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Instructional Plan

Fruitport High School Symphonic Band

John Breitenbach

January - March 2021

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Table of Contents

Overview --------------------------------------------------------------------------------------------------------------------- pg. 3

Content Area
S.M.A.R.T. Goal
National Association for Music Education Standards (NAfME)
Learning Objectives
Technology
21st Century Skills
Accomodations

Overview (cont.) and Assessment Plan ---------------------------------------------------------------------------------- pg. 4

Pre-Assessment Recording, Data, and Reflection ---------------------------------------------------------------------- pg. 5

Lesson Plan #1 ------------------------------------------------------------------------------------------------------------ pg. 6-7

Lesson #1 Recording, Data, and Reflection ----------------------------------------------------------------------------- pg. 7

Lesson Plan #2 ---------------------------------------------------------------------------------------------------------------pg. 8

Lesson #2 Recording, Data, and Reflection ----------------------------------------------------------------------------- pg. 9

Lesson Plan #3 --------------------------------------------------------------------------------------------------------- pg. 10-11

Lesson #2 Recording, Data, and Reflection ---------------------------------------------------------------------------- pg. 11

Post-Assessment Recording, Data, and Reflection ------------------------------------------------------------------- pg. 12

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Instructional Plan Overview

Content Area: 9-12 Grade Band

Lesson Goal
● Students will be able to play through the piece, “Kentucky 1800” by Clare Grundman, from rehearsal
letter E to the end while playing with the correct notes, rhythms, dynamics, articulations, and style. The
goal is to get 90% of students achieving this and the timeline will be for the goal to be achieved by the
band’s performance on March 18th.

National Association for Music Education Standards (NAfME):

● MU:Pr5.3.E.IIIa - Develop, apply, and refine appropriate rehearsal strategies to address individual and
ensemble challenges in a varied repertoire of music.
● MU:Pr6.1.E.Ia - Demonstrate attention to technical accuracy and expressive qualities in prepared and
improvised performances of a varied repertoire of music representing diverse cultures, styles, and genres.

Learning Objectives
● Lesson #1
○ Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter E to H
while playing the correct notes, rhythms, dynamics, articulations, and style.
● Lesson #2
○ Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter H to K
while playing the correct notes, rhythms, dynamics, articulations, and style.
● Lesson #3
○ Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter K to the
end while playing the correct notes, rhythms, dynamics, articulations, and style.

Technology:
● A classroom projector was used to show the class the learning targets for each lesson. The band rehearses
in a large room, so the rationale behind using the projector is so that all of the students in the room can
clearly see what they need to for class.

21st Century Skills:

● Communication
● Collaboration

Accommodations:
● I will present our learning targets on a project screen so that students who typically have trouble seeing
can see more easily.
● I will use my instrument to model for students in order to accommodate English language learners.
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Overview and Assessment Plan:

The purpose of these lessons is to further prepare and rehearse the high school symphonic band for their
live-stream performance on March 18th. This group is playing two pieces at their performance and this
instructional plan will focus on one of them. That piece is Kentucky 1800 by Clare Grundman. The 21st century
skills that will be incorporated into these lessons include communication and collaboration. The communication
aspect will come from the moments where I ask the class to tell me something about the music that we could be
doing better.
I will also frequently ask for someone to raise their hand and tell me what a certain dynamic marking or
articulation is and what it means. This will always be a marking that is in their music. The collaboration aspect
applies because they are playing together as an ensemble to achieve a common goal. Everyone in the band must
be constantly listening and blending with each other in order to produce the best possible sound as a group.
The most effective accommodation that I have found to work for English language learners in the band
classroom is to simply model how a short phrase of music should sound on an instrument. This can be used to
teach tone, style, articulation, dynamics, and a number of other things as well. Aside from it working well for
ELLs, it’s great for the English speaking students as well because it gives them an idea of what they are supposed
to sound like in regards to certain musical aspects.
Formative assessment for these lessons will involve the band making recordings. I will make a recording
of them playing from rehearsal letter E to the end as a pre-assessment. I will then use this recording to determine
how to plan and teach the following three lessons. At the end of each of the three lessons, the band will make
recordings of smaller sections of the piece. For the first lesson, they will record from letter E to H. For the second
lesson, they will record from letter H to K. For the third lesson, they will record from letter K to the end. At some
point shortly after these three lessons take place, the band will make a final recording/assessment that will act as a
“practice run” of sorts before their live-streamed performance on March 18th. My lesson plans will be evaluated
in between assessments and I will make changes to them as necessary.
The students will be graded on the rubric listed below. They can receive either a 10, 5, or 1 for each of the
five criteria. The most points that they can receive is 50 and the least would be 5. I will assess each student by
listening to them during class.

Performance Criteria

Points Note Accuracy Rhythm Dynamics Articulation Style

10 I played every note on the I played every rhythm I played every I played every I played with proper
page correctly using the on the page correctly at dynamic marking in articulation marking “march” and “legato”
correct fingerings. the proper tempo my music correctly in my music style when appropriate.
throughout the entire throughout this correctly throughout
section. section. this section.

5 I played 3-5 wrong notes I played 3-5 incorrect I played 2-4 dynamic I played 3-5 I played with proper
using incorrect fingerings rhythms and my tempo markings incorrectly articulation markings “march” and “legato”
throughout this section. fluctuated at times. throughout this incorrectly while for about half of this
section. playing this section. section.

1 I played more than 10 I played more than 10 I played using no I did not play any of I did not play with any
wrong notes using incorrect rhythms and dynamic contrast the articulation stylistic contrast
incorrect fingerings did not play at the whatsoever while markings in this whatsoever throughout
throughout this section. proper tempo at all. playing through this section. this section.
section.
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Pre-Assessment Recording
● Pre-Assessment Recording Link

Pre-Assessment Reflection
● The biggest musical weaknesses in the ensemble currently are note accuracy, rhythm, and style.
○ Many of the upper woodwinds are not getting up to the right pitches in their section from letter E
to G. Balance is also an issue. The students need to listen for the melody to make sure that it is the
most prominent line.
○ Students are not playing with much stylistic contrast. Almost all of the articulations sound the
same. Many of the accented notes at letter G are not being played as such.
○ The trumpet soloist did not play their correct notes or rhythm at 1 measure before letter G.
○ In regards to rhythm and tempo, the entire ensemble is dragging in tempo at letter H to L. This
section needs to be much faster. Students who have up-beats and down-beats at letter H need to
lock in quicker.
○ Students are also not putting enough space in their dotted rhythms, especially in the low voices.
○ There are some wrong notes and rhythms being played in the section from letter H to K.
○ The band is not playing the fortepiano right after letter L with enough intention or intensity.
○ We need to do a more unified poco rit. at two measures before letter M.
○ There are also several wrong notes and missed accidentals at letter M to the end.
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Lesson #1

Learning Objective:
● Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter E to H while
playing the correct notes, rhythms, dynamics, articulations, and style.

Learning Targets:
● Students will be able to successfully transition between playing with a legato style and a march style.
● Students will be able to successfully identify where the key change occurs in this section.
● Students will be able to successfully execute the changes in dynamics on their instruments.

Materials:
● Saxophone (for modeling), score, and baton.

Plan:
● Ask the class for someone to raise their hand and tell me what changes in our music at this particular
section. The answer I’m looking for is that our key signature changes.
● First, have just the flutes and the 1st and 2nd clarinets play from letter E to letter F. Make sure they know
that they have the melody.
○ Play along with them here so they get an idea of what the rhythms and pitches are supposed to
sound like.
● Next, have everyone else play (just the accompaniment) from E to F. Make sure that even though they’re
dynamic marking is piano, they still need to play with quality breath support to make a good sound.
○ If needed, play along with them so they get an idea of what the rhythms are supposed to sound
like.
● Have everybody play together from E to F.
○ Remind them that this section is to be played with a “legato” style. All notes should be very
connected and smooth.
● “The next section we’re going to work on is from letter F to G.
● Have just the flutes, oboe, the 1st and 2nd clarinets, the tenor saxes, french horns, and baritones play from
letter F to letter E. Make sure they know that they have the melody.
○ Play along with them here so they get an idea of what the rhythms are supposed to sound like.
● Next, have everyone else play (just the accompaniment) from F to G.
● Have everybody play together from F to G.
● To make sure everybody is playing with the correct style (legato style), have the entire band play from E
to G with a “march” style. This is the incorrect style to play with here, but having students intentionally
play it the wrong way will make them aware of what they should not be doing.
○ Demonstrate a few measures for them on an instrument to give them a clear idea of what they
should do.
● Next, have the entire band play it the right way (legato style) from letter E to G.
○ Again, demonstrate a few measures for them on an instrument to give them a clear idea of what
they should do.
● For the last section in this lesson, letter G to H, have someone raise their hand to say what changes
dynamically in this section. Their answer should be that we go from playing mf to forte.
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● Have everyone play starting from the measure before G to letter H to work on the pickup notes to the
trumpet solo.
○ Play along with the trumpet soloist so that they can hear exactly where their part fits in
rhythmically.
■ Make sure that the trumpet soloist is playing their legato markings on their quarter notes.
○ Tell the tenor sax, baritone sax, trombones, and baritones to bring out their accents in the last two
measures at G. Tell them to “keep those notes bouncy”.

Lesson #1 Assessment Recording

● Lesson #1 Recording Link

Lesson #1 Reflection
● The note accuracy is improved here in the upper woodwind melody. The students are also playing with
much better air support and ensemble balance. You can clearly hear what is the melody and what is the
accompaniment.
● Overall, the ensemble is playing with a much more unified sense of style. Almost all students are playing
with a connected, legato style. At letter G, they appropriately change styles and they play with more
attention to their articulation markings.
● The trumpet soloist also played their notes and rhythms correctly at 1 measure before letter G.
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Lesson #2

Learning Objective:
● Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter H to K while
playing the correct notes, rhythms, dynamics, articulations, and style.

Learning Targets:
● Students will be able to successfully transition between the tempo at G to the slightly faster tempo at H.
● Students will be able to successfully identify where the time signature changes in this section.
● Students will be able to successfully execute the changes in dynamics throughout this section, including
the fortepianos.

Materials:
● Saxophone (for modeling), score, and baton.

Plan:
● Ask the class for someone to raise their hand and tell me what changes in our music at this particular
section. The two answers that I’m looking for are that our key signature and time signature both change.
● Ask just the people who have down-beats right at H (this should be bass clarinet, bari sax, tuba, cymbal,
and brass drum).
● Next, ask just the people who have up-beats to play at H (this should be alto sax, tenor sax, french horn,
and snare).
○ Make sure they know to anticipate where that up-beat is instead of waiting for the down-beats.
Waiting is what can cause our tempo to slow down.
● Have both the up-beats and down-beats play together.
● Have everyone play at letter H. Again, make sure that they know that the tempo will be a little bit quicker
here.
● Practice doing the transition from the section at letter G going into letter H.
● To practice the rhythm without the notes, have the band sizzle their parts from G going into H and onward
a little bit.
○ Next try it normal
● At letter I, have just the bass clarinet, tenor sax, bari sax, trombone, baritone, and tuba play. Make sure
that they are playing forte and that they are cutting the dots.
● Add everyone else in from I to J.
● At letter J, have just the clarinets and low brass play (they start with the melody).
● Next, have just the saxophones, trumpets, and horns play at J
○ Make sure they know where they fit into the texture here. They act as an echo or a response to the
clarinets and low brass.
● Then, have only the upper woodwinds play at letter J. They pick up the melody in the fourth measure of J.
● Have the entire band play just the front of each note throughout this whole section (from two before H to
K). This is also known as “bopping” the notes. This will help the ensemble to hear how all of their parts
are supposed to line up in this section.
○ Demonstrate how this should sound.
● Have the band play from two before letter H to letter K as written.
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Lesson #2 Assessment Recording
● Lesson #2 Recording Link

Lesson #2 Reflection
● The quicker tempo locks in much better at letter H. The sections who are playing up-beats and down-beat
set a clear motor for the rest of the band to play on top of.
● The low voices played with a more appropriate style going into the sections at letter I and J. They are
putting more space in their dotted rhythms, which is good.
● There are also no issues with note or rhythmic accuracy in this section, which is a big improvement.
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Lesson #3

Learning Objective:
● Students will be able to successfully play the piece “Kentucky 1800” from rehearsal letter K to the end
while playing the correct notes, rhythms, dynamics, articulations, and style.

Learning Targets:
● Students will be able to successfully identify where the time signature and key signature changes in this
section.
● Students will be able to successfully execute the poco ritardando two measures before letter M.
● Students will be able to successfully execute the changes in dynamics throughout this section, including
the fortepianos.

Materials:
● Saxophone (for modeling), score, and baton.

Plan
● First, have everybody who has a quarter rest on the down-beat of letter sizzle their part from letter L to K.
This should be bass clarinet, bassoon, tenor sax, bari sax, trombones, euphoniums, and tubas.
○ Tell them that they need to cut the dots and play their line with plenty of aggression and volume.
● Next, hear everyone else on their pickup note to that section. Those who play two sixteenth-notes
followed by an eighth note need to play that rhythm with march style.
● Have everyone play from their pick-up note at K to letter L. (low voices don’t have one, but they can join
in on the next measure).
○ Also make sure that the group is doing a slight slow-down at two measures before L. They also
need to crescendo there.
● At letter L, have everyone who has two quarter notes play first. This should be flutes, oboes, clarinets,
bassoons, bari saxes, trombones, and tubas.
○ Tell them that there needs to be space in between all of their notes in the first 3 measures of this
section. There also needs to be lots of weight on their accented notes.
● Have everybody else play right at L. (alto saxes, tenor saxes, trumpets, horns, and euphoniums). This is
the group with the melody. They also need to put space in between all of their notes in the first 3 measures
of this section. There also needs to be lots of weight on their accented notes.
● Everyone has a style change at four measures into this section. They need to go from playing with a
march-style to playing with a legato style.
○ On the fourth measure, everyone also has a fortepiano dynamic marking followed by a crescendo.
Isolate just this measure and make sure that they’re doing this. I will demonstrate for them on my
instrument how it should sound if necessary.
● The entire band has “poco rit.” written in two measure before M. Practice doing that a few times.
○ Also make sure that 3rd clarinets, all saxophones, horns, trombones, euphoniums, and tubas are
bringing out their running quarter notes at 4 before letter M. This will help to establish our tempo
and our ritardando.
● Have everybody play through this entire section from letter L to letter M.
● The most challenging aspect of letter M to the end are all of the accidentals in the melody.
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○ Give everyone a few minutes to practice this section on their own. This is also an opportunity for
anyone to ask questions on notes/accidentals they may be confused on.
● Once this is done, ask everyone to make sure that they are watching my conducting on the last two
measures. I will direct everyone note, including the eighth-notes.
○ Rehearse just the last two measures a few times.
● Next, ask someone to raise their hand and tell me what our dynamic marking is here. Their answer should
fff or fortississimo.
○ They should be playing with a loud and full sound. Everyone who has long, held notes needs to
listen for the melody to make sure they’re not covering them up.
● Have everyone play from M to the end.
● Have the band play from letter K to the end.

Lesson #3 Assessment Recording

● Lesson #3 Recording Link

Lesson #3 Reflection
● There is a much better fortepiano before at letter L.
● The ensemble performs a unison poco rit. two measures before letter M.
● There are far less note errors from letter M to the end.
● The biggest improvement the band can make at this point is to make sure that they’re watching me while I
conduct. This will help to keep our various tempos consistent throughout the performance.

Post-Assessment Recording
● Post-Assessment Recording Link

Post-Assessment Reflection
● The band has made significant improvements from where they started and this piece is starting to sound
like it’s ready to be performed. The group is playing with much more technical accuracy, attention to
detail, and confidence. This ensemble is in a great position to be successful for their concert performance
coming up in a few days.