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1300 Lessonplan 2

The lesson plan outlines teaching cycles to help students learn to play the song "Better Than the Rest" on their instruments, focusing on keeping steady beat, playing correct rhythms and durations, and matching pitch through call-and-response clapping, echoing, and modeling. The teaching cycles are grounded in Gordon's theory of audiation which emphasizes internal hearing to improve musical skills. Formative assessments will check students' ability to play the song with attention to rests, intonation, beat, and note durations.

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60 views

1300 Lessonplan 2

The lesson plan outlines teaching cycles to help students learn to play the song "Better Than the Rest" on their instruments, focusing on keeping steady beat, playing correct rhythms and durations, and matching pitch through call-and-response clapping, echoing, and modeling. The teaching cycles are grounded in Gordon's theory of audiation which emphasizes internal hearing to improve musical skills. Formative assessments will check students' ability to play the song with attention to rests, intonation, beat, and note durations.

Uploaded by

api-457755574
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Charlie Dumach

09/13/19
Lesson Plan #2
MUS 1300

Lesson Plan #2: Teaching Cycles

Learning Theory: Gordon’s Theory of Audiation


https://journals.sagepub.com/doi/pdf/10.2307/3399589
“Audiation is to music what thought is to language.” (Gordon) A process of learning
music that is based on students hearing not only from outside themselves, but in their minds as
well. This allows students to train their inner ear and then are later able to apply that
knowledge to other aspects of their musical life.

1. Time Needed: 7-8 minutes

2. Materials Needed: I need my score book, piano, and metronome. Students need their
accent on achievement book and instrument.

3. Learning Objective: The students will learn to play #22 Better Than the Rest completely
through while focusing on not playing during the rests, playing with good intonation,
keeping a steady beat, and playing the notes to their full duration.

4. Assessment: The students will play through #22 correctly while playing not in the rests,
playing with good intonation, keeping a steady beat, and playing the notes to their full
duration.

5. Personal Objectives: Keep my hands away from my chest/face, more specific feedback,
talk slower and louder, and move around more.

6. Procedures:
 Welcome the class
 Have everyone turn to page 9, oboe be sure to read the page that has the blue
number, and look at #22
 Set the met to 80 bpm, have everyone clap to it
 Teaching cycle #1
1. Demonstrate clapping to the met the first two measures
2. Have students do the same to my counting off “be sure to watch your
rests”
3. Feedback like “I really liked how you all didn’t clap on the rests” or
“let’s do it again, I heard some people clapping during the rests”
 Learning Theory: Students get a better idea of a steady beat when
working with a metronome, setting them up for success when
practicing, and later without it when “performing.”
 Ask what looks familiar about the rhythm in measures 3 and 4
 Have them clap the rhythm again
 Do the teaching cycle again for the last two measures
 Have everyone pick up their instruments
 Teaching Cycle #2
1. Play the first note on the piano, tell them that they need to match the
pitch, hum it
2. Have the students hum it, then play it
3. Feedback like “sounds really great, you’re really listening around to
match the pitch”
 Learning Theory: Having the students hum the pitch allows them
to internalize the pitch and are then more likely to play the note
with good intonation on their instruments.
 Play through the line, pick out what was good for feedback and what was rocky
to go over again
 Teaching Cycle #3
1. Pick out the rough measure(s), clap the rhythm for the students to echo
back
2. Students echo back the rhythm
3. Feedback “that time was better, everyone got the rhythm correct”
 Learning Theory: Echoing the rhythm back after me gives the
students a better internalized pulse, students are then more likely
to play the rhythm correctly the next time.
 Play just the rough measures again, as needed (once or twice maybe)
Process Standard: Responding-Understanding and evaluating how the arts
convey meaning. Anchor Standard: Apply criteria to evaluate artistic work.
 Play through the whole line again and ask to think about note duration and
playing through each note to the full value the first time, the second time ask to
play with good intonation
Process Standard: Connecting-Relating artistic ideas and work with personal
meaning and external context. Anchor Standard: Relate artistic ideas and works
with societal, cultural, and historical context to deepen understanding.

7. Closure: Great work today! I’m really happy with how great your rhythm and intonation
are improving! Go home and show your family how great you sound, and I will see you
all next class, have a good day!

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