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Beginning Recorder Methods

Learning Assessment Model Project (LAMP) Ball State University, Muncie, IN

Spring 2014

3rd Grade General Music

Whispering Meadows Elementary Southwest Allen County Schools, Fort Wayne, IN

Student Teacher: Jessica Bush Cooperating Teacher: Sharon Ford

Unit Duration: 3/10 – 4/28

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TABLE OF CONTENTS

Section Page # Purpose Statement ……………………………………………………………………………………………………… 3 National Standards for Music Education ……………………………………………………………………… 3 Overall Unit Objectives………………………………………………………………………………………………… 4 Vocabulary List …………………………………………………………………………………………………………… 5 Unit Timeline ……………………………………………………………………………………………………………… 6 Lesson Plans ……………………………………………………………………………………………………………… 6 Supplemental Materials ……………………………………………………………………………………………… 14 Student Assessment Tools …………………………………………………………………………………………… 15 Technology …………………………………………………………………………………………………………………. 16 Differentiation/Accommodations ………………………………………………………………………………… 16 Pre/Post-‐Tests …………………………………………………………………………………………………………… 17 Student Performance Data Graphs………………………………………………………………………………… 25 Unit Narrative ………………………………………………………………………………………………………………28 Assessment Narrative……………………………………………………………………………………………………30 Instructional Narrative ………………………………………………………………………………………………… 31 Results/Interpretation Narrative ………………………………………………………………………………… 32 Final Statement …………………………………………………………………………………………………………… 34 Project Rubric ………………………………………………………………………………………………………………35

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PURPOSE STATEMENT

The purpose of this LAMP project was two-‐fold: First, it served as an opportunity for me to demonstrate my effectiveness as an educator, measured by growth in student test scores. The unit was a beginning recorder study for the third grade students; my primary objective as a music educator was to promote and develop comprehensive musicianship through performance. For the unit, I developed objectives and addressed National Standards 1, 2, 3, 5, and 6 as I administered a pre-‐test, post-‐test, two playing tests, and several lessons. I set an expectation of excellence for all of my students at the beginning of the unit, and being that my students are elementary age and (almost) all are beginning their first instrument, I planned for time to give adequate individual attention and feedback so they had the best opportunity possible for growth and success. Second, this LAMP project served as platform for students to grow in their musical knowledge and skill through learning recorder. The recorder stands alone as an accessible, melodic instrument common to some folk music, but it also serves as a stepping-‐stone to traditional symphonic instruments and further musical study. Not only is it easy to care for and easy to play (compared to, for example, trumpet or violin), but it is also an authentic performance tool through which music literacy, general performance and practice skills, and even broad academic skills can be learned. This makes the recorder a suitable addition to the elementary general music curriculum. NATIONAL STANDARDS OF MUSIC EDUCATION ADDRESSED IN THIS UNIT

PRIMARY STANDARDS Content Standard #2 – Playing instruments, alone and with others, a varied repertoire of music Achievement Standards:

a) perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo b) perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic classroom instruments d) echo short rhythmic and melodic patterns e) perform in groups blending instrumental timbres, matching dynamic levels, and responding to the cues of a conductor

Content Standard #5 – Reading and notating music Achievement Standards: a) read whole, half, dotted half, quarter, and eighth notes and rests in 2/4, ¾, and 4/4 meter signatures c) identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing

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SECONDARY STANDARDS Content Standard #1 – Singing, alone and with others, a varied repertoire of music Achievement Standards: a) sing independently, on pitch and rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo Content Standard #6 – Listening to, analyzing, and describing music Achievement Standards: c) use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances Content Standard #3 – Improvising melodies, variations, and accompaniments Achievement Standards:

a) improvise “answers” in the same style to given rhythmic and melodic phrases

OVERALL UNIT OBJECTIVES: CONCEPTS AND SKILLS At the conclusion of this unit, students will be able to:

• Play the recorder using proper technique (hand position, air flow, finger position, posture) with few reminders (NS 2) – group formative & individual summative assessment

• Listen critically to the playing of others and themselves and aurally diagnose and fix technical performance errors (NS 2, 6) – group formative & individual summative assessment

• Perform short songs using the notes B, A, and G with correct rhythms, durations, pitches, and tone (NS 2) – group formative & individual summative assessment

• Consistently and fluently identify B, A, and G recorder fingerings and staff notation (NS 5) – group formative & individual summative assessment

• Practice familiar and unfamiliar passages of music using fruitful practice strategies to achieve excellence (slow and steady, repetition) (NS 2) – group formative assessment

• Identify and explain in their own words a breath mark and a tie (NS 5) – group formative & individual summative assessment

• Improvise a melodic line using B, A, and G within the context of a familiar song with a rhythmic/harmonic backup (NS 3) – individual formative assessment

• Sing on a neutral syllable the passages of music played on the recorder for the purpose of building comprehensive musicianship, music literacy, and aural skills (NS 1) – group formative assessment

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VOCABULARY LIST

– Breath mark Articulate – see Tonguing Mouthpiece – the top of the recorder where the lips go to blow air into it Music staff – five lines on which notes are written for us to read and play/sing Steady beat – pulse that keeps the music the same speed throughout Tie – a curved line that adds two note values of the same pitch together, sounding like one longer note Tone holes – the holes down a recorder which, when covered, change the pitch of the sound Tonguing – in wind instruments, to use the tongue in a “too” fashion on the mouthpiece to achieve note separation and clarity, and to avoid a hooty, airy sound

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Unit Timeline Lessons

Date Archbold Farmer Stanley M 3/10 Pre-‐test Pre-‐test M 3/17 1 1 W 3/19 2 Pre-‐test Th 3/20 2 1 M 3/24 3 3 W 3/26 Playing test 2 Th 3/27 Playing test 3 M 4/7 4 4 W 4/9 5 Playing test M 4/14 5 6 W 4/16 Playing test 4/5 Th 4/17 6 6 M 4/21 Playing test Post-‐test

(Finish playing tests)

W 4/23 Playing test M 4/28 Post-‐test

(Finish playing tests) Post-‐test

(Finish playing tests) *Whispering Meadows special area classes operate on a custom schedule, which is frequently subject to change due to school programs or interval standardized testing. As such, my unit timeline and dates of instruction were altered slightly for some classes throughout the process to be flexible with the school’s schedule. I also saw each class twice a week for 30 minutes on various days depending on the specific class, which explains the long duration of the unit and the uneven spacing of lessons among the three classes.

LESSON PLANS Following are detailed lessons for six instructional days and instructions for testing days. In blue are possible accommodations/differentiation/modifications for various ability levels and learning modes. Lesson plans all include prerequisite knowledge, behavioral objectives, national standards, instructional strategies, materials, procedure, and follow-‐up lesson. Because there were three participating third grade classes in this unit, each with a different schedule, the lessons are labeled numerically.

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LESSON 1 Prerequisite Knowledge/Skills

• Fine motor skills/control of fingers, blowing softly Behavioral Objectives & National Standards

• Students will understand behavior expectations for recorder unit (learning environment) • Students will learn the proper technique for holding a recorder, creating good tone, correct

fingerings, and instrument care (NS 5) • Students will understand and be able to identify a good tone on the recorder (NS 6) • Students will review/answer questions from the pre-‐test (NS 2, 5)

National Standards

• 2) Playing instruments, alone and with others, a varied repertoire of music • 5) Reading and notating music • 6) Listening to, analyzing, and describing music

Materials

• Recorders • Purple recorder books • Projector/screen • Blank pre-‐test

Procedure

1. Students will receive their recorders, understand expectations for class materials for each day from now on (and consequences for being unprepared). Explain policy for borrowing/washing/drying recorders (test question 10), briefly talk about wooden instruments and how it might affect the sound/hygiene

2. Students will understand expectations and consequences for playing when the teacher is talking (for the good of all)

3. Students will blow a soft, warm stream of air on their hand = how hard to blow recorder (test question 2).

4. Students will view a fingering chart via projector and make the connection between the chart and how it actually looks on the recorder, follow along with own recorder while teacher models Thumb, L 123, R 1234 (test question 7)

5. Recorder holding technique – left hand on top (test question 1), wrists flat/not rotated, fleshy tip of fingers for holes (practice getting a full circle on thumb-‐tip) (test question 9), right hand when not playing (thumb rest on back to support) (test question 8)

Check with partner next to you for technique a. If a student were to have a temporary injury that prevented proper technique, I

would instruct them to do their best with what they have now and add the rest later. If the student had a permanent physical disability that prevented them proper recorder technique, I would either help them find an acceptable way to make the recorder work for them, or if it was impossible for them to be successful, I would have them play a different instrument, but still learn about how the recorder is played so they could tell me. Once trusted, I might also have this student be a helper to other students.

6. Recorder mouthpiece technique – good posture (why?), lips on mouthpiece like a straw (no teeth touching, test question 5), make sure all fingers are off holes, blow 8 times and stop

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Q) Blowing softly enough? Try again (test question 9) Describe sounds heard, discuss why Students will learn the technique of tonguing vs. using air to “articulate” (test question 4)

7. Students will experiment on their own for 2 minutes with making a good recorder tone with a small air flow, tonguing, and experiment with covering finger holes

a. At this time, I would go around and help anyone who was struggling with producing a clean tone

Answer (test question 6) (will learn about why later) 8. Students will practice fingering for B by echoing teacher model 9. Students will hear teacher model of different length notes on B and echo each rhythm value

(whole, half, quarter, eighth) 10. Students will pack up recorders and state what they are to bring to class next time

(recorder, purple book, pencil) Next lesson Students will learn the A fingering, become comfortable switching B & A fingerings in rhythm, and play together out of their recorder book on pg. 4-‐5. If high-‐ability students are already very comfortable with B, I would give them pg. 4-‐5 as homework to practice if they wanted, since they should already be able to read the notes. LESSON 2 Prerequisite Knowledge/Skills

• Recorder technique, B fingering • Pg. 4-‐5 of recorder book on xylophone/singing

Behavioral Objectives & National Standards

• Students will continue to understand behavior expectations for recorder unit (learning environment) and perform accordingly (learning environment)

• Students will review good technique for holding recorder, proper air speed, how to recognize and produce pleasant tone, and care for recorder (NS 2, 6)

• Students will review B fingering and learn A fingering and practice switching between the two (NS 2)

• Students will answer more questions on the pre-‐test via instruction (NS 2, 5) • Students will review and strengthen music literacy skills from their previous unit of basic

music notation (NS 5) National Standards

• 1) Singing, alone and with others, a varied repertoire of music • 2) Playing instruments, alone and with others, a varied repertoire of music • 4) Composing and arranging music within specified guidelines • 5) Reading and notating music • 6) Listening to, analyzing, and describing music • 7) Evaluating music and music performances

Materials

• Recorders • Purple recorder books • Projector/screen

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• Blank pre-‐test Procedure

1. Review proper recorder technique (questioning, discussion) 2. Sing/clap Busy B, play

a. Students must clap AND sing the notes AND say the rests to get them in their head, and later they will do a “shh” motion on their lips for the rests

Observe rests PERFECTLY (how to not play on a rest?), good tone 3. Sing/clap Country Stroll, play 4. Learn A fingering, answer pre-‐test back of page for B and A, relate B and A fingering to staff

line/space 5. Practice on own/with group switching b/w B and A quickly w/ good tone

a. This is an opportunity for me to help individuals who are struggling 6. Sing/clap A-‐Train, play (rhythm same as…?) 7. Rock-‐It, sing/clap 8. Critical listening game – teacher model, discuss what was wrong, how to fix

a. If I had a student with a partial hearing impairment, I would model from close proximity to that student so they could still participate. Otherwise, I would move around the classroom so students can listen closely. The important thing is to make sure students are following along in their books so they develop their sight-‐reading skills and not just their aural skills; this activity synthesizes the two skills.

9. Play Rock-‐It, half group clap/sing, then switch, then all play a. This split class strategy is something that can be used earlier for other songs if a

class is met with difficulty Next lesson Students will review B and A fingerings, reinforce good tone and technique on the songs for pg. 4-‐5, and work on maintaining pitch/rhythm/literacy skills (ensuring success early on to build confidence). Student volunteers will model for the critical listening game. LESSON 3 Prerequisite Knowledge/Skills

• Recorder technique • Pg. 4-‐5 of recorder book on xylophone/singing


• Students will continue to understand behavior expectations for recorder unit (learning environment) and perform accordingly (learning environment)

• Students will review good technique for holding recorder, proper air speed, how to recognize and produce pleasant tone, and care for recorder (NS 2, 6)

• Students will review B fingering and learn A fingering and practice switching between the two (NS 2)

• Students will answer more questions on the pre-‐test via instruction (NS 2, 5) • Students will review and strengthen music literacy skills from their previous unit of basic

music notation (NS 5) National Standards

• 1) Singing, alone and with others, a varied repertoire of music

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• 2) Playing instruments, alone and with others, a varied repertoire of music • 4) Composing and arranging music within specified guidelines • 5) Reading and notating music • 6) Listening to, analyzing, and describing music • 7) Evaluating music and music performances

Materials


Procedure

1. Students will guide the discussion of a recorder technique review, as well as the fingerings for B and A.

2. Students will sing Country Stroll, A-‐Train, and Rock-‐It, and then play them, with dividing up the class to keep a steady beat as necessary.

3. Students will volunteer to be leaders/models for the critical listening game in the previous lesson.

a. This is a tricky endeavor but can be very beneficial if handled delicately. I might try to choose students who I know are proficient on recorder and can accurately make a mistake on purpose without messing up anything else. In the event that a student does make multiple mistakes, I would choose the most prominent one that they chose to do and make a big deal out of that one. I would not choose students who I knew were very uncomfortable with recorder because the point is not to embarrass any students – the idea is to make a fun game out of critical listening using student volunteers to keep interest.

4. Students will learn the G fingering. 5. Students will answer the notation questions on the back of the pre-‐test worksheet on the

projector. a. Students will be asked to find and point out examples of different pitches in songs in

their recorder book. 6. Students will write in their assignment notebooks that next time they will be tested

individually on Rock-‐It. “Rock-‐It” Playing Test Procedure

1) Review proper technique elements/what am I listening for during testing 2) Play through Rock-‐It once all together 3) Students will be able to practice “Rock-‐It” until they are ready to test. One side of the

classroom will be reserved for those preparing for their test, and once students have tested, they will move to the other side of the classroom, find a partner, and start working on “Talent Show” and “Merrily We Roll Along.” Students can also figure out what other songs they can play with just B, A, and G.

4) This playing test is low-‐stakes and informal – this is a chance for me to visit each individual student and give them specific feedback to help them improve.

5) Musical/instructional closure with the whole group playing “Rock-‐It” together, whether or not all tests are finished – give general feedback and practice advice

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• Recorder technique, BAG fingerings Behavioral Objectives & National Standards

• Students will understand behavior expectations for recorder unit (learning environment) • Students will review “tie” and learn a ‘ breath mark (NS 5) • Students will play Talent Show and Merrily We Roll Along with correct notes, rhythms, and

articulations (NS 2) • Students will answer some questions on the pre-‐test via instruction

National Standards


Instructional Strategies

• Teacher model • Group work • Technology • Questioning • Individual participation

Materials

• Recorders • Purple recorder books • Projector/screen • Blank pre-‐test • Keyboard

Procedure

1. Review recorder technique (holding, tonguing, finger holes, wrists, thumbs, mouthpiece) – write in assignment notebook – WASH RECORDER tonight if you haven’t yet

2. Echoing w/ recorders (aural skills – notes & rhythms) BAG, Whole/Half/Quarter/Eighth 3. Pg. 6 green TIE, illustrate tie using MATH 4. Listen to teacher model Talent Show, follow along in book

a. How many notes did I play in measure 1? b. Did the rhythm in m. 1 & 2 sound same or different? c. Two tied quarters = One half note

5. Play Talent Show w/ tie a. Teacher also model non-‐examples of how it shouldn’t sound

6. Merrily We Roll Along – finger dexterity a. Breath mark (looks like comma/apostrophe) b. Hold out half notes full length, then short breath c. Hold out last note THROUGH all 4 beats

7. What other song is Merrily We Roll Along? Mary Had a Little Lamb. Sing the words. Divide the class. Give students the choice of playing or singing and perform with keyboard accompaniment.

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Next lesson Students will review ties, breath marks, and Merrily We Roll Along, and have a musical experience with it with keyboard accompaniment. Students will all have the opportunity to improvise a couple measures of Merrily We Roll Along with accompaniment, and to create a performance with a combination of singing, playing, and both at the same time. They will never have known how fun Mary Had a Little Lamb can be! LESSON 5 Prerequisite Knowledge/Skills

• Recorder technique, BAG fingerings • Talent Show, Merrily We Roll Along • Tie, breath mark


• Students will review “tie” and learn a ‘ breath mark (NS 5) • Students will review Talent Show and Merrily We Roll Along with correct notes, rhythms,

and articulations (NS 2) • Students will practice improvisation within specified guidelines by going down a line (NS 3) • Students will arrange a performance of Merrily We Roll Along (NS 4) • Students will review staff/fingerings/notes (NS 5) • Students will look at their music while playing (NS 5)

National Standards

• 2) Playing instruments, alone and with others, a varied repertoire of music • 3) Improvising melodies, variations, and accompaniments • 4) Composing and arranging within specified guidelines • 5) Reading and notating music • 6) Listening to, analyzing, and describing music

Materials

• Recorders • Purple recorder books • Projector • Keyboard

Procedure

8. Review Talent Show a. Look at time signature, look at starting notes and following notes observe rests

(musical road map) b. Review tie – quiz w/ adding ties to different notes on another song c. Tie – can only be on two of the SAME NOTE (demonstrate on staff)

9. Review Merrily We Roll Along a. Look at time signature, look at starting notes and following notes observe rests

(musical road map) b. Review breath mark (short) c. Tonguing on each note

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10. Improv over keyboard accompaniment on Merrily We Roll Along using BAG (whole group together the first time)

11. Go down line (can use one note if not comfortable but everyone should at least try) 12. Create performance order:

a. Choices: Sing only, play only, improv only, all 3 choose favorite 13. Announce: Playing test over Merrily We Roll Along on:

a. Farmer –Wednesday 4/16 b. Archbold – Thursday 4/17 c. Stanley – Wednesday 4/23

i. Criteria: Tone, Pitch accuracy, rhythm/duration accuracy, hand/finger position, tonguing (students need to know criteria in advance)


• “Merrily We Roll Along,” BAG fingerings Behavioral Objectives & National Standards

• Students will review all recorder technique learned thus far for the playing/post-‐tests (NS 2)

• Students will review/answer questions from the pre-‐test (NS 2, 5) National Standards


Materials


Procedure

1. Students will take out recorders and play “Merrily We Roll Along” to start the day. 2. Students will go over the expectations for their playing test, reviewing and polishing

concepts which need it (probably tonguing, probably breath mark vs. rest, probably blowing too hard)

3. Students will review the theory and technique involved with playing recorder, as will appear on their post-‐test.

4. Students will be able to use the last five minutes of class to practice “Merrily We Roll Along” in partners for their test, helping each other prepare, and seek last help from the teacher if desired. The teacher can also help those students known to struggle with recorder so that they have the greatest chance of success. Those who are already perfectly comfortable with “Merrily We Roll Along” have the option of working ahead in the book to songs that have BAG in them. The important thing at this point is that students build a foundation of practicing and patience, which will carry them into fourth, fifth, and sixth grade.

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SUPPLEMENTAL MATERIALS

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STUDENT ASSESSMENT TOOLS Psychomotor Assessment – Performance-‐Based Rubrics Because the recorder is a primary example of comprehensive musicianship through performance, it follows naturally that there will be a playing test built into the unit. For my unit, I had the students prepare “Merrily We Roll Along,” a song in their recorder book, both in and out of class. I developed a simple rubric to assess their technical skill. Once I collected all of the data, I copied them for my records, and distributed the rubrics back to the students. Included below the first rubric is a blank rubric, which is to be used later for student self-‐assessment and partner assessment (after the completion of the LAMP project portion). Name: __________________________________________________________ CC: _______________ Recorder Playing Test “Merrily We Roll Along” pg. 7

Comments: Name: __________________________________________________________ CC: _______________ Recorder Playing Test

Comments:

Correct hand position (left on top, right on bottom) Fingers cover holes completely (finger pads) Clear, pleasant tone Tonguing as appropriate Steady beat throughout Correct rhythm (durations, rests, breath marks) Correct notes (fingerings)

Correct hand position (left on top, right on bottom) Fingers cover holes completely (finger pads) Clear, pleasant tone (not harsh/squeaky) Tonguing as appropriate Steady beat throughout Correct rhythm (durations, rests, breath marks) Correct notes (fingerings)

Rarely/N

ever

Sometim

es

Mostly Alw

ays

Rarely/N

ever

Sometim

es

Mostly Alw

ays

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TECHNOLOGY For my LAMP project, I was able to incorporate some technology. Because this was a unit with young students and brand new instruments, there was not too much I could do so early in the unit. The majority of materials necessary for this particular unit included a recorder, the recorder book, and a pencil. However, I did utilize the projector screen very often to display answer keys, fingering charts, musical staffs, and pages of our recorder book as an alternate learning tool for my students. If I needed them all to look at the same thing in the book, for example, I would put it on the screen and point. In a different scenario, I would be able to find use for a Smart Board (for projecting/video/audio). I also was presented with the idea of using an iPad to record students’ playing tests. I think this is generally a good idea that could definitely optimize instructional time, but with students this young who need constant feedback and attention, and this early in the unit with no prior experience with an iPad for playing test purposes, I did not think it wise to put the weight of my LAMP project on the unpredictability of students operating an iPad for their playing tests at this time.

DIFFERENTIATION AND/OR ACCOMMODATIONS Some of my students are English language learners. I made sure to give lots of visual cues, showing my right hand position rather than telling about where it is. I used the projector whenever I could since that is the only piece of reliable and relevant technology available in the classroom. I also make sure to speak slowly, clearly, with simple language, and use repetition. If I call on a student to answer, I repeat their answer to the rest of the class so they all can hear it well. In the fourth grade, there is a boy who exhibits traits of autism. If I had a child like him in my third grade recorder unit, I would be doing the same kind of things – making alternate rubrics, alternate plans, allowing them to do the same kind of things but differently (fingering along only, or blowing the correct rhythm only). None of my LAMP students needed this kind of modification – most of the differentiation I needed to do was for higher achieving students. Sometimes I will give them something more to do that goes deeper or more complex than their peers are working on at the time. Or, sometimes I will take a “recorder gifted” student and pair him or her with someone who is struggling or who just moved in and needs help catching up. The students are always so eager to help out. I then always monitor the pair to make sure they are on track, and follow up with both parties afterwards to ask how their tutoring session went. The ones who weren’t achieving at the same rate as everyone else were mostly the ones who generally have the most trouble staying focused and out of trouble to begin with. If I were to have a student with a specific IEP requirement for music, I might also consider changing the pre/post-‐tests for him/her, using pass/fail only on the playing tests, and making sure to always honor that student and their abilities, giving them opportutnities for growth and success just like all my other students.

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PRE-‐TESTS & POST-‐TESTS Name: TEACHER COPY: / 25 Class code: ________________

Recorders – What do you know?

1. Which hand is on top when holding the recorder correctly? (circle) Left Right NS 2 2. It is important to blow a fast stream of air. (circle) True False NS 2

3. What is this marking seen in recorder music? _________Breath mark__________ NS 5 4. The tongue can be used to articulate sounds on the recorder. (circle) True False NS 2 5. The teeth (do/do not) ____________________ touch the recorder mouthpiece. NS 2 6. The more holes covered on a recorder, the (lower/higher) ______________________ the pitch. NS 2, 5 7. Which pinky is used to cover tone holes? (left/right) __________________ NS 2 8. Where should the right hand be when not in use? a. not touching the recorder b. covering the bottom holes c. resting on the recorder without covering any holes NS 2 9. What are two reasons for a recorder squeaking? (2 pts.)

1) Blowing too fast/using too much air

2) The fingers are not completely covering the tone holes, resulting in leaking air NS 2 10. Why do you need to completely dry a recorder after washing it?

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The water may cause the inside of the recorder to grow mildew or mold, which is unsanitary for the player and poor care of the recorder

NS 2 11. Fill in the letter name of each recorder fingering and write the note on the staff. (14 pts.) NS5

G B A D C D E

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Name: STUDENT COPY: / 25 Class code: ________________

Recorders – What do you know?

1. Which hand is on top when holding the recorder correctly? (circle) Left Right 2. It is important to blow a fast stream of air. (circle) True False

3. What is this marking seen in recorder music? ________________________________________ 4. The tongue can be used to articulate sounds on the recorder. (circle) True False 5. The teeth (do/do not) ____________________ touch the recorder mouthpiece. 6. The more holes covered on a recorder, the (lower/higher) ______________________ the pitch. 7. Which pinky is used to cover tone holes? (left/right) __________________ 8. Where should the right hand be when not in use? a. not touching the recorder b. covering the bottom holes c. resting on the recorder without covering any holes 9. What are two reasons for a recorder squeaking?

1) _________________________________________________________________________________________________

2) _________________________________________________________________________________________________ 10. Why do you need to completely dry a recorder after washing it?

_________________________________________________________________________________________________ _________________________________________________________________________________________________

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11. Fill in the letter name of each recorder fingering and write the note on the staff.

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Name: TEACHER COPY: / 17 Class code: ________________

Recorders – What have you learned?

1. Which hand is on top when holding the recorder correctly? (circle) Left Right NS 2 2. It is important to blow a slow, light stream of air. (circle) True False NS 2

3. What is this marking seen in recorder music? _________Breath mark__________ NS 5 4. Tonguing helps articulate sounds on the recorder. (circle) True False NS 2 5. The teeth (do/do not) ____________________ touch the recorder mouthpiece. NS 2 6. The more holes covered on a recorder, the (lower/higher) ______________________ the pitch. NS 2, 5 7. Which pinky is used to cover tone holes? (left/right) __________________ NS 2 8. Where should the right hand be at all times? a. not touching the recorder b. covering the bottom holes c. resting at the bottom of the recorder NS 2 9. What are two reasons for a recorder squeaking? (2 pts.)

1) Blowing too fast/using too much air

2) The fingers are not completely covering the tone holes, resulting in leaking air NS 2 10. Why do you need to completely dry a recorder after washing it?

The water may cause the inside of the recorder to grow mildew or mold, which is unsanitary for the player and poor care of the recorder

NS 2

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11. Fill in the letter name of each recorder fingering and write the note on the staff. (6 pts.) NS 5

G A B

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Name: STUDENT COPY: / 17 Class code: ________________

Recorders – What have you learned?

1. Which hand is on top when holding the recorder correctly? (circle) Left Right 2. It is important to blow a slow, light stream of air. (circle) True False

3. What is this marking seen in recorder music? ________________________________________ 4. Tonguing helps articulate sounds on the recorder. (circle) True False 5. The teeth (do/do not) ____________________ touch the recorder mouthpiece. 6. The more holes covered on a recorder, the (lower/higher) ______________________ the pitch. 7. Which pinky is used to cover tone holes? (left/right) __________________ 8. Where should the right hand be at all times? a. not touching the recorder b. covering the bottom holes c. resting at the bottom of the recorder 9. What are two reasons for a recorder squeaking?

1) _________________________________________________________________________________________________

2) _________________________________________________________________________________________________ 10. Why do you need to completely dry a recorder after washing it?

_________________________________________________________________________________________________ _________________________________________________________________________________________________

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11. Fill in the letter name of each recorder fingering and write the note on the staff.

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COMPARISON GRAPHS: STUDENT PERFORMANCE DATA

19% 22% 21% 20%

78% 80% 77% 79%

0 10 20 30 40 50 60 70 80 90

Archbold Farmer Stanley 3rd Grade

Score (%

)

Class

Pre/Post-‐Test Results: Class Average

Pre-‐test

Post-‐test

0 10 20 30 40 50 60 70 80 90 100 110 120

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Score (%

)

Students

Pre/Post-‐Test Results: Archbold's Class

Pre-‐test

Post-‐test

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0 10 20 30 40 50 60 70 80 90 100 110 120

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Score (%

)

Students

Pre/Post-‐Test Results: Farmer's Class

Pre-‐test

Post-‐test

0 10 20 30 40 50 60 70 80 90 100

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

Score (%

)

Students

Pre/Post-‐Test Results: Stanley's Class

Pre-‐test

Post-‐test

27

0

10

20

30

40

50

60

70

80

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Pre/Post-‐Test Results: NS 5

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Pre/Post-‐Test Results: NS 2

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NARRATIVE STATEMENTS Unit Narrative

a. List of content standards addressed in the unit Content Standard #2 – Playing instruments, alone and with others, a varied repertoire of music Achievement Standards:

a) perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo b) perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic classroom instruments d) echo short rhythmic and melodic patterns e) perform in groups blending instrumental timbres, matching dynamic levels, and responding to the cues of a conductor

Content Standard #5 – Reading and notating music Achievement Standards: a) read whole, half, dotted half, quarter, and eighth notes and rests in 2/4, ¾, and 4/4 meter signatures c) identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing

b. List of secondary standards addressed in the unit Content Standard #1 – Singing, alone and with others, a varied repertoire of music Achievement Standards: a) sing independently, on pitch and rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo Content Standard #6 – Listening to, analyzing, and describing music Achievement Standards: c) use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances Content Standard #3 – Improvising melodies, variations, and accompaniments Achievement Standards:

a) improvise “answers” in the same style to given rhythmic and melodic phrases

c. Brief narrative addressing how you accommodated students of different abilities

There was not an overwhelming need for accommodation. What I did, though, was use a lot of built-‐in repetition and many different instructional strategies and learning modes for this unit. A couple of my students are high-‐level English language learners, so I made sure to give lots of visual cues for this recorder unit. Having seen the achievement level of the

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fourth grade, and the wide range of recorder ability, I wanted to see if I could really get the third students started off well with their recorder study and have as little of an achievement gap as possible. I kept a positive environment to maintain student moral, gave extra individual attention to students who needed help, and encouraged other students to work ahead and to share their progress with the class. I had to always make sure to have an extra task ready for a high-‐achieving student who told me they already could do what I was asking. Sometimes, this was helping another student. Sometimes it was working ahead, or working more on refining their work to an even higher level.

d. Brief narrative explaining what authentic (real-‐life) critical thinking and/or problem-‐solving skills students are developing through your unit

My students were learning the importance of the maxim “slow and steady wins the race.” I gave them explicit practicing strategies, both in a large group and individually. Recorder, or any instrument for that matter, takes time, patience, and perseverance to learn and achieve proficiency. So, this unit helped to teach my students patience, hard work. Reading music also is like reading another language, and like books, students gain experience decoding symbols and creating something meaningful out of them. My students also learned that they can take something simple that they already know, like “Mary Had a Little Lamb,” and turn it into a really fun activity. A constant part of the elementary music classroom is teaching kids how to be students, and constantly giving reminders, taking advantage of life skill teaching opportunities, and never settling for poor behavior.

e. Brief narrative or bullets listing different instructional strategies used in the unit • Activating prior knowledge • Assessment (summative & formative) • Building good student habits • Chunking • Creativity • Critical thinking/listening • Direct instruction cycle • Echoing (clapping, singing, playing) • Evaluating/describing • Game • Group work (large/small groups) • Guided practice • Higher-‐ordered thinking prompts • Independent work/exploration • Individual participation • Learning stations • Mastery learning • Multiple learning styles: visual, aural, kinesthetic • Partner work • Playing test • Questioning • Rubric

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• Technology • Teacher model • Visual, Aural, Kinesthetic learning styles

f. Brief narrative describing technologies/media integrated in the unit

The unit frequently employed the use of a projector screen for information about notation, music out of the recorder book, pre-‐test, or playing test rubric. It was a visual supplement to aural information. I also accompanied my recorder students using a keyboard with different instrument sounds, using them to help me to introduce the difference between smooth/long and short/disconnected styles.

Assessment Narrative

a. Brief narrative explaining any accommodations you made for the differing needs of the students in your assessment

All of my students are very capable of being successful at recorder if they practice slowly and accurately. The most obvious need during this unit was when a student moved to the school in the middle of my unit, and had never played recorder or learned music notation before (the rest of the class had already begun music notation earlier in the semester). During my spare moments while the class was practicing recorder without my direct instruction, I would guide this student and give her extra personal instruction to help catch her up to the rest of the class. The only other basic needs were if students just seemed to be slightly behind in their fine motor control, or if they had tiny fingers that struggled to cover the tone holes completely, or when one student had a broken left hand and couldn’t correctly hold the recorder as easily. For these, I worked with the student to figure out a way that worked for them specifically to create a good sound while using the best technique possible. If I knew that a particular student had a learning disability or any other sort of differing need that I knew would cause them to make progress on the recorder at a different pace, I would be a little easier on them and give them less things to work on at a time. For instance, if a student had several aspects of their playing test that did not go well, for developmental reasons and not because of poor preparation, I focused on just one of them for my feedback because there is no reason they should be expected to fix every single error right away. If I were to have a student who has a significant challenge, I would make sure to follow the instructions in their IEP and possibly create a different rubric/set of criteria, while still maintaining as many of the same curricular goals as possible.

b. Types of assessment – describe tests and performance-‐based assessments; Include discussion of design and use of rubrics

Summative assessments in this unit included a pre-‐test (cognitive), post-‐test (cognitive and almost identical to the pre-‐test), and psychomotor playing test with simple rubric. I designed the rubric so students would be able to use it later with themselves and with partners. The playing test rubric has four assessment levels: Rarely/Never, Sometimes, Mostly, and Always. It includes assessment of tone, proper positioning of the hands and fingers, and correct execution of the music. After I filled out the rubrics, I gave the students

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a copy of their rubric so they could see where they need improvement. I gave each student a specific comment, or a comment of praise if they got a perfect evaluation. This unit also included a lot of formative assessment during instruction and during a preliminary, low-‐stakes playing test to isolate and diagnose technical problems early on. Instructional Narrative

a. Brief narrative explaining how directions were presented to the students I gave very specific directions (correcting and clarifying myself as necessary because I am not perfect) during this recorder unit in order to avoid as many classroom management struggles as possible. I made sure that students understood directions by repeating them and checking for comprehension, especially when they were about to go off to do partner or solo work for a couple seconds/minutes.

b. Brief narrative explaining how the project relates to the standards in the unit Teaching recorder is a prime example of how to implement NS 2, playing instruments alone and with others. It is also a comprehensive musicianship performance tool through which I taught a couple concepts of music theory and reviewed some new, based theory concepts already learned a few weeks prior.

c. Brief narrative explaining how the project accounts for differences in students I understood at the beginning of the planning process that some students would have a natural affinity for playing recorder and reading music, and that some would struggle (or even not try very hard in class because they aren’t used to working as hard at something as is necessary for proficiency on an instrument). As such, I built in time that I would be able to use to work one-‐on-‐one with students. I also was sensitive to the different learning styles – luckily, again, the recorder unit almost has this built right in. It involves kinesthetic (playing/touching the recorder), seeing (reading the music), and hearing (listening to the music that others or oneself plays). For one activity, I planned singing as well, so that if some students didn’t feel as comfortable playing recorder, they had the option of singing instead for a moment. I also was planning eventually to have some students on mallet instruments, but it wasn’t possible for this to be included in my six official days of instruction. That part will come shortly. During the improvisation portion of one of my lessons, I allow for the students to use only one note instead of three if they so desire to keep it simple. I also would play along with them if they were really struggling to let them borrow some of my confidence and grow their own through tiny, low-‐risk solo experiences.

d. Brief narrative explaining how the project connects/engages students in real-‐life applications of knowledge or skills acquired in the unit

Students reviewed some math concepts during the study of musical “ties.” The recorder unit is also perfectly valid if a student is planning on learning an instrument in band or

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orchestra when they reach sixth grade. As always, the recorder takes patience and delicateness to play well, so the acquisition of these two skills is present in the lesson.

e. Brief narrative explaining what the criteria for the project was and how students were informed of the criteria

Students were informed beforehand about what I would be listening for on both playing tests (formative and summative with the rubric). They also were told that they had musical criteria when they play at all times, such as using good tone and not goofing off by squeaking on purpose. Otherwise, there was no other criteria for each lesson day by day except to participate fully and try their best to play well and pay attention. Results/Interpretation Narrative

a. Brief narrative explaining, based on the graph information, how students performed collectively and individually on the pre-‐test

The average pre-‐test score among all three classes was 20%. There were a couple students who didn’t even get 10%, and no student scored in the 40% range or above. Question 11 and 9 in particular were dismal, as expected, which really brought down the average. The three classes scored very closely in the same range, indicating that they were evenly “matched” from the start as far as preexisting knowledge was concerned.

b. Brief narrative explaining what changes were made to the unit based on pre-‐test data; if no changes were necessary, explain why not

After I graded my pre-‐tests, I realized that several students thought that water or bubbles will shoot out of the recorder, causing mad mayhem and destruction, if it is not properly cleaned and dried. I made sure to address this multiple times, and to also encourage them to wash them so grime didn’t build up on their recorders. I also realized that we would not have time to cover all the fingerings, so I decided to limit my LAMP project instruction to B, A, G, and possibly C if we had time. I would rather my students be successful in a few notes rather than feel uncomfortable and ill educated in several notes.

c. Brief narrative (if applicable) explaining, based on the project graph information, how students performed collectively and individually on the project. Include analysis of how the weighting and/or performance on the rubric elements may have affected the total score for the project

Students were not given a “score” during this unit because they are in 3rd grade and they are starting a brand new instrument, and I (and my cooperating teacher) did not want to tarnish their musical experience with grades and paperwork. I did not give them back their pre-‐tests because I knew it would only make them depressed. I did, however, pass back their graded post-‐tests and their summative playing test rubrics so they would know what to work on. There was no specific grade letter or number attached with the rubric – only achievement levels so they would know where they stand for different skills.

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The weight of questions 9 and especially 11 on the pre/post-‐tests really affected the scores, and in the future I need to either figure out better how to grade weighted questions or to make them all worth one point to be simple.

d. Brief narrative explaining, based on the graph information, how students performed collectively and individually on the post-‐test

Students showed significant growth from the pre-‐test to the post-‐test. Collectively, they scored 59% higher, and that would have been higher if not for question 11 and 10 (which was a bad question and not specific enough). The questions which showed the most growth among students were 3, 7, 9, and 11. Some students I could tell knew the concepts, but perhaps just got confused or had a dyslexic moment on their test, and I would have to mark it wrong. The lowest score on a post test was 59%, which a few students earned, but on the opposite end, there were a couple perfect scores and a couple even over 100%! The top 72% scored 71% or above, as opposed to the pre-‐test, where all the students scored at or below 40%. Every single student got question 1 correct on the post-‐test, and questions 2 and 5 trailed not far behind with 97% of the students answering them correctly.

e. Brief narrative explaining, based on graph and performance information, the strengths and weaknesses of instructional approaches used during the unit

It wasn’t until the post-‐test that I realized 1) I am not fond of true/false questions because if the student has no idea and guesses, they still have half a chance of being correct; 2) question 10 was poorly worded and should be thrown out; 3) questions must be worded very specifically; 4) I may have wanted a little bit more variation on my post-‐test, and perhaps a question about practicing strategies; 5) I may not have spent as much time with music theory/literacy as I should have, since the average score on question 11 was only 71%. I really stressed proper recorder hand position, which explains the 100% on question 1. I could have done more individual instruction and feedback with tonguing, but I also think this is not measured well on a written test. I was pleased with the jump in scores on question 1, 3, 7, 9, and 11, showing that I must have covered these topics adequately.

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FINAL STATEMENT Planning, delivering, and reflecting on this unit project gave me valuable experience for my future teaching. This project helped me see how much planning and hard work goes into a truly comprehensive, student-‐centered unit. It was a lot more complicated than just planning lessons. It also helped me refresh some of my technological and data collection/representation skills that are used frequently in the educational world. The project shows my growth as an educator, and I can only keep improving based on the many things I learned from this project. There were several ideas I got at the very end when it was too late to implement them, but I took note of them for the next time I teach a similar unit. These ideas were incorporating an Irish unit and talking about penny whistles (since we started right around Saint Patrick’s Day), making sure of the school agenda so I don’t miss important instructional days, and changing my lessons/unit to be flexible with the needs of the students as the unit progressed. There were aspects of my preparation and delivery of which I was quite proud, and there were of course ways I can improve. I enjoyed how authentic the project was in the student teaching setting, and it showed me that I am competent and confident in my ability to plan and deliver a successful unit of lessons. A lot of time went into getting to this point in my teaching career, and I feel like all of the past years of teacher training have been synthesized in my student teaching semester and into this project. Upon the completion of this project, I look forward happily to getting my first job and being a teacher who does this kind of planning regularly.

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PROJECT RUBRIC Unsatisfactory Basic Proficient Distinguished

Planning & Preparation

No prior planning or preparation evident

Evidence of planning and preparation but little attention to detail or flexibility

Adequate evidence of planning and preparation including attention to detail and a flexible plan

Evidence of extensive student-‐centered planning, preparation, and thorough, flexible plan

Instructional Effectiveness

Student growth hindered or not evident, relies solely on direct instruction, no content standards addressed

Some student growth evident, instruction is effective, 1 content standard addressed

Definite student growth, varied instructional strategies, 1-‐2 content standards addressed

Significant student growth and engagement, multiple instructional strategies used, 3+ content standards addressed

Meeting Student Needs

Teacher was unaware of and failed to meet student needs; no apparent differentiation

Teacher became aware of and addressed student needs once brought to attention

Teacher adequately met students’ needs and demonstrated differentiated instruction

Teacher went above and beyond to provide differentiation and effectively anticipate and meet student needs

Materials Teacher was frequently unprepared for class

Teacher was prepared with materials for lesson

Teacher was prepared with appropriate lesson materials

Teacher was well prepared with a variety of effective lesson materials

Quality of Assessments

Assessments were not valid nor reliable, or ineffective

At least one assessment used

A variety of valid and reliable assessments used, mostly well-‐constructed test questions

A variety of valid and reliable assessments used that engaged the student, well constructed test items

Teacher characteristics

Unprofessional and/or not engaging, lack of effective classroom management

Professional, somewhat engaging demeanor, sometimes allowed behaviors to go on

Professional, pleasant demeanor, in charge of classroom

Professional, engaging demeanor, classroom environment conducive to active learning for all students

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