For Music Content Standard #3, I have selected artifacts in the form of a lesson plan in which 

my students read a piece for the first time, as well as a lesson in which my students will 
compose a line with accurate notation. 
 
I have chosen the first artifact because it is a great display of how I can start musical literacy in 
my students early. My students are limited in what they can accomplish if they are not literate, 
and this lesson would be the first to open up new doors for them in music. My first lesson plan 
displays the steps I will go through to ensure my students are able to sight­read the piece and 
improving their reading of the piece throughout the lesson. 
 
My second artifact is a lesson in which I will teach my students how to compose a line and write 
it accurately. It is important for my young students to also learn how to properly write music 
because it is another technique for students to grasp notation. The ability to write music at a 
young age would develop their attention to the finer details within music and have an 
understanding of musical concepts to the point where they may utilize them themselves.  
 
 
 Lesson Plan for September 25th, Secondary Observation
Grade Level: 6th
Cooperating Teacher: Devin Burr
Teacher Name: Michelle Rooney

Prior Knowledge (of students):

Students have learned all the concepts behind the piece, however they need reinforcing
as they have only started school and Essential Elements Book #2 in the last few weeks.
Most students are true beginners at their instrument, some may have experience as their
parents may have played the same instrument.
**Since last class:​ Last time we worked on this, students had a lot of trouble with the
rhythms in the first two measures. Notes were also still coming along, especially the
eighth note in measure 2.

Contextual Factors:
Students are in a classroom, not an actual music classroom, so time must be allowed for
setup/breakdown.
Students will have to play in two rows facing each other due to how the classroom is
already set up.
Students will be coming from lunch/recess.
Students will not have had band for one week.

Standards Being Addressed:

Pr.1.N Select varied repertoire to study based on interest, music reading skills (where
appropriate), an understanding of the structure of the music, context, and the technical
skill of the individual or ensemble.
Pr.4.N Use self-reflection and peer feedback to refine individual and ensemble
performances of a varied repertoire of music.

Materials of Instruction:
Whiteboard
Copy of lesson plan
Copy of Trumpet Voluntary - Review Line A, hopefully move to line B
Euphonium for more modeling if desired
Phone/laptop for recording lesson

Lesson Sequence (lessons may have more or less activities as appropriate):

Entry Activity/Transition: Posture

1. Note: My lesson will be starting 20 minutes into the class period
2. Draw​ the first two measures on the board first with the counting underneath it.
3. T: “What’s up guys? Did you have a nice long weekend?”
 a. Students will hopefully say yes. :)
4. T: “Neat. So since it’s the middle of class and we had a long weekend to forget… I think
we need another posture check. Make sure that you and your neighbor have your feet
flat on the floor, that you’re sitting on the front half of the chair, that your backs are
straight, all that good stuff. Give your neighbor a gentle reminder if they need it.”
a. Students check themselves before they wreck themselves.
5. T: “Thanks guys. Same drill as last time, if you realize you or your neighbor are back to
bad habits, give them a gentle reminder. Now let’s move on.

Activity #1 Objective: Students will the rhythms and pitches in the first two measures of
Trumpet Voluntary Line A.
1. First assess where the students are at this week before breaking down the measures.
See if you can clap and count from the beginning.
a. Stop at the first ending and ask where you go.
b. Go to the beginning and into the second ending.
c. If they are still showing signs of struggling with the first two measures, then break
it way down. If they seem to be almost there, then breaking it down as much
might not be as needed.
d. However, still review the breaking down of each part of the song - first two, 1st
ending, 2nd ending.
2. Breakdown begins here: T: “So last time we took a look at Line A. Watch me clap the
first two measures.”
a. Loop this 2x, with a measure of rest after each loop.
b. After the 2x, move closer to the rhythm on the board and clap and count the
rhythm 2x.
c. Repeat more times if necessary
3. T: “Just clap the rhythm with me. I’ll count for us.”
a. Give the students 4 - they clap, you count.
b. Repeat this 4x, giving a short comment after each time. Always give a measure
of rest in between each repeat.
c. Once students are able to clap accurately, move on.
4. T: “Now, I want you to clap and sizzle while I clap and count. Remember to articulate
your slurred eighth notes the same way you would play them.” ​(Demonstrate this)
a. Give another quick reminder that they sizzle, you count, before starting.
b. Repeat this 4x with them. Always give a measure of rest in between each repeat.
c. Once students are able to clap and sizzle accurately, move on.
5. T:” Now, I want you guys to clap and count this rhythm with me. Thank you for staying
focused. We’re almost done with reviewing the rhythm.”
a. Go over the rhythm on the board slowly, pointing to each syllable they say. Do
measure 1 together first, then 2, then combine.
b. Repeat 4x with them, with a measure of rest in between each. Make comments
as needed.
 6. T: “Now before we get to the last part in this activity, please circle your eighth note in
measure 2, then show your neighbor the fingering for it.”
a. Help students as needed. Listen for their discussion, once discussion begins to
get off-topic, bring it back.
7. T: “Bring it back in 3...2...1. Sizzle and digitize the first two measures with me.”
a. You clap while they digitize. Repeat 4x with a measure of rest in between sets of
the 2 measures.
8. T: “One more time. This time, you guys sizzle and digitize, while I count and subdivide
the beat.”
a. Clarify​ again that they sizzle and digitize, while you count and subdivide.​ Model
what each party is doing.
b. Repeat at least 4x, with a measure of rest between the sets of 2 measures.
c. Once students are doing this accurately, move to the next part of the lesson.

Activity #2 Objective: Students will review the entirety of Trumpet Voluntary Line A and
play with correct rhythms and pitches.
9. T: “Great. Now, let’s play only the first two measures of Line A.”
a. Conduct them in 4.
b. If they are making numerous mistakes, try clapping the rhythm along with them.
c. If students are still making numerous mistakes in pitch and rhythm, quickly review
the pitches or subdivide the rhythm again.
d. Keep looping the first two measures until the students can play them accurately.
10. T: “It’s sounding great gang. Now, sizzle and digitize the first ending.”
a. Give 4 for free while you clap and sizzle with them.
b. Listen for errors, stop if you need to clarify something, repeat until you are
satisfied with student accuracy,
11. T: “Great! Now let’s play the first ending.
a. Repeat the first ending and make comments as needed until first ending is
playing accurately.
12. T: “Cool, now let’s put the first two measures and the first ending together. Let’s sizzle
and digitize all of that for a quick review. Remember to sizzle your articulations.”
a. Give 4 for free while you clap and sizzle with them.
b. Repeat and make comments as needed until the first 4 measures are sizzled and
digitized correctly.
13. T: “We’re making great progress. Let’s play the first 4 measures.”
a. Give 4 for free, conduct them in. It would probably help to sing the rhythm along
with them.
14. T: “We’re almost through all of Line A! Sizzle and digitize the second ending.”
a. Give 4 for free while you clap and sizzle with them.
b. Repeat and make comments as needed until the first 4 measures are sizzled and
digitized correctly.
 15. T: “Now let’s play the first ending.
a. Repeat the first ending and make comments as needed until first ending is
playing accurately.
16. T: “We made it through the whole thing! Awesome! Now let’s put it all together. Back at
the beginning, with me. At the end of the first ending, someone raise your hand and tell
me where we go?”
a. Someone will tell you back to the beginning.
b. T: “And at the end of the first two measures the second time through where do
we go?”
c. Someone will tell you to the second ending.
d. T: “Awesome, let’s do it.”
e. Keep them going until you need to regroup. If you need to stop and regroup,
assess what they needed help with, and make a comment and rehearse that part
before going further.
f. They probably just want to play at this point, so see how far they can make it.
Unless they totally get lost, keep them going, then make a general comment as
needed.
g. Rehearse until Line A is performed accurately.

Activity #2 Objective: Students will learn Line B and perform it with accurate rhythms and
pitches.
17. T: “Awesome job so far, thanks for staying with me guys. We’ve made it pretty far so let’s
go ahead and take a look at line B. Line B is identical to Line A in rhythm with the
exception of one measure. Someone raise their hand and tell me what measure this has
a different rhythm.”
a. Someone will say measure 1. Ask them what the difference is.
b. Clarify ​that because it is two half notes, we must hold it out for full value.
c. Model​ this - clap and count this 4x, with a measure of rest in between.
18. T: “So since this line is so similar to Line A, let’s jump ahead and sizzle and digitize the
first two measures.”
a. Count them in with 4, then clap the rhythm and sizzle while they sizzle and
digitize.
b. Listen for mistakes in the sizzling or keys moving too quickly/much indicating a
sudden change in what they think the note is. If it is not accurate, repeat as
necessary.
19. T: “Now sizzle and digitize the first ending in Line B.”
a. Count them in with 4, then clap the rhythm and sizzle while they sizzle and
digitize. Over-exaggerate the claps.
b. Listen for mistakes in the sizzling or keys moving too quickly/much indicating a
sudden change in what they think the note is. If it is not accurate, repeat as
necessary.
20. T: “Now let’s play the first two measures into the first ending of Line B.”
 a. Give 4 for free, conduct them in. It would probably help to sing the rhythm along
with them.
b. Count along with the first measure loudly so they can further internalize holding
the two half notes for full value. (1--3--)
c. Repeat as necessary until performed accurately.
21. T: “Now sizzle and digitize the second ending in Line B.”
a. Count them in with 4, then clap the rhythm and sizzle while they sizzle and
digitize.
b. Listen for mistakes in the sizzling or keys moving too quickly/much indicating a
sudden change in what they think the note is. If it is not accurate, repeat as
necessary.
22. T: “Now let’s play the second ending of Line B.”
a. Give 4 for free, conduct them in.
b. Repeat as necessary until performed accurately.
23. T: “Well heck gang we’ve played it all, now let’s put it all together. Back to the beginning
of Line B, remember to take your repeats.”
a. Keep them going until you need to regroup. If you need to stop and regroup,
assess what they needed help with, and make a comment and rehearse that part
before going further.
b. They probably just want to play at this point, so see how far they can make it.
Unless they totally get lost, keep them going, then make a general comment as
needed.
c. Rehearse until Line B is performed accurately.

Assessment:
Can students maintain correct posture throughout a majority of the class period?
Can students assess the posture of their peers and explain to them what they need to
change?
Can students demonstrate playing correct accidentals/fingerings with minimal guidance
in Line A?
Can students sizzle and clap rhythms with at least 95% accuracy in Line A?
Can students digitize notes and sizzle rhythms with at least 90% accuracy in fingerings
and rhythms in Line A?
Can students play each chunk within Line A of Trumpet Voluntary with at least 85%
accuracy?
Can students play through Line A of Trumpet Voluntary with at least 80% accuracy?
Can the students self-assess their mistakes and correct them?
Can students identify difficult accidentals/fingerings within Line B with some guidance?
Can students sizzle and clap rhythms with at least 90% accuracy in Line B?
Can students digitize notes and sizzle rhythms with at least 85% accuracy in fingerings
and rhythms in Line B?
 Can students play each chunk within Line B of Trumpet Voluntary with at least 80%
accuracy?
Can students play through Line B of Trumpet Voluntary with at least 75% accuracy?

Transition/Closure:
1. T: “Awesome job today guys!! Next week we will review some more on this piece and
(whatever else you didn’t get to.) Put everything back to where it needs to be and pack
up quickly and quietly. And, have a great day!!”
PRACTICE LESSON 6 
 
 
Objectives:  
Using standard notation, students will compose a line in 6/8, with a form of ABA, coda, and 
accurate rhythms. 
 
Students will be reading notation for  Row Your Boat  and writing accurate notation for their 
composition.  
 
Standards Being Addressed:  
MU:Cr2.1.5b Use standard and/or iconic notation and/or recording technology to document 
personal rhythmic, melodic, and two­chord harmonic musical ideas. 
 
Materials of Instruction: 
Pitched/unpitched instruments 
Manuscript paper 
Row Your Boat  Notation 
 

 
 

Practice Lesson 6 Sequence 
Warm­up:  Students will play “rhythm telephone”. Have students stand in a circle touching 
hands. T makes up a short, one­bar rhythm. The T passes the rhythm around the room by 
tapping finger to palm of the next student, and they go on to the next student, and so forth. The 
object of the game is to send the rhythm around the room without it changing. Have students try 
to create rhythms and pass them around one at a time. T will assess and provide guidance as 
needed. 
 

49 
Activity #1  ­ Reviewing the song 
1. Have students sit in their designated spots by the board where they can all see the 
projector slide with the notation clearly.  
2. Instruments are spread out in groups in the room ahead of time. (All barred together, 
percussion together) 
3. T: “We are going to revisit a song we’ve already learned and create a composition. Join 
me when you recognize my song.” 
a. T begins to sing  Row Your Boat . T will sing it twice so that way all students can 
join from the beginning again. 
4. T will put notation up on the board. T will sing it again with hand signs. T will then ask 
students to sing it with the T again with hand signs. 
5. T will then split the class into 4 groups and review a 4­part round.  
6. Students will try performing the 4­part round and will repeat as necessary. 
7. T will give feedback as necessary. 
 
Assessment:  Can students sing accurate rhythms and pitches from notation in a round with at 
least 90% accuracy? 
 
Activity #2  ­ Constructing a form outline 
1. T: “Let’s make a roadmap for our composition.” 
a. On the board, T will write out the following parts. 
2. T: “We want to sing our melody first, so let’s call that A.” 
a. T: “What should we sing after the melody?” (any different line) 
3. T: “Let’s call the new and different section the B section. Now, once we sing our B 
section, what could we do to bring back our melody?” (Return to the A section) 
a. T: “Great! So far, we have an A section, a B section, and a repeat back to A. 
Together, our form so far is ABA.” 
4. T: “Now, I think we could end our song with something that combines a little bit from both 
sections, so let’s call that the coda.” 
a. T will inform students about the definition of a coda. 
5. T: “For our composition we need instruments to use to create harmony. What would be a 
good instrument to use?” (any of the barred instruments) 
6. T: “And what should we use to add different rhythms to our piece?” (unpitched 
percussion) 
7. T will write the following instrumentation on the board. 
a. T: “During our A section we will use our voices and barred instruments.” 
b. T: “During the B section, could we continue the accompaniment and add 
unpitched percussion?” 
i. If students feel like this is too daunting or challenging, it’s okay if they say 
no. If that is the case, have percussion only. 
c. T: “When we return to our A section, let’s go back to voices and barred 
instruments since we’ve done that already.” 
d. T: “Now for our coda, I would like us to use barred AND unpitched percussion.  

50 
 
Assessment:  Are students engaged in the process? Did they ask additional questions and give 
opinions on the subject? 
 
Activity #3  ­ Students create a composition 
1. Three types of barred instruments and three types of unpitched percussion will be 
spread out around the room, with the barred instruments close to each other and the 
percussion close to each other. 
2. Manuscript paper will be at each instrument. 
3. T: “I will give you 30 seconds to walk quietly to your instrument of choice. Go.” 
a. Students will move quickly to their spots. 
4. T: “You will compose a line that is as long as “Row, row, row your boat, gently down the 
stream”. How many measures is that?” (4 measures) 
5. T: “Now, barred instruments, make sure we are following our key. If a note sounds funny, 
it’s probably because it’s not in the key. I want you to focus on rhythm, not melody. Try to 
do more with less notes.” 
6. T: “Percussion, I would like you to create a line that makes you think of water or boats. If 
you have trouble coming up with rhythms, try saying different words related to water or 
boats and putting the words to rhythms.” 
7. T: “Please write down your composition once you have it completed. All the names in 
your group go on your composition. If you need help or you’re not sure how to write it, 
raise your hand and I will help you.” 
8. Students will then have work time. T will walk around and provide feedback as 
necessary.  
9. Once T has assessed that all students have completed the composition, T will bring the 
class back together and have each group demonstrate the composition. 
a. T will give feedback after each group and state something good about what they 
did. 
10. T: “Wonderful work today boys and girls. Now let’s put it all together!” 
a. All groups perform their composition together.  
b. If time, try to repeat the song at least twice. 
c. T will provide feedback and guidance after each performance as necessary. 
11. If time allows, students will switch instruments and create another composition for their 
new instruments, using the same scaffolding used above.  
 
   

51 
Assessment:  Rubric 
Tasks  0 pts  5 pts  10 pts  Total 

Group work  Students chose  Student worked with the  Student worked with   

not to participate in  group but did not  the group and 
their group.  contribute ideas and  contributed ideas in a 
argued.  way that was 
supportive of others’ 
ideas. 

Rhythmic  Student could not  Student kept a steady  Student performed   

performance  keep a steady beat  beat but did not perform  rhythms with at least 
or perform  rhythms with at least  90% accuracy. 
accurate rhythms  90% accuracy. 
in 6/8 time. 

Notation in  Student did not  Student turned in  Student turned in   

6/8  turn in notation.  notation but it contained  notation with at least 
enough errors that it  90% accuracy.  
was not at least 90% 
accurate, or it was 
unfinished. 

      Final total:   
 
Song Analysis Table:  R
  ow Your Boat 
Tone Set  drmfsd 

Range  P8 

Rhythm Set 

,  ,  

Form  AB 
 
   

52 
A Song’s Pedagogical Use Table: 
Melody  The song is one that should be familiar to most students, so melody will not take 
very long to identify. There are some skips but it outlines a triad. The only leap is 
from sol to do to sol, and everything else is stepwise. 

Rhythm  The rhythms do change in each line although they are repetitive. The rhythms 
may prove a problem for some students, especially the constant eighth notes. 

Other  Since the piece is probably well­known by most students, the teacher must assess 
from the beginning how much reteaching or introducing must actually be done. 
 
 

53