Kent State University

Student Teaching Experience

Mr. Marcus L. Neiman, University Supervisor
Spring 2016

Lesson Planning Template

Student Teacher: John Slike

Date of lesson: 4/12/16

Class name:
High School Concert Band
District: Mogadore
School: Jr./Sr. High
Start time: 1:52 (Warmup 1:58)
Room: Band/Choir Room
End time: 2:36 (2:18 for 20-minute lesson)
Information about the class:
Grade levels in this class: 8-12
Groupings: 28 Girls, 16 Boys. High School
Prior Academic Knowledge and Conceptions: To the best of my knowledge, students
are familiar with all rhythmic, pitch, and articulation concepts used in the piece. They also
have played marches before, and are generally aware of stylistic implications that are
associated with this genre. However, students lack the ability to consistently execute these
skills, necessitating the programming of this piece and subsequent lessons. Students are
familiar with most rhythmic, pitch, and dynamic terms, such as quarter-note, pitch, bar line,
forte etc.

Special modifications and/or accommodations for exceptional students:

Students who have an IEP/504, or are new to the class, will not be asked to play alone, and will
have extra time (outside of class) to accomplish goal.

Differentiation/ Planned Support

Whole class: If the entire class struggles with rhythmic issues, modelling by voice and/or
counting and clapping will likely be initially used to remedy the issue. Active listening will be
used with the class to engage students in self-assessment and correction. If students continue
to struggle, then students will be asked to count and clap. If articulations are incorrect,
modelling by voice or instrument if necessary will be used to remedy the issue. Students will
be engaged in active listening, being asked to tell the difference between what they had
played and what they have heard the teacher play. Students may be asked to echo with voice
or instrument what was played by the teacher. Pitch accuracy issues will likely be solved by
correcting fingerings, or modelling correct pitch with voice.
Groups of students with similar needs: If a group of students struggles with rhythmic issues,
modelling by voice and/or counting and clapping will likely be initially used to remedy the
issue. If students continue to struggle, then students will be asked to count and clap in groups
which are having similar difficulties. If articulations are incorrect, modelling by voice or
instrument if necessary will be used to remedy the issue. Students will be engaged in active
listening, being asked to tell the difference between what they had played and what they have
heard the teacher play in groups which are having similar difficulties. Students may be asked
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to echo with voice or instrument what was played by the teacher. Pitch accuracy issues will
likely be solved by correcting fingerings, or modelling correct pitch with voice.
Individual students: Individual students will likely be asked to play alone or with another
student who is more successful to assess what the cause of a given issue may be. Next, if the
student struggles with rhythmic issues, modelling by voice/embouchure/air and/or counting
and clapping will likely be initially used to remedy the issue. If students continue to struggle,
then students will be asked to count and clap. If articulations are incorrect, modelling by voice
or instrument if necessary will be used to remedy the issue. Students will be engaged in active
listening, being asked to tell the difference between what they had played and what they have
heard the teacher play. Students may be asked to echo with voice or instrument what was
played by the teacher. Pitch accuracy issues will likely be solved by correcting fingerings, or
modelling correct pitch with voice.
High Achieving Students: May be asked to model for other student, or be asked to play
with/clap/count with a struggling student to allow for extra challenges for highachieving student. The strategies in the Individual Students section of differentiation
will be used as well.
Middle Achieving Students: The Individual students section was designed to target
this type of individual student mostly, and will be used as a basis for the differentiation
of the Middle Achieving Student.
Low Achieving Students: These students will be allowed extra time and a greater
degree of leniency. More individualized attention will be allotted, and the strategies in
the Individual Students section of differentiation will be used as well.
Strategies for responding to common errors and misunderstandings, developmental
approximations, misconceptions, partial understandings, and/or misunderstandings: Modelling,
counting and clapping by both students and teacher will be used to address rhythmic, pitch,
and articulation issues. Modelling opposite of desired effect may be used in conjunction with
active listening, allowing the students themselves to differentiate between what is desired or
correct and what is undesired.
New Learners in the High School Band: 2 flutes, 2 alto saxes, and 2 horn players are all new
this year to their instrument. Students are made aware that they can ask the teacher or other
students for information on technical or musical aspects of the music which they do not
understand. These students will be allowed extra time and a greater degree of leniency. More
individualized attention will be allotted, and the strategies in the Individual Students section
of differentiation will be used as well.
Common Errors, Developmental Approximations, Misconceptions, Partial
Understandings, or Misunderstandings / How will you modify/accommodate
instruction to take these concerns?
Rhythmic errors: Counting and clapping will be done with student and teacher. Modelling is to
be used first, then include students by echoing. Repetitive instruction and practice of a given
problem area will be used to maximize retention potential.
Pitch Errors: Errors in hearing/playing the correct pitch will be corrected first by engaging
student in active listening. Student will be asked if they know what they are doing wrong. If the
issue is a fingering issue, ask the student to attempt to correct it. If the student cannot correct
the issue, either have another student model the correct fingering or verbally instruct the
student on the correct fingering. If the issue is a partial (sounding pitch) issue, sing the correct
pitch for the student and help the student match the pitch by giving the direction the student
needs to go, such as higher or lower.

Articulation errors: Student errors in consistent articulation performance will be corrected by

modelling, by voice or instrument by teacher or fellow student. Modelling both the correct and
incorrect way to perform an articulation will make more clear what mistakes to avoid, so that
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the correct execution becomes more obvious. Instructing the student verbally will also help to
reach a student who struggles distinguishing between the two (correct and incorrect)
executions by pointing out the differences.
Gap in understanding of musical concepts and execution: Engage students in active listening in
order to help students assess their own understanding of a concept. This will help struggling
students work with other students in a group of guided discussion to target and solve issues of
misunderstandings of the definition, name, and execution of a musical concept.

Learning Central Focus:

Central Focus: The student will correctly perform correct pitches, rhythms, articulations,
dynamics, and style in Coast Guards March and Alamo March.

Standards/Objectives for this lesson:

Ohio Fine Arts Standards addressed:

8:
HS I:

-2PR Perform accurately, independently or collaboratively, with good

posture producing an appropriate tone quality.
-1PR Perform a varied repertoire of music representing diverse genres
and cultures alone and in ensembles.
-2PR Prepare and accurately perform a varied repertoire of ensemble
music.

Student Learning Goal(s)/ Objective(s):

The student will correctly perform correct pitches, rhythms, articulations, dynamics, and style
in Coast Guards March and Alamo March.
-The student will play correct pitches, rhythms, articulations, dynamics, and style in Coast
Guards March mm 1-22
-The student will play correct pitches, rhythms, articulations, dynamics, tempo and style in
Coast Guards March mm 22-39
Skills/procedures:
-The student will be engaged in active listening, using examples from the written score
to ask for interpretations of articulations in relation to his/her own playing.
Concepts and reasoning/problem solving/thinking/strategies :
-The student will play correctly by drawing on prior learning of pitch, rhythm, dynamics,
and articulations and synthesizing the new information by utilizing this prior learning.
This is based on the idea of Spiral Learning Theory and Scaffolding theory, which draw
on prior knowledge to apply to new information.

Equipment and/or Technology to be used: 1 Baton, 1 Large Directors Stand, 1

Conductors podium, 1 Music stand per student, 1 Chair/Student Score for Coast Guards,
Student parts for Alamo, 1 Pencil/student/teacher

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Repertoire to be used: Essential Daily Exercises for Band Laurie Lafferty, Coast
Guards March Karl L. King, Arr. James Swearingen

Instructional Strategies and Learning Tasks: Direction by the teacher, as well as modelling
and targeted problem solving by breaking ensemble and music into smaller sections will allow for
better assessment and correction by teacher and students. Students will also be engaged in active
listening in order to create a cooperative learning environment through student guided instruction.

Opening set and warm-up also called Launch:

Time allocations

Greeting/Discuss Todays Objectives:

1m
-Warmup
-Theme of rehearsal: Playing together in time/Uniform tempo, articulations, and dynamics.
Long Tones (Ab, Lafferty):
1m
-Likely some students will play it in Bb, just stop and correct verbally if needed
Lip Slurs (Column 1, Lafferty):
Bb Major Scale:
1m
-Write rhythm/articulations from Coast Guards mm 6 on board
-Student will play scale each scale degree on the rhythm/articulation from Coast Guards
Tune:
-F for Brass
-A for WW
-Bb for ensemble

2m

Procedures & Activities

Time allocations

Instruct Students to get out Coast Guards:

30s

MM 1-22 run/rehearse
7m
-Instruct students to focus on dynamics/articulations (Contrast mm 4/5, Marcato connect to
warmup. Low Brass tag)
-Run section w/ band. Stop if dynamic contrast doesnt occur/catastrophic errors occur
-Restart until good dynamic contrast occurs in mm 4-5
-Remind students with marcato place a lift in music in mm 6 on the and of beat 2. Draw it on
the board.
-Remind Students with marcato play mm 6-beat 1 of mm 7. Repeat as needed. (Go for
improvement, not necessarily perfection yet)
-Check Low Brass tag for rhythmic/articulation togetherness mm 19-20
-Re-run section to integrate ideas into context. Run through mm 39
MM 22-39:
6m
-Instruct students to focus on tempo and dynamic contrast.
-Check for tempo with motor voices (including snare)
-To ensure theyre watching, flash a few numbers (5, 4, 1) with left hand while theyre playing
-Quiz students on numbers showed. Reinforce watching as a virtue.
-Full ensemble run section checking for dynamic contrast and maintaining tempo in the
process
Debrief: See Closure
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Structured Practice and Application

Students will practice by playing in the ensemble, being assigned differentiated instruction,
and by applying it throughout the lesson, both in groups and with the entire class.

Closure:
1:30m
-Today, did we improve articulations/rhythmic togetherness in mm 1-22?
-Dynamics?
-Did we fix tempo in mm 22-39?
-Dynamics?
Theoretical Principles and/or ResearchBased Best Practices
Bruner Scaffolding/Spiral Curriculum: Students will be using previously assimilated knowledge and
skills for the basis of learning and mastering newer and more challenging knowledge and skills. This
principle is based on a cumulative approach to teaching, and is essential in any music class, as all
skills learned must be applied in the future.
Chunking The organization of information into smaller, more digestible groups called Chunks, which
allow for more productive and approachable student learning.
Gordon Music Learning Theory: Audiation (or hearing the sound desired before it comes out) is
promoted heavily when working with articulations. It is important to have a good mental construct of
the type of articulation desired before playing it, and modelling as well as active listening promotes
early forms of audiation.
Bloom Taxonomy of learning: In this theory, there are 6 levels of learning: Remember, Understand,
Apply, Analyze, Evaluate, and Create. Depending on where a student stands on these levels of
learning, they may have different types of differentiating applied to them. For example, a student
struggling with the Remember and Understand levels of learning, even at a later stage of instruction,
will likely receive differentiation designed for a lower-achieving learner. On the other hand, a student
who shows the ability to Evaluate and Create at an early stage in instruction is likely a high-achieving
learner, and will be differentiated accordingly.

Evaluation and Assessments:

What types of evaluation and/or assessment tools do you plan to use for your lesson?
Will assessment by (x) formative or ( ) summative?
Students will perform music from Coast Guards

How do you plan to evaluate and assess your students based upon your goals and
objectives?
Students will be observed and listened to for observation

What steps will you take to insure that your students know that they have been
successful in reaching your goals and objectives?
Students will be informed if they have successfully (or unsuccessfully) met objectives
for the class

What intervention steps will you take to insure that your students are able to reach
the goals outlined in your lesson plan?
A group of students that are in greater need of specialized assistance will be allotted
time which will be allocated from other groups which have been more successful in the
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past. Methods such as clapping/counting/modelling will be used outside of procedures

if necessary to facilitate the full understanding and meeting of goals by students.

Evaluation Criteria
Students will be evaluated based on their ability to perform AND identify/define
rhythms, pitch, dynamics, and articulations.

Rubric:
Beginning

Developing

Accomplished

Exemplary

Dynamics were
nonexistent

Dynamics were
used but were
inconsistent

Dynamics were
used but
contrast/consiste
ncy were lacking

Nearly no
errors, or
flawless
performance
of Dynamics.
Good Contrast

The student
Rhythms are
Rhythms are
will play
somewhat correct,
Rhythms are
mostly correct,
correct
with multiple
neither correct nor
with minor (one
rhythms
noticeable
in tempo.
or two) errors in
Coast Guards
fluctuations in
rhythm or tempo
mm 1-22
tempo

Nearly no
errors, or
flawless
performance
of rhythms. In
tempo.

The student
will play
correct
articulations
Coast Guards
mm 1-22

Articulations are
nonexistent or
unrecognizable

Nearly no
errors or
flawless
performance
of
articulations.

The student
will play with
correct tempo
in Coast
Guards

Tempo was not

consistent or
correct

Tempos begin
correctly but speed
up or slow down

Tempos can
correct
themselves but
are not always
consistent

Tempo is
accurate and
consistent

Dynamics were
nonexistent

Dynamics were
used but were
inconsistent

Dynamics were
used but
contrast/consiste
ncy were lacking

Nearly no
errors, or
flawless
performance
of Dynamics.
Good Contrast

The student
will play
correct
Dynamics
Coast Guards
mm 1-22

The student
will play
correct
Dynamics
Coast Guards
mm 22-39

Articulations are
present, but are
Articulations are
not consistent or
mostly correct
are not contrasting with minor errors
from different
in consistency
articulation types

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Score

Teacher reflections (to be completed after you finish teaching the lesson).
What worked?
What didnt?
For whom?
Adjustments (What instructional changes do you need to make as you prepare for the
lesson tomorrow?)

Proposed Changes. (If you could teach this lesson again to this group of students what
changes would you make to your instruction?)
Whole class:
Groups of students:
Individual students:

Justification (Why will these changes improve student learning? What research/ theory
supports these changes?)

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