Danielle Huggins

Unit Plan
Grade 12 AMU4M

Overview:

This unit will center on American Jazz history. The unit will focus on four
primary topics that will develop student comprehension of most avenues of
the genre. The areas of study will be the origins of the style, improvisation
techniques, transcription, and jazz evolving through the decades. Content
will be delivered initially through teacher lead activities and will transfer to
student directed tasks and performances. By the end of the unit, students
will be able to understand the social issues behind the origins of jazz, and
perform improvisation to a degree of comfort. Students will also recognize
the variations of jazz eras.

Overall Curriculum Expectations:

A1: The Creative Process: apply the stages of the creative process when
performing notated and/or improvised music and composing and/or
arranging music.
A2: The Elements of Music: apply the elements of music when performing
notated and improvised music and composing and/or arranging music
A3: Techniques and Technologies: use a range of techniques and
technological tools in a variety of applications related to music.
B3: The Critical Analysis Process: use the critical analysis process when
responding to, analyzing, reflecting on, and interpreting music
B2: Music and Society: demonstrate an understanding of social and
cultural influences on and effect and functions of traditional, commercial,
and art music.
C1: Theory and Terminology: demonstrate an understanding of music
theory with respect to concepts of notation and the elements and other
components of music, and use appropriate terminology relating to them
C2: Characteristics and Development of Musical Forms: demonstrate
an understanding of the origins, development, and characteristics of various
forms of music

Resources:
Feldman and Contzuis. (2011) Instrumental Music Education: Teaching with
the Musical and Practical in Harmony. Routledge, New York.

Jagow, S. (2007). Teaching Instrumental Music: Developing the COMPLETE

Band Program. Meredith Music Publication, Galesville.

Teaching Resources:
Jazz Method Book selections included in Appendix 1
 Band arrangements available at school. If unavailable teacher
transcribes.
Handouts for scales Appendix 2
Computers/Ipads for independent student research and transcription
assignment
Backing track App Woodshedr, iReal Pro (both paid, will depend on
school board)
Lesson Description Number of
Classes
1 -Early Jazz Origins 1
-Introduction to the Blues Scale and improv

2 -Swing Era (Big Band Era), Latin, Bebop, 3

Cool, Hard Bop, Model Jazz, Free
Jazz/Avante Garde, Jazz-Rock
Introduce transcription assignment
3 -Collaborative improv 2
-Introduction to major scales and major
seventh chords
-ii-V-I progression
-Independent work time transcription
assignment
4 -Women in Jazz 2

5 -Call and response improv 1

-Introduction to mixolydian scales and
dominant seventh chords
-Formative assessment of transcription
assignment
6 -Jazz and Politics 1

7 -Large ensemble improv and performances 1

Success Criteria Exit Cards:

Have I answered the questions?
Did I accurately represent my learning for the day?
Do I have proper grammer and spelling?

Lesson 1:
Classes: 1
Overview:
This lesson plan is intended to open the jazz unit. The students have some
experience with aural training, specifically playing by ear. Students will be
introduced to Jazz music through accepted standards, learn the origins of
jazz music through New Orleans, and begin exploring the Blues Scale and
rhythmic and three note improv.

The aim of this lesson is to spark student interest and begin scaffolding
improvisation.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
75 minutes
Teaching Have Joplin Maple Leaf Rag and Robert Johnson I 10
objective believe Ill Dust My Broom playing as class enters minute
1: No instruments at this time s
Hook Ask students what they know about jazz music? Can
they name any artists?
Play Duke Ellington It Dont Mean a Thing, Count
Basie One Oclock Jump, Dixie Jazz Band One-Step
o Have students identify key elements in each i.e.
were there clear solo lines, what instruments do
they hear?
Teaching Early Jazz teaching points: 30
objective Originated in New Orleans: mixing of cultural minute
2: origin traditions. European and French instruments and s
story harmonic strength, African call and response,
B1.4, improvisation.
B2.1, Musical Roots: ragtime (Joplin, Jelly Roll Morton MLR),
B2.2, military band (i.e. Lieut. Jim Europes Infantry Band
B2.3, Memphasis Blues), blues (Johnson)
C2.1, C2.2 New Orleans: sea port (lots of migrants, lots of social
activity and interactions), liberal laws in terms of
social scene (less segregation), military bands
present.
Performance Practices: small group instrumentation,
instruments fulfilled set musical roles (tpt melody, cl
flourish legato melody, trb chord tones, collective
improv. rhythm section guitar/banjo strum beats,
tubas/bass two-beat style)
Pianos stride (James P. Johnson Carolina Shout) or
comping (James P. Johnson Charleston)

Original Dixieland Jazz Band 1917

Only white males allowed to record at the time

Louis Armstrong:
From New Orleans
Primarily received as an entertainer (not musician)
Solos were so good he changed jazz to soloistic
playing. More complete musical structures
Potato Head Blues: Lil Hardin FIRST MAJOR WOMAN
JAZZ INSTRUMENTALIST (pianist, composer, singer,
manager, promoter, band leader), also heard in King
Oliver Creole Band
Teaching Instruments 30
Objective Teach blues scale by ear minute
2: Handout Appendix 2 blues scale s
Blues
Scale and
Improv
A1.1,
A2.2, A3.1
Conclusion Exit Card: answer the following 3 questions: 5
1. Who was the first major woman jazz minute
instrumentalist? s
2. Give one defining feature of early jazz?
3. Why was Louis Armstrong so important?

Robert Johnson: https://www.youtube.com/watch?v=hBHHFIyRxw0

Dixie: https://www.youtube.com/watch?v=mW7rldvqN1w
Count Basie: https://www.youtube.com/watch?v=08jyOwx96Ig
King Oliver: https://www.youtube.com/watch?v=lpxXFg1_H7g
James P. Johnson: https://www.youtube.com/watch?v=wwhy5zxrAKI
James P. Johnson: https://www.youtube.com/watch?v=3kJWdUFzL0Y
Armstrong: https://www.youtube.com/watch?v=EfGZB78R7uw

Lesson 2:
Classes: 3

Overview:
The goal of this class is to have students explore the major jazz eras. The
students will be split into groups to work together over the 2 class days. They
will research elements such as: instruments in bands, influences, key figures,
recording and performance practices, and stylistic features. On the second
day the groups will present their findings to their peers, along with handing
in a one-page informational handout of findings.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
75 minutes
Teaching Have Lil Hardin Brown Gals playing as students 10
objective 1: enter minute
Refresh No instruments at this time s
 Review content from yesterday
Teaching Students will be divided into heterogeneous groups. 150
objective 2: They will select a genre (first come first served) and minute
Student complete research to the same degree as modeled s
Inquiry by instructor yesterday. Students will generate a
B1.3, B1.4, one-page handout of their findings to share with
B2.1, B2.2, their peers. Also, they will give a low impact
B2.3, C2.1, presentation about the information and their song
C2.2 selections.

Success Criteria:
When did the era begin/end? Rough dates are
acceptable
What was the style and influences of this era?
What were the characteristics of the music?
Identify 3 major players of this era. One must be
male and one must be female.
Where were musicians performing?
Who was being recorded? Did all musicians have
access to recording studios?
Select 3 recordings to highlight the genre. One
must be male and one must be female.

Teaching Students present their findings to the class. 40

Objective 2: o Can create any type of media to aid that they minute
Presentatio like. s
ns o Group members may elect a speaker if all agree
C2.2 o Hand in one page handout with information
Conclusion Exit Card: answer the following 3 questions: 25
1. Did your group work effectively? Why/why not? minute
2. What did you find most interesting about your s
era?
3. What did you find most interesting about
another era?

Introduce Transcription assignment: App.3

Students will select a solo from any era on their
instrument, transcribe it by ear using digital notation
software, and record themselves playing their
transcription.

Hardin: https://www.youtube.com/watch?v=yF9tt_jm-Ek

Lesson 3
Classes: 2

Overview:
The goal of this classis to move to the students to collective improvisation on
the blues scale, introduce major scales and major seventh chords, ii-V-I
progression, and to incorporate collective improve into exercises in the
method book.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
150 minutes
Teaching Have Count Basie Lester Leaps In and Ella 10
objective 1: Fitzgerald How High the Moon playing as minute
Refresh students enter s
Review content from yesterday
Teaching Instruments 90
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale s
A3.1, C1.1 Scaffold rhythmic, then pitch collective improv
o Lead them through simple musical words,
singing then playing
o Stepwise to start, then introduce leaps

Introduce major scale and major 7th chords and ii-V-I

progression in concert B-flat and concert E-flat
Band members rotate parts bassline/rhythm section
and scale/improv parts.

Play pieces from method books or available jazz

charts.
Have students practice being band master
Teaching Students working independently on transcription 40
Objective 3: assignment. Teacher conferences with each about minute
Independent selected solo and progress. s
work period
Conclusion Exit Card: answer the following 3 questions: 10
1. What is a characteristic of the blues scale? minute
2. Which instrument section gives cues to the s
soloist?
3. Rate your progress on the transcription
assignment thus far?

Lester Young: https://www.youtube.com/watch?v=f60JYoHdfVM

Ella Fitzgerald: https://www.youtube.com/watch?v=-cHYXaMCCIo

Lesson 4
Classes: 2

Overview:
The goal of this class is to have students explore the women in jazz. The
students will pair off by instrument and research a female jazz music that
plays their instrument. They will examine her musical education, musical
influences, bands/groups she was associated with, what era of jazz she
played, and how her talent was received.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
150 minutes
Teaching Have Lil Hardin Just for a Thrill playing as students 5
objective 1: enter minute
Refresh No instruments at this time s
Review content from yesterday
Teaching Students will choose their pairs within their 90
objective 2: instrument family. They will research a female jazz minute
Student musician of their instrument. The students will s
Inquiry generate a one-page handout for their peers about
B1.3, B1.4, their findings. Also, they will give a low impact
B2.1, B2.2, presentation about their musician, and share a
B2.3, C2.1, sampling of her music.
C2.2 If student has a particular interest in arranging, or
there is a large number of 1 instrument, may
research arrangers/composers.

Success Criteria: Guiding Questions may not be

applicable to all musicians.
Birth/death?
Where did this musician grow up?
How did the musician become interested in jazz?
What was the style and influences of this person?
Which musical groups was the musician associated
with?
Who was an influence artistically on this artist?
Where were musicians performing?
What specific obstacles did this musician face in
their career?
Select 3 recordings to highlight their career.
Teaching Students present their findings to the class. 40
Objective 2: o Can create any type of media to aid that they minute
Presentatio like. s
ns o Group members may elect a speaker if all agree
C2.2 o Hand in one page handout with information
Conclusion Exit Card: answer the following 3 questions: 15
1. Did your group work effectively? Why/why not? minute
2. What did you find most interesting about your s
era?
3. What did you find most interesting about
another era?

Hardin: https://www.youtube.com/watch?v=Vvu0bYVLkX8

Lesson 5:
Classes: 1

Overview:
The goal of this classis to move to the students to have the students is
comfortable with call and response improvisation introduced at the end of
the previous performance class. Also, the mixolydian scales and dominant
seventh chords will be introduced. Students will form small combos to work
on improvisation while the teacher completes formative assessments of the
transcriptions to check in with progress.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
75 minutes
Teaching Have Marian McPartland Stranger in a Dream and 10
objective 1: Billie Holiday Blue Moon playing as students minute
Refresh enter s
Review content from yesterday
Teaching Instruments 30
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale, major scales, major 7th chords, s
A3.1, C1.1 ii-V-1

Warm up with method book standards incorporating

collective and call and response soloing.

Introduce mixolydian scale and dominant seventh

chords concert B-flat and concert E-flat
Melodic improv
Band members rotate parts bassline/rhythm section
and scale/improv parts.

Play pieces from method books or available jazz

charts.
Have students practice being band master
Teaching Students work in small combos through scalar and 20
Objective 3: improv exercises from performance previous day. minute
Small group Then, method books or charts provided, making sure s
practices each student improvs.
 Teacher conferences with students about
transcription progress.
Conclusion Exit Card: answer the following 3 questions: 5
1. What is a characteristic of the mixolydian minute
scale? s
2. How does the percussionist cue a section
change?
3. Rate your progress on the transcription
assignment thus far?

McPartland: https://www.youtube.com/watch?v=wcujQyX8nyA
Holiday: https://www.youtube.com/watch?v=ntDnwBiORu8

Lesson 6:
Classes: 2

Overview:
The goal of this class is to have students explore how the change of Jazz
musician practices in the Bebop Era forever linked Jazz with protest,
particularly the Civil Rights movement. In small groups, students will be
assigned a jazz work to research. They will create a one-page handout for
their peers, along with giving a low-impact presentation on their findings.
Curriculum Expectations:
B1.3 analyze with increasing insight and assess the effectiveness of
music from a wide range of styles and genres and in various
performance modes, and reflect on how such analyses can enhance
their own creation or performance of music.
B1.4 gather information from a range of reliable sources on music
history, composers and musicians, technical and/or aesthetic criticism,
and audience responses, and analyze, critique, and reflect on the
information with increasing insight to enhance their critical judgment.
B2.1 analyze, on the basis of in-depth research, ways in which
traditional, commercial, and art music are a response to and a
reflection of the community or culture in which they were created.
B2.2 analyze the impact of significant individuals or groups from a
variety of cultures or communities on various genres of tradition,
commercial, and/or art music.
B2.3 analyze the various functions of music in society
B3.1 analyze and assess the impact of the study of music on their self-
awareness, their expressive capabilities, their awareness of social
issues, and their understanding of others
C2.1 demonstrate an understanding of the development of various
forms of music with respect to chronology, genre, and theme
C2.2 analyze, on the basis of in-depth research, and report on the
 characteristics of and ideas in a variety of forms of traditional and
contemporary music, including Aboriginal music, from Canada and
around the world.
LESSON PLAN
150 minutes
Teaching Have Duke Ellington Jack the Bear and Mario 10
objective 1: Bauza El Manicero playing as students enter minute
Refresh No instruments at this time s
Review content from yesterday
Teaching Students will be divided into heterogeneous groups. 90
objective 2: They will select a genre (first come first served) and minute
Student complete research to the same degree as modeled s
Inquiry by instructor yesterday. Students will generate a
B1.3, B1.4, one-page handout of their findings to share with
B2.1, B2.2, their peers. Also, they will give a low impact
B2.3, B3.1 presentation about the information and their song
C2.1, C2.2 selections.

Success Criteria:
When was this chart composed? Which era of jazz
does it belong to?
When did it become linked to social justice and
protest?
Who was the composer/arranger? Who made it
famous
Which artist is linked to the chart as protest?
Who was listening to the chart?
Where was the chart performed?
Provide specific examines as to how the chart tells
about its associated social justice issue. (i.e. what
are the lyrics, instrumentation etc.) OR why its
creation is associated with social justice and
protest
Select one recording to share with the class that
you feel highlights its strengths.

Chart options:
Louis Armstrong 1929: (What Did I Do To Be So) Black
and Blue?
https://www.youtube.com/watch?v=2LDPUfbXRLM
-Played for White Audiences but sang racially charged
songs.
 Benny Goodman 1934: Lets Dance
https://www.youtube.com/watch?v=M7HYVow1kHQ
-First to hire an A.A musician to be part of his
ensemble.
-This performance arrangement by Fletcher
Henderson, a prominent A.A bandleader.

Billie Holiday 1939: Strange Fruit

https://www.youtube.com/watch?v=h4ZyuULy9zs
-Lynching

Duke Ellington 1941: Black, Brown, and Beige

https://www.youtube.com/watch?v=nFiMBqH0BFI
-Refused contracts for segregated audiences. Entire
band traveled, ate, and slept together on train cars in
south.

Nina Simone 1964: Mississippi Goddamn

https://www.youtube.com/watch?v=hoZYgq7CV8w
-Response to murder of Medgar Evers and Baptist
Church bombing in Alabama.

Nina Simone 1968: Why the King of Love is Dead

https://www.youtube.com/watch?v=d3jiFbOMr8E
-Written in response to death of MLK

Teaching Students present their findings to the class. 40

Objective 2: o Can create any type of media to aid that they minute
Presentatio like. s
ns o Group members may elect a speaker if all agree
C2.2 o Hand in one page handout with information
Conclusion Exit Card: answer the following 3 questions: 15
1. Did your group work effectively? Why/why not? minute
2. What did you find most interesting about your s
piece?
3. What did you find most interesting about
another piece?

Ellington: https://www.youtube.com/watch?v=xJafglIOymw
Bauza: https://www.youtube.com/watch?v=fmVKWnUdW4o

Lesson 6:
Classes: 1
Overview:
This class will act as wrap up for the unit. This class will focus on
performance, both large group and small combo. Transcription assignments
are due. Students can volunteer to share their transcription video with the
class. If the class has access to the solo transcription charts, they will
perform those works.
Curriculum Expectations:
A1.1 apply the creative process when performing increasingly complex
and difficult notated and/or improvised music.
A2.2 manipulate the elements of music and related concepts
effectively and with increasing skill and creativity when improvising
melodies in a wide variety of musical forms.
A3.1 extend their technical when performing increasingly complex and
difficult notated and/or improvised music.
C1.1 extend and deepen their understanding of the elements and other
components of music, particularly through practical application and
aural recognition, and use appropriate terminology related to them
LESSON PLAN
75 minutes
Teaching Have Lambert, Hendricks and Ross Cloudburst 10
objective 1: and Billy Strayhorn Blood Count playing as minute
Refresh students enter s
Review content from yesterday
Teaching Instruments 30
objective 2: Individual warm up and technique exercises minute
A1.1, A2.2, Review blues scale, major scales, major 7th chords, s
A3.1, C1.1 th
ii-V-1, mixolydian and dominant 7 chords.
Large
ensemble Warm up with method book standards incorporating
collective and call and response soloing.

Review improving on each scale worked on.

Have students practice being band master

Play through charts both as large ensemble and

random small combos
Teaching Students will elect if they want to share their 25
Objective 3: transcription. minute
Sharing If have charts for transcriptions, students will s
transcription perform their transcription while class plays chart.
s
Conclusion Exit Card: answer the following 3 questions: 10
1. How are the mixolydian and blues scale minute
 different? s
2. What is a characteristic of the era you
examined?
3. Why is Strange Fruit important to music
history?
L, H, R: https://www.youtube.com/watch?v=C0TwYX7MTZo
Strayhorn: https://www.youtube.com/watch?v=_o7RBW-T_Cc

Transcription Assignment:

Students will research a jazz musician of their instrument. They will select
one solo from this musician and transcribe it for their playing. The solo must
be in one of the styles we examined in class. The goal of this activity is to
expose students to artists of their instrument, develop aural skills, and show
real world application of improvisation techniques explored in class.

Transcriptions will be completed on digital notation software such as

Noteflight. A final performance will be recorded of the student performing
their transcription and submitted for evaluation.

Both the notation and performance will be evaluated. The performance can
be solo or performed with a backing track.

Student will also create a bio of the chart and artist.

Timeline:
Class 2: introduce transcription assignment
Class 3-4: independent work time. Teacher provides solos as necessary for
identified students in need of accommodation.
Class 5: formative assessment check-in
Class 7: project due

Ontario Curriculum Expectations:

A1.1 apply the creative process when performing increasingly complex and
difficult notated and/or improvised music.
A1.2 apply the creative process when composing and/or arranging
increasingly complex musical works.
A3.3 use a variety of current technologies with increasing skill when
practicing, performing, composing, arranging, or recording music.
B3.3 demonstrate the interpersonal skills, work habits, attitudes, and
qualities that are essential to the effective performance of music in a variety
of contexts.
C1.1 extend and deepen their understanding of elements and other
components of music, particularly through practical application and aural
recognition, and use appropriate terminology related to them.
Success Criteria:
Have I provided information on the artist and chart? Which era does it
belong to?
What key is the solo in?
Is the notation legible?
Am I visible in the recording of my performance?
Have I recreated the transcription as accurately as possible?
Name: Instrument:
Solo Selected:

Artist:

Which Jazz Era does this chart fall into? Provide 3

defining features of the era, and one important
male and female artist of the era.
What key/scale does the solo follow?

Which moment in the solo will be most challenging

for you?

Name: Instrument:
Solo Selected:

Artist:
Reflect on your process to of writing the
transcription. Identify two aspects in your practice
that were successful and two that need
improvement.

Was the moment you identified as challenging as

challenging as expected? Why or why not?
 Level 4 Level 3 Level 2 Level 1
Startup -Extensively -Thoroughly -Minimal Incomplete
worksheet completed completed completion or not
-Extra -Shows working -Shows limited handed in
examples of understanding of understand of jazz
characteristics jazz era. era/incorrect
for era. -Correct characteristics.
-Demonstrates characteristics -Limited self
high self- identified. reflection as to
efficacy in -Demonstrates difficulty of solo
reflection ability to self-reflect

Follow-up -Extensively -Thoroughly -Minimal Incomplete

worksheet completed completed completion or not
-Demonstrates -Demonstrates -Limited self handed in
high self- thorough self reflection on
efficacy in reflection on practice and
reflection on practice and performance (was
practice and performance it only surface
performance -Specific examples level?)
in reflections
Transcription -Completely -Mostly matches -Some Incomplete
matches melodic and consideration of or not
melodic and rhythmic arc of melodic and handed in
rhythmic arc of original. rhythmic arc of
original. -Errors do not original. Clearly
-Minor interrupt line. -Errors interrupt downloade
chromatic note -Minor note errors. line occasionally d from
errors. -Stylistic markings but can still third party
-Majority of included understand line.
stylistic -Limited stylistic
markings markings included
included
-included chord
changes
Performance -Effective and -Attempts to vary -Tone is at default Incomplete
intentional tone tone for for student or not
quality and performance -Inaccurately handed in
variations -Performing their recreate their
-Accurately transcription with transcription or Not
perform their minor errors clearly playing a student
transcription -Attempt at jazz third party playing
-Mostly jazz articulations transcription.
articulations -Limited
used consideration of
articulations

Appendix 1: Method Books

Appendix 2 Scales