ELEMENTARY UNIT – MUSIC 670

DOTTED EIGHTH
NOTE WITH
SIXTEENTH NOTE

Rachel Mallon
May 5th, 2020
 Table of Contents

Unit Introduction, Pre-Assessment, Post-Assessment ………………………………..….……… 2

Outline of the Unit ……………………………………………………………….……………… 3

Lesson Plans

Pre-Assessment ………………………………………………………………………………….. 5

Prepare

Prepare Lesson 1: Wall Flowers ………………………………………………………………… 7

Prepare Lesson 2: Knock the Cymbals …………………………………………………………. 13
Prepare Lesson 3: Simple Gifts ………………………………………………………………… 18

Present

Present Lesson: Knock the Cymbals …………………………………………………………… 23

Practice

Practice Lesson 1: Wall Flowers ……………………………………………………………….. 26

Practice Lesson 2: Simple Gifts ………………………………………………………………… 30
Practice Lesson 3: Shady Grove ……………………………………………………………….. 33
Practice Lesson 4: Fire Down Below …………………………………………………………... 38
Practice Lesson 5: Calypso Freedom …………………………………………………………... 41
Practice Lesson 6: Composition ………………………………………………………………... 43

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 Unit Introduction

This unit focuses on the dotted eighth and sixteenth note rhythms in the fifth grade (10-11
years old) music classroom. This unit follows the Manhattan-Ogden Scope and Sequence for
kindergarten through sixth grade. Prior to this unit, students must have learned whole notes, half
notes, quarter notes, dotted quarter eighth notes, sixteenth notes, eighth with sixteenth notes, and
syncopation. They also must be familiar with changing meter in duple time.

This unit utilizes Orff instruments, recorder, and ukulele. Further music concepts covered
in the unit are improvisation, composition, musicality, and interpreting music through
movement. This unit contains cross-curricular connections through music from Jamaica and its
representation in the Civil Rights Movement. Students will become familiar with how songs with
a dark past (in this case slavery) were revamped and used during the Civil Rights Movement.
This It could also be incorporated with math through fractions and ratios with prior knowledge.

Pre-Assessment

Students will be assessed on their ability to identify, read, and perform eighth notes,
dotted quarter note followed by eighth note, eighth note followed by dotted quarter note, eighth
note followed by two sixteenth notes, two sixteenth notes followed by a quarter note, and
sixteenth notes in meter and rhythm. Before Lesson One, students will complete a Pre-
Assessment reading rhythm note cards to a rhythm backtrack. While completing the rhythm card
assessment, the teacher will complete a checklist on each rhythmic component and take notes on
where students are at. With each concept separated, the teacher will easily identify which areas
may become problematic later or need attention now. The teacher then can identify new
activities/warmups to work on these individual concepts without falling behind in the sequence.

Post-Assessment

At the end of this unit, students will be assessed on their ability to identify, read, and
perform this concept through a traditional notation composition. Students will pick a key and
must write an 8-bar composition in 2/4 meter. This will assess student’s rhythm and melodic
accuracies and capabilities. Students have the option to write these for voice or instruments used
in class.

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 Outline of the Unit

Prepare

Students will sing, play melodies on recorder, play harmonies, and improvise to songs
that include the dotted eighth with sixteenth note concept. They will be familiar with performing
and hearing this concept through sound before sight. The songs included are Wall Flowers,
Knock the Cymbals, and Simple Gifts.

Present

Students will review known elements and establish context through a review of the Pre-
Assessment. They will identify the new concept aurally from Knock the Cymbals and label it
through iconic notation (non-traditional). The teacher will then label and present the new concept
through notation of the song. Students will identify other songs they know that contain this
concept from the Prepare stage.

Practice

During this stage, students will begin to read, write, and perform this concept. The songs
included are Shady Grove, Fire Down Below, and Calypso Freedom. Students will end the unit
with an eight-bar composition in 2/4 meter and a specified key.

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Lesson Plans

4
 Pre-Assessment

In order to move onto this topic, it is necessary to ensure students have mastered eighth notes,
dotted quarter note followed by eighth note, eighth note followed by dotted quarter note, eighth
note followed by two sixteenth notes, two sixteenth notes followed by a quarter note, and
sixteenth notes. I will put on a back track (Lofi Jazz Jam For【Guitar】E♭Major 80bpm
BackingTrack by Music Jam Tracks on Youtube) and will invite students to clap the downbeat. I
will show students note cards of each rhythmic motive needed to have been mastered. Students
will clap these notecards looping until I have given a rating. Before moving on, students must be
95% accurate with just eighth note rhythms and 80% accurate with sixteenth note rhythms. I will
complete the following checklist:

Topic Group Notes

Percentage

Quarter Notes

Dotted Quarter Note followed by Eighth

Note

Eighth Note followed by Dotted Quarter

Sixteenth Notes

Eighth Note followed by 2 Sixteenth Notes

2 Sixteenth Notes followed by 1 Eighth

Note

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RHYTHM NOTE CARDS

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 Prepare Lesson 1: Wall Flowers

Standards Being Addressed:

MU:Pr5.1.3b: Rehearse to refine technical accuracy, expressive qualities, and identified

performance challenges.
MU:Pr6.1.3a: Perform music with expression and technical accuracy.

Materials of Instruction:

Wall Flowers (D Major)

Wall Flowers Body Percussion (D Major)

Ukulele Chords D and A

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Lesson Sequence:

Entry Activity/Transition:

“Hello today we will be learning the song “Wall flowers”. This song is a circle game from the
British Isles, but we aren’t sure who wrote it or when it was written. But we have some clues
thanks to the lyrics. The song talks about measles, a highly contagious disease that used to kill
thousands of people before the vaccine was made. We’re very grateful for this medicine and it
saved many lives even today.”

Warm Up

Students will sing this short melody that includes our concept. Students will sing this at the
beginning of class and will change the animal or other words in the penultimate measure each
class.

Activity #1 Objective: Students will recite Wall Flowers with accurate words and rhythms in 2/4
and 3/4 meter.

1. Perform Poem
a. Recite the song for the class with the ukulele accompaniment while S pat the
quarter note.
2. Echo with Students
a. Begin with “first me then you” strategy with the first 4 bars while S pat with T
i. Wall flowers wall flowers (T then S x2)
ii. Growing up so high (T then S x2)
iii. Put the two sections together and recite the full line at least twice
b. Repeat the same steps for “May had the measles and never never died”
i. Make sure that S and T don’t sing Sol in “never never” and that they
sing Re instead.
c. “Alright let’s put those two phrases together while we pat. Where were the
flowers growing?” S: “Up so high!” T: “Yes! We’re going to do this once
together.”
i. Sing the whole phrase together while patting
d. After together once, have T and S tradeoff. “Perfect. Now we’re going to trade
off, I’ll sing the “Wall flowers wall flowers–, and you’ll come in on May had
the–. Let’s begin.”
e. Repeat steps A-D with the remaining lines. Separate the groupings like how
they are in the body percussion document.
i. If in class and S seem uncomfortable/confused continue as many times

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 as necessary or switch to fill in the blank after learning sets of phrases.
ii. Trade off entire lines before moving on.
3. Fill in the Blank
a. “Now we’re going to do some fill in the blanks while we pat, I’ll point to you
when you need to fill in the rest.”
b. Begin with filling in the last word of each phrase.
i. Wall flowers wall ______, growing up so _______. Etc.
c. After filling in the last word, start filling in larger parts.
i. Wall flowers wall flowers, __________________. Etc.
4. Audiation
a. “Now we’re going to do the entire song just thinking it without patting. We’re
going to use our silent words and mouth each line. I’ll pat to start us off but
then we’re going to do it silently.”
b. After completed, if in class ask the students if they struggled with any lines in
particular. Do quick reviews of any of the previous steps to ensure comfort
and accuracy.
c. If just doing a video, link beginning of parts back if S need to repeat.
5. Assessment
d. Perform all together with pats on the legs.
e. Students will recite Wall Flowers with accurate words and rhythms in 2/4 and
3/4 meter.

Activity #2 Objective: Students will perform melodic accompaniment to Wall Flowers with
steady beat and accurate rhythm using body percussion and/or ukulele (2/4 meter, eighth notes
do – sol in D Major)

Transition: Now that we know the song, let’s add play something to add to our song!

1. Review the Poem (skip if in the same lesson as this is the assessment for Activity #1)
a. Teacher will review the poem with the students by singing Wall Flowers and
asking students to join in when they are ready.
b. After repeating the rhyme at least once and most of the students have joined the
chant, invite students to begin patting the beat
2. Learning the Body Percussion
a. T stops S from patting. T: “Watch what I do and follow me when you’re ready.”
b. T pats steady beat and begins patting the simplified body percussion for “Wall
flowers, wall flowers” (just the first two measures)

c. When S are comfortable with this pattern, T says S “You’re doing great. I’m
going to do something different, watch what I do and follow when you’re ready.”
i. T pats the non-simplified version an

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 d. When S are comfortable with this pattern, T says S “You’re doing great. I’m
going to do something different, watch what I do and follow when you’re ready.”
i. T then pats the body percussion for the second set of measures.
ii. When S are ready, move on
e. Put together the two sets
i. “Okay let’s put those two parts together and loop it. I’ll do it a few times
and join when you’re ready.
ii. Repeat 2-3 times or until S join in if in-person.
3. Add in the words (while still doing body percussion)
a. T: “So what kind of flowers were they?” S: “Walls!” T: “Yes! And how were they
growing?” S: “up so high!”
b. Begin with “first me, then you” strategy with 2 measures at a time.
i. “Okay repeat after me while still doing the body percussion.”
c. After a few times repeating, start “fill in the blank” strategy
i. “Great! We’re going to fill in the blank while doing body percussion. I’ll
lean in when you fill in.”
d. Trade off lines between S and T
i. “You’re doing great! We’re going to trade off lines while we all keep
doing the body percussion. I’ll start and I’ll lean in when you have to
finish.”
e. Audiation
i. Have S stop body percussion.
ii. “Now we’re going to do the entire song just thinking it without the body
percussion. We’re going to use our silent words and mouth each line while
thinking about what the body percussion is. I’ll pat to start us off but then
we’re going to do it silently.”
f. Repeat steps 2 – 3E with each line.
i. Line 2 will be the exact same as line 1
ii. Keep in mind Line 3 has an extra beat and really enforce the difference.
iii. The other lines are simplified as shown below:

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4. Performing the Body Percussion
a. After learning all the lines, ask a few questions
i. T: “So we learned the body percussion, how did the wall flowers grow?”
S: “Up so high!” T: “Yes up so high!”
ii. Continue with each line asking for the last word in each phrase.
iii. T: “Fantastic! We’re going to perform the whole thing now. I’ll start and
you can join when you’re ready. If you’d like to just do pats for now that’s
okay.”
1. T performs the entire body percussion at least twice until almost all
students join
5. Ukulele time!
a. T: “Okay now that we learned and performed our body percussion, we’re going to
learn the ukulele part for Wall Flowers.”
b. Strum Patterns
i. “For our strum patterns, have 3 main strum patterns. We have down (T
demonstrates), Down Down-Up (T demonstrates), and Down-Up Down-
Up (T demonstrates). Practice those a few times on your own.”
ii. Give students about 10 seconds or ask them to pause the video.
iii. “So, this is just like our body percussion we just learned. I’ll sing Wall
Flowers while strumming. Feel free to join in strumming if you feel ready
to do so.” T demonstrates strum pattern while singing the song.
iv. Break it down line by line singing each line while strumming, repeat each
line twice. Similar groupings to when we learned the melody.
c. Chords
i. “Great job on strumming! Now we’re going to learn our chords. We’ll
only be using the D major chord and A major chord.”
ii. Teach the D major chord and A major chord
1. Alternate chords – leave out the string closest to your nose!
iii. “When we did our body percussion, what were the two things we did?” S:
“Pat and Clap!” T: “Yes! So, for ukulele instead of patting, we’ll play the
D chord. (Demonstrate again) And for clapping we’ll play the A chord.
(Demonstrate again) We’ll go line by line to make sure we get it under our
fingers.
iv. Break it down line by line singing each line while playing Down Down for
each measure. Invite S to include the strum pattern once they’re ready.
d. Putting together Strum and Chord
i. “We’re going to put strumming and chords together! We’ll go line by line

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 to make sure we got it.”
ii. T reviews each line twice with appropriate chords and strum patterns
e. Putting it all together!
i. T: “Before we play it all together, take a few minutes and review any parts
you may need to review/refresh on before we play all together.”
1. If in class, ask S what they may need to repeat and return to
sections if you need to
ii. Play together as a class using ukulele.
6. Assessment
a. Students perform together as a class
b. Students will perform melodic accompaniment to Wall Flowers with steady beat
and accurate rhythm using body percussion and/or ukulele (2/4 meter, eighth
notes do – sol in D Major).

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 Prepare Lesson 2: Knock the Cymbals

Standards Being Addressed:

MU:Pr6.1.5a Perform music, alone or with others, with expression, technical accuracy, and
appropriate interpretation.
MU:Cr2.1.5a Demonstrate selected and developed musical ideas for improvisations,
arrangements, or compositions to express intent, and explain connection to
purpose and context.

Materials of Instruction:

Knock the Cymbals (D Major)

Warm Up

Students will sing this short melody that includes our concept. Students will sing this at the
beginning of class and will change the animal or other words in the penultimate measure each
class.

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Lesson Sequence:

Entry Activity/Transition:

Hello class, today we’ll be learning a song and adding background to it. To start off, find a
partner that’s wearing the same color shirt as you!

Activity #1 Objective: Students will sing “Knock the Cymbals” with accurate pitches, rhythm,
and words in 2/4 meter.
1. Perform the song (singing)
2. History
a. T: This song is called “Knock the Cymbals.” Although it’s a simple song, it’s a
great little tune. The song is from Texas and is actually a dancing game. Let’s get
started learning it. Let’s begin with some pats.
3. Echo with Students
a. Begin with first me then you strategy with two bars at a time while patting
i. Knock the cymbals Do – Da – Do (T then S twice)
ii. Knock the cymbals Do – BA – Do (T then S twice, make sure they go to
Re)
iii. Knock the cymbals Do – Da – Do (T then S once)
iv. Oh Law Susie Gal (T then S twice)
b. Continue echo but with four measures at a time
i. Knock the cymbals Do – Da – Do, Knock the cymbals Do – BA – Do (T
then S twice)
ii. Knock the cymbals Do – Da – Do, Oh Law Susie Gal (T then S twice)
c. Echo with full song twice
4. Takeover / Tradeoff
a. (While patting still) T: I know it’s simple enough you guys got this. What do you
think is the easiest part? S: Do – Da – Do T: Yes! Can you sing that part while I
sing the rest? S: Yes!
i. Tradeoff each measure with S
b. T: Great job! Do you think we could switch parts where I’ll sing the Do – Da –
Do? S: Yes!
i. Tradeoff each measure with S
c. Repeat A and B but with two measure phrases then each line
5. Audiation
a. “Now we’re going to do the entire song just thinking it without patting. We’re
going to use our silent words and mouth each line. I’ll pat to start us off but then
we’re going to do it silently.”
b. After completed, if in class ask the students if they struggled with any lines in
particular. Do quick reviews of any of the previous steps to ensure comfort and
accuracy.
6. Assessment
a. S and T perform the song all together with pats
b. Students will sing “Knock the Cymbals” with accurate pitches, rhythm, and words
in 2/4 meter.

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Transition: Okay class, let’s get our recorders! Find a new partner who has the same favorite
color as you!

Activity #2 Objective: Students will perform “Knock the Cymbals” on recorder with accurate
pitches, fingerings, and rhythm in 2/4 meter.

• Breathing/Air
a. T: Okay in order for us to be recorder rock stars, we have to watch and listen very
carefully. Hold your hand up and breathe like you’re trying to fog up a window.
(T demonstrates making a loud, forced exhale) Okay, now fog up the window
silently. (T demonstrates proper air for low recorder)
b. T: Perfect. Can you put all fingers down with pinkies up and blow with that same
air into the recorder?
i. T troubleshoots S that may be using too much air (try using quieter air) or
not covering each hole.
• Fingerings with Measures (Echo)
a. First measure
i. T: Great air! I think we’re ready to learn some notes. Make sure not to
play outside of when I ask you to. Let’s start with that same note with all
fingers down and pinkies up, then watch what I do.
1. T Demonstrates D to F#, S repeats x2
2. T Demonstrates F# to A, S repeats x2
3. T Demonstrates A to F#, S repeats x2
4. T demonstrates measure 1 on recorder, S repeats x2
b. Second measure
i. T: We got it! Follow my lead
ii. T plays measure 2, S repeats x2 (make sure it’s the correct rhythm)
iii. T plays measures 1 & 2 together, S repeats x2
c. Third measure
i. T: Perfect, this next one is exactly like the first measure we just did.
ii. T plays full measure and S repeat x1
d. Fourth measure
i. T: Okay watch my fingers, this is a new note!
ii. T plays E to F# to E (not in rhythm)
iii. T: Try that on your own quietly for 10 seconds
iv. After 10 seconds, T demonstrates measure 4 with correct rhythm, S
repeats x2
v. T plays measures 3 & 4 together, S repeats x2
vi. T plays measures 1 – 4 together, S repeats x2
e. Fifth and sixth measure
i. T plays both measures, S repeats x1
f. Seventh measure
i. T: We’re almost there! We have one more new note.
ii. T demonstrates new note, S repeats x1
iii. T demonstrates measure 7, S repeats x2

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 g. Eighth measure
i. T demonstrates last measure, S repeats x2
ii. T demonstrates measures 7 and 8, S repeats x2
iii. T demonstrates measures 5 – 8, S repeats x2
h. All together
i. T: We learned it all! I think you guys have it hands down and won’t need
to repeat the first four measures, let’s play the whole thing together!
• Assessment:
a. S and T perform the song all together on recorder
b. Students will perform “Knock the Cymbals” on recorder with accurate pitches,
fingerings, and rhythm in 2/4 meter.

Transition: Let’s add something new to our song. Before we do that though, how many of you
guys are the youngest of your siblings? (S raise hands) The middle? (S raise hands) The oldest?
(S raise hands) Okay, find someone who is the same as you!

Activity #3 Objective: Students will perform melodic accompaniment to “Knock the Cymbals”
with steady beat and accurate rhythm using recorder (2/4 meter, eighth notes do – sol in D
Major)

1. Introduce harmony
a. Invite 1 S that will perform the melody in front of the class
b. T: Okay while S plays the melody, listen to what I do
c. T and S play melody and harmony together
d. T: What did I do? S: Something different!
2. Echo harmony
a. T: So, for our new part, we’ll only be using D (demonstrate) and A (demonstrate).
Can you show your partner? S show each other
b. T: Okay, repeat after me and watch what I do.
i. T plays measures 1 – 2 with S repeating back twice
ii. T plays measures 3 – 4 with S repeating back twice
iii. T puts together measures 1 – 4 with S repeating back twice
iv. T plays measures 5 – 6 with S repeating back twice
v. T plays measures 7 – 8 with S repeating back twice
vi. T puts together measures 5 – 8 with S repeating back twice
vii. T puts all measures together with S repeating back twice
3. Adding melody
a. T: fantastic work! Can you all play that part while I play the melody? Make sure
you play quiet so you can hear me! T and S play together
b. T: Great job! Now let’s work with our partners. I want you to play rock paper
scissors on who will be A and B. (S decide) Okay, A will play the melody the first
time while B plays our new part.
c. S play and trade off after so both get to play both parts
4. Group

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 a. T: I heard some fantastic music playing! Let’s come back together as a group.
Let’s do the left side of the class playing the melody and the right side playing our
new part. (Play it once through, switch sides)
5. Assessment
a. Students will perform melodic accompaniment to “Knock the Cymbals” with
steady beat and accurate rhythm using recorder (2/4 meter, eighth notes do – sol
in D Major)

Closure:

I hope you had a great time with our new song today! I’m excited to make some new music with
you next time.

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 Prepare Lesson 3: Simple Gifts

Standards Being Addressed:

MU:Pr6.1.5a Perform music, alone or with others, with expression, technical accuracy, and
appropriate interpretation.
MU:Cr2.1.5a Demonstrate selected and developed musical ideas for improvisations,
arrangements, or compositions to express intent, and explain connection to
purpose and context.

Materials of Instruction:

Simple Gifts (G major)

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Warm Up

Students will sing this short melody that includes our concept. Students will sing this at the
beginning of class and will change the animal or other words in the penultimate measure each
class.

Lesson Sequence:

Entry Activity/Transition:

T: Hello class! Today we’re going to be learning a song called “Simple Gifts.” We’ll start off
with some listening of different music. While we listen, think of a few music words that describe
what you hear.

https://www.youtube.com/watch?v=JI6RYZygevA (Simple Gifts from Appalachian Song by

Aaron Copland)

https://www.youtube.com/watch?v=HTP59ez7deg (Simple Gifts Mvt. IV by Frank Ticheli)

Activity #1 Objective: Students will sing “Simple Gifts” with accurate words and rhythms in
2/4 meter.

1. Perform the song (with ukulele)

2. History
a. T: This song is called “Simple Gifts.” This song was written by Joseph Brackett
in 1848. He was a part of a group called “Shakers.” This was a group that was
mostly active during 1700s through the 1900s and was in the United States. They
shared everything and all had different jobs to contribute to the community.
Shakers were similar to what you may be familiar with as Amish communities.
However, they didn’t believe in having children and lived separately, which is
reflected in their arts. (Show video of Shaker dance and point out the clothes and
how they don’t touch https://youtu.be/Lhc9PK2tG5k?t=36)
b. Let’s get started learning it. Let’s begin with some pats.
3. Echo with Students
a. Begin with first me then you strategy with one section at a time while patting
i. Tis’ the gift to be simple (T then S twice)
ii. Tis’ the gift to be free (T then S twice)
iii. Tis’ the gift to be simple tis the gift to be free (T then S twice)
iv. Tis’ the gift to come down (T then S twice)

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 v. Where we ought to be (T then S twice)
vi. Tis’ the gift to come down where we ought to be (T then S twice)
vii. Tis’ the gift to be simple tis the gift to be free. Tis’ the gift to come down
where we ought to be (T then S twice)
viii. And when we find ourselves (T then S twice)
ix. In the place just right (T then S twice)
x. And when we find ourselves in the place just right (T then S twice)
xi. Twill be in the valley (T then S twice)
xii. Of love and delight (T then S twice)
xiii. Twill be in the valley of love and delight (T then S twice)
xiv. And when we find ourselves in the place just right. Twill be in the valley
of love and delight (T then S twice)
b. Continue echo but with four sections at a time
i. T: Great job! What was our first gift? S: to be simple T: Yes! And where
did we come down? S: where we ought to be! T: Yes! Okay we’re going
to put all the sections together. I’ll start then you repeat.
c. Echo with full song twice
4. Takeover / Tradeoff / Fill in the Blank
a. (While patting still) T: Great job! I’m going to sing a part and I’ll have you finish
the line.
i. Sing the song but leave off the last word in each section like how it’s
separated with the red lines
b. T: Great job! Do you think we could switch lines and trade off? S: Yes!
i. Sing the song but trade off each section, point at S when it’s their turn
c. Repeat A and B with larger chunks until you can switch entire halves of the song
5. Audiation
a. “Now we’re going to do the entire song just thinking it without patting. We’re
going to use our silent words and mouth each line. I’ll pat to start us off but then
we’re going to do it silently.”
b. After completed, if in class ask the students if they struggled with any lines in
particular. Do quick reviews of any of the previous steps to ensure comfort and
accuracy.
6. Assessment
a. S and T perform the song all together with pats
b. Students will sing “Simple Gifts” with accurate words and rhythms in 2/4 meter.

Transition: Fantastic job! Let’s add some new stuff to it.

Activity #2 Objective: Students will perform harmonic accompaniment to “Simple Gifts” with
steady beat and accurate rhythm using ukulele (2/4 meter, quarter notes I, iii, V in G Major)

1. Introduce Harmony
a. T: Will you guys sing the song we just learned and listen to what I play on the
ukulele.
b. T and S perform
c. T: Okay while S plays the melody, listen to what I do

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 d. T and S play melody and harmony together
e. T: What did I do? S: Something different!
2. Echo harmony
a. T: So, for our new part we will be using G (demonstrate), B minor (demonstrate),
and D (demonstrate. Let’s work each one out individually
i. T demonstrates each chord and allows students to try it on their own
b. Okay, repeat after me and watch what I do
i. T plays and sings first section with ukulele accompaniment (First T then S
twice)
ii. T plays and sings second section with ukulele accompaniment (First T
then S twice)
iii. T plays and sings first and second section with ukulele accompaniment
(First T then S twice)
iv. T plays and sings third section with ukulele accompaniment (First T then
S twice)
v. T plays and sings fourth section with ukulele accompaniment (First T then
S twice)
vi. T plays and sings third and fourth section with ukulele accompaniment
(First T then S twice)
vii. T plays and sings first through fourth section with ukulele accompaniment
(First T then S twice)
viii. T plays and sings fifth section with ukulele accompaniment (First T then S
twice)
ix. T plays and sings sixth with ukulele accompaniment (First T then S twice)
x. T plays and sings fifth and sixth section with ukulele accompaniment
(First T then S twice)
xi. T plays and sings seventh section with ukulele accompaniment (First T
then S twice)
xii. T plays and sings eighth section with ukulele accompaniment (First T then
S twice)
xiii. T plays and sings seventh and eighth section with ukulele accompaniment
(First T then S twice)
xiv. T plays and sings fifth through eighth sections with ukulele
accompaniment (First T then S twice)
c. Trade off
i. T: Great job! What was our first gift? S: to be simple T: Yes! And where
did we come down? S: where we ought to be! T: Yes! Okay we’re going
to put all the sections together but we’re going to trade off. I’ll lean to you
when it’s your turn
ii. T trades off each section with S while singing and playing ukulele,
eventually trading larger sections
d. Group
i. T: Fantastic job. Let’s run it through as a group.
3. Assessment
a. Students will perform harmonic accompaniment to “Simple Gifts” with steady
beat and accurate rhythm using ukulele (2/4 meter, quarter notes I, iii, V in G

21
 Major)

Closure:

Fantastic job today. I hope you had a great time learning our new song today, I look forward to
making new music with you!

22
 Present Lesson using “Knock the Cymbals”

Standards Being Addressed:

MU:Cr2.1.5a Demonstrate selected and developed musical ideas for improvisations,

arrangements, or compositions to express intent, and explain connection to purpose and context.
MU:Cr2.1.5b Use standard and/or iconic notation and/or recording technology to document
personal rhythmic, melodic, and two-chord harmonic musical ideas.
MU:Pr4.2.5b When analyzing selected music, read and perform using standard notation.

Objectives:

• 5th grade students identify dotted quarter note aurally.

• 5th grade students identify dotted quarter note visually with symbols
• 5th grade students identify dotted quarter note visually with standard notation.

Materials of Instruction:

Projection/board to write rhythms/words

“Drop the Cymbal” in D Major

Rhythm Notecards

23
Animal Cards (Printed largest to smallest) that will need to be able to stick to the board/projector
screen

1 Moose (Half note)

3 Bears (Quarter Note)

3 Ducks (Dotted Eighth Note)

16 Frogs (Eighth Note)

3 Ants (Sixteenth Note)

24
Lesson Sequence:
1. Warm up
a. T and S work out the solfege to “Drop the Cymbal” and sing warmups in the key
of D Major.
2. Review known elements and establish context (beat, rhythm, melody)
a. Review rhythm note cards with a backtrack
3. Discover the concept Aurally (compare with known elements) + Label and present the
concept visually with symbols (not music symbols)
a. Work backwards on rhythm with animals
b. T projects/writes the lyrics on the board, make sure S can only use Moose, Bear,
and Frog
c. T: Okay class, how could we show someone the rhythm to our song not using
things like the rhythm cards? S: Symbols? T: Yes! Let’s use the animals we have
on the board. Where do you think is the easiest part/word to write out is? S: The
end! T: That’s what I was thinking! Why? S: Because it’s the longest T: Yes!
What’s the biggest animal we have? S: Moose!
i. Continue with the measure before and ask S if there’s any other measures
that are similar to the second to last then identify them on the board.
d. T: So we only have the Do Da/Ba Do left. Can we clap out the song to find out
the last missing piece? T and S clap out the song.
e. T: What happens next? S: Something different! T: Yes! Is it short or long? S:
Long, but not longer than moose or bear but longer than a frog. T: what if we used
a duck? That’s in-between a bear and a frog!
f. Continue identifying these new materials and assigning them.
g. Have S recite the rhythms using our animals while patting a beat
4. Label and present with notation of song (standard)
a. Label and present with song notation
b. T presents rhythmic notation
c. T: So what types of notes do you see that you know the name of? S: Eighth notes,
quarter notes, half notes, sixteenth notes (S may identify dotted note but this is
different from a dotted quarter note) T: Yes! What does our new note look like?
S: The dotted quarter note. T: Yes but it looks a little different.
i. T notes similarities and differences between the two
5. Reinforce the new skill. Continue to compare with what students already know
a. T: What are some other songs that have these? Think back to the last couple songs
we’ve done. S will either name them off or T can do some reviews of other songs
and show notation of songs to reinforce new concept
6. Assessment
a. S will identify new concepts in music that are different than before.
b. T will have S close their eyes and have them give a rating about the new concept
i. Thumbs Up – I understand our new concept and am ready to work with it
ii. Thumbs Middle – I kind of understand our new concept but could use
more practice
iii. Thumbs Down – I didn’t understand our new concept and I’m confused

25
 Practice Lesson 1 – Revisiting Wall Flowers

Standards Being Addressed:

MU:Pr4.2.5b When analyzing selected music, read and perform using standard notation.
MU:Pr6.1.5a Perform music, alone or with others, with expression, technical accuracy, and
appropriate interpretation.

Materials of Instruction:

Xylophone, Wall Flowers Worksheet

26
 DECODING MUSIC
Your mission:

You’re in a dystopian society where all distribution of music notation is banned, but your friend
sent you this letter in the mail in a cryptic code and you think it may be music. You must decode
the cryptic letter using your previous experiences in music class in order to save the world!

You’ll translate this secret code into traditional music notation. Your starting pitch is A4. Each
correct pitch and rhythmic figure is worth 1pt (total pts. 100 with extra credit).

Your options are:

Do, Re, Mi, Sol, La in D major

Half Note Quarter Note Dotted Eighth Eighth Note Sixteenth Note
Note

27
Total Points: __________ / 100

28
Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warm Up:

The teacher will warm up the class by doing a call and response activity in 2/4 meter utilizing a
combination of half notes, quarter notes, eighth notes, sixteenth notes, dotted quarter notes
followed by eighth note, and dotted eighth notes followed by sixteenth note.

Activity #1 Objective: Students will recite “Wall Flowers” with accurate words and rhythms in
2/4 and ¾ meter.
• T: Hello class! Today we’ll review our song about Wall Flowers.
• T will use a xylophone and play eighth notes based on the notes above each measure.
• Assessment
o T listens to S and reviews topics as necessary
• Transition
o Fantastic job remembering all that! Next we’re going to do some deciphering.
Find a partner to do our next activity!
Activity #2 Objective: Students will identify the dotted eighth with sixteenth found in Wall
Flowers aurally then notate it in standard notation.
• Now that you’ve found your partner, we’re going to do some deciphering! Each pair will
get a xylophone to work out each pitch and rhythm.
o T hands out double sided “Decoding Music” worksheet and assigns xylophones
o Don’t assign mallets until after instruction
• T reads the assignment instructions out loud and asks S what questions they have
• When S no longer have questions, assign mallets to each group. Groups will work
independently while T walks around and helps when necessary and monitors noise level.
• Assessment
o S will turn in their worksheets and will receive 1 pt per each correct pitch and
rhythm. If there is a group that did worse than most groups, meet S individually
and ask how the process went. If necessary, allow S to redo the assignment alone
to get a better understanding.

29
 Practice Lesson 2 – Revisiting Simple Gifts

Standards Being Addressed:

MU:Pr4.2.5b When analyzing selected music, read and perform using standard notation.

Materials of Instruction:

Projector

30
31
Lesson Sequence:

Entry Activity/Transition/Warmup:

Teacher will do a call and response body percussion activity using rhythms from “Simple Gifts”.

Activity #1 Objective: Students will identify rhythms and words to “Simple Gifts” using dotted
eighth note with sixteenth note in traditional notation.
• Review Song
o T puts lyrics and notation of “Simple Gifts” without the title.
o T: Hello class! Do you remember this song? It might look a little difficult, but
you’ve already done it and I know you can do it!
o T and S review Simple Gifts and continue when students are comfortable with
lyrics and rhythm.
o Turn off projector for worksheet.
• Worksheet
o T: Fantastic job with that review! Now we’re going to do some mystery
identification in a worksheet.
o T passes out the Simple Gifts worksheet
o T: For this worksheet, you’ll fill in the missing lyric/rhythm. Feel free to sing or
pat out loud while completing this! I’ll be walking around if you need any
additional help.
• While S work on the worksheet, assist and monitor how students are doing with the
worksheet.
• Assessment
o 2 pts for each correct rhythm/lyric
o While S are working, see which lyrics they may have trouble with and see if there
are any additional rhythm work would be beneficial before we move into further
activities with the new concept.
• Transition/Closure
o T: Fantastic work today! Next time we’ll be learning a new song!

32
 Practice Lesson 3 – Shady Grove

Standards Being Addressed:

MU:Pr6.1.4a: Perform music, alone or with others, with expression and technical accuracy, and
appropriate interpretation
MU:Cr1.1.5b Generate musical ideas (such as rhythms, melodies, and accompaniment patterns)
within specific related tonalities, meters, and simple chord changes.

Materials of Instruction:

Recorders, iPads

33
34
Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warmup:

T does call and response on recorder to practice correct tone and volume levels with rhythmic
concepts.

Activity #1 Objective: Students will sing “Shady Grove” with accurate pitches, rhythm, and
words in 2/4 meter.
• Perform the song (singing)
• History
o T: This song is called “Shady Grove.” It’s an Appalachian folk song that was used
for courting. It originates from an English or Scottish ballad called, “Matty
Grove.” Today, we’ll sing it, play it on recorder, and write an accompaniment to
it. Let’s begin with some pats.
• Echo with Students
o Begin with first me then you strategy with two bars at a time while patting
i. Cheeks as red as a bloomin rose (T then S twice)
ii. Eyes of the deepest brown (T then S twice)
iii. Cheeks as red as a bloomin’ rose, eyes of the deepest brown (T then S
once)
iv. You are the darlin of my heart (T then S twice)
v. Stay til the sun goes down (T then S twice)
vi. You are the darlin of my heart, stay til the sun goes down (T then S twice)
vii. Cheeks as red as a bloomin’ rose, eyes of the deepest brown. You are the
darlin of my heart, stay til the sun goes down. (T then S twice)
viii. Shady grove, my little love (T then S twice)
ix. Shady grove I know (T then S twice)
x. Shady grove, my little love. Shady grove I know (T then S twice)
xi. Shady grove, my little love (T then S twice)
xii. Bound for the shady grove (T then S twice)
xiii. Shady grove, my little love. Bound for the shady grove. (T then S twice)
xiv. Shady grove, my little love. Shady grove I know. Shady grove, my little
love. Bound for the shady grove. (T then S twice)
• Fill in the Blank
xv. T: Yes! What were the cheeks as red as? S: rose T: Yes! What color were
the eyes? S: Brown T: Yes! I’ll sing the first and you fill in the blank.
xvi. T sings and leaves the last word every 2 bars
xvii. Increase to longer parts
• Takeover / Tradeoff
c. (While patting still) T: You guys got this! Let’s trade off different parts. I’ll point
to me when I’ll sing and I’ll point to you for the next part
i. Tradeoff each 2 measures with S, increase to longer lines. Trade with S
and have them begin as well.
• Audiation
d. “Now we’re going to do the entire song just thinking it without patting. We’re

35
 going to use our silent words and mouth each line. I’ll pat to start us off but then
we’re going to do it silently.”
e. After completed, if in class ask the students if they struggled with any lines in
particular. Do quick reviews of any of the previous steps to ensure comfort and
accuracy.
7. Assessment
a. S and T perform the song all together with pats
b. Students will sing “Shady Grove” with accurate pitches, rhythm, and words in 2/4
meter.
Transition: Okay class, let’s get our recorders! Find a new partner who has the same favorite
color as you!

Activity #2 Objective: Students will perform “Shady Grove” on recorder with accurate pitches,
fingerings, and rhythm in 4/4 meter.

• Breathing/Air
a. T: Okay in order for us to be recorder rock stars, we have to watch and listen very
carefully. Hold your hand up and breathe like you’re trying to fog up a window.
(T demonstrates making a loud, forced exhale) Okay, now fog up the window
silently. (T demonstrates proper air for low recorder)
b. T: Perfect. Can you put all fingers down with pinkies up and blow with that same
air into the recorder?
i. T troubleshoots S that may be using too much air (try using quieter air) or
not covering each hole.
• Fingerings with Measures (Echo)
a. First line
b. First line
i. T: Great air! I think we’re ready to learn some notes. Make sure not to
play outside of when I ask you to. Let’s start with that same note with all
fingers down and pinkies up, then watch what I do.
1. T Demonstrates D to E (and backwards), S repeats x2
2. T Demonstrates D to C(and backwards), S repeats x2
3. T Demonstrates E to G(and backwards), S repeats x2
4. T demonstrates G to A (and backwards), S repeats x2
5. T demonstrates line 1 on recorder, S repeats x2
c. Second line
i. T: We got it!
1. T demonstrates A to C (and backwards), S repeats x2
2. T demonstrates first 2 measures, S repeats x2
3. T demonstrates last 2 measures, S repeats x2
ii. T plays measure 2, S repeats x2
iii. T plays measures 1 & 2 together, S repeats x2
iv. T plays measure 3, S repeats x2
v. T plays measure 4, S repeats x2
vi. T plays measures 3 & 4, S repeats x2
vii. T plays line 2, S repeats x2

36
 d. Third line
i. T plays measures 1 & 2 together, S repeats x2
ii. T plays measures 3 & 4 together, S repeats x2
iii. T plays lines 3, S repeats x2
e. Fourth line
i. T plays measures 1 & 2 together, S repeats x2
ii. T plays measures 3 & 4 together, S repeats x2
iii. T plays lines 3, S repeats x2
f. They then repeat the process with lines 1 & 2 all together and lines 3&4 all
together
g. All together
i. T: We learned it all! Let’s play the whole thing together!
• Assessment:
a. S and T perform the song all together on recorder
b. Students will perform “Shady Grove” on recorder with accurate pitches,
fingerings, and rhythm in 4/4 meter.
Transition: Let’s create something new to our song. Before we do that though, how many of you
guys are the youngest of your siblings? (S raise hands) The middle? (S raise hands) The oldest?
(S raise hands) Okay, find someone who is the same as you!

Activity #3 Objective: Students will compose a harmonic accompaniment to “Shady Grove” on

recorder using Do and Sol in D minor and the dotted eighth with sixteenth rhythm concept.
1. T describes how each pair of students will compose a harmonic accompaniment to Shady
Grove using Do and Sol in D minor (shown on recorder). They must use the dotted eighth
and sixteenth rhythm at some point in the accompaniment. S will record their harmonic
accompaniment (one student playing melody one accompaniment) and submit to the
teacher.
2. T will walk around while S work to assist as needed and monitor noise levels.
3. Assessment: Rubric

0 pt 1 pt 2 pts
Harmonic Students Students used pitches outside of Students used only Do and
Pitches didn’t submit Do and Sol in D minor Sol in D minor
a video
Rhythmic Students Students didn’t use the dotted Students used the dotted
Concept didn’t submit eighth with sixteenth rhythmic eighth with sixteenth
a video concept rhythmic concept
Fluidity Students Students struggled to play the Students were able to play
didn’t submit accompaniment with the the accompaniment with
a video melody at the same time rhythmic accuracy

Closure:
T: Great job today! I look forward to listening to your videos. If you and your partner need
additional time, talk to me after class and we can work out a time.

37
 Practice Lesson 4 – Fire Down Below

Standards Being Addressed:

MU:Cr2.1.PKa - With substantial guidance, explore favorite musical ideas (such as movements,
vocalizations, or instrumental accompaniments).
MU:Pr6.1.5a Perform music, alone or with others, with expression, technical accuracy, and
appropriate interpretation.

Materials of Instruction:

Xylophone and rhythm sticks for teacher

38
Lesson Sequence:

Entry Activity/Transition/Warmup:

The teacher will warm up the class by doing a call and response activity in 4/4 meter utilizing a
combination of half notes, quarter notes, eighth notes, sixteenth notes, dotted quarter notes
followed by eighth note, and dotted eighth notes followed by sixteenth note.

Activity #1 Objective: Students will recite Fire Down Below with accurate words and rhythms in
4/4 meter.
• Perform the song
• History
c. T: This song is called, “Fire Down Below.” It is a sea shanty written in Ireland
and sung on ships by the crew. It would be sung by the people who worked the
pumps that controlled the brake system. The kitchen would be under these sailors,
hence the “fire down below.”
d. Let’s get started learning it. Let’s begin with some pats.
• Echo with Students
e. Begin with first me then you strategy with one section at a time while patting
i. There is fire in the lower hold (T then S twice)
ii. There’s fire down below (T then S twice)
iii. There is fire in the lower hold there’s fire down below (T then S twice)
iv. Fire in the main well (T then S twice)
v. The captain didn’t know (T then S twice)
vi. Fire in the main well the captain didn’t know (T then S twice)
vii. There is fire in the lower hold there’s fire down below. Fire in the main
well the captain didn’t know (T then S twice)
viii. Fire! Fire! (T then S twice)
ix. Fire down below (T then S twice)
x. Fire! Fire! Fire down below (T then S twice)
xi. Let’s fetch a pail of water mates (T then S twice)
xii. There’s fire down below (T then S twice)
xiii. Let’s fetch a pail of water mates there’s fire down below (T then S twice)
xiv. Fire! Fire! Fire down below. Let’s fetch a pail of water mates, there’s fire
down below (T then S twice)
f. Continue echo but with four sections at a time
i. T: Great job! The fire was in the lower what? S: hold T: Yes! And the
captain didn’t what? S: know! T: Yes! Okay we’re going to put all the
sections together. I’ll start then you repeat.
g. Echo with full song twice
• Takeover / Tradeoff / Fill in the Blank
h. (While patting still) T: Great job! I’m going to sing a part and I’ll have you finish
the line.
i. Sing the song but leave off the last word in each section.
i. T: Great job! Do you think we could switch lines and trade off? S: Yes!

39
 i. Sing the song but trade off each section, point at S when it’s their turn
j. Repeat A and B with larger chunks until you can switch entire halves of the song
• Audiation
k. “Now we’re going to do the entire song just thinking it without patting. We’re
going to use our silent words and mouth each line. I’ll pat to start us off but then
we’re going to do it silently.”
l. After completed, if in class ask the students if they struggled with any lines in
particular. Do quick reviews of any of the previous steps to ensure comfort and
accuracy.
• Assessment
m. S and T perform the song all together with pats
n. Students will recite Fire Down Below with accurate words and rhythms in 4/4
meter.

Transition: Fantastic job! Let’s do some movement!

Activity #2 Objective: Students will perform a specified movement to the dotted eighth with
sixteenth rhythm during “Fire Down Below.”
• T: Okay, let’s stand up. Before we start moving to our song, we need to set a rule.
Whenever I play this rhythm (plays dotted eighth with sixteenth on rhythm sticks), you’ll
galop. Watch me do it first.
o T demonstrates while playing the rhythm repeated on a loop
o T: now you do it!
S galop to this rhythm.
• T: Great job! So when do you hear this rhythm in Fire Down Below?
o S identify all the different parts. Project on board if needed.
• T: So we’re going to galop any time we hear that rhythm. What should we do any time
we aren’t galloping? (S suggest) T: Let’s do that!
• T performs Fire Down Below on xylophone while singing and students move
• Assessment
o T checks to see if S are able to switch between the rhythms and identify when the
concept appears.
• Transition/Closure
o T: Great job today! Next class we’ll be learning a song called “Calypso
Freedom.”

40
 Practice Lesson 5 – Calypso Freedom

Standards Being Addressed:

MU:Cn11.0.5a: Demonstrate understanding of relationships between music and the other arts,
other disciplines, varied contexts, and daily life.
MU:Pr4.2.5c: Explain how context (such as social, cultural, and historical) informs
performances.
MU:Cr1.1.5b: Generate musical ideas (such as rhythms, melodies, and accompaniment patterns)
within specific related tonalities, meters, and simple chord changes.

Materials of Instruction:

“Calypso Freedom” – Sweet Honey in the Rock

https://www.youtube.com/watch?v=E4dzyQn9-Es

The piece "Calypso Freedom" sung by Sweet Honey in the Rock, is the World Music Pedagogy
song for this unit. It is a 4/4 pattern that emphasizes syncopation and layering of rhythmic
motives. The usage of syncopation on weaker beats (such as off beats or 2 and 4) creates a type
of syncopation called a "backbeat". This backbeat goes on for so long and adds so many layers,
that the downbeat can be difficult to hear and can easily be lost. This is a great way to work in
different types of syncopation and learning how rhythms fit together as a whole.

41
Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition:
Hi class! Today we’ll be learning a song called “Calypso Freedom.” It sounds like a song you
may know, but I’ll wait until you listen to it before I tell you what that song is. This song is about
the Civil Rights Movement and is taken from a song about people who were once slaves. People
in the Civil Rights Movement did this often to use the oppression they had been experienced
during slavery and used it as a means of expression for advocacy for equal rights. We’ll start off
with some listening!

Attentive Listening
• I ask them to listen and tell me if they've ever heard a song similar to this and bob their
head to the beat.
• On the second time through I ask them what different instruments/voices do they hear.
Engaged Listening
• Next time we're going to listen to the clave part. Try patting along with it on your legs.
• We would identify further rhythmic ostinatos in a similar way (clap, snaps, etc.) to
prepare for the next step.
• After identifying rhythmic ostinatos, S will identify and sing along to main parts in the
song.
Enactive Listening
• After learning each rhythmic ostinato, perform each line on Orff instruments in groups.
• After performing the ostinatos, S will develop new harmonic accompaniments from the
sheet music provided and staying within meter and tonality.
• After composing new harmonic accompaniments, combine the lines from listening to
create the song. Invite students to sing along or separate from other performers.
Integrating World Music
• This song originates from the Civil Rights movement in the United States in the 1950s-
1960s. This was a time where African Americans were fighting to end discrimination and
segregation. This is when I would demonstrate through photos of protests and break
down those terms. Explain Freedom Riders and their story as that is particular to this
song. MLK's I have a dream speech that would also be great to include here!
Assessment
• Enactive listening
o Did S stay within the parameters of meter, tonality, and simple chord changes?
• S will complete an exit ticket (response)
o How does “Calypso Freedom” relate to the Civil Rights Movement?
o How did the Civil Rights Movements impact your understanding of “Calypso
Freedom”?

42
 Practice Lesson 6 – Composition

Standards Being Addressed:

MU:Cr1.1.5b Generate musical ideas (such as rhythms, melodies, and accompaniment patterns)
within specific related tonalities, meters, and simple chord changes.

MU:Cr2.1.5a Demonstrate selected and developed musical ideas for improvisations,

arrangements, or compositions to express intent, and explain connection to purpose and context.

MU:Cr2.1.3b Use standard and/or iconic notation and/or recording technology to document
personal rhythmic and melodic musical ideas.

Materials of Instruction:

Blank staff paper, blank lined paper, xylophones, recorders, rhythm cards, slips of paper with
different keys on them (C, F, G, D, Bb), backtrack, a way to hang the rhythm cards on the
wall/white board

Half Note Quarter Note Dotted Eighth Eighth Note Sixteenth Note
Note

43
Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition/Warm Up:

Using a back track, review rhythm cards from the Present assessment with additional cards
including the new concept.

Activity #1 Objective: By the end of the lesson, students will compose their own 8 bar
composition using a specified key and the dotted eighth with sixteenth concept along with other
familiar rhythms in 2/4 meter.
• T: Hello class! I’m really excited today because we’re going to be writing our own
music! We’ll be using all the things we’ve learned from our past few classes including
the songs and activities. I’ll have each one of you come up a draw a key for your
composition.
o Each S draws a key for their composition
o Each S also gets a piece of staff paper and blank paper
• T: Now that everyone has a key and paper, let’s get into some specifics. You’ll be writing
an 8-measure composition in 2/4 meter using the rhythmic concepts we have learned so
far. Can you name some of those for me?
o As S name off different rhythmic concepts, hang them on the board
o After S has named off all the concepts, hang up the rhythm card examples
• T: Great job! For this composition, you have to use the dotted eighth with sixteenth
rhythm. I’ll circle it and star it so we remember! I put up some other examples as well to
get your creativity flowing! You can use xylophones or recorders if you need to, just keep
in mind our volume levels so everyone can compose. What questions do you have?
o S ask questions then when they’re ready, release to compose! Walk around and
assist as necessary and monitor productivity levels.
• Assessment
Here is the rubric for the composition assignment
1 point 2 points 3 points
Rhythmic Accuracy Student has 3+ Student has 1-2 Student used correct
incorrect rhythms incorrect rhythms in rhythms within 2/4
within the 2/4 meter 2/4 meter meter
Use of Dotted Eighth Student did not use Student used either of Student used the
with Sixteenth the dotted eighth with the dotted eighth or dotted eighth with
sixteenth rhythmic sixteenth but not sixteenth rhythmic
concept. together. concept.
Melodic Accuracy Student used 3+ notes Student used 1-2 Student only used
outside of their key. notes outside of their notes within their key
key.

• Transition/Closure
o Invite students to volunteer to have their composition heard on xylophone,
recorder, or voice either by the student themselves or the teacher!
o T: You guys are fantastic! I think I really have some great composers in the
works. I’m excited to see where our new concepts take us!

44