Lesson Planning Form for Accessible Instruction Calvin College Education Program

Teacher

Jana Dykhuis

Date

Subject/ Topic/ Theme

Surprise Symphony- Lesson 2

Grade _______4________

I. Objectives
How does this lesson connect to the unit plan?
This is the second lesson in the listening unit on the Surprise Symphony. Knowledge of theme and variation is reinforced by looking at variation 2 and doing
activities centered around major and minor tonality.
cognitiveR U Ap An E C*

Learners will be able to:

Recognize the them and first variation of the Surprise Symphony.

Identify the difference between major and minor tonality.
Use solfege syllables to sing both the major theme and minor variation.
Connect the idea of major and minor to visuals, words, the composer and his time period, their life situations, and
emotions.

R, U
Ap, An, E
R, U, Ap
U, Ap,
An, E

physical
development

socioemotional

X
X

Common Core standards (or GLCEs if not available in Common Core) addressed:

MU:Pr4.2.4a Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, and form) in music selected for performance.
MU:Pr4.3.4a Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre).
MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.
MU:Re7.2.4a Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and context (such as social
and cultural).

MU:Cn11.0.4a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.
(Note: Write as many as needed. Indicate taxonomy levels and connections to applicable national or state standards. If an objective applies to particular learners
write the name(s) of the learner(s) to whom it applies.)
*remember, understand, apply, analyze, evaluate, create

II. Before you start

Identify prerequisite
knowledge and skills.

Students will know routine entrance songs, basic 5-note scale solfege, and be familiar with the theme
and first variation of the Surprise Symphony.
Pre-assessment (for learning):

Review theme and variation through questions and prompts.

Formative (for learning):

Outline assessment
activities
(applicable to this lesson)

Ask guided questions about listening exercises. Evaluate students abilities to echo solfege patterns
and adjust pattern difficulty accordingly.
Formative (as learning):
Summative (of learning):

What barriers might this

lesson present?
What will it take
neurodevelopmentally,
experientially,
emotionally, etc., for your
students to do this lesson?

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Provide Multiple Means of

Representation
Provide options for perceptionmaking information perceptible

Visual Mystery Musician

hints

Aural musical examples

Visual listening map and
rhythms
Aural call and response for
solfege as well as indicated
pitch level through hand
gestures

Provide Multiple Means of Action

and Expression
Provide options for physical actionincrease options for interaction

Opportunities to show pitch

level by pointing on their
bodies or moving hands up
and down in air in
accordance with pitch level.

Provide Multiple Means of

Engagement
Provide options for recruiting
interest- choice, relevance, value,
authenticity, minimize threats

Ask engaging and real-world

questions

Connect major/minor tonality

to emotional responses as
well.

Provide options for language,

mathematical expressions, and
symbols- clarify & connect
language

Use solfege syllables

Use listening map
Read corresponding book

Provide options for comprehensionactivate, apply & highlight

Guide listening with prompts

of what to listen for

Ask connecting questions

Use disguised repetition to
reinforce the theme
Have them choose major or
minor based on tone of the
book

Materials-what materials
(books, handouts, etc) do
you need for this lesson
and are they ready to
use?

How will your classroom

be set up for this lesson?

Provide options for expression and

communication- increase medium
of expression

Answer questions
Echo and sing solfege
patterns
Show pitch level by
pointing on body or in the
air

Provide options for executive

functions- coordinate short & long
term goals, monitor progress, and
modify strategies

While singing solfege

patterns informally assess
their grasp of the tonalities
and modify patterns
accordingly

Provide options for sustaining effort

and persistence- optimize
challenge, collaboration, masteryoriented feedback

Increase or decrease
difficulty of call and
response patterns
While reading book,
slowly decrease aural
prompts from singing the
whole 5-note solfege
pattern to just the resting
tone

Provide options for self-regulationexpectations, personal skills and

strategies, self-assessment &
reflection

Ask them to think in their

heads how they are doing
on major and minor.
Continue practicing.
Review learned concepts
like same and different at
end of lesson

Music (iPod, stereo)

Projector with listening map
Mystery musician clue
Book Fortunately

There is an area to sit around the stereo up front.

The projector displays onto the white board, and the students have a duct tape line to sit
behind.
There is an area to sit around the piano up front.
Curwen hand signs, dynamics, and the mystery musician clues are posted around the room.
Student area to sit on the floor will be clear.

III. The Plan

Time

Components
Motivation
(opening/
introduction/
engagement)

Development
(the largest
component or
main body of
the lesson)

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Describe teacher activities

AND
student activities
for each component of the lesson. Include important higher order thinking questions and/or
prompts.
Meet students in the hall, and bring them
Enter the classroom and go to the stereo
into the classroom to the stereo with the
while singing the Follow Me song.
Follow Me song.
Continue with Lets Sing Hello Together.
Continue with Lets Sing Hello Together.
Greet students and begin with the first
Read first Mystery Musician hint (pinned on
Mystery Musician hint (pinned on a bulletin
board on the side of the room).
a bulletin board on the side of the room).
The hint reads: Hint 2: He was a Classical
musician born in Austria whose nickname
The hint reads: : Hint 2: He was a Classical
became Father of the Symphony.
musician born in Austria whose nickname
Play an excerpt of Farewell Symphony.
became Father of the Symphony.
Guided Listening Questions: 1) What
instrument famil(ies) did you hear? 2) What
Listen to an excerpt of Farewell
do you think the mood was supposed to be?
Symphony.
3)Why do you think it is called the
Answer Guided Listening Questions
Farewell Symphony? 3) What kind of
mood did you feel?

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Tell students that today, we are going to

continue looking at The Surprise
Symphony, which was also written by our
Mystery Musician.
Display the listening map on the projector.
Play the theme on the piano. Remind
students of how we learned same and
different. When it comes to form, ask what
[play theme] is called. Follow along and
refresh their memory on the surprise and the
first variation.
Play the recording of the second variation
for them, and tell them to listen for why
there is a thundercloud on the listening map.
Ask what was different about this variation
in comparison to the theme (major/minor
tonality).
Use call and response to sing various 5-note
solfege patterns in both major and minor,
building up to singing the first two measures
of the theme in both the major and minor
tonalities.
Use solfege syllables: (major: introduce by
singing so-la-so-fa-mi-re-ti-do to establish
tonality.) do-do-mi-mi-so-so-mi and
(minor: introduce by singing mi-fa-mi-redo-ti-si-la to establish tonality.) la-la-dodo-mi-mi-do.
Ask which one they think they would sing if
they were having a good day. How about a
bad day?
Introduce the book Fortunately by Remi
Charlip. Explain that Neds day seems to
switch between the two. After a good day
page, sing the major pattern, and after a bad
day page, sing the minor pattern. Practice
with the title page and next page.
Read book, singing major and minor patterns
after each page. Ask guiding questions to
keep them engaged, like what they think will
happen next or how the tonality connects to
the illustrations.

Breakdown of a lesson:
1. Mystery Musician hint (2min)
2. Listen to piece excerpt (1 min)
3. Guided listening questions
(1.5min)
4. Listening section of Surprise
Symphony (theme and appropriate
variation) on listening map (2min)
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5. Guided listening questions (1.5

Look at listening map

Listen to the theme played on the piano.
Remember the concept of same and
different. Refresh what that is called in
terms of form, and recall the surprise and
first variation.

Listen to the second variation and attempt to

figure out why there is a thundercloud on the
listening map.
Tell what is different about the second
variation (major/minor tonality).

Use call and response to sing the echo of

various 5-note solfege patterns in both major
and minor, building up to singing the first
two measures of the theme in both the major
and minor tonalities.
Use solfege syllables (major: introduce by
singing so-la-so-fa-mi-re-ti-do to establish
tonality.) do-do-mi-mi-so-so-mi. and sing
this together. (minor: introduce by singing
mi-fa-mi-re-do-ti-si-la to establish
tonality.) la-la-do-do-mi-mi-do.
Explain which pattern they would sing if
they were having a good or bad day.

Listen to the introduction of the book

Fortunately by Remi Charlip. Practice
singing major (good days) and minor (bad
days).

Read book, singing major and minor patterns

after each page. Answer guiding questions
to stay engaged, like what they think will
happen next or how the tonality connects to
the illustrations.

Closure
(conclusion,
culmination,
wrap-up)

Refer back to the listening map and

review the theme and two variations.
If needed, play the theme again on the
piano to refresh their memories.
Mention that next time, we will hear
another variation of the Surprise
Symphony. Have them guess what they
think the composer will change this time.

After reading the book, students reflect on

major and minor tonality in terms of use,
emotion, theme and variation, and the like.

Your reflection about the lesson, including evidence(s) of student learning and engagement, as well as ideas for improvement
for next time. (Write this after teaching the lesson, if you had a chance to teach it. If you did not teach this lesson, focus on the
process of preparing the lesson.)
This second lesson of the unit has been what I would call a success for many reasons. First, it leans heavily on the foundation of the
first lesson. This can be a potential barrier if students have not completely grasped the concepts and ideas laid out in lesson 1.
Because of a few slips in memories and such, it took a little time to refresh the information about the Mystery Musician, the ideas of
theme and variation, and what we had already listened to in The Surprise Symphony especially. However, using the Curwen hand
signs with the main theme (do-do-mi-mi-so-so-mi) during the first lesson and again in this lesson was effective because students
seemed to have some kinesthetic memory of the activity. Signing and singing patterns with the solfege syllables improved as the
lesson progressed based on formative aural assessment. Although hand signs can be helpful for many children, some children who try
to do hand signs and sing at the same moment have a harder time grasping one or both of them because of the focus needed. This is a
barrier in that most of the time, the two complement and enrich each other but for some learners, having both is a drawback. Thus the
need for differentiated instruction. While reading the book and singing major and minor patterns, I myself learned the value in
establishing the tonality in conjunction with students inner ear and aural skills before each time we did a pattern. Pacing was a
barrier in that going too slow meant we lost the train of thought in the story. However, too fast would not have served the musical
concepts well, either. Asking them what they thought would happen next was helpful in attention and engagement. Each pattern, I
watched a new student and made notes about how that student was doing with the aural patterns, distinction, and portrayal of
knowledge through singing.

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