senior seminar assessment project

8/17/2019 Senior Seminar Assessment Project

1/22

Brandon Blankenstein

The University of Tennessee at Martin

Music Education Senior Seminar

Dr. Vest

4/13/2016

Assessment Project:

Minor Scales and Rudiments


2/22

Dayton City Middle School


Spring 2016

Lesson Plan Assessment Project

2

Lesson 1

Teacher: Brandon Blankenstein

Subject/Grade: 7th Grade Band

Lesson Title: Natural Minor Scales: D minor and A Minor/Paradiddle

STANDARDS Identify what you intend to teach.

State, Common Core, ACT College

Readiness Standards and/or StateCompetencies; Enduring

Understandings and Essential

Questions.

Standard 2.0 Playing Instruments

Students will perform on instruments, alone and with others, a varied

repertoire of music.

Course Level Expectations:

The student will

2.2- Demonstrate continuing tonal development and an understanding of a

characteristic tone quality.

2.3- Demonstrate fundamental technique on one’s instrument.

2.4- Differentiate between correct and incorrect pitch and rhythm

2.7 Perform scales (or rudiments) on one’s instrument.

Checks for Understanding:

2.2- Produce a fundamental tone that is characteristic of the instrument.

Produce a characteristic tone and maintain it throughout the range of theinstrument appropriate to experience level.

2.3- Play with correct posture, hand position, and instrument carriage.

Play with correct embouchure/bowing/percussion sticking appropriate to

experience level.

Play with breath support/bow control appropriate to experience level.

Play correct fingerings (positions).


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Perform articulation/bowing/sticking markings correctly.

2.4- Play correct pitches.

Play correct rhythms

2.7- Play a major scale in at least two keys/two rudiments

Standard 6.0 Listening and Analyzing

Students will listen to, analyze, and describe music.


The student will

6.3- Describe listening examples using music vocabulary.


6.3 Describe music examples using appropriate music vocabulary.

Student Performance Indicators:

The student is able to

6.3.3- Compare and contrast music examples using appropriate music

vocabulary.

National Core Arts Standards

MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition,

similarities, and contrasts inform the response to music.

OBJECTIVE(s)/Sub-Objectives Connect prior learning to new

learning. Clear, Specific, Observable,

Demanding, High Quality, Measurable,

Aligned to Standard(s), and Integrated

with other subjects, build on prior

student knowledge

Student-Friendly (I Can Statement)

-Wind students will perform a D minor and A minor scale as half notes at 100

beats per minute with 100% accuracy, characteristic tone, at a steady tempo,

and with correct posture.

-Percussion students will perform the Paradiddle rudiment slow-fast-slow with

correct stickings, characteristic tone, smooth rhythms, and with correct posture.


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-Percussion students will also perform a D minor and A minor scale as half

notes at 100 beats per minute on xylophone with 100% accuracy, characteristic

tone, at a steady tempo, with correct stickings, and with correct posture.

-All students will identify the relative major for both minor scales.

-Percussion students will identify the correctly notated rudiment.

-Students will have an appreciation of the way that different cultures perceive

music.

MATERIALS AND RESOURCES Content-related: Clearly supports

lesson objective(s); rigorous & relevant;

Incorporates multimedia & resources

beyond the textbook.

-Checklist Assessment for Minor Scales/Rudiments performance (attached)

-Computer(YouTube)

-https://www.youtube.com/watch?v=LbTxfN8d2CI (“Be Worry, Don’t

Happy)

-https://www.youtube.com/watch?v=t7Cq_SWvzGM (middle eastern

example)

-Piano

ACCOMMODATIONS/ADAPTATIO

NS

Learning styles and interests.

Anticipate learning difficulties, regularly

incorporate student interests & cultural

heritage; differentiate instructional

methods.

-Visual Impairment: A CD that explains each note of the major and minor scales

in each lesson has already been sent to the child’s parents. They will beupdated as to what lesson will be gone over for each class period so the

student can prepare accordingly.

-Autism: This particular student has few, random outbursts and can be calmed

by dancing and playing. This means that somethings the entire band will have

to stand up and move or dance while they play. (I think this could be fun for

https://www.youtube.com/watch?v=LbTxfN8d2CIhttps://www.youtube.com/watch?v=LbTxfN8d2CIhttps://www.youtube.com/watch?v=LbTxfN8d2CIhttps://www.youtube.com/watch?v=t7Cq_SWvzGMhttps://www.youtube.com/watch?v=t7Cq_SWvzGMhttps://www.youtube.com/watch?v=t7Cq_SWvzGMhttps://www.youtube.com/watch?v=t7Cq_SWvzGMhttps://www.youtube.com/watch?v=LbTxfN8d2CI


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everyone.)

-ADHD: Make sure that the lesson actively engages the students. During the

time that the winds are warming up their horns and I am working with the

percussion section this student will know that they are being monitored.

MOTIVATING

STUDENTS/ANTICIPATORY SET

“Hook”: Engage students’

attention and focus on

learning. Personally meaningful

and relevant.

As the students are coming in the room the white board will instruct them to

set their instrument in its case next to their chairs and to get out a sheet of

paper and a pencil. While they are doing this a minor version of “Don’t

Worry, Be Happy” will be playing (also known as “Be Worry, Don’t Happy”).

Ask the students if they are familiar with this song. If so, was anything

weird? If not, could you tell something was weird?

Introduce the term “minor” and explain that it is the normal key for other

cultures.

INSTRUCTIONAL PROCEDURES Step-by-Step Procedures-

Lesson Sequence: Basic to

Complex. Lesson includes

visuals, modeling, logical

sequencing and segmenting

(beginning, middle, ending);

essential information; concise

communication; grouping

strategies; differentiatedinstructional strategies to provide

intervention & extension;

seamless routines; varied

instructional strategies; key

concepts & ideas highlighted


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regularly.

1. Now that the students have been introduced to the term “minor” they needto be able to identify major and minor scales aurally. Go to the piano and play

major and natural minor scales.Have students raise their hands to identify

whether the scale you played was major or minor.

2. Once they can consistently answer them correctly, move on to the notation

and theory behind minor scales. Ask a student to raise their hand and instruct

you on how to notate a C Major scale. Play the scale on the piano.

3. Now show them that by starting on the 6th scale degree (A) and playing

every note in the C Major scale A-A that they will have a minor scale. Play the

C Major scale and A Minor scale a few more times and ask the students to

call out which scale is which.

4. Instruct the students to draw a staff with their instrument’s clef and

correctly notate both the C Major scale and the A Minor Scale. Walk around

to check on the students’ pr ogress. Correct any mistakes and answer

questions.

5. When everyone seems to have made progress on this you can instruct

them to draw another staff with their instrument’s clef and notate and F Major

scale. Walk around and help the students complete this task.

6. Now instruct them to notate the D Minor scale. Don’t give very much help

initially, but begin to help if some of them are struggling.7. When everyone seems comfortable with this concept the wind students will

now assemble their instruments and quietly blow warm air into their horns to

warm them up. In the meantime the percussionists will get their practice pads

out. Teach them what a Paradiddle is and have them play it slowly with you

and then notate it in 8th notes on their sheet of paper.

8. The winds will now play a C Major and F Major scale in half notes at

100bpm using the music that they notated. Repeat as necessary. Percussion

plays paradiddles with the band, but then move them to mallet instruments

after a few repetitions.

9. Using the minor scales that they notated have them play their A Minor andD Minor scales. Repeat as necessary. Move percussion back and forth

between mallets and their practice pads as necessary.

10. Play the “middle eastern example” for the students.

Is this in major or minor?

What is most American music in, major or minor?


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ASSESSMENT Formative and/or summative assessment. A

variety of assessments, including rubrics,

measure achievement of objectives and informs

instruction.

-Informal assessment

-Formal Minor Scales/Rudiments Assessment (attached)

CLOSURE Reflection/Wrap Up. Summarizing, reminding,

reflecting, restarting, connecting.

-Close class by playing different major and minor scales on the piano and having

them raise their hand and identify which type of scale it is. Remind the students

once more that music is different to people from different countries because of

the different cultures and tell them to prepare for a playing test at the beginning of

the next class period.

NOTES:


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Spring 2016


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Lesson 2

Teacher: Brandon Blankenstein

Subject/Grade: 7th Grade Band

Lesson Title: Natural Minor Scales: G minor and C Minor/Flam Tap

STANDARDS Identify what you intend to teach.

State, Common Core, ACT College

Readiness Standards and/or State

Competencies; Enduring

Understandings and Essential

Questions.

Standard 2.0 Playing Instruments

Students will perform on instruments, alone and with others, a varied

repertoire of music.


The student will

2.2- Demonstrate continuing tonal development and an understanding of a

characteristic tone quality.





2.2- Produce a fundamental tone that is characteristic of the instrument.

Produce a characteristic tone and maintain it throughout the range of the

instrument appropriate to experience level.

2.3- Play with correct posture, hand position, and instrument carriage.

Play with correct embouchure/bowing/percussion sticking appropriate to

experience level.

Play with breath support/bow control appropriate to experience level.

Play correct fingerings (positions).


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Spring 2016


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Perform articulation/bowing/sticking markings correctly.

2.4- Play correct pitches.

Play correct rhythms

2.7- Play a major scale in at least two keys/two rudiments

Standard 6.0 Listening and Analyzing

Students will listen to, analyze, and describe music.


The student will

6.3- Describe listening examples using music vocabulary.


6.3 Describe music examples using appropriate music vocabulary.

Student Performance Indicators:

The student is able to

6.3.3- Compare and contrast music examples using appropriate music

vocabulary.

National Core Arts Standards

MU:Re7.2.E.5a Identify how knowledge of context and the use of repetition,

similarities, and contrasts inform the response to music.

OBJECTIVE(s)/Sub-Objectives Connect prior learning to new

learning. Clear, Specific, Observable,

Demanding, High Quality, Measurable,

Aligned to Standard(s), and Integrated

with other subjects, build on prior

student knowledge

Student-Friendly (I Can Statement)

-Wind students will perform a G minor and C minor scale as half notes at 100

beats per minute with 100% accuracy, characteristic tone, at a steady tempo,

and with correct posture.

-Percussion students will perform the Flam Tap rudiment slow-fast-slow with

correct stickings, characteristic tone, smooth rhythms, and with correct posture.

-Percussion students will also perform a G minor and C minor scale as half


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Spring 2016


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notes at 100 beats per minute on xylophone with 100% accuracy, characteristic

tone, at a steady tempo, with correct stickings, and with correct posture.

-All students will identify the relative major for both minor scales.

-Percussion students will identify the correctly notated rudiment.

MATERIALS AND RESOURCES Content-related: Clearly supports

lesson objective(s); rigorous & relevant;

Incorporates multimedia & resources

beyond the textbook.

-Checklist Assessment for Minor Scales/Rudiments performance (attached) -Computer(YouTube)

-https://www.youtube.com/watch?v=Yaagbi_LsYg (“Wonderful World” minor)

-https://www.youtube.com/watch?v=A3yCcXgbKrE (“Wonderful World” major)

-https://www.youtube.com/watch?v=wWJRwz7oBb4 (“classical indian

example”)

-Piano

ACCOMMODATIONS/ADAPTATIONS

Learning styles and interests. Anticipate learning difficulties, regularly

incorporate student interests & cultural

heritage; differentiate instructional

methods.

-Visual Impairment: A CD that explains each note of the major and minor scales

in each lesson has already been sent to the child’s parents. They will be

updated as to what lesson will be gone over for each class period so the

student can prepare accordingly.

-Autism: This particular student has few, random outbursts and can be calmed

by dancing and playing. This means that somethings the entire band will have

to stand up and move or dance while they play. (I think this could be fun for

everyone.)

https://www.youtube.com/watch?v=Yaagbi_LsYghttps://www.youtube.com/watch?v=Yaagbi_LsYghttps://www.youtube.com/watch?v=Yaagbi_LsYghttps://www.youtube.com/watch?v=A3yCcXgbKrEhttps://www.youtube.com/watch?v=A3yCcXgbKrEhttps://www.youtube.com/watch?v=A3yCcXgbKrEhttps://www.youtube.com/watch?v=wWJRwz7oBb4https://www.youtube.com/watch?v=wWJRwz7oBb4https://www.youtube.com/watch?v=wWJRwz7oBb4https://www.youtube.com/watch?v=wWJRwz7oBb4https://www.youtube.com/watch?v=A3yCcXgbKrEhttps://www.youtube.com/watch?v=Yaagbi_LsYg


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Spring 2016


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-ADHD: Make sure that the lesson actively engages the students. During the

time that the winds are warming up their horns and I am working with the

percussion section this student will know that they are being monitored.

MOTIVATING

STUDENTS/ANTICIPATORY SET

“Hook”: Engage students’

attention and focus on

learning. Personally meaningful

and relevant.

As the students are coming in the room the white board will instruct them toset their instrument in its case next to their chairs with a sheet of paper and

pencil just like the previous class day. While they are doing this a minor

version of “Wonderful World” by Louis Armstrong will be playing.

Ask the students if they are familiar with this song. If so, was anything

weird? If not, could you tell something was weird?

Then play the original, major version of “Wonderful World” and ask if that

sounded more familiar.

Ask them how the music made them feel. Be prepared for the “minor sounds

sad” response and remind them that minor doesn’t mean sad to everyone,

but it is alright that it is how it makes them feel.

INSTRUCTIONAL PROCEDURES Step-by-Step Procedures-

Lesson Sequence: Basic to

Complex. Lesson includes

visuals, modeling, logical

sequencing and segmenting

(beginning, middle, ending);

essential information; concisecommunication; grouping

strategies; differentiated

instructional strategies to provide

intervention & extension;

seamless routines; varied


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instructional strategies; key

concepts & ideas highlighted

regularly.

1. Review major and minor scales at the piano. Call on students to identify

the scales. The students will then put their instruments together and review

their C Major, F Major, A Minor, and D Minor scales and the Paradiddle.

Percussionists will alternate between practice pads and mallet instruments.

2. Once they can consistently play them correctly, you can move on to the

new minor scales and rudiment.

3. Repeat the process of playing the relative major scales of G Minor and C

Minor and then playing those minor scales and asking the students to identify

them.

4. Instruct the students to draw a staff with their instrument’s clef and

correctly notate both the Bb Major scale and the G Minor Scale. Walk around

to check on the students’ progress. Correct any mis takes and answer

questions.

5. When everyone seems to have made progress on this you can instruct

them to draw another staff with their instrument’s clef and notate and Eb

Major scale. Walk around and help the students complete this task.

6. Now instruct them to notate the C Minor scale. Don’t give very much help

initially, but begin to help if some of them are struggling. 7. When everyone seems comfortable with this concept the wind students

will now assemble their instruments and quietly blow warm air into their horns

to warm them up. In the meantime the percussionists will get their practice

pads out. Teach them what a Flam Tap is and have them play it slowly with

you and then notate it in 8th notes on their sheet of paper.

8. The winds will now play a Bb Major and Eb Major scale in half notes at

100bpm using the music that they notated. Repeat as necessary. Percussion

plays paradiddles with the band, but then move them to mallet instruments

after a few repetitions.

9. Using the minor scales that they notated have them play their G Minor andC Minor scales. Repeat as necessary. Move percussion back and forth

between mallets and their practice pads as necessary.

10. Play the “classical indian example” for the students.

Ask the students how this music relates to the middles eastern music they

heard last class.


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Discuss how the Indian culture also has many different views on how music

should be played. Tell them that they don’t consider instruments that can’t

bend pitch true classical instruments. (ex: piano)

-Show them the Indian “Mora” and introduce them to the TaKaDiMi system of

counting.

QUESTIONING/THINKING/PROBLE

M SOLVING (embedded

throughout)

Balanced mix of question

types. Utilizes Blooms

Taxonomy/Webb’s Depth of

Knowledge; high frequency;

purposeful & coherent; require

active responses; balance based

on volunteers/non-volunteers,

ability, & gender; lead to further

inquiry & self-directed learning.

Implement four types of

thinking (Analytical, Practical,

Creative, & Research-based) &

Teach/Reinforce problem-

solving types. Provide

opportunities for students to

generate ideas & alternatives;analyze, evaluate & explain

information from multiple

perspectives & viewpoints.

6. How have you viewed music that you’ve heard since last class?

7. How does “Wonderful World” change to you with the different keys?

8. What kinds of world styles do you notice now? What’s your favorite?

9. Can anyone sing a minor scale correctly?

10. What interesting sounds do you hear in the “classical Indian example”?

ASSESSMENT Formative and/or summative assessment. A

variety of assessments, including rubrics,

measure achievement of objectives and informs


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instruction.

-Informal assessment -Formal Minor scales/Rudiments assessment (rubric)

-Formal Minor scales written assessment (rubric)

CLOSURE Reflection/Wrap Up. Summarizing, reminding,

reflecting, restarting, connecting.

-To close, ask the students if they would like to do a significant amount of review

on the 4 minor scales or 2 rudiments that they’ve learned in the next class. Tellthem to find some world styles to listen to and that we can listen to what they

listened to next class period. Tell them to also try and notate the E Minor and B

Minor scales for next class.

NOTES:


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Minor Scales/Rudiments Assessment

Student Name_____________________________

CRITERIA ACHIEVEMENT LEVEL 1 (Beginning)

2 (Developing)

3 (Secure)

Pitch/Sticking Accuracy 1 2 3 N/A

Intonation/Tone Quality 1 2 3 N/A

Tempo/Rhythmic Accuracy 1 2 3 N/A

Correctly Identifies Relative Major/Can

identify a notated rudimentY or N

Posture 1 2 3 N/A

Classroom Etiquette 1 2 3 N/A

Participation/Attitude 1 2 3 N/A

Standards addressed this grading period:

2.2- Demonstrate continuing tonal development and an understanding of a characteristic tone

quality.




Teacher comments:

Teacher Signature ___________________________________


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Date _______________________________________

MIDDLE SCHOOL BAND

PERFORMANCE ASSESSMENT RUBRIC

Student Name______________________________________

Class Period________________________________________

Literature___________Minor Scales/Rudiments___________

CRITERIA

ASSESSED

SUPERIOR EXCELLENT FAIR DEVELOPING BEGINNING

Pitch/Sticking

Accuracy

90% or more

performed correctly 80-90% performed

correctly 70-80%

performed

correctly

60-70% performed

correctly 60% or less

performed

correctly

Intonation/Tone

Quality

Clear characteristic

tone with consistent

breath support

Clear characteristic

tone with consistent

breath support most

the time

Somewhat clear

characteristic

tone with

consistent breasupport

Little characteristic

one with consistent

breath support

No characteristic

tone with no

breath support

Tempo Steady tempothroughout

Steady tempo

with few

fluctuations

Steady

tempo

with some

fluctuation

s or stops

Steady tempo

ith many

luctuations or

stops

Very unsteady

tempo with

many stops

Rhythmic

Accurac y

90% or more

performed

correctly

80-90%

performed

correctly

70-80% performed

correctly

60-70%

performed

correctly

60% or less

performed

correctly

Teacher comments:


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WRITTEN ASSESSMENT RUBRIC

Student Name_____________________________________

Class Period______________________________________

Subject_______________Minor Scales_________________

CRITERIA ASSESSED SUPERIOR EXCELLENT FAIR DEVELOPING BEGINNING NO Attem

pt

Correct

Notes: A

Minor

1 or no errors 2 or 3 errors 4 or 5 errors 6 or 7 errors 8 errors No Attempt

Correct

Notes: D

Minor


Correct

Notes: G

Minor


Correct

Notes: C

Minor


Relative

Major Scales

Student lists all

4 relative major

scales

Student lists 3

correct relative

major scales

Student lists 2

correct relative

major scales

Student lists 1

correct relative

major scales

Student lists no

correct relative

major scales

No

Attempt

Short

Answer:Minor Scale

and different

cultures

Shows full

understanding

of concepts

Shows mostly full

understanding of

concepts

Shows moderate

understanding of

concepts

Shows some

understanding of

concepts

Shows little to no

understanding of

concepts

No

Attempt

Teacher comments:

Teacher Signature___________________________________


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Date_______________________________________

Minor Scales/Rudiments Assessment/Checklist Assessment

The students would be assessed in a classroom setting. I would have a physical copy of

this and fill out the performance aspect immediately and then the rest would be done at

the end of class. This assessment fits within multiple facets of Tennessee Core Arts

Standard (TCAS) 2.0. The subparts of this standard cover tonal development,

fundamental technique, pitch and rhythm identification, and their ability to perform scales

or rudiments. Half of the assessment looks at the student’s pitch and sticking accur acy,

intonation and tone quality, and tempo and rhythmic accuracy. The other half takes into

account their posture, classroom etiquette, participation and attitude, and their ability to

recognize and identify a given scale or rudiment. Having half of the assessment on the

new material allows the student to learn at a comfortable pace for them without feeling

heavy pressure to learn a large amount of information at once. It also allows for the

student to continue building on fundamentals, like posture, and be checked on to make

sure that they are performing the basics correctly.

Middle School Band Performance Assessment Rubric/Summative Assessment

The students would be assessed in class and the form would be filled out and available

at the beginning of the next class. This assessment is performance based and gauges

students on their ability to correctly display their understanding of the minor scales that

they’ve learned; meanwhile, it also showcases their improvement in the fundamental

areas of their instrument. TCAS 2.0 is still the standard of focus in this assessment, but

it has a more defined scale for the level of performance of the student. Much like the

Checklist Assessment, this rubric is not only comprised of criteria based on the minor


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Accommodating the visually impaired student would be the hardest to get started, but

would eventually be very rewarding. Once they figure out how to learn music with their

disability then they won’t need much other help. I decided to accommodate my visually

impaired student with this specific lesson by sending home a CD that would give them a

good preface into the lesson.

Accommodating the ADHD student was the most difficult one for me to research. There

weren’t a lot of solutions that would feasibly work in a band setting. They included

having a stretchy band for them to move their legs on during class, having a stress ball (I

can see it being thrown everywhere), and having other items that would really only work

if they were sitting at a desk and not needing to constantly move their arms and hands.

To accommodate this student I decided to just make sure and keep them active. Band

tends to be a pretty active class with little downtime that they could be causing trouble.

Even for the times that they wouldn’t be as active I made sure to include that they would

know that they are being monitored.


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Works Cited

Duke, R. A. (2005). Intelligent music teaching: Essays on the core principles of effective

instruction. Austin: Learning and Behavior Resources.

Moss, K and Wright, P. (2002, July 30). Music in the Key of Life. Retrieved April 12,

2016, from http://www.tsbvi.edu/seehear/archive/Music in the Key of Life.htm

Payne, R. K. (2005). A framework for understanding poverty. Highlands, TX: Aha!

Process.

Rudy, L. J. (2016, January 12). 13 Tips for Teaching Autistic Kids to Play Musical

Instruments in Band. Retrieved April 12, 2016, from

http://autism.about.com/od/schoolandsummer/a/Tips-For-Teaching-Music-To-

People-With-Autism.htm

senior seminar assessment project

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