol on the board,

with the word fermata written under it.

4. Teacher then explicitly introduces the objectives. “Today, we’re going to nd

fermatas in our music, conduct them, and follow the conductor for how long

they want to hold the fermata.”

5. The teacher then shows the objectives written on the board in I can

statements:

● I can follow a conductor on fermatas

● I discuss and write about fermatas (1, 2)

6. Teacher then asks the students to practice writing the word and symbol

“fermata.” The teacher shows a picture of a cyclops, and then says, you can

draw a fermata like “a cyclops with an eyebrow” or “an eye with a unibrow,

or one big eyebrow.” (The teacher might point to their eyebrows while

saying this word.) The students practice drawing and writing the word

“fermata” under the symbol. Students then write in a fermata symbol over

their last note of the warm-up sequence and write the term next to their

drawing to learn the spelling. (9)

Presentation (language and content objectives, comprehensible input,

strategies, interaction, feedback)

Application (meaningful activities, interaction, strategies, practice/application,

feedback)

1. After introduction of the fermata, the teacher conducts “Scale Stuff #1.” One

Lesson Tasks/Activities (continued)

student volunteers to say when to stop playing the note.

○ “Why did we decide to hold the note as long as we did?”

○ “Was this a musical choice or was the note just too long?” (15)

2. Teacher says, “Let’s add two challenges. Instead of me as teacher playing the

note, let’s have our entire class play and you can tell when you stop. BUT, you

cannot use your words. You need to do something physical to show us when

to stop.”

3. The class selects a student volunteer to be the conductor. This student waves

their arms in the air to get us to stop. Another student volunteer to conduct

shows a “hand up,” for a stop sign. Another student volunteer claps their

hands once when they want the note to stop.

4. Break into groups. Teacher says, “we are going to discuss in groups which you

thought the best strategies were for holding fermatas. Here are questions

you can ask” (The teacher reads these questions aloud from the board):

● Were the signals to stop clear?

● Were some clearer than others, if so, which ones?

● What was necessary while performing to learn to follow the motion?

(11, 15, 16)

Student groups have an optional share to the class. (This is also an

opportunity to pair up EL students so that they might clarify key concepts in

L1) (19)

5. Let’s all draw eyeglasses in our parts to remind us to look up and watch the

conductor when we get to this note.

6. The teacher introduces that there are many different uses for a fermata in

music, and that there are many ways we can communicate when to stop the

note, even how to end the note. Our student conductors came up with some

great physical movements. Here are two more:

○ “Throw the yo-yo” (the teacher gestures a motion where the wrist

bends and the palm of the hand opens up)

○ “Catch the y,” which turns the palm over and closes the hand.

7. The teacher asks students the purpose of each movement: “Throw the yo-

yo” indicates when to start the note with the fermata in our warm up, and

“catch the y” indicates when to stop / release the note. (7)

Lesson Tasks/Activities (continued)

8. Three or four more students have an opportunity to conduct the warm up

two times. The rst time, they can choose their movement; the second time

they use the two note movements.

9. Break into groups again, this time in a different conguration. Discuss in

groups which strategy worked best for holding fermatas. Here are guiding

questions (written on board):

○ What did it feel like to be a conductor?

○ Did you like your movement?

○ Do you feel like your movement worked? (11, 17, 21)

10. Students—with their instruments—sit together for another “think-pair-

share,” and are asked to write down what movements were helpful for them

in student conducting to understand the fermata.

Closing (review objectives and vocabulary, assess learning)

1. Students are given a sheet to write the following answers:

● What is a fermata?

● What does it look like?

● What should we have written in our parts? (“fermata” and “eyeglasses”)

● What are some movements we as conductors can use to communicate a

nonverbal gesture? (27, 28)

2. We then make a joke about how “hakuna fermata” means to hold this note

for the rest of your days! (7)

3. This portion of the lessons ends with a transition/segue into a piece of music

the class is studying with a fermata. Students will nd the fermata in the

music, and learn to spell the word so that it is written next to the symbol in

their music. (28)

Review and Assessment(s)

The teacher can triangulate assessment from the following sources:

● The students’ visual conducting

● Observation of discussions in small groups

● Sheet lled out by students

Possible Extensions

Students can choose which note gets the f

ermata when they conduct. They can

either tell the class ahead of time (easier level) or choose not to let them know

ahead of time (more advanced).

Students can combine movements they might use for dynamic contrast while

they are leading the group through warm-up to practice the fermata.

Students can try to play the warm-ups with the fermata as an orchestra without

a conductor on the podium. The conductor can be a designated leader (or

leaders) of the class who we watch for this musical decision.

Watch videos of various ensembles (orchestras, jazz bands, percussion

ensembles, vocalists, string quartets) and compare/contrast gestures of

nonverbal communication as a way to perform an artistic idea together.

Context for SIOP Strategies Used

Performance, conducting, writing on the nal assessment, speaking in small groups fulll:

10. Speech appropriate for students prociency levels

Throughout the lesson, the teacher must use ample wait time and language

appropriate for students, avoiding jargon and slang.

14. Scaffolding Techniques consistently Used, Assisting and Supporting Student

Understanding.

Using gestures to accompany vocabulary of “long,” “short,” and “hold.” Teacher

scaffolds questioning techniques using open, guided, and closed questions to invite

multiple answers from multiple students.

Context for SIOP Strategies Used (continued)

15. A variety of questions or tasks that promote higher-order thinking skills (e.g.,

literal, analytical, and interpretive questions)

The lesson uses questions throughout the lesson. These questions range from yes/no

questions to questions where students are required to make judgments.

#1 Content Objectives clearly dened, displayed and reviewed with students.

“I can” objectives are posted on the board and referred to after the lesson warm-up.

#2 Language Objectives clearly dened, displayed and reviewed with students.

Language objective is simplied into an “I can” statement for students, displayed on

board and referred to after warm-up.

9. Key Vocabulary Emphasized. Key term, fermata, is introduced.

Students connect the symbol to speech, and write it.

15. A variety of questions or tasks that promote higher-order thinking skills (e.g.,

literal, analytical, and interpretive questions).

After practicing fermata conducting, the teacher asks both open ended and guided

questions to invite students to reect on their conducting choices.

11. Clear explanation of academic tasks

Before breaking students into small groups for think-pair-shares, the teacher should

explicitly describe what the students will do in those small groups. The teacher also

places questions that the students will ask each other on the board so that ELs can

reference and practice speaking using this vocabulary.

15. A variety of questions or tasks that promote higher-order thinking skills (e.g.,

literal, analytical, and interpretive questions).

After practicing fermata conducting, teacher asks both open-ended and guided

questions to invite students to reect on their conducting choices.

16. Frequent opportunities for interaction and discussion between teacher/

student and among students, which encourage elaborated responses about

lesson concepts.

Breaking students into groups allows opportunities for interaction and discussion.

19. Ample opportunities for students to clarify key concepts in L1 (student’s

primary language) as Needed with Aide, Peer, or L1 Text

When breaking into groups, the teacher might elect to pair up ELs so that they may

reinforce language skills and make connections back to L1.

7. Concepts explicitly linked to students’ background experiences.

100

Context for SIOP Strategies Used (continued)

Using imagery such as a yo-yo and catching a y ball, students explain what the

movement shows and how to read it as a conducting movement.

11. Clear explanation of academic tasks.

Teacher gives clear directions of what students will do in their groups to be

conductors and performers and communicate/play the fermata.

17. Vary Grouping Congurations.

Students work in small groups to practice conducting and playing warm up with

fermatas.

21. Activities provided for students to apply content and language knowledge in

the classroom.

After applying fermata to conducting, students reect on prompts regarding their

experiences taking on the role of conductor and a performer to follow a conductor.

27. Comprehensive review of key vocabulary

By having students write down answers for the questions, they review the key vocabulary.

28. Comprehensive review of key concepts.

Students review the purpose of fermata and how to conduct it through writing.

7. Concepts explicitly linked to students’ background experiences. Reference to

“Hakuna Matata” can link to students’ previous experiences.

Teacher draws from the song “Hakuna Matata” from Disney’s The Lion King to

make a pun. In reference like these, the teacher must be careful not to assume that

all ELs have experience with The Lion King, other Disney movies, or other U.S.

popular culture. Regardless, such references, if they are part of students’ background

experiences, are useful.

28. Comprehensive review of key concepts.

Students apply concept in new piece of music, identifying fermata and writing the

word next to the symbol in the score to remind them next time.

Matthew Rotjan teaches music in the Scarsdale Public Schools (New York),

where he teaches orchestra classes at Scarsdale Middle School. Rotjan has been

on the artistic staff of the InterSchool Orchestras of New York and Rockland

Youth Orchestra (New York) and serves on the editorial committee of American

String Teacher journal. An innovative educator and music teacher educator, he

is frequently sought out for professional development, leading sessions with

educators, administrators, and students, and for writing curricula. Rotjan’s vignette

represents work from a previous school district.

101

Musical and Poetic Interpretation

Rebecca Martinez

Class/grade(s):

Chorus, Grades 9-12

Content Objectives

Students will sing “Peixinhos do Mar” with attention to diction.

Language Objectives

Students will discuss the differences and similarities between a poetic and direct

translation.

Students will share phrases in their own home (L1) languages that may not

translate the same in English.

Students will sing “Peixinhos do Mar” using the appropriate tone quality.

Students will compare and contrast poetic and direct translations while also

making connections to their own cultural experiences.

Students will read and speak direct translation and poetic translations for

“Peixinhos do Mar.”

Develop tone quality checklists to gain more vocabulary for describing tone

quality.

102

Standards

National Core Arts

Standards

Language

Anchor Standard #5. Develop

and rene artistic techniques and

work for presentation

Anchor Standard #10. Synthesize

and relate knowledge and

personal experiences to make

art.

ELD-SI.4-12. Narrate.

• Share ideas about one’s own and others’

lived experiences and previous learning.

• Connect stories with images and

representations to add meaning.

• Identify and raise questions about what

might be unexplained, missing, or left

unsaid.

• Recount and restate ideas to sustain and

move dialogue forward.

ELD-SI.4-12. Explain.

• Generate and convey initial thinking

• Follow and describe cycles and sequences

of steps or procedures and their causes

and effects.

• Compare changing variables, factors, and

circumstances.

• Offer alternatives to extend or deepen

awareness of factors that contribute to

particular outcomes.

• Act on feedback to revise understandings

of how or why something is or works in

particular ways.

Key Vocabulary:

Diction, Tone Quality, Poetic Translation, Direct

Translation

Materials:

● Tone Quality Checklist

● Slides with lyrics/poetic and direct translations

● Vocabulary list

103

Materials

(continued):

● Google Translate

● Smartboard or Google Jamboard

YouTube Videos:

• Student Performance

• Milton Nascimento

• Elementary Visual Story

• “Peixinhos do Mar” Additional Resources

This lesson can be taught in one session or broken down over multiple days depending

on the knowledge and age level of the students.

Lesson Tasks/Activities

SIOP Components &

Features

Lesson Sequence

Warm-Up/Motivation (building background)

1. Ss will warm up, engaging physical, breathing,

and singing warm-ups. These warm ups can

either be teacher or student lead.

a. Physical (examples—shoulder rolls,

massage of jaw and shoulder, reaching

up to the sky, touching their toes and

breathing, pat down arms and legs, etc.)

b. Breathing (examples—breathe in for

Plan Meaningful Activities

that Integrate Lesson

Concepts with Language

Practice Opportunities for

Reading, Writing, Listening,

and/or Speaking

Note: is lesson and its format can be adapted and extended based on student prociency. is

lesson can also be taught and adapted for a remote, hybrid, and live classroom setting. For example:

In a remote class students can unmute themselves and share rhythmic or melodic accuracy. In a

hybrid model, students in person can share in their singing and students online can unmute. ey

can all use Jamboard, Peardeck and other platforms at the same time to enhance their learning

experience. In a live setting, smaller or larger groups of students practice singing the phrases to each

other as a conversation. My classroom has specic protocols and procedures for how we engage in

class discussion and use rubrics.

104

Lesson Tasks/Activities (continued)

Lesson Sequence

4 beats; release for 8, 12, 16, 20; breathe

in on beat 4 ONLY; and release for 8, 12,

16, 20, etc.)

Singing (examples—lip trills/tongue trills, scales,

arpeggios, etc.)

SIOP Components &

Features

Preparation/Building Background

• T sings “Peixinhos do Mar.”

• T shares slides with “Peixinhos do Mar” lyrics.

• T asks students to read the lyrics, while the

teacher sings the song twice.

• T asks, “What language is this? Where in

the world do you think this song is from?”

(Portuguese, from Brazil).

• T will model singing this song again.

Comprehensible Input

1. T asks, “What is diction? Why is it important

to pronounce the words correctly when

singing in a different language?” T writes Ss’

responses on board.

2. T does call and response of song with the Ss

for each phrase, singing on a neutral syllable

“doo.”

3. Ss echo T in call-and-response, speaking the

neutral syllable in time. Then, they add the

text, phrase by phrase.

4. T will check in with Ss to ask where they

think they need more assistance with the

text. T can speak the text slowly and in

6. Plan Meaningful Activities

that Integrate Lesson

Concepts with Language

Practice Opportunities for

Reading, Writing, Listening, and/

or Speaking

7. Concepts explicitly linked

to students’ background

experiences

8. Links explicitly made

between past learning and

new concepts

9. Key Vocabulary Emphasized

14. Scaffolding Techniques

consistently Used, Assisting

and Supporting Student

Understanding

15. A variety of questions

or tasks that promote

higher-order thinking skills

(e.g., literal, analytical, and

interpretive questions)

105

Lesson Tasks/Activities (continued)

Lesson Sequence

time and isolate specic words (anticipate

difculty with “foi o peixinhos do mar”). T

might use phonetics if needed.

Strategies

1. T describes that often when writing lyrics or

telling a story through musical text, composers

and lyricists make choices about how to

portray the story. For example, they may use

imagery to describe a house, or they might

just use the term house.

2. As a class, Ss and T will dene terms.

a. Direct Translation: Word for word

translation from one language to another

b. Poetic Translation: Translating each

line of poetry. Relates more to speech.

Interaction

1. Using a visual organizer, Ss will use Google

translate to look up each word in the piece

and add it into the slide. We will name this the

“Direct Translation.”

2. T will share the poetic English translation

of the piece, shown directly next to the

Portuguese.

3. Using a Venn diagram, Ss will share their name

and 1 similarity/difference between Poetic

and Direct Translations. This can be done

through a Jamboard or other visual map, or

alternatively, a Smartboard.

4. S will discuss commonalities between

responses.

SIOP Components &

Features

4. Supplementary materials

used to a high degree,

making the lesson clear and

meaningful

13. Ample opportunities

provided for students to use

learning strategies

16. Frequent opportunities

for interaction and discussion

between teacher/student

and among students, which

encourage elaborated

responses about lesson

concepts

106

Lesson Tasks/Activities (continued)

Lesson Sequence

Practice and Application

1. S brainstorm common phrases in their L1

that mean one thing in their language and

directly translated means something else.

(Examples: in bocca al lupo—Into the wolf’s

mouth—Good luck. Cuando las ranas crien

pelo—when frogs grow hair—it will never

happen). Write down on paper.

2. S turn and talk with their neighbor to share

their direct translation phrases.

3. Using a graphic organizer, in pairs Ss review

techniques for singing with a bright or dark

tone quality, writing the qualities for each.

4. T projects a visual to highlight bright qualities

and how to achieve this singing (Techniques

for Brighter and Warmer Tone Quality). Ss

compare to their list.

5. “Based on the poetic translation and what you

hear, do you think this song has a bright or

warm tone quality?” Using Accountable Talk

Sentence Stems (on the wall) Ss discuss.

6. T and Ss will sing through “Peixinhos do Mar”

using a bright tone quality and then a warm

tone quality.

7. Using the vocabulary list on the wall, Ss will

choose another tone quality to sing the piece.

Ss will discuss how it was different than the

previous bright and warm tones.

8. “Which tone quality was more appropriate for

‘Peixinhos do Mar’? Why?”

SIOP Components &

Features

18. Sufcient Wait Time

for Student Responses

Consistently Provided

19. Ample opportunities for

students to clarify key concepts

in L1 (student’s primary

language) as Needed with

Aide, Peer, or L1 Text

20. Hands-On Materials and/

or Manipulatives Provided for

Students to Practice Using

New Content Knowledge in

the Classroom

21. Activities provided for

students to apply content and

language knowledge in the

classroom

22. Activities integrate all

language skills (i.e., reading,

writing, listening, and

speaking)

12. A Variety of Techniques

Used to Make Content

Concepts Clear

107

Lesson Tasks/Activities (continued)

Closing (review objectives and vocabulary, assess

learning)

1. Ss will review denitions for diction and tone

quality.

2. How do we describe tone quality? (using the

vocabulary list for some assistance), What is

a Direct Translation? Poetic Translation? How

are they similar or different? Which tone

quality is most appropriate to sing with for

“Peixinhos do Mar” and Why?

3. As a group, Ss sing piece once more as T

records. As a group, class listens to their

singing. Using the Tone Quality Checklist, Ss

ll out what they hear.

23. Content objectives

clearly supported by lesson

delivery

24. Language objectives

clearly supported by lesson

delivery

25. Students engaged

approximately 90% to 100%

of the period

27. Comprehensive review

of key vocabulary

28. Comprehensive review

of key concepts

29. Regular feedback

provided to students on

their output

30. Assessment of student

comprehension and learning

of all lesson objectives

throughout the lesson

Review and Assessment(s)

Throughout the lesson, students will be asked to share their progress with

learning specic sections. Graphic organizers will provide information on how

students are engaging with direct and poetic translations. Students will record

themselves singing “Peixinhos do Mar” and assess themselves using the Tone

Quality Checklist.

108

Possible Extensions

The teacher can teach the lesson in one session or over multiple days depending on

the level of the students.

1. Students can create an ostinato body percussion rhythmic pattern to

perform while singing the piece.

2. Students can translate this song into their own language and create their

own arrangements.

3. While the teacher sings the melody, students can improvise harmonies in

different sections of the piece.

4. Students can explore and choose the use of different tone qualities and

storytelling for each phrase of the piece.

5. Ss can choose another folk song that tells a story and make decisions

on what tone quality best accompanies the story in its direct and poetic

translations.

Rebecca Martinez is a choral music teacher at Fort Hamilton High School in

Brooklyn, New York, where she directs a large mixed ensemble and a treble chorus

consisting of auditioned students, and is the advisor of the a cappella club. Ms.

Martinez has been on faculty at Brooklyn College since 2019 as director of their

Glee Club. Martinez received undergraduate and master’s degrees from Brooklyn

College’s Conservatory of Music with a major in Music Education and is currently a

graduate student in education leadership at Teachers College, Columbia University.

A bilingual artist and educator, Martinez believes in the importance of singing

through diverse repertoire, including languages and cultures. She brings her own

background to her teaching to better assist her students on their musical journey.

Martinez also believes that it is important for students to make connections

between the music they are singing and their personal experiences.

109

“Peixinhos do Mar” Resources

Rebecca Martinez

Sheet Music:

Accountable Talk Stems:

110

YouTube Videos:

Student Performance: https://www.youtube.com/watch?v=3xW0oiepk3g

Milton Nascimento: https://www.youtube.com/watch?v=UkPpBOOzRPM

Elementary Visual Story: https://www.youtube.com/watch?v=_c7q8bvQSFE

Singing with a Bright/Warm Tone Quality: How to Checklist

Google Slides:

https://docs.google.com/presentation/d/1vYAGv0Lj02lTiDUVbKYPiXdB-

KpNts16AAFKpvQ8gGk/edit?usp=sharing

Example of a Jamboard:

https://jamboard.google.com/d/1w0kX8SPZfo-gmatYrQ1opLYkehiDRs9_33WJEJR1

6V0/edit?usp=sharing

111

Tone Quality Checklist: Self-Assessment

Fort Hamilton High School

Ms. Martinez

Tone Quality Checklist

Tone: e quality, clarity, and consistency of sound.

Listen to your performance. Circle the best choices below and respond to the

following:

1. Does this voice sound MOSTLY bright or warm?

Bright Warm

2. Are the pitches and tone quality clear?

Yes No

3. Does the singer change tone quality throughout the performance?

Yes No

4. Circle the adjectives that best describe the tone quality of this singer.

Brash Ear-Splitting Bright/Light Well-Balanced

Warm/Dark Breathy Swallowed Raspy

Soulful Growling Haunting Nasal

5. Share your thoughts about the performance you heard?

___________________________________________________________________

112

Vocabulary List

Tone Quality Description

Brash Overly bright sound with brassy tone quality

Ear-Splitting Overly bright sound where higher notes are

loud and the lower notes are also bright

Bright/Light Higher notes sound amplied

Well-Balanced is voice has both bright and warm qualities

Warm/Dark Lower notes sound amplied

Breathy Airy, sounds like a sigh

Swallowed When voice is too warm, sounds like sound is

stuck in the throat or “swallowed”

Raspy Voice has a gritty quality

Soulful Voice has a rich quality

Growling Voice sounds like it is growling

Haunting Voice has a smooth, open, spooky quality

Nasal Voice sounds really bright. Like as if the

sound is achieved through the nose

113

Pre-Assessment Models for Ensemble

Deanna Loertscher

Class/grade(s):

High School Band, Grades 9–12 (can be modied for all

grade levels

Content Goals

Pre-assess students content knowledge and devise differentiated materials for

ELs and all other students.

Language Objectives

Pre-assess students language knowledge and devise differentiated materials for

ELs and all other students.

Materials:

● Tone Q

● Band Instrument

● Pencil

● Essential, intermediate, and advanced vocabulary

lists

● Pre-assessment: Understanding rhythm, tempo,

structure

● Rhythm Worksheets with musical, visual, and L1

supports

● Rhythm Counting Workbook with language

supports

114

Lesson Tasks/Activities

Determine essential, intermediate, and

advanced vocabularies

1. T should determine the vocabulary they

want to or need to teach throughout the

year or a unit. They might consult school or

district curricula, as well as state and national

standards to derive this list.

2. Next, T categorizes this vocabulary as

essential, intermediate, and advanced.

a. T identies the essential or core

vocabulary. Essential vocabulary makes

the teacher pinpoint the absolutely

necessary vocabulary that all students

must know and use in order to

successfully participate in rehearsals. The

essential vocabulary might be for

ELs and those new to band.

b. The intermediate vocabulary (for

those who have several years of prior

band / instrumental experience),

The advanced vocabulary (for upperclassmen

and advanced underclassmen). See an example.

Note color coding for quick identication.

SIOP Features Present

9. Key Vocabulary

Emphasized. By creating tiered

lists of essential, intermediate,

and advanced, teachers can

identify and then emphasize

key vocabulary

Identify current content and language

skills

Pre Assessment—Understanding

Rhythm, Tempo, Structure:

1. Provide Ss with a pre-assessment in order

to determine their language and content

knowledge. This pre-assessment should be

8. Links explicitly made

between past learning and

new concepts. By assessing

students’ knowledge, teachers

can make explicit connections

to past learning.

115

Lesson Tasks/Activities (continued)

SIOP Features Present

given at the beginning of one of the rst

rehearsals of the year. Explaining to Ss that the

goal is to identify current individual content

and language knowledge/understanding.

Ask students to look over the essential

(1), intermediate (2), and advanced (3)

component boxes and respond to the boxes that

they feel is overall the best t for their current

level of vocabulary/concept understanding. The

“I’m not sure/this is new to me” checkbox at

the bottom of the sheet so students who have

not yet developed the English language skills or

content knowledge are acknowledged with a

pathway in being able to respond to some part of

the pre-assessment. The pre assessment is graded

for completion and turn in. (Rhythm, Tempo,

Structure pre-assessment)

#30 assessment of student

comprehension and learning

of all lesson objectives

throughout the lesson. This

pre-assessment allows for

the teacher to assess student

comprehension using multiple

supports of pictures, icons,

and L1 (Japanese) in order to

better see students’ musical

and language readiness.

Analyze Data:

Review Ss’ responses. Create a spreadsheet of

Ss. Identify initially appropriate vocabulary level

goals for each student. Importantly, it should

not be assumed that ELs will only use essential

vocabulary. And, students should not be locked

into these lists all year. Identifying an appropriate

starting point level is important for building a

solid foundation for content specic language

acquisition and understanding. The goal is that Ss

develop a strong understanding of the essential

language and musical vocabulary.

4. Supplementary materials

used to a high degree,

making the lesson clear and

meaningful

5. Adaptation of content

to all levels of student

prociency

19. Ample opportunities

for students to clarify key

concepts in L1 (student’s

primary language) as Needed

with Aide, Peer, or L1 Text.

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Lesson Tasks/Activities (continued)

SIOP Features Present

Create supplemental differentiated

materials.

T then creates supplemental materials for ELs.

(See Rhythm Vocab and Background handouts; and

Rhythm background sheet) See the documents

below for examples.

Use of pictures, musical icons,

and L1 Japanese keywords

are used to provide context to

vocabulary.

Possible Extensions

Content and language acquisition can be assessed through a second

administration of the pretest as a posttest, although growth is best measured

by asking students to label or identify (or a mix of both to provide written and

spoken practice and assessment) their current band or lesson music with the

terms and concepts originally assessed. This can be done formally or informally,

and can be graded or ungraded.

Preassessment of vocabulary might be used at the beginning of the academic

year, but more advantageous, could be used at the beginning of each unit.

Deanna Loertscher teaches band at Harrison High School in Harrison, New

York. An active performer, she has performed around the New York metropolitan

area, including Carnegie Hall, Alice Tully Hall at Lincoln Center, and the Kimmel

Center. She holds degrees from Ithaca College and Penn State University, and is

currently a graduate student at Teachers College, Columbia University.

117

Essential, Intermediate, and Advanced Vocabulary Lists

Rhythm and Vocabulary Background Handouts

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Rhythm and Vocabulary Background Handouts (continued)

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