Instructional Design Project

Fiddlesticks! Making Music with the Bow

5th Grade Orchestra
Henry Heidtmann
MUS 3903-101
Fall 2016
1. Goals and Learning Objectives
21st Century content and Skills Addressed
North Carolina Essential Standards and Objectives
5.ML.1.3 - Use instruments to perform rhythmic,
melodic, and chordal patterns accurately and independently on classroom
rhythmic, melodic, and harmonic instruments.
5.ML.2.2 - Recognize pitches on the treble and
bass staves, including ledger lines, in order to understand the continuum
of standard pitch notation.
5.ML.2.3 - Apply understanding of standard
symbols and traditional terms for dynamics, tempo, articulation, rhythm,
meter, and pitch when reading and notating music.
5.MR.1.1 - Interpret through instruments and/or
voice the gestures of the conductor, including meter, tempo, dynamics,
entrances, cut-offs, and phrasing, when singing and playing music.
5.MR.1.2 - Use music terminology in explaining
music, including notation, instruments, voices, and performances.
Narrative: The standards selected here are all essential parts of the middle school
music curriculum, and the skills involved are necessary for continued success in
instrumental music programs through middle and high school. The 5th grade music
standards are intended for a general music classroom setting (since instrumental music
programs typically start in 6th grade), but these objectives work just as well for this
particular context.
2. Student Background, Knowledge and Experience
Observations of students (informal assessments)
Students have all been in general music class for at
least 4 years, and this is the first year playing a string instrument for
many of them. All students in this grade level are able to read notated
music, count and sing rhythms and pitches, and understand basic musical
terminology with their background in general music. Individual
performance ability varies per student, but all have a common
understanding of the fundamentals of music.
Previous Performance

 Most students in the class have not performed in an

instrumental ensemble setting before, but all have performed in small
class showcases in their general music classes in the preceding years.
Several students have participated in religious music services and choirs
as well.
Identification of subgroups in the class or school
Students at this grade level and beyond have the
option of either taking chorus/general music or orchestra, but most
students have the option to take band class in addition to these. The group
is not incredibly diverse in terms of cultural backgrounds, but most (if not
all) students identify as Christians and come from conservative-minded
families, living in a rural environment in the Appalachian mountains.
Narrative: These students have had a minimal amount of formal musical training, and
have not had much experience with musical instruments before this semester. Some students
routinely forget basic terminology and find it difficult to apply previous knowledge to new
musical concepts, but they are surprisingly enthusiastic about being in orchestra and band
classes, and their collective disposition toward learning and playing together is very positive
and welcoming. Most of the students are not afraid of playing solos or asking lots of questions,
and it is interesting that some of the 6th, 7th, and 8th grade orchestra classes at this same school do
not display this same enthusiasm for music.
3. Plan for Assessment/Evaluation of Learning
Statement of Objectives: NC Essential Standards (Grade 5 Music)
5.ML.1.3 - Use instruments to perform rhythmic,
melodic, and chordal patterns accurately and independently on classroom
rhythmic, melodic, and harmonic instruments.
5.ML.2.2 - Recognize pitches on the treble and
bass staves, including ledger lines, in order to understand the continuum
of standard pitch notation.
5.ML.2.3 - Apply understanding of standard
symbols and traditional terms for dynamics, tempo, articulation, rhythm,
meter, and pitch when reading and notating music.
5.MR.1.1 - Interpret through instruments and/or
voice the gestures of the conductor, including meter, tempo, dynamics,
entrances, cut-offs, and phrasing, when singing and playing music.
5.MR.1.2 - Use music terminology in explaining
music, including notation, instruments, voices, and performances.
Learning Targets/Essential Questions:
What are the parts of a bow, and how does it work?
What is the correct way to hold the bow?

 How can I use the bow to create different sounds

on my instrument?
Assessment type
Selected Response: Pre-assessment and postassessment, both written
Personal Communication: Instructional questions,
class discussion of tone
Performance Assessment: Student plays
individually a short, simple musical line, assessed according to rubric
Evaluation Instrument or Method - rubric below
Level 1
Developing

Level 2
Proficient

Level 3
Advanced

Posture

Student is slouching,
crosses legs, and/or
sitting incorrectly
during entire
performance

Student sits
comfortably, but
posture may deteriorate
mid-performance

Student displays
consistent good
posture throughout
performance

Bow Hold

Student uses incorrect

bow hold, and plays
with tension

Student places some

fingers on bow
correctly, may exhibit
some tension

Hand is relaxed and

curved, wrist is
straight, all fingers are
correctly placed

Weight

Student consistently
plays too softly and
quietly, or with a loud
and harsh sound

Speed

Student only uses a

small portion of bow
length to play

Student plays with

about half the bow
length

Student plays with

entire bow,
consistently up and
down

Contact point

Bow is held diagonal to

the strings, and plays on
the wrong point of
fingerboard

Bow is either diagonal

to the strings, or plays
on the wrong point of
fingerboard

Bow is consistently
perpendicular to
strings, plays on the
correct point on
fingerboard

Student plays with a

Student plays at a
varying pressure on the consistent, comfortable
string, either too soft or
volume, with an
too loud
appropriate amount of
pressure on the strings

Narrative/Rationale: This lesson is designed to introduce all basic aspects of the bow,
then probe deeper into fundamental aspects of tone production on the instrument. The rubric for
this performance assessment addresses both physical and musical concepts, all of which are

either introduced or reviewed constantly during the lesson. The results of this formative
assessment should not be used for grading, but for instant feedback and a record of student
progress that can be compared to previous and later results with the same type of assessment.
However, this same rubric could be used in the context of a summative assessment at the end of
a semester or unit, and used to assess whether or not students have internalized these concepts
that are integral to all string playing.
4. Essential Content
Materials Needed and Why
Instruments and bows for all students
Written assessment half-sheets (teacher-made)
Pencils
Computer, internet access, and projector/screen
Facilities Needed and Why
Classroom, small or large, with a piano and space
for an ensemble
Narrative: Depending on the size of the ensemble/class, this lesson could easily take
place in a small classroom or a large band hall. The pre-assessment and post-assessment are
teacher-created and provided to the students. The YouTube video is not absolutely necessary for
this lesson, merely an extra example for concept reinforcement, so a low-tech classroom without
Internet or a projector would be perfectly suitable for the main content of the lesson.
5. Instructional Methods and Procedures
Script or Step by Step (numbered) order of events and activities
Salut Salon video playing as students enter
Pre-assessment while tuning: Bellringer question
sheet
Warm up with chosen line from the book as a
group
Briefly discuss background of the bow, origins
1. Central Asia, Mongol horse
warriors, 10th century
2. Used to be convex, refined over the
years by French
Review important terms/parts of the bow
1. Stick, Tip, Screw, Hair, Frog
2. Importance of loosening/tightening
hairs
a. How much to tighten
3. Proper use of rosin Frequency/tone quality

a. Creates more
friction, 5 passes every day
Quick review of posture/body/sitting correctly
1. Feet, legs at angle, back
comfortably straight
Play same line from method book, emphasizing
posture
Introduce/Review the correct bow hold
1. Let arm hang loose, shake hands to
get rid of tension
2. Shape of the hand - Bunny
a. 2nd and 3rd fingers
together
b. Pinky tip next to
screw, Index finger curled over
c. Thumb inside frog,
not squeezing/pinching
3. Wrist flat, fingers curved
4. Finger placement (on pencil first if
necessary)
5. Apply to the bow
Play easier line from book, emphasizing correct
bow hold
Discuss tone, tone production
1. What is good/bad tone? (Play
videos)
Write words for good tone on board
1. 3 factors of tone: weight, speed,
contact point
Demonstrate good and bad tone
Students try on their own instruments
1. Do not let bad sounds get out of
control
Work with a partner on same line from book
1. Half of the group plays as
ensemble, while partners watch for technique errors
2. Find one good aspect, one they need
to work on
3. Switch partners, repeat process
Perform musical line individually
1. Let student choose line they are
comfortable with
2. Practice individually for one minute

 Go around the room, assess one at a time with

rubric
1. Give instant feedback
Perform line as an ensemble, positively reinforcing
good technique
Post-assessment: Question sheet, ticket out the
door
Predict the amount of time required
50-60 minutes, possibly less depending on how
fast concepts are learned
Predict questions students may ask
Why cant I put my thumb below the frog?
How often should I put rosin on my bow?
Can I play on this (incorrect) part of the string?
Can I play a solo?
Activity

Description of Activities and Setting

I. Focus and Review - Salut Salon video playing as students enter

(Establish prior
- Pre-assessment while tuning: Bellringer
knowledge)
question sheet
- Warm up with chosen line from the book as a
group

Materials and Time

- Technology hook
- Bellringer question
sheet
- Video

II. Statement
(Inform students of
objectives)

- Briefly discuss background of the bow, origins - Provided

throughout lesson
- Review important terms/parts of the bow
- Quick review of posture/body/sitting correctly
- Play same line from method book,
emphasizing posture

III. Teacher Input

(Present tasks,
information,
guidance)

- Introduce/Review the correct bow hold

- Play easier line from book, emphasizing
correct bow hold
- Discuss tone, tone production
- Write words for good tone on board

IV. Guided Practice

(elicit performance,
provide assessment
and feedback)

- Demonstrate good and bad tone

- Videos
- Whiteboard
- Students try on their own instruments
- Work with a partner on chosen line from book,
partner watching for errors

V. Independent

- Let student choose line they are comfortable

- Pictures
(slideshow)

- Method books

Practice (seatwork
and homework,
retention and
transfer)

with
- Practice individually for one minute
- Perform musical line individually
- Go around the room, assess one at a time with
rubric
- Give instant feedback

VI. Closure (plan

for maintenance)

- Perform line as an ensemble, positively

reinforcing good technique
- Post-assessment question sheet, ticket out the
door

- Post-test question
sheet

Narrative: This lesson takes what students already know about playing with the bow and
gradually expands on that knowledge, regularly returning to musical lines from the book that
they already know to apply new concepts and create lasting muscle memories. This lesson can
be used as a quick refresher on bowing terms and technique, or (more suitably) split up over 2
class periods to both introduce and reinforce these concepts.
6. Curriculum Adaptations and Instructional Modifications
List 2 students who have special needs state possible
adaptations/modifications to accommodate those students
Student 1 is on the autism spectrum, and has a hard
time keeping up in orchestra class. They did not have an instrument to
play until over a month into the semester, and individual instruction has
not been feasible. This student has a hard time dealing with loud noises,
even music, and typically does not respond to direct questions and
conversation. Eye contact is minimal at best, and random outbursts are
known to occur from time to time. Adapting this lesson for this particular
student is difficult without disrupting the learning of the other students in
the class, and private instruction either during or after class would be the
most effective option for this student. Otherwise, this lesson could be
modified to include more partner and small group work, as well as peer
teaching, which seems to help this student understand concepts quicker.
Student 2 exhibits behaviors that suggest attention
deficit disorder, but nothing has been officially confirmed to the
classroom teachers knowledge. This student routinely struggles to focus
in class, but also has been playing their instrument for several years, and
has already mastered most of the material taught in this class. The other
students are constantly distracted by this students antics and talking, and
other teachers have expressed frustration with this student. Adapting this
lesson to better serve this students needs could include tapping into the

students existing knowledge and applying that to help teach the rest of
the class. A negative aspect of this adaptation would be that the student's
peers could view this treatment with disdain, and refuse to participate or
listen. One other solution would be to add more advanced material for
this student to work on while the rest of the class is working in pairs.
Narrative: These curricular adaptations could apply to many different kinds of lessons in
the music classroom, and the kinds of students mentioned above are commonly found in band
and orchestra classes everywhere. With music more so than any other subject, private
instruction can be the most valuable method for helping struggling students keep up, and for
helping gifted students achieve at a level that keeps them engaged and active in the classroom.
The opportunity to study music should not be a privilege for those who can easily afford it and
can learn at a fast pace, but should be available to all students regardless of disability or learning
style.
7. Classroom Management Considerations
Grouping or arranging of students
Students will be seated in traditional ensemble arc
formation, with an open space down the middle for teacher mobility,
making sure each student has a partner on the same instrument.
Distribution of Materials used in the lesson
Method books and instruments already owned by
students; pre-test and post-test question sheets distributed just prior to
students taking these assessments
Troubleshooting - potential areas of concern, given the materials,
content, time and students involved
This lesson contains lots of material, and may not
be completed in a standard class period. The lesson can be easily
modified to take 2 class periods, which may even work better for this
particular situation.
Students may take the bad sound concept and
continue playing incorrectly and with bad technique for the rest of the
lesson. Care should be taken to emphasize that the only time students
will be allowed to play badly (ever) is for one 30-second time frame.
Students may worry that their performance
assessment will count for a grade, or they may suffer from performance
anxiety.
Narrative: This classroom setup is slightly different than the typical band or orchestra
seating arrangement, but works well for this type of lesson, and it allows much greater mobility
and supervision for the teacher. Students in 5th grade are not used to the traditional concert arc
seating preferred by most middle and high school directors, and this eliminates the back-row

mentality that tends to divide ensemble classes by ability and level of effort. So much more can
go wrong than what is listed here, but it is impossible to plan for every issue that may arise in a
band/orchestra classroom, so it is important for the teacher to be flexible and prepared for every
class period.
8. Results and Analysis of Learning
Select a sample of students (3) for whom to write narrative
descriptions and analysis of performance.
Student One answered instructional questions
enthusiastically and seemed to understand all concepts of bowing very
well. This student worked well with their partner, and showed great
improvement on their written assessments, even though handwriting was
almost illegible. Student showed visible moments of comprehension
throughout lesson, when certain concepts began to sink in and make
connections with previous knowledge.
Student Two did not participate verbally in class
discussion of tone, but constantly experimented with the ideas shared by
teacher and classmates on their own instrument. Repeated instructions not
to play out of turn were continually ignored, but by the individual
performance assessment at the end of the lesson, this student was able to
show all of the characteristics of good tone on their instrument, even
though they did poorly on both written assessments. Based on
observations from this lesson, this student appears to be much more
responsive to kinesthetic/physical learning than written or verbal
methods.
Student Three participated in class discussion and
worked well with partner, and clearly understands the basics of tone
production and use of the bow. However, this student suffered from
performance anxiety and could not complete the performance assessment
when asked to play individually. After reassurance from peers, and
listening to the other students play, they were able to play comfortably in
the final group performance of the musical line. Indirect assessment and
observation was carried out by the teacher during final group
performance, and student displayed good understanding of most aspects
of bowing. This method of assessment may be useful in the future, when
attempting to assess learning progress in students with fears of
performing alone, in front of a group.
Narrative: Charts of Pre-test and Post-test assessment results

These graphs show the number of students who answered each question correctly and
incorrectly on both written assessments, and serve as a visual indicator of which concepts were
either not covered well in class or not assessed clearly enough with the written assessment.
These will be revisited and clarified in future classes to ensure maximum understanding for the
students. Most students showed understanding of the concepts in the formative performance
assessment (results not shown), but not as many students could explain the ideas in writing
(short answer). All of the questions in the post-test were asked in the pre-test, so these results

show that overall understanding of the concepts improved during the course of this lesson.
9. Reflection on Teaching and Learning
My lesson in its original format was entirely too long, and I spent so much time on the
verbal lecturing and discussion aspects of the lesson that the class didnt get to play their
instruments at all. This revised lesson accounts for that trial and error, and puts the emphasis
where it should be: playing music and gradually adding new concepts to the students existing
knowledge. I taught this revised lesson at a later date to the same class, with much greater
success the second time around. This idea of alternating smaller chunks of material with playing
and group work is a concept that will certainly guide my future teaching lesson planning, given
how effective the revised lesson seemed to be for student learning. If I were to teach this lesson
again in the future, I would try to include some kind of technology-infused assessments for both
the performance and written assessments, as well as more peer/group work, as the students
seemed more comfortable and receptive to new ideas while discussing and working with their
classmates.
Narrative: The concepts covered in this benchmark lesson are critical for any beginning
orchestra curriculum, and should be reinforced constantly over the next several months. I
believe that the teacher should ensure that all students in the class have thoroughly understood
all of the basic concepts of bowing and tone production (and had a chance to successfully apply
this knowledge to real music) before the teacher moves on to more advanced units, or harder

music. I have seen how any student who falls behind the group can have a very difficult time
trying to catch up, and individual remediation (in the form of tutoring or private lessons)
coupled with differentiated instruction can be highly beneficial to students that dont respond
well to the traditional methods of ensemble learning. An effective teacher will modify, expand,
and refine this lesson every year to discover the best ways to explain concepts, with the goal of
making learning relevant and exciting for all students.