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B E G I N W I T H T H E E N D I N M I N D U s i n g B a ck wa r d D e s i g n t o B u i l d S e q u e n t i a l E l e m e n t a r y M u s i c To begin with the end in mind means to start with I n s t r u c t i o n a clear

  1. B E G I N W I T H T H E E N D I N M I N D U s i n g B a ck wa r d D e s i g n t o B u i l d S e q u e n t i a l E l e m e n t a r y M u s i c To begin with the end in mind means to start with I n s t r u c t i o n a clear understanding of your destination. It means to know where you're going so that you better understand where you are now and so that the steps you Heather Nelson Shouldice 
 Eastern Michigan University take are always in the right direction. hshouldi@emich.edu —Stephen R. Covey www.everydaymusicality.com/resources 1 2 Understanding by Design (Wiggins & McTighe) • What do students need to know and/or be able to do Identify desired results. in order to be successful with this goal? • How can I break this up into smaller sequential learning goals over time so Determine acceptable evidence. that each step prepares students for the next? Plan learning experiences. EFFORTLESS LEARNING, NOT EFFORT-FULL! 3 4

  2. PRINCIPLE 1 E N D G OA L ? • ART.M.I.6.5 Sight read basic melodies in SOUND treble or bass clef, using combinations of whole, half, quarter, and eighth notes and rests; in simple meter. SIGHT 5 6 PRINCIPLE 1 SOUND Patterns on neutral syll. SYLLABLES Perform & label function SIGHT Read with syllables THEORY 7 8

  3. 9 10 PRINCIPLE 1 PRINCIPLE 2 “Rote” is not a dirty word! SOUND Patterns on neutral syll. SYLLABLES Perform & label function Rote learning is a SIGHT necessary readiness for Read with syllables THEORY generalization! 11 12

  4. E X A M P L E S O F G E N E R A L I Z AT I O N • Associating solfege/syllables to new music/patterns. • Reading unfamiliar music/ patterns. • Writing unfamiliar music/ patterns (i.e., taking dictation). • Identifying the tonality or meter of a new song. 13 14 PRINCIPLE 2 PRINCIPLE 3 “Rote” is not a dirty word! “Vocabulary” and Context are also readiness for Improvisation/Composition! Rote learning is a VOCABULARY CONTEXT necessary readiness for TONAL: tonal patterns sense of resting tone generalization! RHYTHM: rhythm patterns sense of macro/microbeat 15 16

  5. “Skill Learning Sequence” Framework C U R R I C U L U M M A P P I N G D I S C R I M I NAT I O N I N F E R E N C E L E A R N I N G L E A R N I N G AU R A L / O R A L 1)Gather tools to inform the process. G E N E R A L I Z AT I O N V E R BA L A S S O C I AT I O N ✓ MI Standards PA RT I A L S Y N T H E S I S C R E AT I V I T Y / ✓ National Standards I M P R OV I S AT I O N ✓ District curriculum S Y M B O L I C A S S O C I AT I O N ✓ Sequence of a specific approach? (MLT, Kodaly, T H E O R E T I CA L C O M P O S I T E S Y N T H E S I S U N D E R S TA N D I N G Orff, Conversational Solfege, etc. www.everydaymusicality.com/podcast 17 18 C U R R I C U L U M M A P P I N G C U R R I C U L U M M A P P I N G 3)Look at the big picture across grade 2)Create a document for every grade level. levels. K ✓ What are your main priorities and/or significant K 1st 2nd 3rd 4th 5th milestones for each grade level? ✓ Working backward, how might skills/concepts be structured in earlier grade levels that will provide readiness for priorities/milestones in later grade levels? 19 20

  6. Grade 2 Curricular Goals Grade 2 Curricular Goals • Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable) • Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable) • Review posture, instrument etiquette • Review posture, instrument etiquette C U R R I C U L U M M A P P I N G C U R R I C U L U M M A P P I N G • Review Laban movement • Review Laban movement • Movement stories ( à create movement stories) • Movement stories ( à create movement stories) • Review duple/triple meters, M/m patterns, patterns with syllables • Review duple/triple meters, M/m patterns, patterns with syllables • Review Major/Minor tonalities, RT with solfege • Review Major/Minor tonalities, RT with solfege • Reinforce/assess Macrobeat/microbeat (each & simultaneous) • Reinforce/assess Macrobeat/microbeat (each & simultaneous) • Create movement with partner • Create movement with partner 4)Then look within each grade level. 4)Then look within each grade level. • Review call & response • Review call & response • Review ostinato à create rhythmic ostinati (without & with syllables) • Review ostinato à create rhythmic ostinati (without & with syllables) • Review AB, ABA form • Review AB, ABA form ✓ How might skills/concepts be sequenced across ✓ How might skills/concepts be sequenced across • Review circle dances/dance readiness • Review circle dances/dance readiness • Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1, • Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1, the school year? What readinesses can be built in the school year? What readinesses can be built in 3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 4C1, 7A1, 7A2 4C1, 7A1, 7A2 the earlier part of the school year that will set • Introduce Major/minor tonic/dominant patterns, patt. w/syllables the earlier part of the school year that will set • Introduce Major/minor tonic/dominant patterns, patt. w/syllables • Division/elongation patterns in duple/triple • Division/elongation patterns in duple/triple • Unison v. Harmony- identify and perform • Unison v. Harmony- identify and perform students up for success with later goals in that students up for success with later goals in that • Tonic/dominant ostinati & root melodies – singing & instruments • Tonic/dominant ostinati & root melodies – singing & instruments • Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root • Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root grade level? grade level? melodies melodies • Review phrases à create answer phrases • Review phrases à create answer phrases • Improvise rhythmic answers in the style given • Improvise rhythmic answers in the style given ✓ Once you have a general “flow” for each grade ✓ Once you have a general “flow” for each grade • Creativity/Improv. on functions (M/m, D/e) in duple/triple • Creativity/Improv. on functions (M/m, D/e) in duple/triple • Create in AB & ABA form • Create in AB & ABA form level, map out the timeline for the entire year (by level, map out the timeline for the entire year (by • Melody begins/ends on resting tone. • Melody begins/ends on resting tone. • Shape of a melody (steps, leaps, repeats, skips) • Shape of a melody (steps, leaps, repeats, skips) months or quarters, etc.). months or quarters, etc.). • Create/improvise simple melodies • Create/improvise simple melodies • Create tonal patterns (without & with solfege) • Create tonal patterns (without & with solfege) • Crescendo/decrescendo • Crescendo/decrescendo • Verse/Refrain, Strophic form • Verse/Refrain, Strophic form Describe the effect expression has on music Describe the effect expression has on music 21 22 Instrument ID: Oboe, French Horn, Bassoon, Timpani Instrument ID: Oboe, French Horn, Bassoon, Timpani Grade 2 Curricular Goals • Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable) h s h o u l d i @ e m i c h . e d u • Review posture, instrument etiquette C U R R I C U L U M M A P P I N G • Review Laban movement w w w. e v e r y d a y m u s i c a l i t y. c o m • Movement stories ( à create movement stories) • Review duple/triple meters, M/m patterns, patterns with syllables • Review Major/Minor tonalities, RT with solfege • Reinforce/assess Macrobeat/microbeat (each & simultaneous) • Create movement with partner 4)Then look within each grade level. • Review call & response • Review ostinato à create rhythmic ostinati (without & with syllables) • Review AB, ABA form ✓ How might skills/concepts be sequenced across • Review circle dances/dance readiness • Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1, the school year? What readinesses can be built in 3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 4C1, 7A1, 7A2 the earlier part of the school year that will set • Introduce Major/minor tonic/dominant patterns, patt. w/syllables • Division/elongation patterns in duple/triple • Unison v. Harmony- identify and perform students up for success with later goals in that • Tonic/dominant ostinati & root melodies – singing & instruments • Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root grade level? melodies • Review phrases à create answer phrases • Improvise rhythmic answers in the style given ✓ Once you have a general “flow” for each grade • Creativity/Improv. on functions (M/m, D/e) in duple/triple • Create in AB & ABA form level, map out the timeline for the entire year (by • Melody begins/ends on resting tone. • Shape of a melody (steps, leaps, repeats, skips) months or quarters, etc.). • Create/improvise simple melodies • Create tonal patterns (without & with solfege) • Crescendo/decrescendo • Verse/Refrain, Strophic form Describe the effect expression has on music 23 24 Instrument ID: Oboe, French Horn, Bassoon, Timpani

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