“T. E. A. R.

” - Teacher Effectiveness Assessment Rubric

Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020

JMU Practicum Observation: Name: Grayson Parker

T.E.A.R. - Teacher Effectiveness Assessment Rubric # Date: 10/5/2022
Ensemble & Repertoire: VMRC Generations Choir – See the Star/Adiuva Nos, Deus
Directions: Whether you are observing yourself or another teacher, please fill in both the (Part I) cognitively-focused Behavioral Rubric,
as well as the affectively-focused (Part II) Comments & Reflection Section.

COLOR CODING: GREEN = GREAT; BLUE = NEXT STEPS; GRAY = AVOID

PART I:
Criteria: Teacher Behaviors Grade (1- 5) Next behaviors
1. Eye contact: 3 Avoid looking at the score so much and trust your score
Teacher maintains eye contact throughout the rehearsal and is out of the
study that you know it!
score as much as possible.
2. Non-verbal affect; facial affect: 4 Show faces of affirmation!
Non-verbal affect is pleasant, safe and non-judgmental. Facial affect is
pleasant and reflective of the mood of the piece.
3. Emotional tone, mood, humor: 4 I was happy with this, but I feel like I can kick it up a notch!
Emotional tone is pleasant, safe and non-judgmental. Verbal/speaking
voice and style of interaction is empowering, joyful and positive.
4. Use of speaking voice: 3 Chant higher and be a better model!
The speaking voice is used a mirror of the singing voice. Speaking is not
too loud, forced, varied and expressive. The teacher is not speaking on the
cords or speaking without resonance. Teacher does not speak over the
choir. The choir does not talk through the rehearsal.
5. Use of the room: 2 Avoid being stuck at the podium (hard due to the
The classroom/teaching space is arranged in workstation areas. The
teacher uses it effectively throughout the rehearsal, moving around the
microphone)
classroom to engage students in all parts of the room. All necessary
instruments, manipulatives, materials, and equipment are ready and
utilized with efficiency and competency.
6. Classroom management: 5 Felt good about this!
Teacher has many skills that manage behaviors, transitions, and is
inspiring to their students. Teacher manages the energy of the classroom
and the students.
Criteria: Rehearsal Behaviors Grade (1- 5) Next behaviors
1. Prepared Rehearsal Guide: 3 Plan more than you need!
Teacher has prepared a rehearsal guide in advance of teaching a piece, and
uses this guide to inform, pace, and sequence the learning in rehearsals.
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
2. Pacing: 4 Loved this and kept them very engaged!
Teacher demonstrates an active, crisp tempo in rehearsals that keeps
students engaged and on task. Use of a considered vocal style, and a
practiced style is evident.
3. Direct Instruction (DI): 4 More feedback!
Teacher demonstrates a DI model that gives academic instruction (1a’s) in
manageable chunks, allows students to perform or discuss academic
content (2p, 2v) and gives reinforcements with specific related feedback
(verbal 3v/n-sr approval or disapproval).
4. Minimum of talking: 3 Give fewer verbal instructions, and more modeling.
As a result of a Direct Instruction model (DI) teacher talk is at a minimum.
“7 words of less”. Off task talking is not evident, or used as a teacher
strategy.
5. Effective rehearsal plan: 4 It went great and worked well but could have had more!
Teacher has a well thought out, effective, developmentally sequenced
rehearsal plan, that is guided and informed by their rehearsal guide. The
teacher varies, departs from or adapts the plan as needed. Scaffolding is
evident. Teacher references past learning and lessons in current lesson.
The TIMES for each major sections of the rehearsal are clearly listed on the
rehearsal plan. It is evident that the teacher has practiced the
implementation of their plan.
5A. Effective rehearsal plan: 5 Used solfege and it helped tremendously!
Kodály Integrations

6. Statements of Goals, Rehearsal Threads, and Learning Strategies: 2 Need to be better about verbalizing these!
The lesson begins with a statement of goals (what music is to be
rehearsed, including measure numbers) what rehearsals threads will be
the focus of the rehearsal, and what learning strategies will be employed
in order to work the rehearsal threads and accomplish the goals (vowel
singing, solfege, in what keys, counting, count-singing, looping, etc.) This
information is on the board or has a visual component.
6A. Statements of Goals, Rehearsal Threads, and Learning Strategies: 2 Think about this in the planning process more!
Kodály Integrations:

7. Use of models: Vocal, aural, kinesthetic, visual: 2 I need to do this more!

Teacher demonstrates appropriate use of aural, kinesthetic and visual
modeling to communicate musical concepts and performance style.

7A. Use of models: Vocal, aural, kinesthetic, visual: 2 Same as above.

Kodály Integrations:

10. Vocal Pedagogy and Breathing - Bodywork: 3 Show this more in gestures!
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
Teacher develops the fundamentals of breathing and vocal production
though a kinesthetic approach to function, and teaching “how”.

11. Vocal Pedagogy and Breathing - Pedagogy: 3 Listen more and address in feedback if something needs to be
Teacher develops the fundamentals of breathing and vocal production
though appropriate use of pedagogical explanations as well as watching
fixed.
for/listening for tension and pressure.
12. Tonal Development: 3 This went well, but I wish I was clearer on the tone I wanted
Teacher develops the tone of the choir on a continual basis throughout
rehearsals through attention to bodywork, vowels, placement blend, and
up front to save time!
listening for inappropriate vocal sounds or production habits (tension,
pushing, using the speaking voice, yelling, incorrect belting technique).

13. Warm-ups: N/A N/A

2- 5 warm-ups are presented in a 7-minute span that have: a body work
&or breathing component, an initial descending pattern, an exercise for
solfege, a range extension exercise, and a harmonic exercise. At least one
warm-up is done in reference to the material to be covered in the lesson
itself.
14. Sequence of lesson chunks: 4 Be clearer!
The lesson is sequenced in manageable chunks that accomplish the goals,
reference the rehearsal threads and use in correlation to the “golden
mean” proportion for the given length of the rehearsal period. There is a
clear scaffolding and sequencing present.
15. Use of solfege: Tone, rhythm, harmonic sets, solfege parts, part 4 Integrate this in more! SO useful!
work:
Kodály Integrations
16. Learning Summary: 2 Need to make time for this!
On a consistent basis, a summary of learning is presented in the last
several minutes of most rehearsals. The learning is summarized, and then
students are invited to give feedback on their learning and the next steps
of the ensemble.
Criteria: Conducting Behaviors Grade (1- 5) Next behaviors
0. Fluency: 3 Need to be better about the prep for the piano to make
Teacher moves between rehearsal instructions and conducting with ease,
fluency and accuracy. Teacher has several different techniques for cueing
things move better.
in the choir, without counting off.
0. Behaviors of Musical Acquisition: 3 Listen more, and practice more ways than one in case
Conductor demonstrates increased dedication and focus on: Listening,
aural imagery, score study, increased practice time, and mastering longer
what you planned for doesn’t work!
pieces.
1. Basic Function Level: Kinesthetic: 3
Conductor demonstrates appropriate kinesthetic functioning, including:
 “T. E. A. R.” - Teacher Effectiveness Assessment Rubric
Dr. Jo-Anne van der Vat-Chromy
James Madison University © 2011 – All rights reserved
Revised 10-2020
Spine/lengthening, feet grounded/standing position, still knees, lowered Stand taller and have a straighter alignment. Don’t bend just
shoulder girdle, head/neck alignment, arms free and unlocked. Conductor
is aware of the C1 vertebrae and the alignment of the head/skull to the because you’re tall!
neck and spine (Alexander Technique).
2A. Somatic Level: Facial Affect & Eye Contact: 4 Make better contact with your instrumentalists!
Conductor demonstrates facial affect and expression appropriate to the
piece. Conductor demonstrates appropriate eye contact, including:
Scanning the ensemble, checking vs. reading music, connecting to the
ensemble and making eye contact while cueing.
2B. Somatic Level: Breath: 3 Be better about showing breath more, rather than just doing
Conductor performs and demonstrates an accurate and stable opening
breath and continued to breathe for and with the ensemble as
it.
appropriate for the piece or excerpt.

3A. Technical Level: Pattern and Tempo: 3 Be careful with the 2 patterns, and don’t bounce too much!
Conductor performs and demonstrates an accurate and stable conducting
pattern appropriate for the piece or excerpt. Conductor performs and
demonstrates all of the above criteria in a tempo appropriate to the piece
or excerpt as discussed in class. Refer to metronome marking discussed in
class if appropriate.
3B. Technical Level: Left Hand Use, Cut-offs & Cues: 2 Use left hand more! Add dynamics and shaping rather than
Conductor performs and demonstrates accurate, integrated and clear
coordinated use of the left hand when needed as appropriate for the piece
mirroring.
or excerpt. Conductor performs and demonstrates accurate and stable
cut-offs when needed as appropriate for the piece or excerpt. Conductor
performs and demonstrates accurate and stable cues when needed as
appropriate for the piece or excerpt.
4. Informed Level: Artistry and Interpretation: 3 Good, but can be shown more.
Conductor demonstrates mastery of the material by showing musicality
and
nuance in the gesture with clear and precise shapings, rubato, and
decisions
that clarify, represent, and express the aural image.

PART II: FINAL COMMENTS & REFLECTION:

Overall, I felt good about this, but have many things to improve on as well. Biggest thing being more present and
more clear with instructions, expectations, and goals!