Instructional Design Project

Teaching Beginners How to Play a Brass Instrument

Melodie Worthington EDTECH 503 Instructional Design Boise State University 7/30/2014 MELODIE WORTHINGTON

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TABLE OF CONTENTS Synthesis Reflection Paper

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Part 1 – Topic

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Part 1a

Stated Learning Goal………………………………………………………………………. 6

Part 1b

Description of the Audience……………………………………………………………. 6

Part 1c

Rationale…………………………………………………………………………………………….. 6

Part 2 - Analysis Report

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Part 2a

Description of the Need……………………………………………………………………….. 7

Part 2a.1

Needs Analysis Survey………………………………………………………………………… 7

Part 2a.2

Needs Analysis Data Report………………………………………………………………….8

Part 2b

Description of the Learning Context…………………………………………………….. 9

Part 2b.1

Learning Context………………………………………………………………………………….10

Part 2b.2

Transfer Context…………………………………………………………………………………. 10

Part 2c

Description of the Learners…………………………………………………………………. 11

Part 2d

Learning Task Analysis……………………………………………………………………….. 12

Part 2d.1

Information Processing Flow Chart……………………………………………………… 12

Part 2d.2

Pre-Requisite Analysis Flow Chart……………………………………………………….. 13

Part 3 – Planning

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Part 3a

Learning Objectives……………………………………………………………………………. 13

Part 3b

Matrix of Objectives, Bloom’s Taxonomy, and Assessment Plan………..…... 14

Part 3c

ARCS Table………………………………………..……………………………………………….. 15

Part 4 – Instructor Guide

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Part 5 - Learner Content

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Part 5a

Learning Materials…………………………………………..………..………………………… 28

Part 5b

Formative and/or Summative Assessment Materials...……………….…………. 28

Part 5c

Technology Tool Justification………………………………………….………..…………. 28 MELODIE WORTHINGTON

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Part 6 - Formative Evaluation Plan

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Part 6a

Expert Review…………………………………………………………………………………… 29

Part 6b

One-to-One Evaluation…………………………………………………………..……………. 29

Part 6c

Small Group Evaluation…………………………………………………………………..…... 29

Part 6d

Field Trial………………………………………………………………………….……………….. 30

Part 7 - Formative Evaluation Report

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Part 7a

Evaluation Survey or Rubric…………………………………………………………..……. 31

Part 7b

Expert Review Results…………………………………………………….……….………….. 32

Part 7c

Comments on Change………………………………………………………………………….. 34

Part 8 - AECT Standards Grid

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Appendix

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Synthesis Reflection Paper Designing instruction is like putting together a model airplane. There are numerous parts, both large and small, which are each crucial to the completed airplane. The larger parts (the topic of the instructional design, the learner context, and even the learners themselves) are fairly easy to identify and put the correct label or sticker on; the smaller parts (the type of learning, the instructional strategies, and the plethora of minute steps required to effectively teach students how to play a brass instrument) are more difficult to identify, yet the airplane cannot be put together correctly without them. Prior to this course on Instructional Design (ID), the day-to-day instruction in my classes was almost by rote; I could practically do it with my eyes closed. After 20 years of teaching I knew I could teach students how to play a brass instrument without giving it much thought. However, it became quite obvious to me that while what I was teaching…and how…were not necessarily wrong, they were at best not done with as much thought and purpose as they should have been. This begged the question of whether my instruction was as effective as it had the potential to be. For example, I seldom took the time to evaluate where my instructional objectives fell on Bloom’s Taxonomy. Bloom’s Taxonomy only reminded me of my college education classes and I didn’t want to focus on educational theory; I wanted to teach. This key strategy for determining the quality of the instruction being given was being ignored more often than not. Another example is how unaware I was of how intricate the steps are to playing a brass instrument. I’ve played the trumpet most of my life and taught beginners for two decades, so showing someone how to hold it and produce a first sound is not difficult. However, writing down each of the steps in a way that a non-brass player could figure it out in the correct manner was exponentially more difficult. Demonstrating a psychomotor skill is much easier than writing it out. It really made me think hard about what I was teaching and if it was the best way to go about it. Planning has always been part of my instruction, but actual design goes beyond that. As stated by Smith and Ragan, “experienced instructional designers intensify the degree of precision, care, and expertise expended on a design project relative to the impact of the potential consequences of ineffective, inefficient, or unmotivated learning that can result from less carefully designed instruction” (p.6). This ties directly in with my rationale on page five of this ID project. After taking this course, my desire to be more systematic and purposeful in my instruction has increased tremendously. I will no longer take the content I teach and the technology tools I use to enhance my instruction for granted. My goal is to look at what I teach more closely and evaluate whether there are ways I can be more effective. Incorporating technology in my classes is a desire of mine, but I need to be sure that it is an enhancement, not a distraction, from the learning process. For example, having the students complete a Google Forms survey determining prior musical knowledge would be very useful in evaluating the needs of the learners. However, having students play an online music theory game may not be as effective a technology tool. It would certainly be more fun for the students, but how would the teacher evaluate what the students already knew in a useful way? A “high score” doesn’t tell the teacher anything about what was known and how well. In conclusion, instructional design takes out the question marks. Instead of the haphazard tossing in of instructional strategies or technological tools which sound cool but may or may not truly benefit the learners, the designer is forced to think through the entire unit from beginning to end and justify the use of

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those additions. Designer consideration is required of the topic, the learners, context of the learning, and different types of learning. Once those are determined, then learning strategies and strategic evaluations are used to make sure the instructional design is as effective and engaging as possible. Purposeful, systematic instruction should be the goal of any responsible educator because it helps the learners to learn in a more effective way.

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Part 1 – Topic Part 1a - Stated Learning Goal Upon completion of this unit, the learners will be able to hold a trumpet or trombone correctly, sit with proper posture, form a correct embouchure, breathe properly, make a proper first sound with a mouthpiece, and accurately play three notes on their instrument.

Part 1b – Description of the Audience The target audience for this instructional design unit are 5th or 6th grade beginning band students interested in learning to play the trumpet or the trombone.

Part 1c – Rationale I chose the topic of teaching students to play a brass instrument, such as the trumpet or trombone, because in the world of instrumental music proper technique taught from the very beginning is essential to a student’s success on an instrument. As a trumpet player myself, it is a topic that hits very close to home. I have seen a variety of bad techniques either taught by well-meaning band teachers (including my own when I was a 6th grade beginning trumpet player), or resulting by default because of poor efforts at checking for consistency, which result in limitations for students in later years. Granted, no technique is going to make a student a marvelous player by itself; practice habits and study with a private teacher are huge components to that success. However, bad technique habits are hard to fix and it would be better to have them taught properly, and consistently checked, from the very beginning to avoid difficulties later. Therefore, the need my topic meets is consistency in the education of brass students as they learn to properly sit, hold their instrument, produce their first sound, and play their first three notes. This topic as an Instructional Design Project will also serve the need of detailed instruction for a substitute teacher in case the unforeseen should happen and the original teacher needs to be absent during this crucial formative stage in the students’ learning.

Overall Instructional Strategy My overall instructional strategy is supplantive. The following list shows how the principles for deciding whether to use generative or supplantive instructional strategies (Smith and Ragan, 2005, p. 145) have helped me to come to the supplantive conclusion with my topic. 

Learners’ Characteristics: Although learners for my topic tend to have a high level of motivation and interest (thus more generative strategies are suggested), there also tends to be a higher level of anxiety among learners because everything is so new and individuals are “put on the spot” to demonstrate psychomotor learning in front of others.

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Context Characteristics: Instructional time is limited, as class meets for only ½ an hour each day. Particular skills are expected to be learned in a universal fashion (all the brass students are expected to learn to a minimum level of competence in regards to posture, hold, breathing, and sound production). Success in learning falls heavily upon the teacher as many of the skills to be learned are physically demonstrated by the teacher and then imitated by the students.

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Learning Tasks: Learning goals are associated with a critically high level of competence and consistency. Proper posture, hold, breathing and sound production are crucial for learning a

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brass instrument. Once initially learned, these learning goals must be evaluated for consistency until good habits are formed.

Specific Instructional Strategy The specific instructional strategy I will be using in my instructional design is Psychomotor. Psychomotor skills are characterized by Gagne (1985, p.62) as “coordinated muscular movements that are typified by smoothness and precise timing”. Use of the word psychomotor rather than just motor emphasizes that there is a cognitive part to these motor skills; the cognitive part of the skill is an important part of the task to be learned (Smith and Ragan, 2005, p. 273). Learning to play an instrument involves a myriad of skills demanding smoothness and precise timing which, once learned properly, work together to enable the learner to continue to grow and develop in proficiency. Once these skills are learned they become automatic; they will become habits which can be built upon as the learner progresses in their ability on the brass instrument.

Part 2 – Analysis Report Part 2a – Description of the Need Part 2a.1 – Needs Assessment Survey My target audience is 5th or 6th graders interested in starting a brass instrument. Determining learner need was a difficult task to accomplish since I am taking this Instructional Design course during the summer and away from students I would normally be in contact with during the school year. I ended up surveying 10 students, three of which are from my neighborhood and the other seven are from my church. Since 5th and 6th grade students are not normally able to use the Internet at whim to answer survey questions, I decided to use a face-to-face method with the children I surveyed (with parental permission). That way I was available if the child needed further explanation of a question. I gave each child the questions on a piece of paper with space for them to write their responses. I gave them approximately 20 minutes to complete the survey, after which they returned it to me with their answers. The following questions are from my Needs Assessment Survey: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

What instrument family do the trumpet and trombone belong to? What other instrument families are there? Name one other brass instrument. What do the trumpet and trombone have in common in producing sound? Which instrument do you think has the smaller mouthpiece? Which instrument would make the lower sounds? How do you change pitch (notes) on a trumpet? How do you change pitch (notes) on a trombone? Why are the trumpet and trombone called brasswind instruments? Should you breathe through your mouth or through you nose while playing a brass instrument? What is the diaphragm and what does it do? Is the diaphragm a voluntary or involuntary muscle, or both? Without changing valve-combinations (trumpet) or slide positions (trombone), how can you make a pitch go higher?

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14. Without changing valve-combinations (trumpet) or slide positions (trombone), how can you make a pitch go lower? 15. Should you sit up straight or slouch when playing a brass instrument? 16. Do you need to be able to read music to take a Beginning Band class? 17. What letters are in the musical alphabet? 18. How many counts (beats) do you hold a whole note out for? 19. What does a rest in the music tell you to do? 20. How many counts (beats) do you hold a whole rest out for?

Part 2a.2 – Needs Analysis Data Report Each of the questions in my survey had only one correct answer. If a learner came close to getting the answer correct, I would give them credit for the answer. As the Needs Assessment Survey Results graph shows below, no learner was able to answer all 20 of the questions correctly. In fact, most learners were only able to answer 75% or less of the questions correctly.

The following pie chart portrays the percentage of correct answers given in regards to the twelve questions specifically about brass instruments (#1, 3-10, 13-15). None of the learners answered 90% or more of those questions correctly, one was over 80%, a majority answered in the 70-79% area and the rest were below 69% correct in their answers. The data is not surprising considering how specific the topic is and how many of the questions referred to skills yet to be addressed in the instruction. Most of the 5th and 6th grade students I interviewed/surveyed attend public school and have had state-mandated General Music instruction which should have covered some of the more general questions I asked. However, some of the children from my church have a home-schooling background which may or may not have covered those general questions.

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Part 2b – Description of the Learning Context This Instructional Design (ID) project for teaching beginning brass players has been prepared for an elementary school setting (5th or 6th grade) beginning band class. The learning context for an elementary school situation which feeds into a junior high system (7 th-9th grades) is different than one which feeds into a middle school system (6th-8th grades). Where learners may sign up for band class in a middle school system as one of their 7 or 8 periods per day and the class counts towards Humanities requirements, in an elementary school which feeds into a junior high system the students interested in band class must be pulled from their primary teacher’s classroom for ½ an hour per day. Most general education teachers are supportive and do not assign homework during band time, but occasionally situations will arise where the classroom teacher requires band students to make up what they miss during that half hour as extra homework each night. This alone may cause interested band students to decide not to join band class, or at the very least penalizes interested students for choosing to expand their education in a more holistic fashion and strengthen their work and study habits for the future...all which music education does and more. In fact, Brown states on the PBS Parents website that music facilitates learning other subjects, language development, spatial intelligence, increases IQ, and improves test scores, just to name a few benefits. Anyone who teaches music subjects must also be prepared to be an advocate for why music education is important in our schools. Another factor affected by offering band classes at elementary schools is the lack of facilities. Almost every room in the building is being used by someone during the school day: classes in the general education classrooms, library time in the libraries, PE in the gym, lunches in the cafeteria, etc. It creates a scheduling nightmare, but districts which support having instrumental music in 5th and/or 6th grade must schedule band classes in rooms which are large enough to hold them and at specific times when they are

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not being used for anything else. This requires a good working relationship between the school principal and the district music coordinator, as well as flexibility on the part of the teacher.

Part 2b.1 – Learning Context Beginning 5th or 6th grade band classroom locations can range from libraries to gyms to cafeterias to even hallways. For this ID project the positive assumption is being made that band class will be held in a library where there are some technological benefits, such as student computers, an overhead projector, a Smart Board, etc. If the class should end up being held where these technologies are not available (such as a gym or cafeteria), then plans should be made to have access to the computer lab and/or procuring a carted portable projector and laptop computer setup, as well as a portable whiteboard if needed. When sharing a room such as a library, procedures should be taught to the students for setting up/putting back the room and tied in with classroom management policies for best results. Tables and chairs will need to be moved aside so there is room for each student to sit with enough space around them to hold their instrument comfortably and with good posture. Eventually enough room for music stands will need to be made available as students later learn how to read music out of their method book, Accent on Achievement, Book One, by John O’Reilly and Mark Williams (Appendix A). Most students will provide their own instrument, either from home or rented/bought from a local music store. On the occasion a student’s family does not have the income to support renting or buying an instrument from a music store, the school district has instruments available to rent at a much reduced price ($50/semester). All students are expected to purchase maintenance supplies and their own method book (Appendix B). It should be noted here that each learner/class may be very different from one demographic area to another, with each class having its own needs and personality. It is important not to compare one learner/class to another, yet still maintain high expectations for all. The instructor must also observe carefully situations where a student may not be able to financially afford an instrument or even the $8.00 method book, and discretely aid that student with an instrument and/or book via scholarships available through the school district, the PTA, or the school’s discretionary funds. An instrumental music teacher at this level will be the most successful if he or she is encouraging, patient, enthusiastic, consistent, and firm. A classroom management plan which puts the students to work and not the teacher (including a built in rewards system) works very well. Band classes can vary in size from 10 students to 50 students, depending on the size of the school and student interest. Consistent classroom management can be the difference between learning and chaos. In addition to the method book, the teacher should be aware of the district, state and national music education standards. Examples of standards are provided at the end of this document from the Boise School District, the State of Idaho, and the National Coalition for Core Arts Coalition (Appendices C and D).

Part 2b.2 – Transfer Context There are many instances where learners will use the knowledge they gain from this ID unit on the “outside” of the classroom. The first and most important area will be at home where they will practice

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their instruments. Ideally, parents will help their child choose a consistent place and time at home to work on their first three notes and more advanced concepts as they are learned throughout the school year. The second context learners will use this knowledge is in performances. While normally performances still take place in school, they are in a different setting than the classroom, such as the gymnasium, so there is enough room for a good-sized audience to sit. Another performance venue later in the school year will be at a junior high school or senior high school to perform a solo and/or ensemble piece for a judge at the Elementary Music Festival. A third, and less common, context is for those few learners who eventually perform for church or community events once they have progressed far enough on their instrument.

Part 2c – Description of the Learners Important learner characteristics for this ID unit include demographics and prior basic music knowledge. As stated earlier, I surveyed three potential students from my neighborhood and seven from my church. My neighborhood consists of middle-income families and the families of the potential students from my church are also mostly middle-income, with one which is from a more affluent background. Students which I know have gone through the public school system have already had 5-6 years of general music classes and have been exposed on a consistent basis to the basic music questions I asked on my survey. Some of the learners from church have had a few years of piano lessons, as well, and have had that extra emphasis on music notation. I looked more closely at the eight questions I asked which were focused on basic music knowledge which I would expect most learners to know before starting in a beginning band class. The graph below depicts the number of questions answered correctly by each learner. In general, though there was some variance, most learners had a good grasp on basic music knowledge.

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Part 2d – Learning Task Analysis

Information Processing Flow Chart

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Pre-Requisite Analysis Flow Chart

Part 3 – Planning Part 3a – Learning Objectives 1. Given a video presentation on the types of brass instruments and their characteristics, learners will make an informed choice (choose) as to the type of brass instrument they want to learn so that they will maintain interest in practicing it over the next 9 months at minimum. 2. Given the learners' choice of brass instrument, learners will discuss the reasons for their instrument preference with their parents so that the parents are aware and supportive of that choice. 3. Given the importance of forming a proper embouchure in order to play a brass instrument, learners will form (construct) a correct embouchure following the four steps described by the teacher. 4. Given a mouthpiece for a trumpet or a trombone, learners will show correct placement of the mouthpiece on their lips and buzz so that their first sound is amplified by the mouthpiece. 5. Given a trumpet or a trombone, learners will reconstruct the instrument using the steps described by the teacher.

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6. Given a trumpet or a trombone, learners will discover how to hold the brass instrument with the correct right hand hold as demonstrated by the teacher. 7. Given a trumpet or a trombone, learners will discover how to hold the brass instrument with the correct left hand hold as demonstrated by the teacher. 8. Given a trumpet or a trombone, learners will apply correct embouchure technique and produce a sound on the brass instrument so that it can be identified as a pitch. 9. Given a trumpet or a trombone, learners will apply prior learning objective techniques to the first, second, and third notes’ fingerings/slide positions as described on page 6 of their band method book (Accent on Achievement, Book One), relating the name of the note with the valve combination/slide position and produce their first, second and third notes in a recognizable fashion, comparing and adjusting the pitch on their instrument to the teacher's reference pitch. 10. Given random singular verbal cues from note names learned to date, learners will apply prior learning objective techniques, relate the name of the note with the correct valve combination/slide position, and recognizably produce the notes on either a trumpet or trombone, comparing and adjusting the pitch on their instrument to the teacher's reference pitch.

Part 3b – Matrix of Objectives, Bloom’s Taxonomy, and Assessments Matrix of Objectives, Bloom's Taxonomy, and Assessment Plan Learning Objectives

Bloom’s Taxonomy Classification

Format of Assessment

Description of Test Form

Sample Items

1.0

Apply

Performance

Visual Observation

Students Sit in Instrument Section of Choice

2.0

Comprehend

Pencil and Paper “Test”

Constructed Answer

Parent Signs Band Sign-up Form After Discussion with Student

3.0

Apply

Performance

Visual Observation

Embouchure Formation

4.0

Apply

Performance

Visual Observation

Mouthpiece Placement and Buzzing

5.0

Synthesize

Performance

Visual Observation

Instrument Assembly

6.0

Apply

Performance

Visual Observation

Demonstration of Correct Hold

7.0

Apply

Performance

Visual Observation

Demonstration of Correct Hold

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Visual Observation

Identifiable Pitch Produced

Apply/Analyze Performance

Observation by Checklist (Rubric)

Correctly Matched Pitches

Apply/Analyze Performance

Observation by Checklist (Rubric)

Correctly Matched Pitches

8.0

Apply

9.0 10.0

Performance

Part 3c – ARCS Table ATTENTION A.1 Perceptual Arousal >To capture the students’ interest, the instructor will show an introductory video (Choosing a Band Instrument – Appendix A) on the different types of band instruments available. If knowledgeable, the instructor will demonstrate how to play each of the following instruments (at minimum): flute, clarinet, trumpet, trombone, and percussion. A.2 Inquiry Arousal > Students will be asked to think about which instrument from the video in A.1 they would be the most interested personally to learn. (A discussion regarding proper band instrumentation happens the following day in class, but is not covered in this design unit.) The instructor will ask the students to discuss with their parents which instrument they have chosen and why. The students who picked a brass instrument will meet during the first full week of classes; the students who picked a woodwind instrument will meet during the second full week of classes (this ID unit). Percussion students will be started when the entire band meets together for the first time. A.3 Variability >Attention will be maintained through hands-on psychomotor skills training on how to hold a brass instrument properly, sit with good posture, form the correct embouchure, breathe properly, make the first sounds, and finally play the first three notes on their brass instrument. These skills build upon each other and will be repeated each time an effort is made at producing a sound/note.

RELEVANCE R.1 Goal Orientation >The target learners for this class are beginning band students, so no assumptions are made as to how much background musical knowledge the students have. All information is taught as if the student has had no prior knowledge in playing a brass instrument or in reading music. Students who do have a strong background in reading music become apparent early on in the course of this class, but the pace of the class is geared towards the students who are less knowledgeable about music and instruments…at least to begin with. The goal is to have every student produce their first three notes by the end of the unit.

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R.2 Motive Matching >The instructor will provide the students with appropriate choices, responsibilities, and influences by stressing a three-fold emphasis placed on learning to play a brass instrument: 1. Be responsible for the instrument (Repairs are expensive! It is not indestructible just because it is made of metal.), 2. Commit to practicing the instrument at home (a consistent time and place is advised for the best improvements), and 3. Practice the harder stuff first (it will eventually become easier and may even become the student’s favorite thing to play). The instructor may also recommend that the students check out YouTube for experienced musicians playing their instrument to hear what the students’ goal should someday be. R.3 Familiarity >The concept of sitting up straight in a chair is familiar to most students, though not necessarily a habit of theirs. In setting the mouth for the proper embouchure, the instructor will ask the students to think of eating a bite of yummy chocolate cake and say “Mmmmm”. The mouthpiece is then centered on the mouth while the lips are together and the corners are back as they are saying “Mmmmm”. The buzz is produced by the students imagining they are disgusted with something and saying “Puh!” into the mouthpiece, or imitating the buzz the instructor produces in demonstration.

CONFIDENCE C.1 Learning Requirements >Right away students are being successful in making buzzing sounds on their mouthpieces. The instructor will continue building a positive expectation for success by encouraging students to practice making high and low sounding buzzes on their mouthpieces. This will be in preparation for matching pitch on each of their first three notes. C.2 Success Opportunities >Each student will be given the opportunity in front of the class to produce a buzz on their mouthpiece, sit with good posture, hold their instrument correctly, take a good breath, and produce their first note(s). The instructor will encourage each student to at least try, and even the shyer students are surprised and pleased when that first sound comes through the instrument. C.3 Personal Control >Only the student can play their instrument; no one else can do it for them. This proves to the students that their success is primarily based on their own efforts and abilities. This ties in closely with the amount and quality of practice time spent at home.

SATISFACTION S.1 Natural Consequences >Meaningful opportunities for the students to use their newly acquired knowledge/skills exist in the daily band classes, especially once the woodwind students and brass students are combined together after their initial days of starting on their instruments. Day-to-day rehearsals and the learning of new music together give plenty of these opportunities to the students. Periodically, as the students progress on their instruments throughout the school year, they are encouraged to play a short solo or duet in front of the class, perform with the band in the Fall/Winter concert and the Spring concert, participate as a soloist or in an ensemble at the Elementary Music Festival and/or play a solo or in a duet for their homeroom class and teacher for extra credit.

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S.2 Positive Consequences >Performances at concerts for parents and family members are very positive reinforcements for each student’s success on his or her instrument. Participating in the Elementary Music Festival allows beginning band students to be evaluated by a junior high or high school band teacher in a positive fashion, reinforcing concepts which they have been learning in their own band classes. The Festival evaluation points out things the student is doing well, as well as areas they can improve, which encourages the student to continue working hard. S.3 Equity >The instructor must maintain an energetic and encouraging presence in the classroom. There are occasional bumps along the road…concepts which are sometimes hard to overcome for some students…but the instructor must constantly evaluate how effective the instruction is and incorporate different teaching strategies if needed. Praising students for learning new music on their own, or even figuring out pop tunes by ear, is a great way to anchoring a positive feeling in students about their accomplishments in band class. Another highly recommended means of giving positive and constructive feedback to the students is to give a playing test every few weeks, allowing the instructor to evaluate each student individually on different aspects of playing an instrument: Posture/Hold, Tone, Steady Beat, Rhythm, Articulation, and Musicality.

Part 4 – Instructor Guide Introduction Note: The initial classroom will need some sort of a Smart Board and an Internet-connected computer/ projection setup for the video presentation, while large enough to hold approximately 20-60 students. Usually the library or cafeteria work well in this instance. Bring school-owned instruments to the presentation: a flute, a clarinet, a trumpet, and a trombone. For Days Four and Five you will either need a piano/keyboard in your regular classroom (if you know how to play it), or an electronic tuner which also plays pitches (recommended), or a computer or Smart Phone with Internet access to find a tuner website or application. Time Line: This ID project will last a total of 2 ½ hours (five ½ hour class periods).

Gain Attention  Begin on Recruitment Day (Day One: 1st ½ hour time period) by introducing the opportunity students have to learn to play a band instrument this year. Be energetic in your presentation.  Next, introduce the instruments and ask students to tell you which Instrument Family each belongs to: o Flute, Clarinet, Saxophone – Woodwind Family o Trumpet, Horn, Trombone, Baritone, Tuba – Brass(wind) Family o Snare Drum, Bells, Bass Drum, etc. – Percussion Family  Next, if knowledgeable, play a few notes on each instrument.  Next, describe the following expectations prior to handing around the school-owned instruments: o Handle carefully o Do not try to play it o Pass it quickly on to the next student

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Students who don’t follow the expectations will be pulled aside and not allowed to participate Next, hand the instruments out to the students (allow 6-8 minutes). At the end of the 6-8 minutes, have students bring the instruments back up to you. Next, play the 5-minute video Choosing a Band Instrument (see Appendix A) for the entire 5th or 6th grade (depending on which grade level the school offers Beginning Band). Next, tell the students that if any of them are interested in joining the beginning band class they must take home with them the Beginning Band Brochure (see Appendix E) and Sign-up Sheet (see Appendix F) and discuss why they want to learn a band instrument with their parents. Signup Forms are due back to you by the end of the week. Next, describe the beginning band schedule for the next two weeks (which has already been emailed to the classroom teachers and principal): o All interested students come to band class (list the normal location and time for the class) the very next day (Day Two) to discuss class expectations and band instrumentation needs. (Not included in this ID project.) o Day Three – Day Six: Beginning brass players only come to band class (with instruments). (Included in this ID project.) o Day Seven – Day Ten: Beginning woodwind players only come to band class (with instruments). (Not included in this ID project.) o Day Eleven: All band students (including percussion) come to band class every day for the rest of the year. (Not included in this ID project.) Next, dismiss the class and hand out brochures with sign-up forms to the students on their way out. o

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Inform Learners of Purpose  Day Three (2nd ½ hour class period): After getting their attention, you should state the objective clearly: o “The purpose of the next three days is to teach you to hold your trumpet or trombone correctly, sit correctly, breathe correctly, form your embouchure (shape of your mouth while playing) correctly, produce your first sound and then play your first three notes. And it’s going to be fun!” o You may also inform them that learning the right techniques now will help them to be the best brass player they can be. Stress the importance of practicing what they learn in class the next few days at home (see the three-fold emphasis in R.2 of the ARCS Table) so good habits are formed. “Practice does not make perfect…practice makes permanent!”

Stimulate Learner’s Attention/Motivation  Day Three (2nd ½ hour class period): o Ask the students if they think making a sound on a trumpet is different than making a sound on a trombone. o Discuss why they think the method is the same or if it is different (eventually point out it should be the same…the mouthpieces are just different sizes). o Discuss how the sound is created with the mouthpiece, but the instrument amplifies the sound and allows the player to change notes via the valves or slide.

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Provide Overview  Day Three (2nd ½ hour class period): o Since Part 2.4 – Learning Objectives lists the steps in sequential order (particularly Objectives 3-10 at this point in the unit), you may briefly review the objectives at this point.

Body The body of this lesson will be broken down into three instructional class periods (Day Three – Day Five). You will complete the learning events for each of the three days, in order:  Day Three (2nd ½ hour class period) – Learning to form the proper embouchure and buzz on the mouthpiece.  Day Four (3rd ½ hour class period) – Learning to sit, breathe, assemble instrument, hold instrument, and produce first sound.  Day Five (4th ½ hour class period) – Learning the names and playing the first three notes accurately.

Day Three (2nd ½ hour class period): Learning to form the proper embouchure and buzz on the mouthpiece Objectives 3 and 4 Stimulate recall of prior knowledge Ask if anyone has ever played a brass instrument before. If they have, have them describe how to make a sound on the mouthpiece. If they have not, or the student needs help in describing the proper technique, take the students through the following steps: Present information and examples/Gain and direct attention  “Think of taking a bite of chocolate (or your favorite kind of) cake. Yummy, huh? Try saying “Mmmm”.” (After giving them time to try, gain their attention again.) “What happens to the corners of your mouth?”  “Keeping your corners back like that (no puffing of cheeks!), pretend you’re disgusted or frustrated by someone or something and you say “Puh!” quickly through your tightened lips.” (After giving them time to try, gain their attention again.) “Did your lips buzz together a little bit?”  “Now, with your corners back, use more air and make that buzzing sound longer.” (After giving them time to try, regain their attention.) “Are your cheeks puffing? They shouldn’t be! Keep those corners back…think “Mmmmm” while buzzing.” (Give them time to try and then regain their attention.)  “Now that you’ve learned to form your embouchure (a French word for the shape of your mouth while playing a wind instrument), center the mouthpiece on your lips and BUZZ!” (After giving them time to try, regain their attention.) “Are your cheeks puffing? Keep those corners back…think “Mmmmm” while buzzing into the mouthpiece.” (Give them time to try again and then regain their attention.)

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Employ learning strategies Continue to remind students to follow the strategy of visualizing tasting the chocolate cake for firm mouth corners to prevent themselves from puffing their cheeks. Another good practice strategy is to practice buzzing their mouthpiece at home in front of a mirror so they can see what their cheeks looks like. Eventually how the cheeks look and how they feel will become connected in the students’ minds so they will no longer have to literally “see” to know if they are doing it correctly. Practice  “The mouthpiece amplifies your buzzing lips.”  “We can change the sound of the buzz to be higher or lower by changing how tight our lips are and how fast we push our air through the mouthpiece.” (Demonstrate how to make a siren sound on your own mouthpiece.)  Have the students try to make the siren sound. (Give them time to try and then gain their attention again.)  “Don’t forget to keep those corners back, even when trying to make a low buzzing sound!”  “Your assignment tonight is to go home and practice buzzing on your mouthpiece. See if you can make the sound change between higher and lower sounds. Wait to add your mouthpiece to your instrument until tomorrow in class so you don’t learn any bad habits.” Provide Feedback and Remediation This step should in a continuous loop with the “Practice” step above. Be mobile: move around the room so you can hear and see what is occurring better. As each student is attempting to make the buzzing go higher or lower, you should be adjusting teaching strategies to help the “light come on” for any student who is struggling. Often just rewording an instruction or demonstrating again for the student does the trick.

Day Four (3rd ½ hour class period): Learning to sit, breathe, assemble instrument, hold instrument, and make first sounds Objectives 5-8 Stimulate recall of prior knowledge Review the steps from Day Three for embouchure formation and buzzing. Have the students buzz the siren sound on their mouthpieces. (No instruments at this point.) Present information and examples/Practice/Gain and direct attention Gain the students’ attention and then tell them today they will be learning how to sit and breathe correctly, assemble their instrument, how to hold their instrument, and how to make their first sounds. Go through the following steps with the students:  Sitting: Ask students to sit up straight in their chairs with both of their feet on the floor. If they can reach the floor and still sit up straight against the back of their chairs, that’s fine. If they can’t, then they must scoot far enough forward that their feet are on the ground and their backs are straight.

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 Breathing: “Now let’s talk about proper breathing. Does anyone know what the diaphragm is? What does it do? Is it an organ or a muscle?” (At this point you will make sure they understand the diaphragm is both an involuntary and voluntary muscle which makes the lungs draw in and push out air.)  Have the students practice taking proper deep breaths (“from their toes on up”)…no moving of shoulders!  To illustrate a proper breath, have the students (while sitting) bend at the waist, keep their knees together, resting their torso directly on their thighs and hanging their arms down towards the floor. Ask the students to take four deep, quick breaths. “How many of you felt your torso being lifted up off your thighs each time you took a breath? If you breathed correctly, you should have felt exactly that. That is your diaphragm contracting (pulling the air in) and expanding (pushing the air out). (After giving them time to try, regain their attention.)  Have students sit up (carefully). Have them place one of their palms flat on their belly. Again have them take the same type of breaths they did while leaning over their thighs. (After giving them time to try, regain their attention.) “How many of you felt your belly push your hand out when you took a breath? That means you were breathing correctly.”  “When we play a wind instrument, we need to be sure to fill our lungs properly so we can make good-sounding notes come out of our instruments.”  “Now we’ll learn how to put our instruments together and hold them properly.”  Trumpet Assembly: (See Appendix G for trumpet parts information.) Start with the trumpets, since they are the simplest to put together. Simply put the mouthpiece into the Mouthpiece Receiver and turn it a ¼ turn. Be sure all brass students understand it is important not to “pop” the mouthpiece when it is in the Mouthpiece Receiver, or it may become stuck. Demonstrate with one student, but have the rest imitate what you do as you take them through the following steps:  Trumpet Left-Hand Hold: (See Appendix G.) Have the student hold the trumpet with the mouthpiece pointing towards her. She should grip the trumpet around the valves like she is holding a glass of water, keeping all fingers underneath the narrowing Bell and placing the fourth finger through the 3rd Valve Slide Ring (which is usually adjustable so there is room to place the other fingers around the valve casing and still have the fourth finger in a comfortable position), the pinky beside the 4th finger on the outside of the 3rd Valve Slide Ring, and the thumb in the 1st Valve Slide Saddle (if the trumpet has one).  Trumpet Right-Hand Hold: (See Appendix G.) Have the student form a backwards “c” with her right hand. Maintaining the “c”, have the student move the hand towards the trumpet which is being held correctly by the left hand. The thumb of the right hand should go just under the lead pipe, in-between the 1st and 2nd valves. The curved 1st, 2nd, and 3rd fingers should naturally go in place, resting the fingerprint area on top of the corresponding 1st, 2nd, and 3rd valves. The pinky should rest on top of the Finger Hook (also called the pinky ring), not hooked inside of it. This will help prevent pulling the trumpet into the mouth to “help” get high notes out, which is the wrong method for accomplishing that (faster, supported air is the key).  Trumpet Playing Position: While using correct left and right hand holds, have the student bring the trumpet to her mouth, centering the mouthpiece on her mouth as previously directed. Hold the trumpet at an angle slightly lower than parallel to the floor. Make sure the elbows are away enough from her sides to allow for good expansion of her lungs, but not “chicken-winged” out. (Once all trumpet students have satisfactorily followed the previous steps, ask them to sit quietly while you move on to the trombone students. Most of the trombone students will have been

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

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watching what you did with the trumpets pretty avidly, but if necessary regain their attention and move on to their instruments.) Trombone Assembly: (See Appendix H for trombone parts information.) (Again, have the trombone students imitate each step as you demonstrate with one student and instrument.) Before putting the mouthpiece in the Mouthpiece Receiver, have the student take the Bell Section by the left hand and the Slide Section by the right hand (making sure the Slide Lock is in the locked position). Put the two parts together, making an “L” shape (as shown in Appendix I) with the Bell Section on the left side of the Slide Section when being held with the Mouthpiece Receiver facing the student’s face. When in place, lock down the Bell Lock. Place the mouthpiece in the Mouthpiece Receiver and turn it a ¼ turn. Trombone Left-Hand Hold: Holding the trombone in his right hand, have the student form a “gun” with his left hand. Take the thumb of the “gun” and place it just above (towards his face) the junction of the Bell Section brace closest to the Bell Lock. Have him bring the finger of the “gun” around and across the 1st Slide Brace so that the tip of the finger is resting on the Mouthpiece Receiver. The rest of the left-hand fingers come around and hold the trombone between the 1st and 2nd Slide Braces. Rotate the trombone slightly so the weight of the trombone is resting in the palm of the left hand. When you face a student who has a correct left-hand hold, you should be able to see the “gun” formation. Students may need to be frequently reminded of this when first learning this skill. Trombone Playing Position: (It is easiest to teach the Right-Hand Hold after the student has the trombone in Playing Position.) Have the student bring the trombone mouthpiece up to his mouth, centering it there as previously directed. The trombone has a slight “bend” designed in the Bell Section between the two braces closest to the Bell Lock (see Appendix H). Have the student tilt the trombone in his left hand until that “bend” is resting against his neck and the weight of the trombone is resting in the palm of his left hand. The trombone should not be held straight out like a trumpet or leaning/touching the left side of his head. The trombone slide should point to the floor at a 45 degree angle. Trombone Right-Hand Hold: Holding the trombone in Playing Position, have the student take his right hand and put his first and second fingers together and then place his thumb against the fingertips in a natural position. Maintaining that shape, have the student hold the 2 nd Slide Brace between the thumb and fingertips at the junction of the Slide and the left side of the 2nd Slide Brace (same side as the Bell Lock). No “death grips” are allowed on the slide (holding the 2nd Slide Brace in a fist). At this point the Slide Lock can be disengaged so the Slide can be moved down and up the Inner Slide tubing. Make sure the students develop the habit of always reengaging the Slide Lock whenever their instrument is not being played. (Once all trombone students have satisfactorily followed the previous steps, regain the attention of the entire class.)

Prompt use of learning strategies/Practice Continue to remind students to follow the following strategies: visualize tasting the chocolate cake for firm mouth corners to prevent themselves from puffing their cheeks; visualize pulling their breath up from their toes; visualize the shape and feel of their mouth when making the siren sound.  First Sounds: “Now we’ll put everything together that we’ve learned and make our first sounds. Wait to buzz into your instrument until I tell you.” Direct the students to use the correct right- and left-hand holds, bring the instruments up to playing position, visualize (see above) how to form

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the embouchure, take a good breath, and then…”Buzz!” (After giving the students time to make a sound on their instruments, regain the students’ attention.)  “Now everyone try again, but this time think of the siren sound you practiced yesterday. Try to aim for the middle…not too high and not too low.” (After giving them time to try, regain the students’ attention.) Provide Feedback/Remediation This step should in a continuous loop with the “Practice” step above. Be mobile: move around the room so you can hear and see what is occurring better. As the students are attempting to make their first sounds, you should be adjusting teaching strategies to help the “light come on” for any student who is struggling. Often just rewording an instruction or demonstrating again for the student does the trick. Be sure to be constantly observing if students are using the correct hand holds, posture, etc. and redirect if needed.  “Great job! Your homework assignment tonight is to practice your first sounds. It’s a good idea to warm-up by just using your mouthpiece and working on your siren sound. You may experiment with using different valve combinations or slide positions, but always make sure your sound is in the middle…not too high and not too low. Tomorrow we will learn our first three notes!”

Day Five (4th ½ hour class period): Learning the names and playing the first three notes accurately Objectives 9 and 10 Stimulate recall of prior knowledge Review the steps from Day Three and Day Four for embouchure formation and buzzing, posture, breathing, instrument holds, and first sounds. Have the students apply these skills and play a note of their choice. (It will be a cacophony of sound for a short time.) Present information and examples/Practice/Gain and direct attention Gain the students’ attention and then tell them today they will be learning how to play their first three notes off of page six in their method book. Go through the following steps with the students:  The focus today will be on the names of the three notes and how to play them…not on reading music. That will come in the near future but not in this ID unit. Point out where on page six the first three notes are introduced (in the yellow box) and have the students look at the valve combinations and slide positions for each note. Then have them put their books away.  Note: Before beginning this section, be sure you understand the relation of the Concert Pitch note (the note played on a piano or the pitch produced by your tuner) and the trumpet’s note (see Appendix J). For example, the trumpet note “E” will sound a whole step lower on a Concertpitched instrument. So the Concert-pitched instrument would play a “D” and it would sound the same as the trumpet’s “E”, a Concert-pitch note of “Eb” would sound the same as a trumpet’s note of “F”, etc. Even if you don’t understand the relationship of half-steps and whole steps in music, just be sure the note you play on your piano or tuner is a letter name backwards in the alphabet from the trumpet’s note as described in the steps below.

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 Trumpet First Note: Start with the trumpets. Point out to them that when holding the trumpet in playing position the valve closest to their face is the 1st valve, the next is the 2nd valve, and the next is the 3rd valve. The first note they will learn is called “E” and the valve combination for that note (what valves are pushed down) is 1st and 2nd valves. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Prior to the students’ attempt at the note, play the note (“D”) on the piano or on your tuner (see Appendix J). o Have the students listen to the pitch and then match that pitch on their trumpet. (After giving the students time to try “E”, regain their attention.) o If students are not matching the pitch and they have the correct valve combination in use, identify if the pitch they are producing is higher or lower than the desired pitch. If they are undershooting the note (which is common), have them imagine the siren sound and blow faster air through the instrument. If they are overshooting the note, have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.)  Trumpet Second Note: The second note the trumpets will learn is called “D” and the valve combination for that note is 1st and 3rd valves. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Play the note (“C”) on the piano or on your tuner (see Appendix J). o Have the students listen to the pitch and then match that pitch on their trumpet. (After giving the students time to try “D”, regain their attention.) o If students are not matching the pitch and they have the correct valve combination in use, identify if the pitch they are producing is higher or lower than the desired pitch. If they are undershooting the note (which is common), have them imagine the siren sound and blow faster air through the instrument. If they are overshooting the note, have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.)  Trumpet Third Note: The third note the trumpets will learn is called “C” and the valve combination for that note is “open” or uses no valves. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Play the note (“Bb”) on the piano or on your tuner (see Appendix J). o Have the students listen to the pitch and then match that pitch on their trumpet. (After giving the students time to try “C”, regain their attention.) o If students are not matching the pitch and they have the correct valve combination in use, identify if the pitch they are producing is higher or lower than the desired pitch. They are unlikely to be undershooting the note but may be overshooting instead. Have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.)  Before teaching the trombone’s first note, point out to the students that notes are changed by moving the outer slide up or down the inner slide (when slide is unlocked) into certain “positions”. There are seven different positions on the trombone slide, but you will only be teaching three of them to the students today.

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 Trombone First Note: The first note the trombones will learn is called “D” and that note is played in 4th position. Fourth position is located by moving the Outer Slide down the Inner Slide until the edge of the Outer Slide lines up with the rim of the Bell. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Play the note (“D” since the trombone is also a concert-pitched instrument) on the piano or your tuner. o Have the students listen to the pitch and then match that pitch on their trombone. (After giving the students time to try “D”, regain their attention.) o If students are not matching the pitch and they have the correct slide position in use, identify if the pitch they are producing is higher or lower than the desired pitch. If they are undershooting the note (which is common), have them imagine the siren sound and blow faster air through the instrument. If they are overshooting the note, have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.)  Trombone Second Note: The second note the trombones will learn is called “C” and that note is played in 6th position. Sixth position is located by moving the Outer Slide down the Inner Slide almost as far as the student can reach. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Play the note (“C” since the trombone is also a concert-pitched instrument) on the piano or your tuner. o Have the students listen to the pitch and then match that pitch on their trombone. (After giving the students time to try “C”, regain their attention.) o If students are not matching the pitch and they have the correct slide position in use, identify if the pitch they are producing is higher or lower than the desired pitch. If their pitch is pretty close to the pitch you play but just a little high, have them bring the Outer Slide out a little farther until it matches your pitch better. If it’s just a little low, have them bring the Outer Slide in a little bit until it matches your pitch better. If they are really undershooting the note, have them imagine the siren sound and blow faster air through the instrument. If they are really overshooting the note, have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.)  Trombone Third Note: The third note the trombones will learn is called “Bb” and that note is played in 1st position. First position is located where the Outer Slide is all the way up towards the student’s mouth. o Remind the students to use proper techniques from the previous two days as they prepare to play the note. o Play the note (“Bb” since the trombone is also a concert-pitched instrument) on the piano or your tuner. o Have the students listen to the pitch and then match that pitch on their trombone. (After giving the students time to try “Bb”, regain their attention.) o If students are not matching the pitch and they have the correct slide position in use, identify if the pitch they are producing is higher or lower than the desired pitch. They are unlikely to undershoot the note and may be overshooting it instead. If they are really

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overshooting the note, have them imagine the siren sound and blow slower air through the instrument. (Give students another chance and then regain their attention.) Prompt use of learning strategies/Practice Continue to remind students to follow the following strategies: visualize tasting the chocolate cake for firm mouth corners to prevent themselves from puffing their cheeks; visualize pulling their breath up from their toes; visualize the shape and feel of their mouth when making the siren sound.  Now that all students have successfully tried their first three notes, have them play them together. “Okay, now let’s try them together! Trumpets play your “E” and trombones play your “D”…ready…PLAY!” Follow the same process for the other two notes. Provide Feedback/Remediation This step should in a continuous loop with the “Practice” step above. Be mobile: move around the room so you can hear and see what is occurring better. As the students are attempting to play each of their first notes, you should be adjusting teaching strategies to help the “light come on” for any student who is struggling. Often just rewording an instruction or demonstrating again for the student does the trick. Be sure to constantly observe if students are using the correct hand holds, posture, etc. and redirect if needed.  “Great job! Think about how much you’ve learned about your instrument the last three days. Your assignment tonight is to go home and practice your first three notes. Be sure to think about using the steps I’ve taught you as you hold your instrument, breathe, and play your notes. Think of the note name in your head as you play each note because tomorrow I want to see if you can play those notes by yourself, one student at a time.”

Conclusion Day Six (5th ½ hour class period): Reviewing note names and pitch production, with evaluation by instructor Provide summary and review Begin by summarizing the similarities between brass instruments in sound production. Next, review the unit objectives of producing a proper embouchure, sitting with good posture, breathing properly, assembling the instrument, holding the instrument correctly, and producing the first three notes for their instrument (see Days 3-5). Enhance transfer Near Transfer: Let the students know they will be demonstrating their ability to play their first three notes for the woodwind and percussion students on Day Eleven, just as the woodwind students will be doing the same for them. Far Transfer: Have the students turn to the back of their band method book to the fingering/slide position chart for their instrument.

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 Ask them to look at the large number of notes, how they start low on the staff (the five lines and four spaces which music notes are written on) and then move up quite a ways.  Next, ask them to locate the three notes they learned yesterday on the fingering/slide position chart.  Next, give them the assignment of finding out how many of the notes use the same fingerings/slide positions of the notes they just learned and figuring out how they would change the note without changing the fingering/slide position. As some of those new notes are learned during the next few months, the brass students will directly apply the information they discovered in this assignment to playing those notes. Remotivate and close Praise the students for how well they did with learning the various steps to playing a brass instrument. Discuss with the students why the things they just learned will remain important in the future.    

Why is sitting with good posture important? Why shouldn’t you puff your cheeks? How does that affect sound production (good or bad)? Why shouldn’t trumpet players put their pinky in the Finger Hook (pinky ring)? Etc.

Assessment Have the students warm-up by playing their three notes in unison for four counts each, first the trumpets and then the trombones. Call out the note names randomly and have each section play the correct fourcount note in response. The final assessment will occur as you have each student play individually as you call out random note names (of the notes they have learned), repeating each note once (for a total of six notes in random order). Each note should be held out for four counts. Use your checklist to mark down whether each student is sitting with good posture, taking a good breath, forming the correct embouchure, holding the instrument correctly, and matching pitch. (Have your piano or tuner handy if you are not able to recognize the correct note on your own by this time.) Keep this assessment as light-hearted and fun as possible, so students don’t interpret it as some sort of “test” and experience undue stress. Provide feedback and remediation Students will receive feedback from you as you praise them when they do well and encourage them if they are struggling. Fellow students will also give feedback naturally…perhaps cheering or clapping when a student does well or gives his or her best effort. This is a positive environment which you should encourage and foster, as long as it does not distract from the learning process. Encourage students to continue practicing their first three notes over the next several days as you begin working with the woodwind students. Challenge them to look ahead in the book and try learning the next few notes so they are well-prepared when those notes come up in class.

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Part 5 – Learner Content Part 5a – Learning Materials This particular Instructional Design unit does not require much in the way of learning materials, since so much of the described new learning is psychomotor in nature and simply requires instructor demonstration and student imitation. Each student is expected to buy their own copy of Accent on Achievement, Book One (see Appendix A) at the time they procure an instrument. As noted in the Instructor Guide, the book is referred to briefly to point out where the new notes are listed (pg. 6). Also pointed out is the Finger/Slide Position Chart in the back of the book for further study. However, on Day One some new learning materials are handed out to the students in the form of an informational brochure (see Appendix E) and sign-up form (see Appendix F) to take home to parents and prompt a discussion about joining Band. Another handout, mentioned in Part 2b.1, is the Beginning Band Accessory List (see Appendix B) and is also informational to both students and parents. It is handed out to students on Day Two (not covered by the Instructor Guide, but applicable to this ID unit).

Part 5b – Formative and/or Summative Assessment Materials As described in Part 3b, Matrix of Objectives, Bloom's Taxonomy, Assessment Plan, most of the learning objectives are assessed via visual observation as the instructor carefully makes sure each student is imitating the demonstrated concept accurately. These are formative assessments which take place as the instruction is occurring, evaluating the success of the instruction and abilities of the students. A more formal evaluation is used for objectives 9 and 10, as it is summative in nature (evaluating the overall ID unit learning of the students) and provides written feedback in the form of a rubric (see Appendix K).

Part 5c – Technology Tool Justification Technology Tool

Justification Use: Display of projected Internet video.

Smart Board

Computer

Rationale: This allows the instructor to stand near the Smart Board and start/stop the video by touch if needed during the presentation. Use: Internet access. Rationale: Provides access to the Internet for the engaging opening video on YouTube. Use: Projects whatever is on the computer on the Smart Board.

Digital Projector

YouTube Video “Choosing a Band Instrument”

Rationale: Allows a larger audience to view what can be seen on a computer monitor. Use: Informational tool about typically available band instruments. Rationale: A very fun and engaging video geared towards late elementary school-aged students to encourage joining band class and learning to play an instrument. Use: Pitch (note) reference.

Electronic Tuner

Rationale: Most people cannot determine if a pitch is being played correctly by a student without a point of reference.

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Smart Phone

Use: Tuner App(lication) for pitch (note) reference. (For example: Soundcorset Metronome and Tuner for Android phones – free) Rationale: Most people cannot determine if a pitch is being played correctly by a student without a point of reference.

Part 6 – Formative Evaluation Plan Part 6a – Expert Review My subject matter expert (SME) is Brooke Howard. She just finished her 17 th year of teaching instrumental music in the Boise Schools. She holds a Bachelor of Music Degree in Music Education from Boise State University (1996) and a Master of Education Degree in Curriculum & Instruction: Creative Arts from Lesley University (2002). The expert evaluation survey is described in Part 7a, and the expert’s completion of the survey is included in Part 7b. This document and the SME evaluation survey were submitted to Mrs. Howard on July 25, 2014, and were returned on July 29, 2014.

Part 6b – One-to-One Evaluation For this evaluation I would provide a storyboard for the video presentation, as well as copies of the Beginning Band Brochure, Sign-up Form, Beginning Band Accessory List, and the summative assessment (playing test) rubric to 2-4 potential learners from my target audience in separate, one-onone sessions. My goal in selecting these learners is to check for typographical errors, unclear directions, and unfamiliar vocabulary. A secondary goal would be to evaluate how effective these materials are with a fairly representative group of students. I will encourage each learner to think out loud and tell me his/her response as it comes to mind. I will have a notepad on hand with each of my key questions already written on the top of single pages so I can write the learner’s thoughts as I hear them. Key questions during one-on-one sessions would include:  

Do you have any trouble understanding the information? If so, what part? Do you understand what the rubric is evaluating? Why or why not?

 

Are the examples and graphics clear? If not, what would you like to see? Does the storyboard for the video presentation make sense? If not, where does it become confusing?

Part 6c – Small Group Evaluation For this evaluation I would test my ID unit on a small group of about 10 target-audience students, taking myself out of the equation. The group, provided with instruments and committed to a 2-hour session, would work through the material on their own and I would independently observe, stepping in only when the instruction cannot proceed without intervention. As the group progresses through the instruction, I will take notes on interest levels or problem areas and check on the effectiveness of any changes recommended through the one-on-one evaluation process. In addition to direct observation, with permission I will video record the session (see Appendix L for Video Recording Permission Form). The goal of the camera is two-fold. First, it would allow me to review the

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context for any questions which occur. Second, it would allow me to benefit from witnessing any “happy accidents” which can occur when the designer is absent from the situation. For example, as the students are working through the embouchure instruction there is the possibility that more appropriate or authentic examples for understanding the process of producing the correct embouchure may be mentioned. This would give me better ways of relating the instruction to the learners, making the instruction stronger. Given that my unit is psychomotor in nature and there is not much opportunity for paper-and-pencil evaluations, I would use a pre-test (my Needs Assessment Survey) to assess their understanding and to “prime the pump” for inquiry, and a post-class evaluation of their abilities to play a brass instrument. These will be followed up by a questionnaire with some follow-up questions. Key questions include: 

Do you feel you had the prior knowledge to take this class? If not, what do you wish you knew more about?

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Did you understand the connection between the instructor demonstrations and the application? What needed to be clearer?

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Do you feel that the class succeeded in teaching you the skills you need to play a brass instrument? Why or why not?

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Did the skills which you used in the class match the prior knowledge required by the class? If not, where did they not match?

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What necessary item do you feel was emphasized the most in the class? What about the least? Is there anything which troubles you about the class?



What recommendations do you have for improvement?

Part 6d – Field Trial Following the small group evaluation, I would conduct a field trial to assess both the learners’ ability to understand the material and the instructor’s ability to use the Instructor Guide. Ideally, I would try to find an instructor who is already an experienced band teacher. This way the teaching can be streamlined and any issues which arise can be addressed quickly and efficiently. As the text suggests on page 338 (Smith and Ragan, 2005), it is a good idea to conduct field trials in several different instructional sites. A great opportunity to follow through with this in the Boise Schools would occur during the beginning of the school year. I would contact two or three experienced band teachers at the elementary level and ask them to use this ID unit with their brass students. In order for elementary band teachers to teach full-time, they must travel to 4-5 different elementary schools each day, giving one or two ½-hour band classes at each school. This will result in my field trial being used at several different instructional sites with varying socioeconomic situations. Again, I would request to have each unit being taught be video recorded (see Appendix L) since I cannot be in multiple places at once. At the conclusion of the field trial the learners will complete a questionnaire similar to the one given for the small group evaluation. However, in the field trial evaluation it is important to also gain some reflection from the instructors. Some key questions would be: 

Did the Instructor Guide and the accompanying materials provide all the information I needed to teach the unit? If not, what would you suggest adding?

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

Were the facilities I needed to teach the unit available to me? Is that something you could improve by speaking with school administration?



Were the time estimates provided in the Instructor Guide accurate for my classes? Where do they need to be adjusted?

 

Did you find the unit easy to teach? If not, where was it difficult to teach? Do you feel your students learned from the unit? Why or why not?



Would you recommend this unit of instruction to other teachers? Why or why not?

The goal here is to gather as much information as possible about any subtle things I may have overlooked in my design. With the use of such a large number of students and relatively large number of instructors, I can get a good indication of what changes need to be made to improve my ID unit.

Part 7 – Formative Evaluation Report Part 7a – Evaluation Survey or Rubric I created a Google Forms survey for my Subject Matter Expert (SME), Brooke Howard. The following is a list of the questions I asked on the survey: Part 1: Please review each section of the ID unit and provide comments and recommendations. Section-by-Section Evaluation Goal, audience, and rationale 1 Comments:

2

Needs assessment, learning and transfer context, learner description, task analysis, flow charts Comments:

3

Learning objectives, objective matrix, ARCS table Comments:

4

Instructor Guide Comments:

5

Learning materials, formative and/or summative assessments, and technology tool justification Comments:

Part Two: Please rate the degree which you agree or disagree with each of the following statements. The rating system is as follows: 1) Strongly Disagree, 2) Disagree, 3) Agree, 4) Strongly Agree. Comments are encouraged. General Evaluation Readability: The Instructor Guide was readable and easy to follow. 1 2 3 4 Comments:

1234

Terminology: The terms were clearly defined, and I did not feel lost in the jargon. Comments:

1234

Examples: Enough examples were provided to explain the concepts.

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Comments:

1234

Exercises: Progressive exercises were provided for skills to be applied. Comments:

1234

Practice: Students are given adequate time to practice the skills and procedures. Comments:

1234

Consistency: The message of the unit is consistent from beginning to end. Comments:

Part Three: Please rate the degree which you agree or disagree with each of the following statements. The rating system is as follows: 1) Strongly Disagree, 2) Disagree, 3) Agree, 4) Strongly Agree. Comments are encouraged. Teachability The Instructor Guide and the accompanying materials in the Appendix provided all the information I need in order to teach the unit. 1234 Comments:

1234

The intention and perspective of the instruction were clear to me. Comments:

1234

The time estimates provided in the Instructor Guide are accurate for my own classes. Comments:

1234

The instructional materials were used as described in the Instructor Guide. Comments:

1234

The information that I needed to know was easy to find in the Instructor Guide. Comments:

Part 7b – Expert Review Results For the SME evaluation, Mrs. Howard completed the survey and commented on each aspect of the ID project. Her comments were very positive in general, with some personal recommendations. The survey was broken into three parts: section-by-section evaluation, general evaluation, and teachability evaluation. Section-by-Section Evaluation Generally, the comments of the section-by-section evaluation were positive. She liked the fact that the ID unit would be appropriate for new teachers, substitutes, and even master teachers who may not play a brass instrument as their main instrument of choice. One of her suggestions was to note that each learner/class is different across different demographic areas and will have different needs and personalities; they should not be compared to other learners/classes. Her comments are listed verbatim below: Section-by-Section Evaluation

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1

Goal, audience, and rationale Comments: This is an appropriate goal and audience, especially given the different grade levels, 5th or 6th grade, that students begin band instruments in the Treasure Valley. Excellent rationale to start them slowly and correctly in order to avoid bad habits that will be tough to fix later on. Allowing time to check for understanding and consistency is key. This is great information for teachers, old or new, that may specialize on a different instrument in addition to being an excellent guide for a substitute teacher. Needs assessment, learning and transfer context, learner description, task analysis, flow charts Comments: Very thorough and appropriate "Needs Assessment Survey". I found the pie chart is a little tricky to understand at first.

2

It is nice to see accommodations that need to be made given the room/space and technology available (or not), and the importance of respecting shared spaces. The inclusion of the necessity for good classroom management is valuable. Additionally it is helpful to note that the learner/class may be very different from one demographic to another with each class having its own needs and personality, not to be compared to other learners/classes. Flow charts are helpful and well done.

3

4

Learning objectives, objective matrix, ARCS table Comments: The learning objectives are spot on. Items are well placed in Part 3b and thoroughly detailed in the ARCS Table. The details in the ARCS Table are invaluable to a sub or a new teacher. "Relevance 3 - 'Familiarity'" in the ARCS Table clarifies the "Pre-Requisite Analysis Flow Chart", and the entire Part 3 reflects the importance of the instructor to remain positive, encouraging, patient, fun, prepared, and maintaining a safe learning environment for the children. Instructor Guide Comments: Useful and clear details here. The listed examples and strategies for embouchure are perfect. Allowing for student input in helping describe proper embouchure and techniques is a great way to keep a positive learning environment. Both the brochure and sign-up sheet are well thought out and informative handouts for the beginners. My only concern in this section is the description of the trombone left hand position. Forming an "L" with their Left hand is a possible way to describe the left hand rather than forming a "gun" given recent school tragedies.

5

Learning materials, formative and/or summative assessments, and technology tool justification Comments: Part 5 clearly addresses the need for student to provide the necessary materials for class as well as how so much of the assessment of student progress is through teacher observation. In addition it is clear that there is a necessity for more than just chairs and music stands in order to teach a successful lesson.

General Evaluation For the general evaluation, Mrs. Howard responded with an overall evaluation of 4 criteria on a 4-point scale, and provided comments which are listed verbatim below. In general, terms were clearly understood, examples were appropriate, and good teaching techniques were employed. General Evaluation Readability: The Instructor Guide was readable and easy to follow. 1 2 3 4 Comments: This guide is useful and helpful for new teachers, substitute teacher, and master teachers alike. It is very easy to understand and follow. It includes a good review of

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earlier strategies as students progress in addition to providing helpful feedback for student improvement.

1234

1234

1234

1234

1234

Terminology: The terms were clearly defined, and I did not feel lost in the jargon. Comments: All terms are made clear and easy to understand regardless of previous knowledge on the topic. Examples: Enough examples were provided to explain the concepts. Comments: Great examples are provided that are easy to follow and visualize. Exercises: Progressive exercises were provided for skills to be applied. Comments: Each lesson (day) begins with a review of previous days followed by a new learning goal in order to build a strong foundation. Practice: Students are given adequate time to practice the skills and procedures. Comments: This guide includes the recommended/required practice assignments for at home. Consistency: The message of the unit is consistent from beginning to end. Comments: Proper technique as well as checking for consistency and understanding are addressed throughout.

Teachability For the teachability evaluation, Mrs. Howard found the ID project consistent, flexible, clearly referenced, and valuable to any instructor teaching beginning trumpet or trombone students. She responded with an overall evaluation of 4 criteria on a 4-point scale, and her verbatim comments are listed below. Teachability The Instructor Guide and the accompanying materials in the Appendix provided all the information I need in order to teach the unit. 1 2 3 4 Comments: The Appendix includes lots of good stuff from labeled instruments to a playing test rubric.

1234

The intention and perspective of the instruction were clear to me. Comments: This guide is consistent in keeping with a positive and encouraging mindset.

1234

The time estimates provided in the Instructor Guide are accurate for my own classes. Comments: Perfect, with room for flexibility if necessary.

1234

1234

The instructional materials were used as described in the Instructor Guide. Comments: These material are valuable to any instructor teaching beginning trumpet and trombone. The information that I needed to know was easy to find in the Instructor Guide. Comments: Everything was clearly referenced and easy to find.

Part 7c – Comments on Change As a whole, the comments from Mrs. Howard were very positive in regards to this ID unit. The two main recommendations for change by the SME were (1) include a reference to the variance in learners

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between demographic areas and (2) change the reference to the trombone left-hand hold from the shape of a “gun” to and “L” shape. I definitely agree with the first recommendation and so I added the following paragraph to Part 2b.1 – Learner Context: It should be noted here that each learner/class may be very different from one demographic area to another, with each class having its own needs and personality. It is important not to compare one learner/class to another, yet still maintain high expectations for all. The instructor must also observe carefully situations where a student may not be able to financially afford an instrument or even the $8.00 method book, and discretely aid that student with an instrument and/or book via scholarships available through the school district, the PTA, or the school’s discretionary funds. On the second recommendation, while I understand and appreciate the sensitivity of the subject of guns in school, I feel it is more of a teacher preference whether to use the word “gun” in describing the lefthand hold of the trombone or describing it as an “L” shape. I find that it is more natural for students to create the correct hand hold by making the “gun” shape; the left hand is immediately placed in the correct position for holding the trombone. When asking a student to make an “L” shape, he bends his wrist up so he can see the “L” shape. This requires an additional instruction from the teacher telling the student to next rotate the wrist and “L” shape around to the correct position to hold the trombone, where the pointer finger is pointing to the student’s right (making a “gun” shape, in other words). I don’t believe students feel threatened by the trombone students making a “gun” shape just before they hold their instrument. However, if the instructor has reason to believe the students in a particular band class may be extrasensitive about the subject, then the adjustment to the “L” shape is certainly justified.

Citations Brown, Laura Lewis. The benefits of music education. Retrieved from: http://www.pbs.org/parents/education/music-arts/the-benefits-of-music-education/ Gagne, R. M. (1985). The conditions of learning (4th ed.). New York, NY: Holt, Rinehart & Winston. Smith, Patricia L., & Ragan, Tillman J. (2005). Instructional design (3rd ed.). Hoboken, NJ: John Wiley & Sons, Inc.

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Part 8 – AECT Standards Grid AECT STANDARDS (Applicable to EDTECH 503) 1.0 Design 1.1 Instructional Systems Design 1.1.a Utilize and implement design principles which specify optimal conditions for learning. 1.1.b Identify a variety of instructional systems design models and apply at least one model. 1.1.1 Analyzing 1.1.1.a Write appropriate objectives for specific content and outcome levels. 1.1.1.b Analyze instructional tasks, content, and context. 1.1.2 Designing 1.1.2.a Create a plan for a topic of a content area (e.g., a thematic unit, a text chapter, an interdisciplinary unit) to demonstrate application of the principles of macro-level design. 1.1.2.b Create instructional plans (micro-level design) that address the needs of all learners, including appropriate accommodations for learners with special needs. 1.1.2.d Incorporate contemporary instructional technology processes in the development of interactive lessons that promote student learning. 1.1.3 Developing 1.1.3.a Produce instructional materials which require the use of multiple media (e.g., computers, video, projection). 1.1.3.b Demonstrate personal skill development with at least one: computer authoring application, video tool, or electronic communication application. 1.1.4 Implementing 1.1.4.a Use instructional plans and materials which they have produced in contextualized instructional settings (e.g., practica, field experiences, training) that address the needs of all learners, including appropriate accommodations for learners with special needs. 1.1.5 Evaluating 1.1.5.a Utilize a variety of assessment measures to determine the adequacy of learning and instruction. 1.1.5.b Demonstrate the use of formative and summative evaluation within practice and contextualized field experiences. 1.1.5.c Demonstrate congruency among goals/objectives, instructional strategies, and assessment measures. 1.3 Instructional Strategies 1.3.a Select instructional strategies appropriate for a variety of learner characteristics and learning situations. 1.3.b Identify at least one instructional model and demonstrate appropriate contextualized application within practice and field experiences.

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1.3.c Analyze their selection of instructional strategies and/or models as influenced by the learning situation, nature of the specific content, and type of learner objective. 1.3.d Select motivational strategies appropriate for the target learners, task, and learning situation. 1.4 Learner Characteristics 1.4.a Identify a broad range of observed and hypothetical learner characteristics for their particular area(s) of preparation. 1.4.b Describe and/or document specific learner characteristics which influence the selection of instructional strategies. 1.4.c Describe and/or document specific learner characteristics which influence the implementation of instructional strategies.

2.0 Development 2.0.1 Select appropriate media to produce effective learning environments using technology resources. 2.0.2 Use appropriate analog and digital productivity tools to develop instructional and professional products. 2.0.3 Apply instructional design principles to select appropriate technological tools for the development of instructional and professional products. 2.0.4 Apply appropriate learning and psychological theories to the selection of appropriate technological tools and to the development of instructional and professional products. 2.0.5 Apply appropriate evaluation strategies and techniques for assessing effectiveness of instructional and professional products. 2.0.6 Use the results of evaluation methods and techniques to revise and update instructional and professional products. 2.0.7 Contribute to a professional portfolio by developing and selecting a variety of productions for inclusion in the portfolio. 2.1 Print Technologies 2.1.3 Use presentation application software to produce presentations and supplementary materials for instructional and professional purposes. 2.1.4 Produce instructional and professional products using various aspects of integrated application programs. 2.3 Computer-Based Technologies 2.3.2 Design, produce, and use digital information with computer-based technologies.

3.0 Utilization 3.1 Media Utilization 3.1.1 Identify key factors in selecting and using technologies appropriate for learning situations specified in the instructional design process.

3.1.2 Use educational communications and instructional technology (SMETS) resources in a variety of learning contexts. 3.3 Implementation and Institutionalization

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3.3.1 Use appropriate instructional materials and strategies in various learning contexts. 3.3.2 Identify and apply techniques for integrating SMETS innovations in various learning contexts. 3.3.3 Identify strategies to maintain use after initial adoption.

4.0 Management (none specifically addressed in 503)

5.0 Evaluation 5.1 Problem Analysis

5.1.1 Identify and apply problem analysis skills in appropriate school media and educational technology (SMET) contexts (e.g., conduct needs assessments, identify and define problems, identify constraints, identify resources, define learner characteristics, define goals and objectives in instructional systems design, media development and utilization, program management, and evaluation). 5.2 Criterion-referenced Measurement 5.2.1 Develop and apply criterion-referenced measures in a variety of SMET contexts. 5.3 Formative and Summative Evaluation 5.3.1 Develop and apply formative and summative evaluation strategies in a variety of SMET contexts. SMET = School Media & Educational Technologies

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APPENDIX

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Appendix A Overview: http://www.alfred.com/img/aoa/books.html Conductor’s Score: http://www.alfred.com/Products/Accent-onAchievement-Book-1--00-17101.aspx Teacher Resource Kit: http://www.alfred.com/Products/Accent-onAchievement-Book-1-Teachers-Resource-Kit--00-17142.aspx

Student Books: http://www.alfred.com/Products/ProductListing.aspx?q=@SKU=(17081,%2017082,%2017083,%2017 084,%2017085,%2017086,%2017087,%2017088,%2017089,%2017090,%2017091,%2017092,%201 7093,%2017094,%2017095,%2017096,%2017097,%2017098,%2017099,%2017100,%2017101,%20 17144,%2021413,%2017142)

Introductory YouTube video for Beginning Band Class: Choosing a Band Instrument http://www.youtube.com/watch?v=qYbk0BaAgL0

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Appendix B BEGINNING BAND ACCESSORY ITEMS ALL INSTRUMENTS 1. 2. 3. 4.

Music stand (for use at home) Method Book – Accent on Achievement, Book 1 (or both Book 1 and 2 for 2nd year players). (Percussionists, please see your requirements at the bottom of the page. Baritone players, be sure to get the Bass Clef (B.C.) version of your book.) No. 2 pencil with eraser Additional recommended accessories for each instrument:

FLUTE 1. 2.

Cleaning/tuning rod Piece of flannel cloth 4” x 12” (NO POLISHING CLOTH)

1. 2. 3. 4. 5.

Mouthpiece brush Drop cloth (hanky-style) Cork grease Four reeds, 2 1/2 strength Reedguard – enough to hold 4 clarinet reeds

1. 2. 3. 4. 5. 6. 7.

Mouthpiece brush Drop swab (NO “STUFF-EM” SWABS) Neck cleaner swab Four reeds, 2 1/2 strength Reedguard – enough to hold 4 saxophone reeds Cork grease Plastic end plug for the body of the saxophone

CLARINET

SAXOPHONE

TRUMPET/BARITONE 1. 2. 3. 4. 5.

Mouthpiece brush Cleaning snake Bottle of valve oil Bottle of green “Spacefiller” tuning slide grease Valve casing brush

TROMBONE 1. 2. 3. 4.

Mouthpiece brush Bottle of slide oil Cleaning snake One bottle of green “Spacefiller” tuning slide grease

PERCUSSION -Items 1-4 are often put in a “percussion kit” by the store 1. Set of bells 2. Two hard-rubber mallets and two drumsticks 3. Drum pad 4. Stand that works for both bells and snare pad. 5. Method book: Accent on Achievement – Combined Drums and Mallet Percussion, Book 1

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Appendix C The 5th and 6th grade Beginning Band Curriculum from the Independent School District of Boise City, Boise, Idaho, USA: http://school.boiseschools.org/modules/groups/homepagefiles/cms/2386916/File/Curriculum/Gener al%20Elementary/band_5_6.pdf?sessionid=93fff8ceb4b37bbd261edc7ff7d3e062 To find other state standards: http://www.educationworld.com/standards/state/ To find the national standards: http://www.nationalartsstandards.org/sites/default/files/Music_resources/Music%20Traditional%20 and%20Emerging%20Ensembles%20at%20a%20Glance.pdf

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Appendix D

IDAHO CONTENT STANDARDS GRADE 4-5

HUMANITIES: MUSIC Students are expected to know content and apply skills from previous grades. Standard 1: Historical and Cultural Contexts Students demonstrate an understanding of how people and cultures are connected across time. Humanities instruction prepares students to work and live as global citizens because of their greater understanding of their own culture and the cultures of others.

Students in grades 4-5 identify and describe the use of musical elements from various cultures and time periods. Students explain how music relates to other subject areas, using terms common to the arts. Goal 1.1: Discuss the historical and cultural contexts of music. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.1.1.1

Describe how musical elements are used in music of our own culture as well as other cultures.

4-5.Mu.1.1.2

Identify characteristics of music from two different historical periods.

4-5.Mu.1.1.3

Identify specific compositions as belonging to a particular era in music history.

4-5.Mu.1.1.4

Recognize the uses of music in everyday life.

Goal 1.2: Discuss the interrelationships among visual and performing arts disciplines. Objective(s): By the end of Grade 5, the student will be able to: MELODIE WORTHINGTON

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4-5.Mu.1.2.1

Compare a musical selection with another art form that uses a similar style.

4-5.Mu.1.2.2

Identify similarities and differences in the meanings of terms common to other arts disciplines.

4-5.Mu.1.2.3

Describe ways that music is related to another subject area.

Standard 2: Critical Thinking Students understand the purposes and functions of the arts. They build literacy and develop critical thinking through analysis and interpretation. Students in grades 4-5 identify specific elements of music and sounds of various instruments and voices. Students discuss the importance of music in today’s society. Students express personal preferences for a specific work using appropriate arts vocabulary.

Goal 2.1: Conduct analyses in music. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.2.1.1

Describe music as a form of communication.

4-5.Mu.2.1.2

Use music vocabulary to discuss specific compositions of various styles and cultures.

4-5.Mu.2.1.3

Recognize specific sounds of instruments and voices.

4-5.Mu.2.1.4

Recognize and identify specific elements of music (melody, harmony, rhythm, form, timbre)

Goal 2.2: Formulate and express opinions about musical performances. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.2.2.1

Discuss the importance of music in our society.

4-5.Mu.2.2.2

Express personal preferences for a specific work using appropriate arts vocabulary.

4-5.Mu.2.2.3

Identify and discuss copyright issues in music.

Standard 3: Performance Students engage in the creation of original works and/or the interpretation of works of others, culminating in a performance or presentation. Students in grades 4-5 use standard music symbols and terms to read, notate, and perform music. Students sing, alone and with others, accurately with appropriate dynamics, breath control, phrasing, MELODIE WORTHINGTON

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and interpretation. Students also perform in groups blending vocal/instrumental sounds and follow a conductor. Students improvise simple melodic phrases. Goal 3.1: Utilize concepts essential to music. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.3.1.1

Sing/play independently or in a small ensemble with grade appropriate music, following the cues of a conductor.

4-5.Mu.3.1.2

Read, notate, and perform meter, rhythm, pitch, dynamics, and tempo using standard music symbols.

4-5.Mu.3.1.3

Use standard musical notation to sing/play grade appropriate music.

Goal 3.2: Communicate through music, applying artistic concepts, knowledge, and skills. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.3.2.1

Sing in harmony using simple ostinatos, partner songs, descants, and canons.

4-5.Mu.3.2.2

Perform independently while other students sing or play contrasting parts.

4-5.Mu.3.2.3

Sing/play accurately with appropriate dynamics, breath control, phrasing, and interpretation.

4-5.Mu.3.2.4

Discuss and demonstrate the importance of proper concert behavior.

4-5.Mu.3.2.5

Demonstrate interpersonal skills through working collaboratively and productively with others.

Goal 3.3: Communicate through music with creative expression. Objective(s): By the end of Grade 5, the student will be able to: 4-5.Mu.3.3.1

Create original rhythmic/melodic ostinatos to accompany group performances.

4-5.Mu.3.3.2

Sing/play an improvised simple melody in a call and response context.

4-5.Mu.3.3.3

Improvise movement that is stylistically appropriate to music (e.g., free style).

Retrieved from: http://www.sde.idaho.gov/site/content_standards/HumanitiesStandards/Music/45%20Music.pdf

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Appendix E (Insert Hard Copy of Beginning Band Brochure Here)

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Appendix F (Insert Hard Copy of Beginning Band Sign-up Form Here)

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Appendix G Parts of the Trumpet

Retrieved from: http://bit.ly/1qIq66u

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Appendix H

Retrieved from: http://bit.ly/1tTdOhe MELODIE WORTHINGTON

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Appendix I Assembled Trombone

Retrieved from http://bit.ly/1wxzwn1

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Appendix J Transposition Chart Concert Pitch: Flute, Oboe, Trombone, Baritone B.C., Tuba, Mallet Percussion, Piano

A

A# Bb

B

C

C# Db

D

D# Eb

E

F

F# Gb

G

G# Ab

Bb Instruments: Clarinet, Bass Clarinet, Tenor Sax, Trumpet/Cornet, Baritone T.C.

B

C

C# Db

D

D# Eb

E

F

F# Gb

G

G# Ab

A

A# Bb

Eb Instruments: Alto Clarinet, Alto Sax, Baritone Sax

F# Gb

G

G# Ab

A

A# Bb

B

C

C# Db

D

D# Eb

E

F

F Instruments: (French) Horn

E

F

F# Gb

G

G# Ab

A

A# Bb

B

C

C# Db

D

D# Eb

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Appendix K ________________ School Elementary Band Playing Test Name:________________________________________________ Concept

Score

Posture

Date:____________________________________________

Criteria

A 4 pts

C 2 pts

D 1 pt

*Sitting up straight *Both feet flat on the floor *Sitting on the front half of the chair (woodwinds) *Instrument held at the correct angle *Correct hand position *No puffed cheeks *Makes a good, recognizable sound on instrument *Good, consistent embouchure *Song is steady *Notes played proper length *Rests played proper length

Tone

Steady Beat and Rhythm Accuracy

*Correct fingerings used *Correct notes played *Proper tonguing/sticking

Musicality

*Music played at correct tempo *Correct articulations (slurs, staccato, accents, tenuto, etc.) *Correct dynamics (including crescendo, diminuendo, etc.)

Concept Total Score

B 3 pts

_________________

Performance Standards 4 = Advanced – Student excels far above standard 3 = Proficient – Student consistently demonstrates concept – standard 2 = Basic – Student inconsistently demonstrates concept – below standard 1 = Below Basic – Student seldom demonstrates concept – far below standard

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Appendix L Video Recording Permission Form I give my permission for ______________________________________ (Instructional Designer Name) to video record my child for the purpose of instruction evaluation. I understand that the video recording will in no way be posted on the Internet or viewed by anyone other than the instructional designer.

______________________________________________ Student Name

______________________________________________ School

______________________________________________ Parent Signature

______________________________________________ Date

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