Internship Spring 2020 Final Unit Plan VR

BEGINNING BAND –
CREEPY CRAWLIES
Measures 7 – 14 ~ 10 Rehearsals ~ March 2nd – 13th
VICTORIA ROGERS
SENIOR INTERN SEMINAR – EDUC 429
Dr. LeFils ~ April 21st, 2020
Table of Contents
Description of Student Population 4

Rationale 5
Standards, Goals, and Objectives 7
Planning for Instruction 8
A. Ensemble Data 7
B. Information about Piece and Instruction 7
a) Basic Information of the Piece 7
b) Formal Analysis of the Piece 8
c) Glossary of Terms 9
d) Major Concepts or Skills 9
e) Resources 10
C. 10 Rehearsals 11
a) Lesson Plan 1 12
b) Lesson Plan 2 15
c) Lesson Plan 3 18
d) Lesson Plan 4 20
e) Lesson Plan 5 23
f) Lesson Plan 6 26
g) Lesson Plan 7 29
h) Lesson Plan 8 32
i) Lesson Plan 9 35
j) Lesson Plan 10 38
D. Types of Learning Experiences 40
E. Motivational Introductory Lesson and Culminating Experience Narrative 40
F. Critical Thinking Questions 40
G. ESE Access Points 40
H. Technology Lesson 40
Technology Integration Component 41
A. Description of Assistive Technologies 41
B. Lesson Plan, Description of Technology Use, and Student Samples 41
1
C. Description of Technology as a Professional Tool 41
Family Communication 33
A. Letter to Parents/Caregivers (Introduction to Unit) 42
B. Letter to Parents/Caregivers (Spanish) 42-43
C. Letter to Parents/Caregivers (Conclusion to Unit) 44
D. Mock Parent Phone Calls 44
Assessment Strategies and Data Collection 46
A. Description of Standard Assessment 46
I. Pre-test 46
J. Formative Assessments 46
K. ELL Modifications 47
L. Pre/Post-Test Item Analysis Charts 47
M. School and Student Demographics 48
N. Data Analysis Graphs 49
a) Pre/Post-Assessment Scores for All Students 50
b) Pre/Post-Assessment Scores for Class 6 50
c) Pre/Post-Assessment Averages for All Students 51
d) Percent of Students Demonstrating Overall Proficiency After Instruction 51
e) Pre/Post-Assessment Averages by Gender 52
f) Percent of Students Demonstrating Overall Proficiency by Gender 52
g) Pre/Post-Assessment Averages by Ethnicity 53
h) Percent of Students Demonstrating Overall Proficiency by Ethnicity 53
i) Pre/Post-Assessment Averages by Socioeconomic Status 54
j) Percent of Students Demonstrating Overall Proficiency by Lunch Status 54
k) Pre/Post-Assessment Averages by Disability Status 55
l) Percent of Students Demonstrating Overall Proficiency by Disability Status 55
m) Pre/Post-Assessment Averages by ELL Status 56
n) Percent of Students Demonstrating Overall Proficiency by ELL Status 56
o) Pre/Post-Assessment Averages by Class/Group 57
p) Percent of Students Demonstrating Overall Proficiency by Class/Group 57
q) Pre/Post-Assessment Averages by Standard 58
r) Percent of Students Demonstrating Overall Proficiency by Standard 58
2
O. Impact on Student Learning Summary 59
Assessment Reflection
A. Graph Data Narrative 60
B. Assessment Reflection 60
C. Discrepancies Reflection 60
Reteaching and Reassessment 61
A. Description of what I would have Retaught and Reassessed 61
B. Updated Data Analysis Spreadsheet 61
C. Identification of Student Showing Patter of Low Academic Achievement 61
Grading Strategies 62
A. Description of Grading Procedures 62
B. Unit Grades 62
Differentiating Instruction to Meet the Needs of All Students 63
Daily and Overall Reflections 64
A. Lesson Plan Reflections 64
B. End of Unit Reflections 64
Bibliography/Resources/Materials 65-66
Appendices 67
A. Table 1 – Standards, Goals, and Objectives 68
B. Table 2 – Types of Learning Experiences 69
C. Table 3 – Formative Assessment 71
D. Table 4 – Impact on Student Learning Summary 72
E. Table 5 – Reteaching and Reassessment 73
F. Table 6 – Unit Grades 74
3
Description of Student Population
The class I will be assessing and working on my unit with is the 1st period Beginning
Band. It is made up of 17 students: 8 males and 9 females. The class is predominantly
Hispanic/Latino in ethnicity with 12 Hispanic/Latino students, 3 White students, and 2 African
American students. Most students in this specific period qualify for free and reduced lunch (the
two other beginning band classes are predominantly white and do not qualify for free and
reduced lunch), and there is 3 ELL students or students with disabilities. The class does not have
a wide range of playing abilities. Most of these students are struggling with their instrument and
their ability to read and count music. Uncoincidentally, the majority of these students are
struggling in their academic classes as well, especially Language Arts and Mathematics. Overall,
the playing ability is lower than the expected beginning band in the second semester, but I am
positive that we can greatly improve.
4
Rationale
The topic for my unit is teaching the second period beginning band, Creepy Crawlies by
Michael Story. Throughout this unit, I will be assessing correct technique, notes and rhythms.
The students will be assessed in measures 7-14. The Seminole county curriculum map for 6th
grade band suggest that the students be proficient in the areas listed above. I also talked to my
cooperating teacher to decide what students should be able to do at this level and what piece of
music would be effective in teaching this while the students still had fun, were fully engaged and
motivated. The piece Creepy Crawlies is difficult in the sense of, different parts, counting, ranges
and phrasing. It is a challenge but an exciting journey!
Two standards will be utilized throughout this unit: 1 - Critical Thinking and Reflection,
MU.912.C.2 – Assessing not only our own but other’s artistic work is essential to all musicians,
especially beginners. Using critical-thinking, problem-solving, and decision-making skills, is
pivotal to their musical growth.
2 - Skills, Techniques, and Processes, MU.912.S.2 – Development of skills, techniques
and through purposeful practice, artists learn to manage, master, and refine simple, then
complex, skills and techniques. It is critical that students practice and perform these skills for
several purposes. Proper instrumental technique is a crucial skill to be able to be successful on
their instrument. Proper posture, hand position, embouchure and instrument placement and the
discipline used to learn these skills is is essential to the foundation of becoming a proper
musician and to further their musical education. It then allows students to proceed to learning
rhythms and notes which is also essential to intelligently playing any piece of music. The journey
of a beginning musician is beautiful and embarking on all of these skills and nourishing these
fundamentals will only make their destination a more positive onset.
5
6
Standards, Goals, and Objectives
Unit Title: Beginning Band – Creepy Crawlies

Unit Topic: Measures 7-14
Standards
Unit Goals Objectives
(code & full text)
To be exposed to thinking of 1. Students will be able to Critical Thinking and
their own technique, notes evaluate their own bodies Reflection:
and rhythms as well as to fix posture, hand MU.68.C.2
others. position, embouchure, Assessing our own and others
and instrument placement. artistic work, using critical-
as well as discrepancies thinking, problem-solving and
decision-making skills, is
between them and their
central to artistic growth.
section.
2. Students will be able to
identify their own correct
notes and rhythms as well
as their sections.
To perform selected music 1. Students will be able to Skills, Techniques, and

individually and with others play through measures 7 – Processes:
while obtaining the basic 14 with proper technique, MU.68.S.3
fundamentals: technique, correct notes, and Through purposeful practice,
notes and rhythms. rhythms. artists learn to manage,
2. Students will be able to master, and refine simple,
then complex skills and
play with whole group
techniques.
while maintaining, proper
technique, notes and
rhythms.
7
Planning for Instruction
A. In beginning band, students are learning a whole new language. The students do sign up for
band, but most students come in with zero knowledge of instruments. A handful of students
will understand how to read notes from their elementary music experiences. This is the
second semester; therefore, students should have a basic understanding of notes, fingerings,
rhythm, scales and their instrument. However, music played in the second semester has
harmony, first and second parts as well as challenging ranges.
Title Creepy Crawlies

Composer Michael Story
Arranger/transcriber/editor N/a
Publisher Alfred Music Publishing Co., Inc.
Grade 1
Style/form See formal analysis
Key(s) F major
Meter(s) 4/4
Tempo indication(s) 120bpm
Performance time 1 minute and 40 seconds
Instrumentation 1st flute, second flute, oboe, 1st clarinet, 2nd clarinet, bassoon, 1st
saxophone, 2nd saxophone, 1st trumpet, 2nd trumpet, horn,
baritone, trombone, tuba, percussion 1 (snare drum, bass drum),
percussion 2 (triangle, woodblock)
Score Full score, transposed
Range concerns Both Clarinet parts go over the break, horns play middle G,
oboes use alternate fingering for higher range,
Unusual requirements N/A
B. a) Basic Information of the Piece:
b) Formal Analysis:
Measures 1–7 7 - 16 16 - 25
8
Big form Intro Theme 1 Theme 1
Key F F F
Phrasing
breakdown
Melody Full ensemble Woodwinds Woodwinds,
saxophone and horn
Notes Woodwinds cannot be Balance between Clarinet Balance. Make sure
the dominant voice , flute and oboe. Keep horns are coning
here, low brass make steady tempo, they will through and playing
quarter notes speak. want to speed. Watch for the correct pitches.
short phrasing, should be Saxophone needs to
four bars not two. No play F natural not
breathing after half notes. sharp. Watch for
They should not breath percussion. Make
on the bar line. Watch sure they are playing
Clarinets for F# on correct beats and
not rushing.
Measures 25 - 33 33 - 40 40 - 48
Big form Low brass transition Theme 2 Ending
Key F F F
Phrasing 5+8+3+2 4+4 3+3+2
breakdown
Melody Low brass and trumpet Full ensemble Woodwinds play first
then brass enters for
ending
Notes Their quarter notes need Balance between all Melody appears in
to match length and sections. They are woodwinds again and
tone. Listen for correct playing the funeral song then sexond oart of
pitches, especially in here and like to blast. melody is passed off
trombones. In measure Address the pyramid of from Clarinets to
32, make sure they do sound and good tine flutes. Make sure
not play on beat 2, 3 and quality. Half note gets each section is
come in on beat four. It two beats and we still do confident in sound
is different than not breath on bar lines. because no other
previous measures. Connect the phrases. section plays with
Don’t let them rush. them in mm. 45
Trumpets buzz on Last three notes all
mouthpiece, have them need to be the same
play loud and proud. length. Students like
Make sure mouthpiece to make last note
is being held correctly really long.
and posture is
addressed. They must
play notes full length.
9
c) Glossary of Terms:
• TEMPO: THE SPEED OF A SECTION OF A COMPOSITION OR THE

SPEED OF A COMPLETE COMPOSITION.
• STACCATO: INDICATED BY A DOT OVER ORF UNDER THE NOTE.
• ACCENT
• SLUR: A CURVED LINE NOTATED ABOVE TWO OR MORE NOTES

THAT INDICATES THEY ARE TO BE PLAYED LEGATO.
• ALLEGRO: CHEERFUL, QUICK OR FAST
• DYNAMIC: HOW LOUD OR SOFT A PORTION OF THE MUSIC IS
• MEZZOFORTE: MODERATELY LOUD, ABBREVIATED
• PIANO: SOFT
• MEZZOPIANO: MODERATELY SOFT, ABBREVIATED
• FORTE: LOUD
• TUTTI: ALL, USUALLY PLACED AT THE END OF AN EXTENDED SOLO

PASSAGE WHEN THE ENTIRE ENSEMBLE ENTERS.
• UNISON: TWO OR MORE PERFORMERS PLAYING THE SAME

SOUNDING NOTE OR MELODY
• TIMPANI STICKS: THIS REALLY MEANS SOFT YARN MALLETS
d) Major Concepts or Skills:
 Ability to count rhythms accurately and independently

o Eight notes and rests
o Quarter notes and rests
o Half notes and rests
10
o Dotted half notes and rests
o Whole notes and rests
 Ability read notes fluently
o Order of sharps and flats
o Enharmonic equivalents
o Treble clef and bass clef – depending on what instrument
o Brass, oboes and bassoon: Concert Bb and F - 2 octave range
o Woodwinds: Concert Bb and Eb – 2 octave range
 Ability to create good tone and perform musical phrasing
o Recognize breath marks
o Able to play through four measures without breathing
o No breath on bar line or after half notes
o Dynamic
 Piano
 Mezzopiano
 Forte
o Air = tone
 Woodwinds upper range: fast, cold air
 Woodwind low range: slow, warm air
 Brass high range: fast, narrow air
 Brass low range: slow, warm and air pointed downwards.
C. 10 Rehearsals* (lesson plans start on next page)
11
Name: Victoria Rogers 1 Date: 3/2/2020                                   Period: 1st
Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies
Standards: (CCSS/NGSSS) 
MU.68.S.3.1: Sing and/or play age-appropriate repertoire expressively.  
MU.68.S.3.2: Demonstrate proper vocal or instrumental technique. 
 MU.68.S.3.6: Develop and demonstrate efficient rehearsal strategies to apply skills and techniques. 
 
Long Term Goal: The long-term goal is to know 7 Major scales (G, C, F, Bb, Eb, Ab, Db) comfortably so that all
members of the ensemble can approach a piece of music and be able to identify key signatures instantly. As a result,
sight reading, fingerings/slide positions, and overall conceptualization of music should improve significantly. 
Instructional objectives(s):  Students will be able to play the concert Ab scale in one octave. 
Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

signature and octave.  Tuner 
 
Critical Thinking:  Lesson Structure: 
What is the relationship between the F concert warm Tune, Concert F 16 Warm-up, Order of sharps and flats
up and Creepy Crawlies? review, concert Ab scale 
Why is it important to have all of the instruments
represented in a band? 
ESE Modifications CPLAMS Access Points  http://www.cpalms.org/Standards/AccesspointSearch.aspx 
(identify access point, if needed) 
Independent: 
Supported: 
Participatory: 
   
Lesson/Rehearsal Procedures: 
Pacing:  Assessment: 
Highlight Differentiated Instruction in Yellow 
  Introduction Procedures:   Use a tuner and ears to
    see if sharp or flat. 
  -Concert Ab 16   See students push in or
1. 3         - tune the low brass and low reeds on concert, then flutes pull out 
min  and Saxophone.   Listen for percussion to
          -B on saxophone.  keep a steady beat and if
2. 2 - Have everyone play concert F 16  they can follow the
min     conducting/ snapping 
  Lesson/Rehearsal Procedures:   Look
3. 3 1. CREEPY CRAWLIES LESSON PLAN at student's embouchure 
min  2. explain the expectations to the students again  Do they have the right
  - patience valves pushed down? 
  - no talking when working with other sections   Is posture correct? 
  -it will help the piece go faster  Feet flat 
  - remind students that each part is different. Flutes are
 Straight backs 
4. 3 different than the tubas
 Front of chair 
min  3. Tell the students what the piece is about
  4. Have the woodwinds count and clap.  Horn angle 
  -Then play  Chin position 
  5. have woodwinds finger through it while you work  Hand placement 
  with low brass stuff   Do they have enough
  6. Low brass: Just have them play it right away mouthpiece in? 
  7. Count out loud while they are playing.  Are fingers covering the
  8. Have them hold out C and then G entire hole? 
5. 3 9. they will struggle going to the high G   Are they blocking their
12
min  10. - have them play those two notes over again a air ways? 
  couple times.   Do they have the correct
  11. Then have them play Eb and ask them if it is going slide position? 
  to be higher or lower than G.  Ask students in
  12. Have a student demonstrate. ensemble the order of
6. 30 13. Then have them play from the beginning again. sharps and flats 
seconds  14. Trumpets and saxophones find measure 15. Count  Have them write in on
7. 2 and clap. white board 
min  15. Then have them play it  Show me correct
8. 1 16. REMIND saxophones that it is F natural NOT F# fingering and slide
min  17. Ask them how many notes they are going to tongue positions for 4  and
th
9. 4 at 15 7  note 
th
min  - 2 times  Observe if they use their

  18. HAVE THEM PLAY IT AGAIN. fingering charts 
  19. Then have clarinets play at 7
10. 3 20. Then have trumpets, saxes, and low brass plus
  
min  bassoon play at 15
  21. Saxophones and clarinets find measure 4.
11. 3 - what is the third note in measure 4 = Bb
min  
22. every person the beginning
- do that a couple of times
23. Then start at measure 25
- trumpets buzz like flies and everyone stomps on
them.
24. Then everyone play from 35 - in one breath
25. Explain what an accidental is in measure 37 the
fourth note.
26. **Clarinets tend to play 9, 13, 41 and
45 incorrectly
27. Have clarinets and flutes play at 39.
28. Have flute and clarinets look at the last three
measures
- have clarinets count and clap and then play
- have flutes count and clap and then play.
29. Have both sections play together.
30. Then have everyone play together from
measure 33.
 
Post Rehearsal or Lesson Reflections 
Content Adjustment: 
Based on diagnostic and formative assessments during today’s lesson/rehearsal, list any repertoire or activities that
were omitted from the plan. Why?  Will the omitted items need to be included in tomorrow’s lesson/rehearsal?  
 
 I did not omit anything from the lesson plan. 

13
Rehearsal or Lesson Adjustment: 
If you were going to re-teach today’s lesson/rehearsal, how would you have done it differently.   
 I would keep the same lesson plan but I would quicken my pace. Make sure I do not ask each
section their notes individually. Group them together. 
I did like the outline of the lesson plan, I thought it was effective. 
Reflection on Teaching: Analyze and evaluate your lesson/rehearsal and classroom management. 

 
 The lesson went as planned. The steps went as planned.  Classroom management could have been
dealt with more effective.  For example, keep my hands up until the students stop talking, tell them to stop
talking, proximity control put in use more while warm-ups and scales are being played.  
I tend not to go to the back of the classroom, so make an effort to do that because a lot of the behavior
issues happen from the back of the room 
 

 

Pre-test: Rating from 1 – 5 with 5 being the highest number of points possible
m. 7 m. 8 m. 9 m. 10 m. 11 m. 12 m. 13 m. 14
Technique
Notes
Rhythms

14
Ensemble or Class:  Beginning Band, Period 1  Lesson Topic: Warm-ups and
concert Ab scale REVIEW and Creepy Crawlies
 

signature and octave.  Tuner, Baton 
 
Why is it vital to play correct rhythms? Tune, Concert F 16 Warm-up, Order of sharps and flats
Why is it important to have all of the instruments review, concert Ab scale 
Independent: 
Supported: 
Participatory: 
   
  -Concert F 16   See students push in or
2. 3         - tune the low brass and low reeds on concert, then flutes pull out 
min  and Saxophone.   Listen for percussion to
3. 2 - Have everyone play concert F 16  they can follow the
min     conducting/ snapping 
4. 3 31. Have students remind teacher about the at student's embouchure 
min  order of sharps and flats.   Do they have the right
   -Pick a student to come write valves pushed down? 
  BEADGCF and FCGDEAB on the board    Is posture correct? 
      Feet flat 
  2. REVIEW Concert Ab scale 
5. 3 3. Everyone look at your Ab concert scale, it
min  should be the first one on your scale sheet. 
     Horn angle 
  4. without making a sound on your  Chin position 
  instrument, every person has 2 new notes. the 4  and the
th  Hand placement 
  th
7  note.    Do they have enough
  o Allow students 1 minute after mouthpiece in? 
  given instruction to look to their partner and  Are fingers covering the
  figure fingerings and slide positions.  entire hole? 
6. 3 o look to the person sitting next to   Are they blocking their
min  you and discuss with them the fingering for air ways? 
  those two new notes.    Do they have the correct
15
  5. go around to each section for 4  note - go
th
slide position? 
  quickly   Ask students in
  o Trumpets/clarinets - Eb  ensemble the order of
7. 30 o Concert Pitch Instruments – Db  sharps and flats 
seconds  o Saxophones – F   Have them write in on
8. 2  Remind trumpets that is white board 
min  a “yucky” note on the trumpet and that  Show me correct
9. 1 they must pull out the 3  slide. 
rd fingering and slide
min  6. have everyone play the positions for 4  and
th
10. 4 note- percussion = pitch  7  note 

th
min   Observe if they use their

7. go around to each section for the 7th note -
  fingering charts 
go quickly 
 
o Trumpets/clarinets - A   
11. 3
NATURAL  
min 
o Concert Pitch Instruments – G 
 
12. 3 o Saxophones – D 
min   8. Play scales in half note and then all state pattern

 Lesson/Rehearsal Procedures: 
1. CREEPY CRAWLIES LESSON PLAN
2. explain the expectations to the students again
3. - patience
4. - no talking when working with other sections
5. -it will help the piece go faster
6. - remind students that each part is different.
Flutes are different than the tubas
7. Tell the students what the piece is about
8. Have the woodwinds count and clap
a. -Then play
9. have woodwinds finger through it while you work
with low brass stuff
10. Low brass: Just have them play it right away
11. Count out loud while they playing
12. Have them hold out C and then G
13. they will struggle going to the high G
14. - have them play those two notes over again a
couple times.
15. Then have them play Eb and ask them if it is going
to be higher or lower than G.
16. Have a student demonstrate.
17. Then have them play from the beginning again.
18. Trumpets and saxophones find measure 15. Count
and clap.
19. Then have them play it
20. REMIND saxophones that it is F natural NOT F#
21. Ask them how many notes they are going to tongue
at 15
a. - 2 times
22. HAVE THEM PLAY IT AGAIN.
23. Then have clarinets play at 7
24. Then have trumpets, saxes, and low brass plus
bassoon play at 15
25. Saxophones and clarinets find measure 4.
26. - what is the third note in measure 4 = Bb

16
27. every person the beginning
28. - do that a couple of times
29. Then start at measure 25
30. - trumpets buzz like flies and everyone stomps on
them.
31. Then everyone play from 35 - in one breath
32. Explain what an accidental is in measure 37 the
fourth note.
33. **Clarinets tend to play 9, 13, 41 and 45
incorrectly
34. Have clarinets and flutes play at 39.
35. Have flute and clarinets look at the last three
measures
36. - have clarinets count and clap and then play
37. - have flutes count and clap and then play.
38. Have both sections play together.
39. Then have everyone play together from measure
33.

 
I did not omit anything from the lesson. Followed as written 


I would quicken my pace. Pace has become a lot better; however, could be faster and less words. 

Reflection on Teaching: 
Again, pacing is getting better but could improve. Transitions are becoming a lot better as well. Today I forgot to
include percussion. I need to work on including them when I speak, I forget to make eye contact with them. It was a
lot to work on a scale and Creepy Crawlies, but it was a block schedule day. Next time I might do some fun
activities with the scale to make it more exciting for them. I think by the end of the period, their embouchures really
hurt and could not focus anymore. The rest of rehearsal was fine.
 

17
Ensemble or Class:  Beginning Band, Period 1  Lesson Topic: G concert scale and Creepy Crawlies
 

 
What is the relationship between the G concert scale Tune, Concert F 16 Warm-up, Order of sharps and flats
and Creepy Crawlies? review, concert G scale 
Independent: 
Supported: 
Participatory: 
   
  Introduction Procedures:  Use a tuner and ears to
  see if sharp or flat. 
  -Concert F 16  See students push in or
3. 3 - tune the low brass and low reeds on concert, then pull out 
min  flutes and Saxophone.  Listen for percussion to
  -B on saxophone. keep a steady beat and if
4. 2 - Have everyone play concert F 16 they can follow the
min  conducting/ snapping 
  Lesson/Rehearsal Procedures:  Look
5. 3 1. Have students remind teacher about the order of at student's embouchure 
min  sharps and flats.  Do they have the right
  -Pick a student to come write BEADGCF valves pushed down? 
  and FCGDEAB on the board   Is posture correct? 
   Feet flat 
  2. Introduce Concert G scale
6. 3 3. Everyone look at your G concert scale, it should be
min  the first one on your scale sheet.
   Horn angle 
  4. without making a sound on your instrument, every  Chin position 
  person has 2 new notes. the 3rd and the 7th note.  Hand placement 
  o Allow students 1 minute after given   Do they have enough
  instruction to look to their partner and figure mouthpiece in? 
  fingerings and slide positions.  Are fingers covering the
  o look to the person sitting next to you and entire hole? 
7. 3 discuss with them the fingering for those two   Are they blocking their
min  new notes. air ways? 
    Do they have the correct
18
  5. go around to each section for 3rd note - go quickly slide position? 
  o Trumpets/clarinets - C#  Ask students in ensemble
  o Concert Pitch Instruments – B the order of sharps and
8. 30 NATURAL flats 
seconds  o Saxophones – G #  Have them write in on
9. 2  Remind trumpets that is a white board 
min  “yucky” note on the trumpet and that  Show me correct
10. 1 they must pull out the 3rd slide. fingering and slide
min  positions for 4  and
6. have everyone play the note- percussion =
th
11. 4 7  note 
pitch
th

  7. go around to each section for the 7th note - go
quickly fingering charts 
 
o Trumpets/clarinets - G #   
12. 3
min  o Concert Pitch Instruments – F #
  o Saxophones – G #
13. 3 8. Play the scale in HALF NOTES (SLOW!!!)
min   o If it is not okay, go over each note
o Trumpets/Clarinets - A B C# D E F# G
#A
o Concert Pitch – G A B C# D E F# G
o Saxophones – E F# G# A B C# D# E
9. If scale sounds decent (correct fingers, pitches –
LISTEN FOR 3RD AND 7TH)), have a
student demonstrate All- State pattern for us.
 This should be a student that has
already passed their G concert scale
for pass-offs.
10. Students will play scale in All-state pattern
o Play scale twice
 Lesson/Rehearsal Procedures: 
1. CREEPY CRAWLIES LESSON PLAN
2. Run the piece from the beginning to measure 33.
3. Ask students what they liked and did well on
a. Write list on the board
4. Ask students what they did not like and can
improve on
a. Add to list on board
5. Work with the woodwinds to fix mm. 9 and
thirteen
a. After half note, students should not breath
b. Have them show you their pencils and
have them write it in music with no breath =
NB
6. Have each section play it.
a. Clarinets
b. Flutes and oboes
c. Saxophones
7. Have woodwinds play altogether.
8. Address French horns at beginning
a. Sing or demonstrate correct pitches
b. Have them demonstrate back
c. Have them put music into context
9. Focus on low brass
10. Hear them from the beginning
19
11. Correct their pitches
a. Have trombones and baritones play
together
b. Tubas
c. Then play all together
12. Have every person play from the beginning
13. Ask again what they thought they did well on and
could improve on.
14. If time, continue working on mm. 21-33

 

If you were going to re-teach today’s lesson/rehearsal, how would you have done it differently.
 I would keep the same lesson plan but I would quicken my pace. Make sure I do not ask each section their
notes individually. Group them together.
 I did like the outline of the lesson plan, I thought it was effective.

  The lesson went as planned. The step went as planned. Classroom management could have been dealt
with more effective. For example, keep my hands up until the students stop talking, tell them to stop talking,
proximity control put in use more while warm-ups and scales are being played.
I tend not to go to the back of the classroom, so make an effort to do that because a lot of the behavior
issues happen from the back of the room.
 I tried incorporating a competition into the scale portion of the lesson plan and the students
responded really well to it.
 The students who were a bit more advanced than other got to show off for their peers which was really
beneficial. Often these students become bored in class, but not today. Today they were engaged and motivated.
 Because of the competition for the scales, going into Creepy Crawlies, there was a lot of energy and a lot
was accomplished.
 Having students write pros and cons on the board really makes them listen actively while they are playing.
I t was amazing to see what their ears could hear.
 Because the cons were coming from peers, I think it was very effective in terms of students wanted to fix
them quickly.
 It was nice to see that many of the students were trying to participate, even if some of the suggested pros
and cons were slightly off track.

 
20

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic:  Creepy Crawlies
 

 
up and Creepy Crawlies? review, concert G scale 
Independent: 
21
Supported: 
Participatory: 
   
6. 3 15. CREEPY CRAWLIES LESSON PLAN at student's embouchure 
min  16. Run the piece from the beginning to measure 33.  Do they have the right
  17. Ask students what they liked and did well on valves pushed down? 
  a. Write list on the board   Is posture correct? 
  18. Ask students what they did not like and can  Feet flat 
  improve on
7. 3 a. Add to list on board
min  19. Work with the woodwinds to fix mm. 9 and
  thirteen  Horn angle 
  a. After half note, students should not breath  Chin position 
  b. Have them show you their pencils and  Hand placement 
  have them write it in music with no breath =   Do they have enough
  NB mouthpiece in? 
  20. Have each section play it.  Are fingers covering the
  a. Clarinets entire hole? 
8. 3 b. Flutes and oboes   Are they blocking their
min  c. Saxophones air ways? 
  21. Have woodwinds play altogether.   Do they have the correct
  22. Address French horns at beginning slide position? 
  a. Sing or demonstrate correct pitches  Ask students in ensemble
  b. Have them demonstrate back the order of sharps and
9. 30 c. Have them put music into context flats 
seconds  23. Focus on low brass  Have them write in on
10. 2 24. Hear them from the beginning white board 
min  25. Correct their pitches  Show me correct
11. 1 a. Have trombones and baritones play fingering and slide
min  together positions for 4  and
th
12. 4 b. Tubas 7  note 

th
min  c. Then play all together  Observe if they use their

  26. Have every person play from the beginning fingering charts 
  27. Ask again what they thought they did well on and
  
13. 3 could improve on.
min  28. If time, continue working on mm. 21-33
  29. Talk to trumpets and tell them what measure 25
14. 3 means.
min   a. Buzzing into mouthpiece
b. Hold mouthpiece with thumb and index
finger
c. And use fast air
30. Talk to low brass
31. Mm 25 –33 is all them
22
32. Have them play
33. Put on metronome to keep tempo- they will rush
34. Have just trombones and baritone play
35. Then tuba
36. All together
37. Add in trumpets
38. Ask someone in the class to demonstrate their best
stomping motion
39. Have entire class practice
a. “1, 2, 3, lift, stomp” demonstrate for
them.
40. Have entire class play from mm. 21 to get into it.
41. Play from beginning to mm. 33

 

I would keep the lesson the same except that I would have the percussion demonstrate on the trumpet or clarinet
more.
  Again, pacing is getting better but could improve. Transitions are becoming a lot better as well. Today I
forgot to include percussion. I need to work on including them when I speak, I forget to make eye contact with
them. 
 Today, we only worked on Creepy Crawlies and that was nice. It gave me the allowance to put all my
energy into that instead of worrying about scales.
 We tried to run the piece from the beginning to where we learned, mm. 1-33. The first attempt we stopped
because percussion got lost but on the second attempt it went smoothly.
 I think playing that much in one go was really surprising for the students.
 We wrote pros and cons on the board again, and this time the entire class participated except for two
students but I think they were just having a difficult morning. I still tried to incorporate them as much as
possible.
 I am finding it difficult to keep the talking to a minimum when I am working with the woodwinds or brass
individually, so I need to think of ways to address that concern. I am thinking about putting up a strike system
on the board.
 I used the metronome a lot in class today for the low brass and it concerns me a bit. I do not want them
being dependent on it. I would like for them to watch me conduct to have the tempo. I might start
weening from it in the next few rehearsals.
23

 

 

 
Independent: 
Supported: 
Participatory: 
   
   Look
7. 3 Lesson/Rehearsal Procedures: 
24
min  CREEPY CRAWLIES LESSON PLAN at student's embouchure 
   Do they have the right
  1. Talk to trumpets and tell them what measure 25 valves pushed down? 
  means.   Is posture correct? 
  a. Buzzing into mouthpiece  Feet flat 
8. 3 b. Hold mouthpiece with thumb and index  Straight backs 
min  finger  Front of chair 
  c. And use fast air  Horn angle 
  2. Talk to low brass  Chin position 
  3. Mm 25 –33 is all them
 Hand placement 
  4. Have them play
  Do they have enough
  5. Put on metronome to keep tempo- they will rush
mouthpiece in? 
  6. Have just trombones and baritone play
  7. Then tuba  Are fingers covering the
9. 3 8. All together entire hole? 
min  9. Add in trumpets   Are they blocking their
  10. Ask someone in the class to demonstrate their best air ways? 
  stomping motion   Do they have the correct
  11. Have entire class practice slide position? 
  d. “1, 2, 3, lift, stomp” demonstrate for them.  Ask students in ensemble
10. 30 12. Have entire class play from mm. 21 to get into it. the order of sharps and
seconds  13. Play from beginning to mm. 33 flats 
11. 2 14. Mm.33 -40 is the funeral song  Have them write in on
min  a. Everyone is in unison white board 
12. 1 b. Make sure horns are on correct pitches  Show me correct
min  c. Everyone is counting two beats for half fingering and slide
13. 4 note positions for 4  and
th
min  d. No breath after whole notes at end of 7  note 

th
  phrase.  Observe if they use their

  15. Address percussion on last measure of funeral song fingering charts 
14. 3 phrase.   
min  16. They come in on 3+4+ with eighth notes
  a. Give them a eye cue while conducting to
15. 3 come in.
min   17. Play through funeral song
18. Play beginning to mm. 40

 
25
I would quicken my pace. Pace has become a lot better; however, could be faster and less words. When I speak to
much, the students lose attention and then the talking rises and students start to misbehave.

 This was a really fun day in all. I worked with a lot of the trumpets and low brass on mm. 25-33 which is
the flies taking over (trumpets buzzing) and the low brass trying to be louder.
 Overall, they are doing really well in terms of correct notes and rhythms but I am seeing a lot of incorrect
postures, holding the instruments incorrectly. What I realized is that I need to become more acquainted with
how to properly hold each instrument, especially the trombone.
 This thought occurred to me while teaching and it freaked me out.
 When the students realized I did not know how to fix it, my credibility went down, and they started to
misbehave slightly.
 

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies  
 
26
 
Independent: 
Supported: 
Participatory: 
   
6. 3         - tune the low brass and low reeds on concert, then pull out 
min  flutes and Saxophone.   Listen for percussion to
7. 2 they can follow the
- Have everyone play concert F 16 
 
  
 Look
8. 3 Lesson/Rehearsal Procedures:  at student's embouchure 
min  32. Have students remind teacher about
 Do they have the right
  the order of sharps and flats.  valves pushed down? 
   -Pick a student to come write   Is posture correct? 
  BEADGCF and FCGDEAB on the  Feet flat 
  board   Straight backs 
9. 3   
min  3. REVIEW Concert Ab sand G scale 
   Horn angle 
   Chin position 
 
6. Have clarinets play open G    Hand placement 
 
  -Just to check them and their   Do they have enough
  embouchures mouthpiece in? 
  7. Ask them the order of sharps  Are fingers covering the
  8. Go around and ask the sharps for the group. entire hole? 
10. 3 o Trumpets/clarinets – 0 but naturals   Are they blocking their
min  o Concert Pitch Instruments – F # air ways? 
  o Saxophones – G #   Do they have the correct
  slide position? 

   Ask students in
9. Make sure to ask trombones what position is
  ensemble the order of
11. 30 F#=5th sharps and flats 
seconds  10. G concert in HALF NOTES! SLOW!!!!!  Have them write in on
12. 2 white board 
min  **If a woodwind key sticks (TENDANCY ON HIS  Show me correct
13. 1 SCALE), that means there is moisture in their and you fingering and slide
min  can fix it with a piece of money to absorb the positions for 4  and
th
14. 4 moisture** 7  note 

th

  11. If scale sounds good, move to All-State fingering charts 
27
  pattern.   
15. 3 -correct fingers
min  -good tone
  13. Play scale twice then move on.
16. 3
14. Ab SCALE
min  
15. reminder for everyone, the 4th note is flat
-go around and ask that
-ask fingering for that notes, especially
for low brass (Db) and clarinet (Eb)
-Have them show fingering
-Have percussion play note
-Have that group play note

16. Hear the Low Brass plus bassoon play scale in
half notes
17. Now lets hear everybody else play scale in half
notes, including percussion
18. If scale sounds good, move to All-State patten
-correct fingers
-good tone
19. Play scale in All-State patter
-Play twice
Lesson/Rehearsal Procedures:
CREEPY CRAWLIES LESSON PLAN
1. mm. 40-end is similar to beginning except 45-48
2. Have clarinets, oboes and flutes play
3. Clarinets play on beats 1+2 with eighth notes
4. Flutes and oboes on 3+4 with eighth notes
a. They are the only groups playing here,
they need to be comfortable
b. Rehearse it a few times by themselves
c. Remind them of the no breath.
4. Have everyone play together from 40-end
5. Play from beginning, whole thing

 
 
28
I would quicken my pace. Pace has become a lot better; however, could be faster and less words. 
  Students reviewed the G and Ab major scale. Steps went as planned. Need to remind students of 3  and rd
7  notes more. Remind students about key signature next time. Order of Sharps and flats. They were mixing up
th
key signatures from both scales. 

 It was really difficult to get students to play confidently, especially when it is only their section playing in a
piece of music.
 I tried to get the class to give their support by be patient and quiet, but it still was difficult to get them to
play out.
 Specifically, with the clarinets. I did not demonstrate playing with them and I think that was part of the
issue. Next time I will bring the clarinet with me, sit and play with them so they feel more confident.
 The flutes were similar, so I will try the same tactic.
 I found myself talking a lot today and I could see that A lot of the other sections were becoming bored and
irritated.
 
 
 

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies
29
 

signature and octave.  Tuner and tape recorder
 
Is it important to listen to all parts of an ensemble? Tune, Concert F 16 Warm-up, Order of sharps and flats
Independent: 
Supported: 
Participatory: 
   
 
  
 Look
12. 3 Lesson/Rehearsal Procedures: at student's embouchure 
min  CREEPY CRAWLIES LESSON PLAN
6. mm. 40-end is similar to beginning except 45-48  Do they have the right
  valves pushed down? 
  7. Have clarinets, oboes and flutes play
8. Clarinets play on beats 1+2 with eighth notes   Is posture correct? 
  4. Flutes and oboes on 3+4 with eighth notes
d. They are the only groups playing here,  Straight backs 
10. 3
they need to be comfortable  Front of chair 
min 
  e. Rehearse it a few times by themselves  Horn angle 
  f. Remind them of the no breath.  Chin position 
  9. Have everyone play together from 40-end  Hand placement 
  10. Play from beginning, whole thing   Do they have enough
  11. Tell the students we are going to be recording the mouthpiece in? 
  entire piece, top to bottom.   Are fingers covering the
  12. Record entire hole? 
11. 3 13. Give the students a rest and play a recording of   Are they blocking their
min  Creepy Crawlies air ways? 
  14. Ask students what they enjoyed about the   Do they have the correct
  recording. slide position? 
  15. Go back and address the woodwinds in the  Ask students in ensemble
beginning of main melody
30
  a. No breathing after half note or on bar line. the order of sharps and
12. 30 b. Ask them how many times they tongue in flats 
seconds  measure 7-9  Have them write in on
13. 2 i. 2 times white board 
min  16. Have a competition between the woodwinds and let  Show me correct
14. 1 the brass be the judges. fingering and slide
min  17. Each woodwind section will play measures 7-14 positions for 4  and
th
15. 4 twice, each time the low brass will be able to give their 7  note 
th
min  comment on why it was good and what needed  Observe if they use their
  improvement. fingering charts 
  18. After everyone has played twice, brass will decide   
20. 3 who wins.
min  19. Same routine for brass.
  20. Brass will play mm. 7-14 twice and woodwinds
17. 3 will judge and decide a winner.
min  
 

I would quicken my pace. Pace has become a lot better; however, could be faster and less words. Did not
need students to write order of sharps and flats on the board today. 
  Students reviewed the G, and Ab major scale. Steps went as planned. Need to remind students of 3 4th andrd,
7  notes more. Remind students about key signature next time. Order of Sharps and flats.
th
 We FINALLY made it to the end with EVERYONE and it was exciting. I think the kids were really
happy to finally get to the end as well.
 Because we finally made it to the end, I did not want to lose momentum, so I told the students we were
going to record from top to bottom.
 This really excited them, and the class became pretty rowdy. I had to use some classroom management a
rally them in. 
 After the recording, I knew they were pretty tired, so I played them a professional recording of Creepy
Crawlies and had a discussion with them about it afterwards.
 After that, I went in and addressed a few problems I heard when we played the entire piece. It was mainly
the students breathing on bar lines.
 
 
 

31

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies  
 

 
Why is it important to record ourselves playing? Tune, Concert F 16 Warm-up, Order of sharps and flats
Independent: 
Supported: 
Participatory: 
   
 
  
 Look
min  1. Have students take out a piece of paper and pencil
2. Instruct them to write down what they hear, good or  Do they have the right
  valves pushed down? 
  bad.
a. Encourage them to write down specific   Is posture correct? 
  measure that need improvement.
3. Play recording of the students from previous day.  Straight backs 
11. 3
4. Have students lead rehearsal  Front of chair 
min 
  5. Each person is allowed to comment twice.  Horn angle 
  6. Each person has to participate.  Chin position 
  7. Students are allowed to demonstrate and give  Hand placement 
  examples.   Do they have enough
8. Cooperative and collaborative learning mouthpiece in? 
32
  provides opportunities for:  Are fingers covering the
  a. Multiple students to respond entire hole? 
  simultaneously to a question.   Are they blocking their
12. 3 b. Diagnosing and prescribing solutions to air ways? 
min  peers.   Do they have the correct
  c. Learning and applying concepts through slide position? 
  multiple intelligences.  Ask students in ensemble
  d. Students to receive immediate attention the order of sharps and
  to their learning needs from their peers. flats 
13. 30  Have them write in on
e. Creating a class with a high proportion
seconds  white board 
of student engagement and on-task behavior.
14. 2  Show me correct
min  f. Developing a caring community of
active learners fingering and slide
15. 1 positions for 4  and
9. If students need help, I will provide guidence.
th
min  7  note 
10. Example, if a students says, “I think the clarinet
th
16. 4  Observe if they use their

min  section could play louder at the end where they play by
themselves.” I will then say, “Alright clarinets what do fingering charts 
 
  you think? Lets try playing measure 45 together and this   
21. 3 time be nice and confident.”
min  11. If the clarinets improve, we move on to something
  else.
18. 3 12. Record at end of rehearsal.
min  
 


No adjustment.
  Today was really awesome because we listened to our recording and it was a student led rehearsal!
 I had the students write a list of things that went well in certain measures and things that maybe they
thought could be improved upon.
 For the student-centered rehearsal, the students really came through. When we started a bunch of hands
went up and each student described what they thought needed improvement.
 No student was malice or mean to one another.
 If a section was said to need fixing, I would ask that section myself if they agreed and they did.
 I would go in a rehearse that section then move on to the next student.
33
 I thought it to be very productive and it was nice to see that the students were actively listening, taking in
instruction and adjusting their playing. That is a very hard concept to achieve and they were succeeding at it.
 
 

 

 
Why mix up the seating arraignment? Tune, Concert F 16 Warm-up, Order of sharps and flats
Independent: 
Supported: 
Participatory: 
   
34
 
  
 Look
min  1. This rehearsal we will mix up the setting of the
 Do they have the right
  rehearsal. valves pushed down? 
  2. The ensemble will be set up in a large circle.   Is posture correct? 
  a. If there are too many chairs, make an  Feet flat 
  outer and an inner circle.  Straight backs 
12. 3 b. You can still assign where students sit  Front of chair 
min  within the circle, or you can let them sit  Horn angle 
  anywhere. For example, flutes and
clarinets go to the middle row, etc.  Hand placement 
 
  c. You can teach and conduct from the   Do they have enough
  middle, from the outside, from the mouthpiece in? 
  percussion section.  Are fingers covering the
  This will also force you as the director to entire hole? 
13. 3 move around the room.   Are they blocking their
min  3. This allows for students to hear the different air ways? 
  parts of the piece.   Do they have the correct
  4. It also allows for students to not depend slide position? 
  directly on the person sitting next to them.  Ask students in ensemble
  the order of sharps and
14. 30
5. Review beginning with beginning flats 
seconds  6. Go over mm 7-14  Have them write in on
15. 2 7. Work mm. 25-33 for trumpets and low white board 
min  brass  Show me correct
16. 1 8. Work mm. 33-40 the funeral song fingering and slide
a. Make sure French horns are on
th
17. 4 7  note 
th
min  correct pitches  Observe if they use their

  9. Record ensemble at end of rehearsal. fingering charts 
    
22. 3
min 
 
19. 3
min  
 
35

I would have liked to hear the woodwinds and then the low brass individually.
  It was hard for me to differentiate wrong notes today and this something I will be working on in the future
to hear better.  I realize it could have been due to the different set up, but it is still a skill I would like to
improve upon.
 Today was a blast because the room was set up differently! The students loved this and found it exciting.
 Students were making funny faces all throughout rehearsal because they were hearing some really
different sounds than they were used to.
 At then of rehearsal, a handful of students really understood the importance of listening to all parts to see
how their own part fits in with everyone else.
 

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic: Creepy Crawlies
 

 
Why are pre-test and post-tests important? Tune, Concert F 16 Warm-up, Order of sharps and flats
represented in a band?  ? 
Independent: 
36
Supported: 
Participatory: 
   
 
  
 Look
min  1. Have students listen to both recordings.  Do they have the right
  a. The one after the student led valves pushed down? 
  rehearsal   Is posture correct? 
  b. The one of different rehearsal set  Feet flat 
 
up  Straight backs 
13. 3
2. Have students tell you what they hear and  Front of chair 
min 
  the differences between the two recordings.  Horn angle 
3. Hopefully students will hear the different
   Hand placement 
voices of the ensemble come through.   Do they have enough
 
  4. Clarinets and Flutes, what will we be doing mouthpiece in? 
  at mm. 45 to the end?  Are fingers covering the
  5. Low brass, mm. 25-33 should be what? entire hole? 
14. 3 Short, long?   Are they blocking their
min  air ways? 
6. Trumpets, should your buzzing be the
    Do they have the correct
 
prominent voice at 25? Why? slide position? 
  7. Run through entire piece  Ask students in ensemble
  8. Administer post-test to students the order of sharps and
15. 30 flats 
seconds   Have them write in on
16. 2 white board 
min   Show me correct
17. 1 fingering and slide
th
18. 4 7  note 
th

  fingering charts 
 
  
17. 3
min 
 
20. 3
min  
 
37

I would quicken my pace. Pace has become a lot better; however, could be faster and less words. Did not
need students to write order of sharps and flats on the board today. 
  Last rehearsal of the Unit and it was amazing! We listened to both recordings.  The one after the student
led rehearsal and the one of the mixed-up room.
 You could see on the students faces that they could hear some major differences in sound.
 Students were even asking if that’s what they really sounded like.
 When I went to start rehearsal, I asked certain sections what they should be doing in parts of the music and
they all answered correctly. It was amazing. The information had stuck with them and they knew how to play
this music.

Post-test: Rating from 1 – 5 with 5 being the highest number of points possible
m. 7 m. 8 m. 9 m. 10 m. 11 m. 12 m. 13 m. 14
Technique
Notes
Rhythms
38
D. Types of Learning Experiences
Lesson
Type of Learning Experience Objective during this Learning Experience
Number
1 Section and individual Become acquainted with the piece and parts and
administer pre-test
2 Small group, individual playing, whole Become more comfortable with the piece.
section, and whole group
3 Whole group, section Hear correct notes, rhythms and fix fingerings,
especially in woodwinds
4 Small group, individual playing, whole Hear correct notes, rhythms and fix fingerings,
section, and whole group especially in brass
5 Sections, individual playing Break down piece, hear melody and match pitches
6 Small group, individual playing To hear who can play melody, counter melody,
rhythmic section
7 Whole group, Sections Hear what we have worked on as a whole what to listen
for in certain sections.
8 Sections and Whole Refine individual sections through student led class and
to record
to record
10 Small group, individual playing, whole Hit certain section, individual issues and to run through
section, and whole group the piece and administer the post-test
E. The motivational introductory lesson will be to explain to the students what Creepy crawlies
is all about. Shut off the lights and speak in your best spooky voice. Explain how these bugs
broke out of their little house and are crawling all over the room. The spiders in the tubas, the
worms in the flutes and the beetles falling on the snare drum. The flies invade the trumpet
mouthpieces and make frightening buzzing sounds! At the end, everyone needs to work
together to stomp the flies and then we all play the funeral song for our loss. Throughout the
other rehearsals, we will have students play games to see who can buzz the loudest and the
longest. We’ll have competition between the section’s to see who can play the longest phrase
and who can count all the rhythms correctly. Throughout time, I will record the students so
they can hear what they sound like. One rehearsal will be dedicated to the students teaching.
They will suggest what to work on and why and how to go about it.
F. Refer to pages 12 – 40
G. N/A
H. Refer to lesson 7, page 32
39
Technology Integration Component
A. The technology that was used throughout this unit was simple. It includes a metronome,
tuners and audio recorder. During this unit, technology was not a center point but it did hold
important aspects. The metronome was a device we introduced to the students when doing
creepy crawlies. It was specifically used to keep time because the students had a hard time
keeping their inner beat while hearing a handful of different parts being played at the same
time. We also encouraged students to download a metronome app on the cellphone for when
students decide to practice at home. Tuners where introduced to the class when the music
started creating chords and other harmonies. We show students how to tune during warm ups
and what notes to tune to on their instruments specifically. The audio recorder was used in
the middle of the unit plan. I wanted to make sure that the students felt like they had a voice
in the class and what better way than to let them run it. I recorded them and then had the
entire ensemble listen to it the next day. After that, we wrote on the board positives and
negatives about the piece. Then we picked up our instruments and I asked them what the first
aspect was we should work on and from there we had a blast. I did stream a video of Creepy
Crawlies being performed.
B. For the sixth lesson of my unit, I decided to incorporate an audio recording of the students
playing Creepy Crawlies. After we listened to the recording, the class and I discussed what
we heard. As we were talking I wrote a pros and cons list on the board. Once we were done
discussing, we began the rehearsal. However, this time I let the students run it. Each section
had a turn and if they did not know what to work so I gave a few choices. Doing this type of
rehearsal with the audio gives me feedback on what they are taking away from the discussion
we have in class and to see if they are actively listening. Here are two real examples from
students Makana Lingser and Brody Hall:
Describe some things you hear in the recording of Creepy Crawlies:
 Makana: “When the recording first started playing, I heard a lot of
woodwinds and no brass or percussion. I also heard everyone breathing on
the bar line at measure 8 even though you told us not to and we wrote it
in.”
 Brody: “It sounded really loud like everyone was trying to play louder
than the other person. I heard a lot of flutes and no one else. I am playing
the snare drum in the back and I can’t hear that either. I think everyone
could be softer and listen for each other.”
C. Technology was not a key component in my unit. Throughout this unit. I used simple
technology such as recordings, recorders, and metronomes. In the future I would like to use
technology more efficiently. I could use it to do more formal assessments to assess the
individual students understanding. This could go hand in hand with the lesson of the students
teaching the class.
40
Family Communication
A. Letter to Family/Caregivers (pre-unit):

Dear family,
I hope that you and your loved ones are safe and well! This year, I am an intern at Rock Lake
Middle Schools Band Program. I will be conducting a unit plan as part of my course work
and requirement of Stetson University. This unit will simply be me and the students learning
a piece from which I will assess a few measures of. I will oversee a pre-test and post-test.
The overall goal of this unit will be to see the growth between the two assessments given. I
will teach a series of ten lessons. The pre-test will take place after the completion of two
consecutive lessons. The post-test will be administered at the end of the unit. The piece we
are going to learn will be Creepy Crawlies and will be performed at the concert on Tuesday,
April 28th. This is an exciting yet challenging piece for all young musicians and we could use
your help from home! To help our student, you can guarantee that your child is practicing
and even ask them to perform for you each night to hear their progress! Inviting them to
perform mini concerts for you and the whole family is thrilling and fun! It also provides
excitement and encouragement and is a great way to keep student motivated and wanting to
practice even more! If you have any questions, comments, or concerns, please do not hesitate
to contact me. My information is provided below.
Have a safe and wonderful week!
Genuinely,
Ms. Rogers
B. Translated Letter (Spanish)

Querida familia,
¡Espero que usted y sus seres queridos estén sanos y salvos! Este año, soy pasante en el
Programa de Banda de Rock Lake Middle Schools. Llevaré a cabo un plan de unidad como
parte del trabajo de mi curso y los requisitos de la Universidad Stetson. Esta unidad
simplemente seremos yo y los estudiantes aprendiendo una pieza de la cual evaluaré algunas
medidas. Supervisaré una prueba previa y una prueba posterior. El objetivo general de esta
unidad será ver el crecimiento entre las dos evaluaciones realizadas. Enseñaré una serie de
diez lecciones. La prueba previa tendrá lugar después de completar dos lecciones
consecutivas. La prueba posterior se administrará al final de la unidad. La pieza que vamos a
aprender será Creepy Crawlies y se presentará en el concierto el martes 28 de abril. ¡Esta es
una pieza emocionante pero desafiante para todos los músicos jóvenes y podríamos usar su
ayuda desde casa! ¡Para ayudar a nuestro estudiante, puede garantizar que su hijo esté
41
practicando e incluso pedirle que actúe por usted cada noche para escuchar su progreso!
¡Invitarlos a realizar mini conciertos para usted y toda la familia es emocionante y divertido!
¡También proporciona emoción y aliento y es una excelente manera de mantener a los
estudiantes motivados y con ganas de practicar aún más! Si tiene alguna pregunta,
comentario o inquietud, no dude en ponerse en contacto conmigo. Mi información se
proporciona a continuación.
¡Que tengan una semana segura y maravillosa!
Verdaderamente,
Ms. Rogers
42
C. Letter to Family/Caregivers (post-unit):
Dear family,
I hope that you and your loved ones are safe and well! I am reaching out to let you know that
the unit plan has been successfully completed and the students did marvelously!
The assessment given to the students was precisely correlated with the piece of music we
learned, Creepy Crawlies by Michael Story. Creepy Crawlies was picked to evaluate the
student’s music fundaments as a beginning musician. The lessons were created to build off
each other and provide fun, challenging, and diverse instruction for all students.
The standards that were learned included Rhythms, Note Accuracy, Tone and Phrasing. With
the student’s hard work and your participation and engagement at home, the unit was a grand
success. The students learned the piece and accomplished the standards that were chosen.
Each student showed improvement from the pre-test to the post-test. I just want to personally
thank you for your help and your dedication to your child’s education. Please continue to be
involved in your child’s education and helping our future generation of musicians to prosper
and flourish!
Genuinely,
Ms. Rogers
D. Translated Letter (Spanish)

Querida familia,
¡Espero que usted y sus seres queridos estén sanos y salvos! Me estoy comunicando para
informarles que el plan de la unidad se ha completado con éxito y que los estudiantes lo
hicieron de maravilla.
La evaluación dada a los estudiantes se correlacionó con precisión con la pieza musical que
aprendimos, Creepy Crawlies de Michael Story. Creepy Crawlies fue elegido para evaluar los
fundamentos musicales del estudiante como músico principiante. Las lecciones fueron
creadas para desarrollarse mutuamente y proporcionar instrucción divertida, desafiante y
diversa para todos los estudiantes.
Los estándares que se aprendieron incluyeron ritmos, precisión de nota, tono y fraseo. Con el
arduo trabajo del estudiante y su participación y compromiso en el hogar, la unidad fue un
gran éxito. Los estudiantes aprendieron la pieza y lograron los estándares elegidos. Cada
estudiante mostró una mejora desde la prueba previa hasta la prueba posterior. Solo quiero
agradecerle personalmente su ayuda y su dedicación a la educación de su hijo. ¡Continúa
43
participando en la educación de tus hijos y ayudando a nuestra futura generación de músicos
a prosperar y prosperar!
Verdaderamente,
Ms. Rogers
E. If I had to call three parents, I would call the parents of students Makana Lingser, JJ Cole and
Leanne Cawley. Here is what I would tell each parent:
 Makana Lingser – Makana is a bright young man with a lovely future. His attitude in
class is inspiring and his work ethic will serve him well for the rest of his musical
career. Makana sets a stellar example for the oboe section and the rest of his
classmates.
 JJ Cole– JJ is an amazing beginning saxophone player and with hard work, could go
very far on his instrument. JJ is a helping hand in class and never lets anything bring
him down. He is always willing to learn and is quick to help others in need.
 Leanne Cawley – Leanne has come so far in terms of her behavior as well as her
playing. When I first started my internship, Leanne liked to socialize quite a bit while
class was in session. However, working with Leanne and teaching her proper
rehearsal etiquette has certainly paid off. Leanne is now one of our most well-
behaved students and her practicing has improved as well. Leanne is a delight to have
as a part of the ensemble and at Rock Lake Middle School.
44
Assessment Strategies and Data Collection
A. I am assessing two standards: 1- Critical Thinking and Reflection: MU.68.C.2 Assessing our own
and others artistic work, using critical-thinking, problem-solving and decision-making skills, is
central to artistic growth. 2- MU.68.S.3: Through purposeful practice, artists learn to manage,
master, and refine simple, then complex skills and techniques. will be using four formative
assessments for this unit: performances in class, whole group recordings, and the pre-test and the
post-test.
A. Pre/post-test: Rating from 1 – 5 with 5 being the highest number of points possible
m. 7 m. 8 m. 9 m. 10 m. 11 m. 12 m. 13 m. 14
Technique
Notes
Rhythms
B. Both tests will be performance-based and during class as a whole group. After administering
the pre-test, I found that the students were not great at sight reading rhythms such as eight
notes and dotted half notes. However, correct notes or the ability to figure out the correct
notes and fingerings was looking promising. Overall, I believe the student can and will
improve greatly by the end of the unit.
45
C. Formative Assessment Table
How does this

Lesson Objective Assessment
Assessment Description assessment guide your
Number (Write code and full text) Name
teaching?
1 Skills, Techniques, Group Listening to students in Identify potential
and Processes, playing woodwinds and brass play dilemma and problems in
their parts for the first time the piece that can help
MU.912.S.2 guide my rehearsal
planning
2 Critical Thinking and Pre-test Rating scale, students I can hear individual
Reflection, perform individually players and have a
physical form of
MU.912.C.2 Skills, assessment. Both inform
Techniques, and me of student
Processes, achievement
MU.912.S.2
3 Skills, Techniques, Section Listening to sections play I can hear if students are
and Processes, correct rhythms and notes. playing correct notes and
Look for correct fingerings. rhythms. Utilizing proper
MU.912.S.2 technique on instrument.
4 Skills, Techniques, Section and Listening for correct notes I can hear if students are
and Processes, Individual and rhythms at the right playing correct notes and
time. Keeping an eye out for rhythms. Utilizing proper
MU.912.S.2 proper technique. technique on instrument.
5 Critical Thinking and Section and Listening to individuals or I can hear if students are
Reflection, Individual sections play challenging playing correct notes and
parts that involve difficult rhythms. Utilizing proper
MU.912.C.2 range or accidentals. technique on instrument.
6 Critical Thinking and Whole Listen to the entire Identify problem spots in
Reflection, ensemble to see what needs the piece that can help
to be addressed. Listen if guide my rehearsal
MU.912.C.2 notes and rhythms match planning
across ensemble.
7 Critical Thinking and Whole and Listen to the entire Identify problem spots in
Reflection, Section ensemble to see what needs the piece that can help
MU.912.C.2 Skills, notes and rhythms match planning. Can hear
Techniques, and across ensemble. sections and give them
Processes, Address section issues. feedback
MU.912.S.2
8 Critical Thinking and Section and Listen to the entire Identify problem spots in
Reflection, Whole ensemble to see what needs the piece that can help
to be addressed. Are we guide my rehearsal
MU.912.C.2 Skills, playing to loud altogether? planning. Can hear
Techniques, and Listen if notes and rhythms sections and give them
Processes, match across ensemble. feedback
MU.912.S.2 Address section issues
46
MU.912.C.2 Skills, to be addressed. Are we guide my rehearsal
Techniques, and playing to lous altogether? planning. Can hear
Listen if notes and rhythms sections and give them
10 Critical Thinking and Post-test Rating scale, students I can hear individual
physical form of
MU.912.S.2
D. N/A
E. Pre-test Data
Students that =
Test Question # Of Students % Correct
questions correct
1 7 17 41%
2 8 17 47%
3 8 17 59%
4 6 17 35%
5 10 17 65%
6 7 17 41%
7 6 17 35%
8 8 17 47%
9 9 17 53%
10 11 17 71%
11 9 17 53%
12 10 17 59%
13 7 17 41%
14 10 17 71%
15 5 17 29%
16 6 17 59%
17 7 17 65%
18 8 17 47%
19 8 17 47%
20 6 17 35%
21 9 17 53%
22 8 17 47%
23 8 17 47%
24 7 17 41%
47
Post-test Data
Students that =
Test Question # Of Students % Correct
questions correct
1 17 17 100%
2 17 17 100%
3 17 17 100%
4 17 17 100%
5 17 17 100%
6 16 17 94%
7 17 17 100%
8 17 17 100%
9 17 17 100%
10 15 17 88%
11 17 17 100%
12 17 17 100%
13 17 17 100%
14 17 17 100%
15 17 17 100%
16 17 17 100%
17 17 17 100%
18 17 17 100%
19 17 17 100%
20 17 17 100%
21 16 17 94%
22 17 17 100%
23 17 17 100%
24 17 17 100%
F. Refer to page 49
G. Data Analysis Graphs starting on the next page.
48
0.0%
100.0%
10.0%
20.0%
30.0%
40.0%
50.0%
60.0%
70.0%
80.0%
90.0%
37.5%
A1
100.0%
33.3%
A2
100.0%
25.0%
A3
91.7%
54.2%
A4
100.0%
50.0%
A5
100.0%
58.3%
A6
100.0%
45.8%
A7
100.0%
50.0%
A8
Pre%
100.0%
49
41.7%
A9
91.7%
Post%
54.2%
A10
95.8%
70.8%
A11
100.0%
33.3%
A12
100.0%
29.2%
A13
87.5%
25.0%
A14
83.3%
Pre/Post-Assessment Scores for Period 1
50.0%
A15
100.0%
54.2%
A16
100.0%
58.3%
A17
100.0%
Pre/Post Assessment Averages for All Students
100.0% 97.1%
90.0%
80.0%
70.0%
60.0%
50.0% 45.3%
40.0%
30.0%
20.0%
10.0%
0.0%
Pre % Post %
Percent of Students Demonstrating Overall Proficiency After

Instruction
100.0%
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
10.0%
0.0% 0.0%
0.0%
Post-Assessment
Proficient on None Proficient on Some Proficient on All
50
Pre/Post Assessment Averages by Gender
100.0% 96.9% 97.2%
90.0%
80.0%
70.0%
60.0%
50.0% 48.1%
42.2%
40.0%
30.0%
20.0%
10.0%
0.0%
Female Male
Pre % Post %
Percent of Students Demonstrating Overall Proficiency by

100.0%
100.0%
Gender
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
0.0%
0.0%
10.0%
0.0%
Female Male
51
Pre/Post Assessment Averages by Ethnicity
97.9%
95.8%
94.4%
100.0%
90.0%
80.0%
70.0%
47.9%
45.8%
60.0%
50.0%
34.7%
40.0%
30.0%
20.0%
10.0%
0.0%
Asian or Pacific Islander Hispanic or Latino/Latina White, Non-Hispanic
Pre % Post %
100.0%
100.0%
100.0%
Ethnicity
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
0.0%
0.0%
0.0%
0.0%
10.0%
0.0%
Asian or Pacific Islander Hispanic or Latino/Latina White, Non-Hispanic
52
Pre/Post Assessment Averages by Socieconomic Status
100.0% 94.4% 97.6%
90.0%
80.0%
70.0%
60.0%
50.0% 47.6%
40.0% 34.7%
30.0%
20.0%
10.0%
0.0%
No F/R Lunch Receives F/R Lunch
Pre % Post %

100.0%
100.0%
Lunch Status
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
0.0%
0.0%
10.0%
0.0%
No F/R Lunch Receives F/R Lunch
53
Pre/Post Assessment Averages by Disability Status
100.0%
100.0% 96.7%
90.0%
80.0%
70.0%
60.0% 52.1%
50.0% 44.4%
40.0%
30.0%
20.0%
10.0%
0.0%
Students w/ No Disability Students w/ a Disability
Pre % Post %

100.0%
100.0%
Disability Status
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
0.0%
0.0%
10.0%
0.0%
Students w/ No Disability Students w/ a Disability
54
Pre/Post Assessment Averages by ELL Status
100.0%
100.0% 96.7%
90.0%
80.0%
70.0% 62.5%
60.0%
50.0% 43.1%
40.0%
30.0%
20.0%
10.0%
0.0%
No Services ELL Receiving Services
Pre % Post %
Percent of Students Demonstrating Overall Proficiency by ELL

100.0%
100.0%
Status
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
0.0%
0.0%
10.0%
0.0%
No Services ELL Receiving Services
55
100.0%
Pre/Post Assessment Averages by Class/Group
97.1%
90.0%
80.0%
70.0%
60.0%
50.0% 45.3%
40.0%
30.0%
20.0%
10.0%
0.0%
#1
Pre % Post %
100.0%
Class/Group
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
0.0%
0.0%
10.0%
0.0%
#1
56
Pre/Post Assessment Scores by Standard
95.6% 98.5%
100.0%
90.0%
80.0%
70.0%
60.0%
50.0% 45.6% 45.1%
40.0%
30.0%
20.0%
10.0%
0.0%
ST1 ST2
Pre % Post %
Students Showing Proficiency by Standard

100.0% 100.0%
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
10.0% 5.9%
0.0%
0.0%
ST1 ST2
Pre-Assessment Post-Assessment
57
H. Impact on Student Learning Summary Table
Number and
Number and Number and
percent of
percent of percent of
Number students with
students at students at
Candidate Grade Unit of Standards learning gains
proficiency proficiency level
Name Level Topic students Taught per standard
after after reteach &
in class (any increase
post-test per reassessment
from pretest to
standard per standard
posttest)
Victoria 6th 7-14 17 MU.912.S.2 17, 100% 24, 100% N/A
Rogers
Victoria 6th 7-14 17 MU.912.C.2 17, 100% 24, 100% N/A
Rogers
58
Assessment Reflection
A. There is a total of 18 graphs and each graph will provide different data. The first two graphs
show each and every student with their individual results for the pre-test and post-test. These
two graphs allow us to see the growth for specific students between the two assessments in
addition of student-to-student achievement. While the graphs may look different, the only
difference is, one shows all students and the other presents it by class, but for this unit
specifically, all students are in the same class. The next graphs are pre/post assessment
averages for all students. These graphs expose the average score for the pre-test, 45.3% and
post-test, 97.1%. After completing the unit, 100% of students tested proficient on both
standards. Next are graphs by gender and we see that on average, the males scored 0.3%
higher than the females for the pre-test. However, by the end of the unit, the post-test graph
shows us that both genders scored 100% proficient for both standards. By ethnicity, we see
something that is extraordinary. Each ethnicity group, Hispanic, White, and African
American all improved from pre-test to post-test by 50% or more. The overall ethnicity
graph allows us to see that by the end of the unit, every ethnicity was proficient in both
standard. Both of these graphs expose that everyone improved substantially by the post-test.
The next graph of socioeconomic status shows us that those who do not get free/reduced
lunch had lower proficiency scores than their classmates who do not. The students who
receive free/reduced lunch had 47.6% on their pre-test while the non-free and reduced lunch
received a 34.7% on their pre-test. I had three students that were ELL students or students
with disabilities and the graph shows that students with no disabilities scored lower than
those who do. ELL students or students with disabilities scored a 52.1% while the students
with no disabilities scored a 44.4%. The graph providing information on just ELL students
show that those who do receive special services obtained a higher pre-test score of 62.5%
than those who do not receive special services, receiving a score of 43.1 on their pre-test. In
the post-test however, both parties came through as proficient. Overall for standard one, the
average of the class pre-test was 45.6 and the class post-test 95.6%. The average for standard
two pre-test was 45.1% and the class post-test 98.5%. The second standard received a higher
percentage by 2.9%. The results of the students have significantly improved and demonstrate
their hard work and devotion.
B. In regard to the pre-test, each graph presented results and data that I could physically see and
track. It also presented the information in various context that I normally would not think of
such as gender or ethnicity. I utilized this data as educational and instructive tools in seeing
how students did by gender, ethnicity, socioeconomic status, and standard. This greatly
helped to broaden my perspective on student achievement and aided my teaching approaches
in relation to instruction. Because of this pre-test data, I was able to see how to better help
my students and this led to fantastic post-test results. it is abundantly clear that every person
improved in each area, proper technique, correct notes, and rhythms.
C. No discrepancies were made among formative, performance task, and other traditional
assessments.
59
60
Reteaching and Reassessment
A. Fortunately, I was able to complete my Unit entirely, with help from my Cooperating
Teacher. All students met proficiency.
Reteaching and Reassessment Table
Standards Name(s) of Explanation of

Description of Justification of How do you
needing students how reteaching
instructional why particular know
reteaching needing was scheduled
strategy used to strategies were reattaching was
(full code & additional (when/how was
reteach employed successful?
text) instruction reteaching done)
N/A N/A N/A N/A N/A N/A
B. N/A
C. There are no students who show a pattern of low academic achievement. All students showed
proficient in post-test results; however, there are a few students who show a pattern of low
academic achievement in other classes besides band. I asked students to explain why and
most said, classes were boring, the teacher never paid attention to them or some teachers did
not adjust the class to meet the student’s needs. Some of my students have loss of hearing
and have trouble hearing what the teacher says in other classes. All of these students said
they come to band because EVERYONE learns, not just the “normal,” students.
61
Grading Strategies
A. After a few conversations with my cooperating teacher, she felt more comfortable not
making these weighted grades in the school gradebook. Because of this, I documented the
results of each graded assessment in my own personal records, using excel. I had three
graded assignments: the pre-test, post-test, and in class performance. The pre-test and post-
test were on a rating scale from 1 – 5. A 1 – 3 rating resulted in the student getting the
question incorrect, a 4 – 5 resulted in the student getting the question correct. The pre-test
grades were used to advise me on what measures I wanted to assess in the music. The post-
test grades were highly instructive of how the students did after all ten lessons being taught
and overall how successful the unit was in its entirety.
B. Unit Grades
Student Pretest Posttest Overall

A1 9 24 33/48
A2 8 24 32/48
A3 6 22 28/48
A4 13 24 37/48
A5 12 24 36/48
A6 14 24 33/48
A7 11 24 35/48
A8 12 24 36/48
A9 10 22 34/48
A10 13 23 37/48
A11 17 24 41/48
A12 8 24 32/48
A13 7 21 28/48
A14 6 20 26/48
A15 12 24 36/48
A16 13 24 37/48
A17 14 24 33/48
62
Differentiating Instruction to Meet the Needs of All Students
I differentiated instruction for my unit in various ways. To begin with, I did an interest
inventory at the beginning of the spring semester for all the classes. I took the information from
the 1st period beginning band class and used that insight to develop lessons. I used this
information to my advantage by making references to some of the aspects that students wrote
about. I made a lot of examples out of pop songs they enjoyed and even learned some movie
references. This allowed for a fun and comfortable environment. I had a few students in the class
that are visually impaired, so I would make large drawing on the board for them to see. I
included considered process differentiation, which I found to suit this unit plan very well. It calls
for whole group, small group, individual, and discussion-based experiences. This kind of
differentiated instruction is quintessential for band rehearsal. I also differentiated product. I did
this by rearranging the rehearsal set up. At the end of the rehearsal, I recorded the piece. We
listened to it the next day and it was an entirely different sound. The students found it very
interesting to hear the tubas in the front and flutes in the middle. It was exciting and engaging for
the students.
63
Daily and Overall Reflections
A. Refer to lesson plans, pages 12-38
B. End of Unit Reflections
I truly think this unit went splendidly considering it being my first time genuinely
teaching. I learned copious amounts about my students, my Cooperating Teacher,
assessment, delivery of instruction and about myself. Who I am as a person, musician, my
philosophy and overall educator. This whole experience has been eye-opening. My strengths
through this unit were content and delivery of instruction and knowledge. When I was
teaching I felt confident in my ability to give correct content and deliver the instruction of it
in multiple and creative ways. Through this unit, I even learned how to improve on these skill
and the different ways to go about teaching strategies, assessment and grading.
Some of my weaknesses during this unit was pacing. This also correlated with transitions
and classroom management. Throughout the=is unit plan and really the internship, pacing
was something that I focused on greatly because I struggled in this area. I found myself at
times, taking to long on a topic or rehearsing a specific section. This became a huge issue
during the block period days when I had so much time so I unconsciously took longer to get
through certain aspects of rehearsal. This also influenced classroom behavior. Students
would become rowdy and impatient. Throughout the unit, I worked on this and I do think I
improved but it will be something I continue to work on in the future. What really helped
with pacing was utilizing fun activities during those longer periods. These are just some fun
games and competition I would use every once in a while to keep the students motivated and
engaged.
This process of putting this unit plan together was highly detailed yet self-discovering
and I enjoyed it very much. While the preparation was intense, it allowed me to experience
higher-level thinking on an entirely different scale. This project has urged me to think in such
a systematic and meticulous way that I am not used to. Looking at it from a professional
point of view, it provides the foundation of what quality, structured planning is and how
effective it can be to collect data on your students while allowing you to develop and hone in
our teaching skills. This unit plan in a way felt like professional development, convincing me
to try new tactics and methods that I would not have prior. It also allowed me the safe space
to try, fail, fail again and succeed. which I think is necessary in our field of work. Overall, I
have developed a considerable large appreciation for thoughtful, quality planning and how
each component that we decide to teach, takes thought devoted thought, and it truly makes
me grow to realize how amazing this profession is.
64
Bibliography/Resources/Materials
1. Blocher, L., Barton, G., (Band director),, Cole, E., De Stefano, C., Jackson, C., Taylor, S., . . .
Wilder, M. (2015). Teaching music through performance in middle school band (R. Miles, Ed.).
Chicago: GIA Publications. https://stetson.on.worldcat.org/search?
sortKey=LIBRARY&databaseList=&queryString=middle+school+band&changedFacet=&overri
deStickyFacetDefault=&stickyFacetsChecked=on&selectSortKey=LIBRARY&scope=&format=
all&year=all&yearFrom=&yearTo=&author=all&topic=all&database=all&language=all#/oclc/90
0228413
2. Meyer, S., (Band director). (2018). Rehearsing the middle school band (First ed.). Delray Beach,
Florida: Meredith Music Publications. https://stetson.on.worldcat.org/search?
55261910
3. Blocher, L., Pearson, B., Wilder, M., Fisher, D., Cole, E., & O'Reilly, J. (2001). Teaching music
through performance in beginning band. Chicago: GIA Publications.
https://stetson.on.worldcat.org/search?
3164627
4. Shore, K., Cambridge Educational (Firm), Films for the Humanities & Sciences (Firm), & Films
Media Group (Directors). (2007). Integrating esl students into the classroom [Video file].
Retrieved April 21, 2020.
sortKey=LIBRARY&databaseList=1708%2C638%2C2626&queryString=ell+students&changed
Facet=&overrideStickyFacetDefault=&stickyFacetsChecked=on&selectSortKey=LIBRARY&sc
ope=&format=all&year=all&yearFrom=&yearTo=&author=all&topic=all&database=all&langua
ge=all#/oclc/700409792
5. Tomlinson, C., Brimijoin, K., & Narvaez, L. (2008). The differentiated school : Making
revolutionary changes in teaching and learning (Gale virtual reference library). Alexandria, VA:
Association for Supervision and Curriculum Development. (2008). Retrieved April 21, 2020.
sortKey=LIBRARY&databaseList=1708%2C638%2C2626&queryString=differentiated+instructi
ons+teacher+effectiveness&changedFacet=&overrideStickyFacetDefault=&stickyFacetsChecked
65
=on&selectSortKey=LIBRARY&scope=&format=all&year=all&yearFrom=&yearTo=&author=
all&topic=all&database=all&language=all#/oclc/243604135
6. Laprise, R. (2019). Putting down the baton: Promoting student ownership and independence
through student-led rehearsals. Teaching Music, 27(2), 46-46.
sortKey=LIBRARY&databaseList=1708%2C638%2C2626&queryString=student+led+rehearsal
&changedFacet=&overrideStickyFacetDefault=&stickyFacetsChecked=on&selectSortKey=LIBR
ARY&scope=&format=all&year=all&yearFrom=&yearTo=&author=all&topic=all&database=all
&language=all#/oclc/8356324803
7. Haines, S., & Torres, T. (2016). So we think you can learn: How student perceptions affect
learning. Research in Dance Education, 17(3), 147-160. doi:10.1080/14647893.2016.1204283
sortKey=LIBRARY&databaseList=1708%2C638%2C2626&queryString=student+led+rehearsal
&changedFacet=&overrideStickyFacetDefault=&stickyFacetsChecked=on&selectSortKey=LIBR
ARY&scope=&format=all&year=all&yearFrom=&yearTo=&author=all&topic=all&database=all
&language=all#/oclc/7065576692
8. Morrison, S., Montemayor, M., & Wiltshire, E. (2004). The effect of a recorded model on band
students' performance self-evaluations, achievement, and attitude. Journal of Research in Music
Education, 52(2), 116-129. https://stetson.on.worldcat.org/search?
sortKey=LIBRARY&databaseList=1708%2C638%2C2626&queryString=middle+school+band+
articulation&changedFacet=&overrideStickyFacetDefault=&stickyFacetsChecked=on&selectSor
tKey=LIBRARY&scope=&format=all&year=all&yearFrom=&yearTo=&author=all&topic=all&
database=all&language=all#/oclc/5544601130
9. Florida Standards, CPALMS

https://www.cpalms.org/Public/search/Standardrg/Public/PreviewStandard/Preview/4116
10. Volusia County Curriculum Maps. https://www.vcsedu.org/sites/default/files/department-

files/K-12%20Curriculum/Curriculum%20Maps/MJ%20Band%201.pdf
11. Seminole County Curriculum Maps

https://www.scsedu.org/sites/default/files3321/department-files/K-13%26Curriculum/
20Maps/MJ%20Band%201.pdf
66
Appendices
Table 1: Standards, Goals, and Objectives Table
Unit Title: Beginning Band – Creepy Crawlies

Unit Topic: Measures 7-14
Standards
Unit Goals Objectives
(code & full text)
To be exposed to thinking of 3. Students will be able to Critical Thinking and
their own technique, notes evaluate their own bodies Reflection:
and rhythms as well as to fix posture, hand MU.68.C.2
others. Assessing our own and others
position, embouchure, artistic work, using critical-
and instrument placement. thinking, problem-solving and
as well as discrepancies decision-making skills, is central
between them and their to artistic growth.
section.
4. Students will be able to
identify their own correct
notes and rhythms as well
as their sections.
To perform selected music 3. Students will be able to Skills, Techniques, and

individually and with others play through measures 7 – Processes:
while obtaining the basic 14 with proper technique, MU.68.S.3
fundamentals: technique, correct notes, and Through purposeful practice,
notes and rhythms. artists learn to manage,
rhythms.
master, and refine simple,
4. Students will be able to then complex skills and
play with whole group techniques.
while maintaining, proper
technique, notes and
rhythms.
67
68
69
Table 2: Types of Learning Experiences
Lesson
Type of Learning Experience Objective during this Learning Experience
Number
1 Section and individual Become acquainted with the piece and parts and
administer pre-test
2 Small group, individual playing, whole Become more comfortable with the piece.
section, and whole group
3 Whole group, section Hear correct notes, rhythms and fix fingerings,
especially in woodwinds
4 Small group, individual playing, whole Hear correct notes, rhythms and fix fingerings,
section, and whole group especially in brass
5 Sections, individual playing Break down piece, hear melody and match pitches
6 Small group, individual playing To hear who can play melody, counter melody,
rhythmic section
7 Whole group, Sections Hear what we have worked on as a whole what to listen
for in certain sections.
to record
to record
10 Small group, individual playing, whole Hit certain section, individual issues and to run through
section, and whole group the piece and administer the post-test
70
Table 3: Formative Assessment Table
How does this

Lesson Objective Assessment
Assessment Description assessment guide your
Number (Write code and full text) Name
teaching?
1 Skills, Techniques, Group Listening to students in Identify potential
and Processes, playing woodwinds and brass play dilemma and problems in
their parts for the first time the piece that can help
MU.912.S.2 guide my rehearsal
planning
2 Critical Thinking and Pre-test Rating scale, students I can hear individual
physical form of
MU.912.S.2
3 Skills, Techniques, Section Listening to sections play I can hear if students are
and Processes, correct rhythms and notes. playing correct notes and
Look for correct fingerings. rhythms. Utilizing proper
MU.912.S.2 technique on instrument.
4 Skills, Techniques, Section and Listening for correct notes I can hear if students are
and Processes, Individual and rhythms at the right playing correct notes and
time. Keeping an eye out for rhythms. Utilizing proper
MU.912.S.2 proper technique. technique on instrument.
5 Critical Thinking and Section and Listening to individuals or I can hear if students are
Reflection, Individual sections play challenging playing correct notes and
parts that involve difficult rhythms. Utilizing proper
MU.912.C.2 range or accidentals. technique on instrument.
6 Critical Thinking and Whole Listen to the entire Identify problem spots in
Reflection, ensemble to see what needs the piece that can help
MU.912.C.2 notes and rhythms match planning
across ensemble.
7 Critical Thinking and Whole and Listen to the entire Identify problem spots in
Reflection, Section ensemble to see what needs the piece that can help
MU.912.C.2 Skills, notes and rhythms match planning. Can hear
Techniques, and across ensemble. sections and give them
Processes, Address section issues. feedback
MU.912.S.2
to be addressed. Are we guide my rehearsal
MU.912.C.2 Skills, playing to loud altogether? planning. Can hear
71
MU.912.C.2 Skills, to be addressed. Are we guide my rehearsal
playing to lous altogether? planning. Can hear
10 Critical Thinking and Post-test Rating scale, students I can hear individual
physical form of
MU.912.S.2
Table 4: Impact on Student Learning Summary Table
Number and
Number and Number and
percent of
percent of percent of
Number students with
students at students at
Candidate Grade Unit of Standards learning gains
proficiency proficiency level
Name Level Topic students Taught per standard
after after reteach &
in class (any increase
post-test per reassessment
from pretest to
standard per standard
posttest)
Victoria 6th 7-14 17 MU.912.S.2 17, 100% 24, 100% N/A
Rogers
Victoria 6th 7-14 17 MU.912.C.2 17, 100% 24, 100% N/A
Rogers
72
Table 5: Reteaching and Reassessment Table
Standards Name(s) of Explanation of

Description of Justification of How do you
needing students how reteaching
instructional why particular know
reteaching needing was scheduled
strategy used to strategies were reattaching was
(full code & additional (when/how was
reteach employed successful?
text) instruction reteaching done)
N/A N/A N/A N/A N/A N/A
73
Table 6: Unit Grades
Student Pretest Posttest Overall

A1 9 24 33/48
A2 8 24 32/48
A3 6 22 28/48
A4 13 24 37/48
A5 12 24 36/48
A6 14 24 33/48
A7 11 24 35/48
A8 12 24 36/48
A9 10 22 34/48
A10 13 23 37/48
A11 17 24 41/48
A12 8 24 32/48
A13 7 21 28/48
A14 6 20 26/48
A15 12 24 36/48
A16 13 24 37/48
A17 14 24 33/48
74

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BEGINNING BAND –

Description of Student Population 4

Band. It is made up of 17 students: 8 males and 9 females. The class is predominantly

Hispanic/Latino in ethnicity with 12 Hispanic/Latino students, 3 White students, and 2 African

positive that we can greatly improve.

and phrasing. It is a challenge but an exciting journey!

especially beginners. Using critical-thinking, problem-solving, and decision-making skills, is

pivotal to their musical growth.

2 - Skills, Techniques, and Processes, MU.912.S.2 – Development of skills, techniques

several purposes. Proper instrumental technique is a crucial skill to be able to be successful on

fundamentals will only make their destination a more positive onset.

Unit Title: Beginning Band – Creepy Crawlies

To perform selected music 1. Students will be able to Skills, Techniques, and

Title Creepy Crawlies

• TEMPO: THE SPEED OF A SECTION OF A COMPOSITION OR THE

• STACCATO: INDICATED BY A DOT OVER ORF UNDER THE NOTE.

• SLUR: A CURVED LINE NOTATED ABOVE TWO OR MORE NOTES

• ALLEGRO: CHEERFUL, QUICK OR FAST

• DYNAMIC: HOW LOUD OR SOFT A PORTION OF THE MUSIC IS

• MEZZOFORTE: MODERATELY LOUD, ABBREVIATED

• MEZZOPIANO: MODERATELY SOFT, ABBREVIATED

• TUTTI: ALL, USUALLY PLACED AT THE END OF AN EXTENDED SOLO

• UNISON: TWO OR MORE PERFORMERS PLAYING THE SAME

• TIMPANI STICKS: THIS REALLY MEANS SOFT YARN MALLETS

d) Major Concepts or Skills:

 Ability to count rhythms accurately and independently

C. 10 Rehearsals* (lesson plans start on next page)

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

min - 2 times  Observe if they use their

Post Rehearsal or Lesson Reflections

Reflection on Teaching: Analyze and evaluate your lesson/rehearsal and classroom management.

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

10. 4 note- percussion = pitch 7 note

min  Observe if they use their

Post Rehearsal or Lesson Reflections

Rehearsal or Lesson Adjustment:

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

min  Observe if they use their

Post Rehearsal or Lesson Reflections

Rehearsal or Lesson Adjustment:

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

12. 4 b. Tubas 7 note

min c. Then play all together  Observe if they use their

Post Rehearsal or Lesson Reflections

Rehearsal or Lesson Adjustment:

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

min d. No breath after whole notes at end of 7 note

phrase.  Observe if they use their

Post Rehearsal or Lesson Reflections

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

14. 4 moisture** 7 note

min  Observe if they use their

Post Rehearsal or Lesson Reflections

key signatures from both scales.

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology:

Post Rehearsal or Lesson Reflections

Rehearsal or Lesson Adjustment:

Ensemble or Class: Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

min  - 2 times  Observe if they use their

Post Rehearsal or Lesson Reflections 

Reflection on Teaching: Analyze and evaluate your lesson/rehearsal and classroom management. 

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

10. 4 note- percussion = pitch  7  note 

min   Observe if they use their

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

min   Observe if they use their

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic:  Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

12. 4 b. Tubas 7  note 

min  c. Then play all together  Observe if they use their

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic:  Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

min  d. No breath after whole notes at end of 7  note 

  phrase.  Observe if they use their

Post Rehearsal or Lesson Reflections 

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies  

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

14. 4 moisture** 7  note 

min   Observe if they use their

Post Rehearsal or Lesson Reflections 

key signatures from both scales. 

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Ensemble or Class:  Beginning Band, Period 1  Lesson Topic:  Creepy Crawlies  

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic:  Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

min  correct pitches  Observe if they use their

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 

Ensemble or Class:  Beginning Band, Period 1 Lesson Topic: Creepy Crawlies

Key Vocabulary: Arpeggio, All-state pattern, key Instructional Materials/Resources/Technology: 

min   Observe if they use their

Post Rehearsal or Lesson Reflections 

Rehearsal or Lesson Adjustment: 