Impact on Student Learning: 5th Grade Orff Ensemble

Unit Objectives

 VA SOL 5.3.4 The student will play a variety of pitched and nonpitched instruments
alone and with others, including demonstrating proper playing techniques.
 VA SOL 5.4 The students will perform rhythms of increased complexity, including
syncopations.
 VA SOL 5.14 The student will collaborate with others to create a musical presentation
and acknowledge individual contributions as an integral part of the whole.
Pre-Test

My overall task to achieve in 120 minutes of instruction spread over the course of four
lessons in six weeks, was to teach students how to play two phrases of music on Orff instruments
in preparation for their spring concert. Ideally, I would assess the learners’ abilities to sight-read
the music, and sketch out my lesson plans from there. However, the learners were unfamiliar
with reading notation. Under these circumstances I found creating a fair and applicable
assessment to be quite challenging. Teaching by rote is not a problem. But, how can I assess
students’ capabilities on a new piece of music when they cannot sight-read?
Upon analyzing the music, I found that measures 1, 2, 3, 5, 6, and 7 have the same
rhythm (Rhythm #1), and follow a simple melodic pattern. I realized I only had to teach a
repetitive section of music, two other measures of music, piece together the phrase, and then
teach the D.C. Al Fine for the students to return to a portion of the piece they learned prior to my
arrival.
I decided to assess how well the students could echo rhythms, and find pitches on their
own, to determine whether or not I should expect learners to be able to echo my rhythms, and
look at a color coded sheet of paper with letter names on it to find their own pitches during my
lessons. Additionally, I wanted to assess their fundamental playing abilities, and whether or not
they knew what D.C. Al Fine meant.

Rubric
Learner: Part: S A B Date Assessed: Score: ___/33
Advanced Accomplished Developing Beginner
4 3 2 1

Learner clapped Learner mostly Learner rarely Learner did not

Rhythm #1 the rhythm clapped the rhythm clapped the clap the rhythm
accurately. accurately (1-2 rhythm recognizably.
mistakes). accurately (3-4
mistakes).

Learner clapped Learner mostly Learner rarely Learner did not

Rhythm #2 the rhythm clapped the rhythm clapped the clap the rhythm
accurately. accurately (1-2 rhythm recognizably.
mistakes). accurately (3-4
mistakes).

Learner found Learner found two Learner found Learner did not
Pitches #1 the pitches of the pitches one of the find the pitches
pitches

Learner found Learner found two Learner found Learner did not
Pitches #2 the pitches of the pitches one of the find any of the
pitches pitches

The learner The learner mostly The learner The learner did
Steady consistently played with a steady played some not play in a
Tempo played with a tempo (hesitation on notes in a steady recognizable
steady tempo. 1-3 notes; minimum tempo. steady tempo.
fluctuation).

Learner Learner mostly uses Learner rarely Learner never

consistently uses proper stick grip. uses proper stick uses proper stick
Stick Grip proper grip. grip.
stick grip.

Learner is Learner is Learner is rarely Learner never

Alternating consistently sometimes alternating alternates sticking
Mallets alternating alternating sticking sticking
sticking
 Learner is Learner is Learner is rarely Learner is never
Bouncing consistently sometimes bouncing bouncing the bouncing the
Mallets bouncing the the mallets on the mallets on the mallets on the
mallets on the bars bars bars
bars

Learner could indicate the road map correctly (1 point): yes no

Additional Comments:

Pre-Test Results

20 students were pulled out of class one at a time to be assessed individually. Their
individual results are available on a google docs sheet upon request. Class and section averages
are as follows:

Category Class Bass Alto Soprano

Rhythm #1 2.95 2.43 3.67 2.86
Rhythm #2 3.95 3.86 4 4
Pitches #1 4 4 4 4
Pitches #2 4 4 4 4
Steady Tempo 3.55 3.57 3.50 3.57
Strick Grip 1.625 1.57 1.58 1.71
Alternating Mallets 2.85 2.36 3.33 2.93
Bouncing Mallets 2.35 2.36 2.42 2.29
Road Map (D.C. Al Fine) 0 0 0 0
Total 25.28 24.14 26.50 25.36

With these results, I synthesized that learners could echo rhythms with a large degree of
success as indicated by Rhythm #2 results. However, either Rhythm #1 was more difficult, or
there was a small learning curve to the Pre-Test. Additionally, students could find pitches by
themselves, and their steady tempo was also strong. Furthermore, many learners demonstrated
poor mallet technique, and no one knew how to follow the D.C. Al Fine.
 Unit Plan

My cooperating teacher and I decided I should plan to teach a full class, followed by two
half classes, and end with a full class. However, if school days were missed due to weather, I
would have to do the Post-Test in place of the fourth lesson. Additionally, this lesson series
would be spread out over four weeks due to the school’s 12-day rotation, and holiday break
schedule.
I decided a good plan would be to teach Rhythm #1 the first lesson to conquer the entire
phrase with the exception of two measures in the first full class, teach the final two measures in
the second lesson, and then review everything as well as teach the D.C. Al Fine in the third
lesson. That way the entire section of music would be taught before holiday break, and in three
lessons, to either give me a fourth lesson to review, or administer the Post-Test depending on
weather.

Lesson 1: 5th Grade - Jamaica Jazz Lesson 1 (40 mins)

I. OVERVIEW: This plan is intended to introduce part B of Jamaica Jazz

II. LEARNING OBJECTIVES:
a. SOLs:
i. 5.3.4 The students will play a variety of pitched and nonpitched
instruments alone and with others, including demonstrating proper playing
techniques.
ii. 5.4 The students will perform rhythms of increased complexity, including
syncopations.
b. What am I doing today?: Learning part B of Jamaica Jazz
c. Why am I learning this? : To prepare for the concert
d. How will I know that I have learned it?: When I can play all of the pitches with
proper playing technique
III. PROCEDURES:
a. Learners on risers
i. Teacher claps the rhythm Ta Ti Ta Ti Ta for class to echo
ii. Teacher asks learners to pat on their leg that rhythm as Right RL LR
 iii. Teacher claps bass part overtop of the ensemble clapping Ta Ti Ta Ti Ta
and asks basses to switch to the new rhythm.
b. Learners move to instruments
i. Learners find first two notes and practice Right RL LR
ii. Learners find next measure of notes and practice R RL LR
iii. Learners practice playing measures 7 and 8 together
iv. Learners play green wait green wait
v. Learners find next measure of notes and practice R RL LR
vi. Learners practice green black wait
c. Learners put instruments away and play Pass the Beat Around the Room

Lesson #1 Reflection: The learners took significantly longer than I expected to learn what I

deemed to be an extremely simple part. I thought we would spend 30 minutes or less learning

Jamaica Jazz, and then have 10 minutes left to play “Pass the Beat Around the Room”. Instead,

only one out of six classes played the game at all. I realized I needed to revise my plan. Instead

of teaching the first and second endings in Lesson 2, I decided the students would be best served

reviewing the notes they learned for Lesson 1, in conjunction with being introduced to the D.C.

Al Fine.

Lesson #2: 5th Grade - Jamaica Jazz Lesson 2 (20 mins)

I. OVERVIEW: This plan is intended to be a continuation of learning part B of

Jamaica Jazz
II. LEARNING OBJECTIVES:
a. SOLs:
i. 5.3.4 The student will play a variety of pitched and nonpitched
instruments alone and with others, including demonstrating proper playing
techniques.
 ii. 5.14 The student will collaborate with others to create a musical
presentation and acknowledge individual contributions as an integral part
of the whole.
b. What am I doing today?: Learning D.C. Al Fine and Fine
c. Why am I learning this?: To play Jamaica Jazz
d. How will I know that I have learned it?: When I can play the road map of
Jamaica Jazz utilizing proper playing techniques
III. PROCEDURES:
a. Learners on risers
i. Strategically sit learners in sop/alto/bass
ii. Review Green and Black
iii. Introduce D.C. Al Fine and Fine
iv. Pass out sheet music for learners to see
v. Reinforce the roadmap and steady beat
b. Learners move to instruments
i. Green Back Wait
ii. Learn Teal
iii. Add teal to color pattern
c. Extension #1: Purple Yellow Purple Wait, Green Black Green Wait, Purple
Yellow Purple Wait
d. Extension #2: Learners put instruments away and play Pass the Beat Around the
Room

Lesson #2 Reflection: Only one class needed Extension #1. For the most part, the entire class

time was utilized reviewing the music, and introducing the D.C. Al Fine. I was hoping more

classes would get to Extension #1 because it really enforces the larger scope of the piece, but

once again it took longer than anticipated to get through the main lesson. Fortunately, I am on

track to finish what I set out to do in three classes. However, I have not had as much time to

solidify the music the way I intended, nor have I really harped on mallet technique. I feel torn
between teaching notes and rhythms for a concert, and teaching mallet technique for overall

musicianship, and to demonstrate that I am an effective teacher through my Post-Test results.

Lesson #3: 5th Grade - Jamaica Jazz Lesson 4 (40 mins)

I. OVERVIEW: This plan is intended to be a continuation of learning part B of

Jamaica Jazz
II. LEARNING OBJECTIVES:
a. SOLs:
i. 5.3.4 The student will play a variety of pitched and nonpitched
instruments alone and with others, including demonstrating proper playing
techniques.
ii. 5.4 The students will perform rhythms of increased complexity, including
syncopations.
b. What am I doing today?: Learning the first and second endings of Jamaica Jazz
c. Why am I learning this?: To prepare for the concert
d. How will I know that I have learned it?: When I can play all of the pitches with
proper playing technique
III. PROCEDURES:
a. On risers:
i. Introduce m. 10 rhythms
1. Sopranos: ti ti ta ti ti ta
2. Altos: ti ti ta ti ti ta
3. Basses: ta ti ti ta sh
b. On instruments:
i. Find pitches
ii. Play m. 10 together
iii. Rehearse as needed
iv. Combine chunks of known music
v. Teach m. 12
1. Sopranos: same rhythm
 2. Altos: ta ta ta
3. Basses: ta ti ti ta ta
vi. Rehearse as needed
vii. Rehearse all of Part B of Jamaica Jazz
c. Extension: Rehearse road map/all of Jamaica Jazz

Lesson #3 Reflection: Every class got through the entire lesson, but there was a significant

amount of differentiation that occurred for each individual class in the moment based on need.

One class had an assembly during most of music, so this resulted in having 15 minutes to teach

what was intended to be a 40 minute lesson. Even so, we learned the parts. The other classes

benefited from more rehearsal time, but big picture only 24 out of 150 students will play this

piece of music in the performance, and they will have plenty of time to rehearse the piece until

they are comfortable with it before then.

Post-Test Results

Class and section averages are as follows:

Category Class Bass Alto Soprano
Rhythm #1 3.85 3.50 4 4
Rhythm #2 4 4 4 4
Pitches #1 4 4 4 4
Pitches #2 4 4 4 4
Steady Tempo 3.90 4 4 3.71
Strick Grip 2.65 2 2.71 3.14
Alternating Mallets 3.45 2.33 4 3.86
Bouncing Mallets 3.65 3.5 3.57 3.86
Road Map (D.C. Al Fine) 0.50 0.50 0.57 0.43
Total 30 27.83 30.86 31

Students’ total scores increased on average by 4.73 points. The biggest difference was in stick
grip which increased on average by 1.03 points. Unfortunately, Learners 2, 6, and 8 took their
Pre-Test and Post Test on different instruments, so I cannot accurately showcase the section
averages, but the class differences are as follows:

Category Class
Rhythm #1 +0.9
Rhythm #2 +0.05
Pitches #1 0
Pitches #2 0
Steady Tempo +0.35
Strick Grip +1.03
Alternating Mallets +0.6
Bouncing Mallets +1.3
Road Map (D.C. Al Fine) +0.5
Total +4.73

Evidence to the Extent of Student Growth

Besides in identifying pitches, where each student received maximum points on the Pre-
Test, the learners improved on every aspect of the assessment. I had concerns regarding the stick
grip, alternating mallets, and bouncing mallets components because I felt I did not spend enough
time reinforcing those fundamentals. However, to my pleasant surprise, the average learner
increased their stick grip and bouncing mallet techniques by over a point.
I do feel badly about the basses having the lowest Post-Test averages, and the least
amount of improvement overall, because this could have been due to having them set-up in the
back of the room. It makes sense that I more readily corrected Sopranos and Altos because they
were closer to me.
Evidence of Attempts to Assess Ongoing Instruction

My initial sketch for what I expected each lesson to cover evolved significantly due to the
students’ abilities and readiness levels. Most of these details are in my Lesson Reflections
embedded in the Unit Plan section of this document, but something I did not already cover was
my consideration for the students’ lack of steady pulse.
There were constant problems in rehearsal with a lack of ensemble cohesion due to
individuals and sections speeding up, and generally not playing together. This caught me by
surprise because the students’ scored relatively well on the Steady Beat portion of the Pre-Test.
So, while good intentioned, I realize now that assessing the steady beat of a single measure is
pretty worthless.
To combat the students’ pulse difficulties, I tried playing with a metronome, looping
measures, asking learners’ to pat their chests, had some learners click the steady beat on rhythm
sticks while everyone else played, and more. Nothing sparked an Ah Ha moment, and eventually
I stopped conducting, and gave in to them playing at their own speed because they had more
success playing together when I was not insisting upon a slower pulse.
While I am not proud of this fact, I feel that several steps were missed prior to my arrival
that set the learners up for failure. With my own students I would not have even attempted to
rehearse instrumental part work until they were capable of maintaining a steady beat. I would
have movement lessons beforehand for them to feel the pulse, and then later use movement for
learners’ to demonstrate to me that they understand what a steady beat entails. I think for many
people it is much easier to see part work than to hear it, and it is vital to appeal to different
modes of learning for differentiation purposes.
Ideas on Improvement for Future Use

Presumably if I rotated which sections were closest to me the basses would have scored
higher. In the future, I should consider alternating the physical space of the room, and/or
walking in-between the sections more to hear and see different students.
Additionally, I struggled quite a bit in my preparation stages with what this lesson series
could be if the circumstances were different, and what was smart to do given the situation. I
would have loved to incorporate Music Theory/Literacy standards, more Analysis, Evaluation,
and Critique standards, and the movement and improvisation portions of the Performance
standards. I also would have thoroughly enjoyed leading discussions on VA SOL standard 5.15,
and on the title “Jamaica Jazz”, and what cultural elements they heard or thought were missing
from the piece based on that title.
However, in most situations there is a difference between what you could do, and what
you should do given what your learners’ abilities and needs are, as well as time restrictions that
you have. In practice, teachers have to prioritize and personalize, and that reality was my biggest
take-away from this experience.