Matthew

Scott
3422 Anderson Avenue
Manhattan, KS 66503
785-317-4482
tubamattscott@gmail.com

December 11, 2017

Dr. Payne
Academic Advisor
Louisburg High School

1501 Goldstein Cir,

Manhattan, KS 66506

Dear Dr. Payne:

I am writing in response to your advertisement in kansasteachingjobs.com for the assistant band

director position. Based on the requirements listed in the ad, I feel that my skills and experience is a
perfect match for this position. I am interested in this position because I have heard great things
about the band program at Louisburg High School, and I believe I can continue to grow the band
program.

One of my favorite things about the band program is the Positive Patriotism. I think it is crucial that
we teach our students to not only be successful musicians, but good people as well. There is more to
band than notes on a page; and your program is a prime example of teaching students to become
good people. Another plus about your program is the support of the school and community. I have
been in a high school and college band that has had terrific support from the community. I have
always appreciated the positive relationship between my band programs and my community, and my
goal is to keep that good relationship prosperous and ever growing.

I have enclosed my resume for your review. I will place a call to the Human Resources department in
two weeks to ensure that you have received my rsum and answer any further questions. Thank
you for your time.

Sincerely,

Matthew Scott

Enclosures: Rsum

1
Matthew Scott
3422 Anderson Avenue, 66503
T785-317-4482 tubamattscott@gmail.com
http://tubamatt.weebly.com/

It is my goal as a music educator to teach students valuable life skills as well as teaching the
importance of music and the arts.

Worked with children at the First Presbyterian Church June 2016

Shadowed a middle school/assistant high school band director for a week January 2014

International Tuba and Euphonium Conference 2014, 2016z

Regional Tuba and Euphonium Conference 2017

Lions Band Camp counselor June 2014

Kansas State University Music Camp counselor June 2014-2016
Kansas State Concert Band Clinic Assistant January 2014-2017
Kansas State University Tubaphonium Festival March 2014, 2015, February 2017

Kansas State University Band Ambassador 2014-2015

Kansas State University Wind Ensemble 2014-2017

Kansas State University Orchestra 2017

Lesson with Daniel Perantoni, Sam Pilafian 2016

Lesson with ystein Baadsvik, Fritz Kaenzig, Daniel Perantoni 2017

Manhattan High School Graduated May 2013

Kansas State University Anticipated Graduation May 2018

I work well with others

I work hard for to produce a quality product

I hold high expectations for myself, and therefore my students

I enjoy putting a fun and creative twist on lessons to make the students more engaged in the lesson

2
 Table of Contents
Philosophy.......4
Handbook...5-10
Table of Contents
Mission
Benefits
Goals
Music
Attendance
Grading
Rehearsal Expectations
Code of Conduct
Full Year Curriculum...11-25
Table of Contents
First Performance
Second Performance
Third Performance
Fourth Performance
Elementary Unit...26-33
Table of Contents
Introduction
Overview
Sample Lesson Plans
Secondary Unit34-43
Table of Contents
Goals
Objectives
Resources
Sample Lesson

3
 Philosophy of Music Education

I chose to be a teacher because of the importance of education. Civilized societies exist

because of education, passing knowledge from one person and generation to the next. Even if
you aren't a teacher who stands in front of a classroom, you are still a teacher. This is
something I took away from my college band experience. The director of bands asked who
was going to be a teacher and only a few people raised their hands. Then he asked if we were
all sure, because aren't parents teachers? That's when things really clicked for me as to why
education is so important. It's much more than standing in front of people and imparting
wisdom about a certain content area. We are teaching people about developing content
knowledge, social skills, and life skills needed for both inside and outside of the classroom.
Music appeals to everyone in some way or another. Some people may prefer classical,
others pop, other rock; the list goes on and on but the bottom line remains that everyone has
a certain appreciation for music. Music, as defined in one of the first classes I took in college, is
"the rise and fall of tension through sound." While that might be a technical definition, music
is something that unites people and creates an inclusive environment, which is an ideal
setting for the classroom.
Music education is important because even though not everyone will choose to
become a musician by profession, everyone has his or her own unique experience with music.
Music education isn't all about music theory, it is also about how we can experience music and
how it coveys emotions and connect people.
I have high expectations for myself and will have high expectations my students. High
expectations challenges people to strive to achieve things they may have never thought
possible. In my first year of college, I listened intently to other tuba players (my primary
instrument) and thought there was no way I could ever be as good as them. Then, my teacher
challenged me and I thought "Why not me?" Why can't I do what they do? Once he expected
better of me, it also instilled the thought that I could really perform at a higher level and I am
proud that I have surpassed what I ever thought I could do.
Pushing students, encouraging them and holding them to a high standard is something every
teacher needs to do, and they owe it to their students to do so.
Diversity exists in schools throughout Kansas, the country and the world and is
something to be celebrated. Each student brings special talents, abilities and culture to the
classroom that should be appreciated. Adapting lesson plans to accommodate students with
different learning styles or even including music from across the world could help make
students feel like they are valued.
A positive classroom environment is crucial for student success. Many students
struggle in the classroom because their lives outside of school are rather challenging making
it difficult if not impossible to concentrate on schoolwork. As teachers, we have to make
students feel safe and keep a positive atmosphere in our classroom while encouraging them
to be engaged with our lessons. This will not always an easy task, but it is also why teachers
need to know about their students' lives. In addition, students need a teacher who is
consistent with rules and expectations and feel comfortable enough to make mistakes and
have the confidence to keep trying.
I believe this also ties in to the professionalism of a teacher. A teacher shouldn't
expect students to get things perfectly. Mistakes will be made; and that's ok as long as the
students are putting in effort to what they are doing. When students aren't afraid of making
mistakes, they are more comfortable trying new things and getting out of their comfort zone.

4
 Liberty High School Golden Leopard Band


2016-2017 Season

Director: Matthew Scott email tuba@email.com office phone: 785-317-4482

5
 Table of Contents

Staff Directory...1
Mission Statement..1
Benefits of a Music Education..1
Goals of the Band Program1
Seasonal Goals...2
Concert Ensemble Music Selection...2
Attendance Policy...2
Grading Policy...3
Rehearsal Expectations...3
Dress code...4
Concert Attire.4
Concert Etiquette........4
Marching Band Performance Requirements..4
Code of Conduct5
Uniform..6
Equipment...6
Student Leadership....7
Boosters....8
Awards..9
Logistics..10-11
Calendar.....12
Medical Relief Form....13-15
Booster Sign up Form16

6
 Mission Statement

The Liberty High School Band is a prestigious program built from foundations of
leadership, teamwork, discipline, responsibility, and the goal to always keep
improving. The purpose of this group is to entertain, encourage, and inspire both our
active members and supporters. It is our ultimate goal to provide students with a
healthy and creative outlet. We also strive to teach life lessons through music and
teamwork.

Benefits of a Music Education

A musical education has several benefits to a students learning. Students who
participate in music score higher on their tests. Reading, math, writing, and
mathematical skills are improved by participating in music. Being active in music
improves mental health, physical health, and social functioning.

Goals of the Band Program

Each member will strive for high standards of excellence

Be excellent in all things on and off the field, at home and at school

Each member will develop a sense of responsibility for attendance, preparation, and
each other

Each member will expand his/her awareness in rehearsal and performance to
enhance the overall individual and ensemble quality

Each member will develop self-discipline in and out of rehearsals



Seasonal Goals

Rehearsal Efficiency The band will rehearse more efficiently utilizing good
rehearsal etiquette, careful planning by the staff and attention to time-on task. The
members will rehearse with relaxed focus and perform with energy and excitement,
keeping in mind the concept of rehearsal equals performance.

Music for concert and marching band A higher level of music performance will be
achieved by dedicating more attention and time to this aspect in the winds and
percussion sections. Warm-ups and basic technique development will be used daily
and will not be omitted as the season progresses. A solid focused daily warm-up
period based on fundamentals and technique will shape the outcome of the marching
and concert seasons and school year.

7

Marching The high level of marching realized in the past will be improved through
daily basic technique drills and marching and drill emphasis in full ensemble
rehearsal.

Color Guard- The color guard will be held to the same standard as the rest of the
band. Proper execution of moves is vital to make a visually appealing show.

Concert Ensemble Music Selection

Students can bring ideas to the director for songs to play for concerts, but the director
has the final say in what makes the concert block.

Attendance Policy

Attendance at all rehearsals and performances is required. Being early is to be on
time, and to be on time is to be late.

Tardiness will result in a deduction of daily attendance points.

Exceptions: School approved absence, absence approved by a director, serious death
or illness in the family, emergencies. We understand that circumstances of life
happen, but we must be notified at the soonest possibility for an unexpected absence.
If the student knows they will be absent from a rehearsal or performance in advance,
the student must fill out a pink sheet and turn it in to a director. Student leadership
does not have the authority to grant permission for an absence.

Unexcused absences will result in the loss of daily participation points and daily
attendance points.



Grading Policy

Daily attendance/participation. Being tardy or missing any required items for
rehearsal will result in a loss of these points.

Students will lose participation points if they are caught swearing in uniform.

Preparedness, attitude, and work ethic (included in the participation points).

Grades will be determined from effort, not ability.

Proper rehearsal/game day attire will also be graded.

8
Grading scale: 90-100 A
80-89 B
70-79 C
60-69 D
59 and lower F
Rehearsal Expectations

Rehearsals begin at 7:40 A.M. every morning. Early morning rehearsals will start the
first Tuesday in September at 7:20 A.M. These rehearsals will be Tuesday, Wednesday,
and Thursday for the remainder of the season.

Students are expected to be standing on their dot (when rehearsals are outside),
warmed up and ready to go. Students are expected to be in the band room (when
rehearsals are inside), warmed up and ready to go by the start of rehearsal.

Students are expected to have all necessary materials for rehearsal (applies toward
participation points).

Rehearsals will be fast paced and intense as we strive to get better each and every
day.

Friday afternoon rehearsal will begin after school and last for 90 minutes, beginning
at 3:30 P.M. NOTE: THIS MEANS THAT THERE ARE TWO REHEARSALS ON FRIDAYS;
A MORNING AND AFTERNOON REHEARSAL.

9
 Code of Conduct

There will be absolutely no use or possession of tobacco, alcohol, or illegal
drugs while associated with the liberty high school marching band. If a student
is caught purchasing, possessing, consuming, or distributing tobacco, alcohol, or
illegal drugs, the proper authorities will be notified and the student will face the
disciplinary action of the liberty high school student code of conduct handbook,
as well as immediate dismissal from the ensemble. All state and federal laws
apply at all times.

The LHSMB is a respected organization that prides itself on a clean and reputable
image. We follow these rules at all times:

There is a zero tolerance policy for the possession, use, or distribution of tobacco,
alcohol, and illegal drugs while associated with the LHSMB. If a student breaks this
rule on a band trip, the student will be sent home at their parents expense.

Be respectful at all times.

No profanity is allowed while doing anything associated with the LHSMB.

Students will be held responsible for damage to school property

10


Tuba Studio Full-Year Curriculum

Music 512

November 20, 2017

11
 Table of Contents

Scope and Sequence...3

Course Description.............3

Course Objectives....3

First Performance Overview.4

First Performance Sample Lesson Plan.....5-6

Second Performance Overview...7

Second Performance Sample Lesson Plan...8-9

Third Performance Overview...10

Third Performance Sample Lesson Plan11-12

Fourth Performance Overview.13

Fourth Performance Sample Lesson Plan..14-15

12
 Scope and Sequence:

First Performance:

7th grade student that is learning their first tuba solos. Will be performed halfway

through the Fall semester.

Second Performance:

Young high school student. Will perform at the end of the semester.

Third Performance:

Advanced high school student. Will perform right after winter break.

Fourth Performance:

Advanced high school student preparing for college auditions. Performance will be

during the state solo audition weekends.

Course Description:

The students will have one lesson per week with the instructor. These lessons are to

help the students become proficient at their instruments while enhancing their

musical abilities. To help achieve this goal, students will perform solos, etudes,

excerpts, and scales in their lessons and receive feedback from the instructor on the

improvements they can make. The students will also learn how to self-assess

themselves so that they can become their own best teacher.

13
 Course Objective:

Students will achieve their weekly lesson assignments to the best of their ability to

help them develop as musicians.

First Performance Overview (7th grade student)

Content Performed:

Sarabanda and Gavotta

Honor and Arms

Skills and elements addressed:

Slurs (and cleanliness of the slurs)

Staccato
Range
Subdivisions (rhythm)
Contrasting styles
Musical expression
Shape of the melodic line
Singing/buzzing

Repertoire:

Scales
Remington exercise
Sarabanda and Gavotta
Honor and Arms

Style: Baroque

Standards:

MU:Cr3.1.7a Evaluate their own work, applying selected criteria such as

appropriate application of elements of music including style, form, and use of
sound sources

14
 MU:Cr3.1.7b Describe the rationale for making revisions to the music based
on evaluation criteria and feedback from others (teacher and peers).
MU:Pr4.1.7a Apply collaboratively developed criteria for selecting music of
contrasting styles for a program with a specific purpose and/or context and,
after discussion, identify expressive qualities, technical challenges, and
reasons for choices
MU:Pr4.2.7a Explain and demonstrate the structure of contrasting pieces of
music selected for performance and how elements of music are used.
MU:Pr4.2.7b When analyzing selected music, read and identify by name or
function standard symbols for rhythm, pitch, articulation, dynamics, tempo,
and form

Sample Lesson Plan

Objectives:

The student will perform their scales and the Remington exercise
without missing more than one note in each
The student will perform their solos with proper musical style,
accurate rhythm, and cleanliness of notes

Materials:

Pencil
Solos

Warm-up (5 minutes)

- The student will perform the Remington exercise starting on an F, and will focus
on tone production and a steady air stream

- The student will perform the assigned scale. One is a lyrical style, one in a staccato
style, and the other in a stately style

Sarabanda and Gavotta (12 minutes)

- The student will identify each phrase in the first movement

- The student will wind pattern each phrase, paying attention to a smooth style and
consistent air stream, and will also adjust the wind according to dynamics

15
- The student will play through the phrase they just wind patterned

- The teacher will offer comments

- The student will play all of the first movement

- The teacher will ask the student to evaluate what they heard

- The teacher will offer comments

- The student will play through the solo again, adjusting for the comments from both
the teacher and student

Second movement
- The student will wind pattern the first two phrases, paying attention to staccato
notes, accented notes, dynamics, and consistency of air stream

- The student will play through those four bars

- The teacher will provide comments

- The student will buzz the last half of the movement (to help ensure the student can
play the high F

- The teacher will check to make sure the student stays relaxed and doesnt tense up

- The student will play the last half of the movement

- The teacher will offer comments

- The student will play the whole movement adjusting based on the teachers
comments

16
 Honor and Arms

- The student will tap the quarter note on their leg and sing, focusing on rhythm,
style, and dynamics

- The student will play from each rehearsal letter, stopping at each one for teacher
comments/self evaluation

- The teacher will ask the student what they will be paying attention to most in the
next run through. The hope is that the student will respond based off of the teachers
comments. If the student isnt sure, the teacher will ask guiding questions

Closing (1 min)

The teacher will review what happened during the lesson, give the student
comments on how to further prepare for the lesson, and will assign a scale for the
next lesson.

Rationale:

Warm-up

The purpose of the Remington exercise is to develop tone and work on a consistent
air stream.

The purpose of the scales is so that the students get comfortable with knowing the
fingerings of all the notes on their instrument. It also helps them develop their ears,
as well as making music make more sense than just being black notes printed on a
page.

Solos

The two solos in this lesson provide many different aspects between rhythm, range,
articulation, and style, and cleanliness/purity of sound. Smooth and connected and
staccato are emphasized in the first solo, while in Honor and Arms the player learns
slurs and plays through some challenging rhythms.

Second Performance Overview (early high school)

17
Performed Content:

Don Haddad Suite for Tuba

Skills and elements addressed:

Musicality
Lack of tension
Playing through notes; not at them
Compound meter
Range
Contrasting styles

Repertoire:

Don Haddad Suite for Tuba

Bordogni etude No. 3

Standards:

MU:Cr2.1.8b Use standard and/or iconic notation and/or audio/ video recording to
document personal rhythmic phrases, melodic phrases, and harmonic sequences.

MU:Cr3.1.8a Evaluate their own work by selecting and applying criteria including
appropriate application of compositional techniques, style, form, and use of sound
sources.

MU:Pr5.1.8a Identify and apply personally developed criteria (such as

demonstrating correct interpretation of notation, technical skill of performer,
originality, emotional impact, variety, and interest) to rehearse, refine, and
determine when the music is ready to perform.

Sample Lesson Plan:

Objectives:

18
 The student will be able to perform both movements of the solo musically
without stopping, and playing with minimal errors

The student will be able to play the assigned scales with no more that one
wrong note

The student will be able to play the etude expressively and with good air
support

The student will play the solo rhythmically accurate

Materials:

Solo
Etude
Recording device

Process:

Warm-up (10 min)

- The student will play a Remington exercise starting on a Bb

- The student will play their assigned two-octave scales, one in a slow lyrical style
and the other in an aggressive style

- The student will play through the Bordogni etude. The teacher will make
comments as the student plays

Suite for Tuba (34min)

- The student will play the recording from their practice sessions, and the teacher
will provide comments

- The student will play through the first movement

- The teacher will make comments about the run through

19
- The teacher will isolate spots for the student to play through again. This part will
repeat for the next few minutes until the entire movement has been played. Blowing
through notes and not articulating too hard will likely be among these comments

- The student will play through the second movement

- The teacher will make comments, especially pertaining to rhythmic accuracy and
being gentle with the notes. The teacher will also give the student some musical
ideas to work with

- The teacher will have the student sing through the second movement

- The teacher will have the student play through the movement, and will be looking
for the musicality and rhythmic precision mentioned earlier

- The student will play both movements from top to bottom, focusing on the
teachers comments

Closure (1 min)

The teacher will review the lesson and taught concepts with the student, and will
assign two new scales for the next lesson

Rationale:

Warm-up: Helps the student connect the brain to the lips to the horn. The
Remington exercise helps build tone and a steady air stream/air support.
Etude: Is a good way to improve technique/musicality outside of technical
etudes like the Arban book.
Scales: The purpose of the scales is so that the students get comfortable with
knowing the fingerings of all the notes on their instrument. It also helps them
develop their ears, as well as making music make more sense than just being
black notes printed on a page.
Recording: Recording is a great way for students to become their own best
teacher as they listen back to what they play and make their own
adjustments as necessary.
Solo: The Don Haddad Suite for Tuba is a popular state band audition piece
because of its contrasting styles and range.

Third Performance Overview (upper classman in high school)

20
Performed Content:

Andante Solo

Skills and elements addressed:

Musicality
Contrasting styles within one piece of music
Story-telling
Rubato

Repertoire:

Andante
Three scales
Bordogni etude

Style: Romanticism

Standards:

MU:Re7.2.8b Identify and compare the context of programs of music from a variety
of genres, cultures, and historical periods.

MU:Cr3.1.8a Evaluate their own work by selecting and applying criteria including
appropriate application of compositional techniques, style, form, and use of sound
sources.

Sample Lesson Plan

Objectives:

The student will perform the entire solo musically, and will play with
minimal errors
The student will be able to explain rubato and demonstrate how it can be
used in a musical context
The student will be able to evaluate the performance of another musician and
apply what they do like from that performance to their own playing

Materials:

Recording of Phil Sinder playing Andante (on iTunes)

Pencil

21
 iPad/smartphone
Recording device

Process:

Warm-up (15 minutes)

- The student will play through the beautiful sounds warm-up, focusing on smooth
connected sounds and hearing the pitch before playing it

- The student will play through all of their scales, missing one or fewer notes in each
scale

- The student will play through the Bordogni etude, focusing on musicality

Andante (44 minutes)

- The student will play through the solo, and the teacher will record the solo

- The teacher will play back the recording for the student and the teacher will offer
comments

- The teacher will play the recording of Phil Sinder and will have the student follow
along in the music. The teacher will tell the student to look for what happens
musically outside of the markings on the page. The teacher will also ask the student
to think of a story that is happening in the music. The student will write down what
they notice and like from the recording

- The teacher will ask what the student heard, what they liked and would like to try
to accomplish in their playing but also what they may have not liked as much

- The student will play the solo again with the new musical ideas in mind

- If needed the teacher will model for the student

- The student will play the solo again, and the teacher will provide feedback

Closure (1min): The teacher will assign the student 3 new scales and tell the
student what to focus on in the solo for the next lesson

22
Rationale:

Warm-up: Helps the student connect the brain to the lips to the horn. The beautiful
sounds is a way to develop tone quality, air support, and the ear

Etude: Is a good way to improve technique/musicality outside of technical etudes

Scales: The purpose of the scales is so that the students get comfortable with
knowing the fingerings of all the notes on their instrument. It also helps them
develop their ears, as well as making music make more sense than just being black
notes printed on a page.

Recording: Recording is a great way for students to become their own best teacher
as they listen back to what they play and make their own adjustments as necessary.

Recording of a professional: Hearing a professional play helps a student develop

their sound and musical concepts

Modeling: Works the same way as listening to a professional

Solo: Andante has contrasting styles within itself which teaches students to switch
gears without stopping, and the whole solo has many different opportunities for
musical interpretation

Fourth Performance Overview (State Solo for advanced upperclassman high

school student)

Performed Content:

Ricercar Solo

Skills and elements addressed:

Musicality
Technicality
Rhythm
Big leaps between notes

Repertoire:

23
 Three scales
Arban technical studies: Intervals and tonguing
Beautiful sounds
Ricercar

Standards:

MU:Re9.1.8a Apply appropriate personally developed criteria to evaluate musical

works or performances.

MU:Pr4.1.8a Apply personally developed criteria for selecting music of contrasting

styles for a program with a specific purpose and/or context, and explain expressive
qualities, technical challenges, and reasons for choices.

Sample Lesson Plan

Objectives:

The student will perform the solo rhythmically accurate

The student will make minimal errors in notes in the scales and solo

Materials:

Recording device
Pencil

Process:

Warm-up (20 min)

- The student will play the beautiful sounds warm-up

- The student will play the three scales in the same tempo as the solo, and will be
done in sixteenth notes

- The student will play the Arbans book etudes. The teacher will emphasize hearing
the pitch for the interval etude, and light-ness on the tonguing etude

Ricercar (39 min)

- The teacher will ask the student what they are going to focus on while playing

- The teacher will record the student playing their solo

24
- The teacher will play the recording back and ask the student to focus on hearing
whether they accomplished what they wanted to

- The teacher and student will discuss the recording

- The teacher will break the solo into small chunks and work each on with the
student

- The teacher will now pretend that this is the audition for the state solo

- The student will leave the room and re-enter, bowing before they sit down

- The student will play the solo, stand up to bow, then leave the room

- The student will come back for comments from the teacher

Closure (1 min):

The teacher will give feedback to the student, the assignment to work on for the
next lesson, and three new scales to work on.

Rationale:

Warm-up: Helps the student connect the brain to the lips to the horn. The beautiful
sounds is a way to develop tone quality, air support, and the ear

Technical excerpts: Ricercar is a technically challenging etude that will only be

playable if the student has spent the time preparing for it on these type of excerpts.

Scales: The purpose of the scales is so that the students get comfortable with
knowing the fingerings of all the notes on their instrument. It also helps them
develop their ears, as well as making music make more sense than just being black
notes printed on a page.

Solo: Ricercar is a fun but very challenging piece of music. It features complex
rhythms, difficult leaps, and long periods of sixteenth note runs. Playing this solo in
a rhythmically accurate and musically entertaining way is a great way to impress a
judge as well as the college professor you audition for.

25


Music 670

Elementary Teaching Unit

I IV V Chords

Matt Scott

November 7th, 2017

26
 Table of Contents

Introduction... 3

Pre-Assessment (overview)... 4

Post-Assessment (overview).. 4

Unit Outline... 5-8

Pre-Assessment (lesson)...... 9

Lesson 1: Barbara Ann (Prepare).... 10-12

Lesson 2: The Lion Sleeps Tonight (Prepare)........... 13

Lesson 3: When the Saints Go Marching In (Prepare)... 14

Lesson 4: Barbara Ann (Present).... 15-16

Lesson 5: When the Saints Go Marching Now (Practice). 17-18

Lesson 6: The Lion Sleeps Tonight (Practice).................. 19-20

Lesson 7: Joy to the World (Practice).21-22

Lesson 8: Amazing Grace (Practice)....23-25

Lesson 9: Up on the Housetop (Practice)....26-28

Lesson 10: Composition (Practice)..29-30

27
 Introduction
The focus of the unit is the use and identification of the 1, 4, and 5 chords in music. The
prior knowledge the 5th grade students will bring with them as we learn this unit is their
knowledge of the 1 and 5 chords. In their 4th grade year the students will have learned about the
functions of the 1 and 5 chords, as well as being able to aurally identify those chords in music.
Now that we are adding the 4 chord, they will learn the purpose of the chord as well as be able to
aurally identify it.
Going along with the main lesson of the 1, 4, and 5 chords, the students will be expected
to perform musically and be rhythmically accurate. Singing is a very big part of this unit, as is
playing keyboard instruments, and occasionally body percussion is also used. The keyboards will
be emphasized as a way for the students to visually see the distance between chords, and so that
they can associate pitches with each key. This way when they read sheet music and play a note,
they should know if that is the correct note. They students will also learn how to properly hold a
mallet (lesson 1), identify why a piece can invoke certain emotions based on its musical qualities
(such as tempo, dynamics, and articulation) (lesson 9), and identify the beginnings/ends of
phrases (lesson 7).
An important part of the music curriculum is knowing the history and origins of where
the piece came from. Included in this unit are compositions from outside of the Western tradition
and we will be discussing where those pieces came from. Another important part is knowing
how music relates to other subjects. When students can connect the dots between two subjects
and see how they are related, they view that information as more important and the students will
be more likely to engage in the lesson.
As previously stated above, history is one of the most important and easiest cross-
curricular connections to make with music. When we know who wrote a piece, where they were
from, whether the piece was written about a specific event, etc., that can determine a lot about the
style of the piece and how it should be played. Connecting to math, notes are fractions of other
notes. For example, a whole note consist of four beats, and half note two beats, a quarter note 1
beat, eighth note beat, 16th note of a beat, etc. Music also applies to physical education.
Professional musicians stretch before playing their instruments because of how physically
involved playing an instrument is. In relation to this unit, the students are dealing with many
actions, dances, and skits to help them understand the concepts being taught in the unit.

Pre-Assessment
Before the students can learn the 4 chord, it is important for the students to be comfortable with
what they already know. That is why before we can dive into the unit, we must check for the
students prior knowledge. This will include a song they learned last year (Frre Jacques) as a
review. If my students need their skills strengthened in this area, I have a plan to review these
concepts with a lesson from the previous year.

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 Post-Assessment
The purpose of the post-assessment is to check and see what your students have learned since the
beginning. Ending with a composition lesson is a great way for the teacher to see what they
learned because the composition is their own creation. After being presented a melody, it is up to
the students to decide what chords should go where.

Unit Outline
Zoltn Kodly invented a method of teaching a concept in three main steps: Prepare, Present, and
Practice. All of these steps are included within this unit. So, what are these three steps?

Prepare
Prepare is the first of the three steps in the Kodly method. The teacher introduces a new idea
and has the students perform that new element; but the teacher does not tell the students what
they are learning.

Present
Present is the second of the three steps. Prepare is when the teacher mentions the new element
that the students are learning, so the students are now actively aware of what it is they are
learning. This is also bring back a familiar lesson to help connect the dots in the students brains.

Practice
Practice is the third and final stage of the Kodly method. This is the stage where the teacher
comes up with creative ways to solidify the new element for the students.

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 5. When the Saints Go Marching In

Standards: MU:Pr4.2.5c Explain how context (such as social, cultural, and

historical) informs performances.

MU:Cn11.0.5a Demonstrate understanding of relationships between music and

the other arts, other disciplines, varied contexts, and daily life.

Objective: By the end of the lesson the students will be able to aurally and
visually acknowledge the chord changes in When the Saints Go Marching In
through a physical jumping activity in which the students also sing the root of
each chord (1, 4, 5).

Materials:

Laptop/iPad
Piano
History/background of When the Saints Go Marching In
http://www.knowlouisiana.org/entry/when-the-saints-go-marching-in
Masking Tape
Recording of When the Saints Go Marching In:
https://www.youtube.com/watch?v=wyLjbMBpGDA
Checklist:
Students land on the down beats of the chords
Students land on the correct note
Students accurately sing each pitch

30
Sequence:

- The teacher will tell the students that the next few lessons will be solidifying the
information they have learned about aural identification of the 1, 4, and 5 chords
- The teacher will conduct a short review with Barbara Ann so they can familiarize
themselves with the newly learned concept. The students will pat their legs when
they hear the 1 chord, shoulders for the 5 chord, and head for the 4 chord
- The teacher will introduce the new song, When the Saints Go Marching In and will
have the students listen to it one time
- The teacher will play the song again and will ask the students to pat their legs for
the 1 chord, head for 4 chord, and shoulders for the 5 chord
- The teacher will show the students the music to When the Saints Go Marching In
and will have ask for a volunteer to mark where each chord occurs
- The teacher will talk about the history of the song and where it came from. This
would include a short presentation with key facts about where the song came from
as well as pictures of the area the composer is from
- The teacher will have two-five rows of tape on the floor, which represents the
musical staff
- The teacher will have the students line up on Do (D)
- For this activity, you will start on Do, and when you hear the 4 chord you will
jump to that line (G), and when you hear the five chord, you will jump to the 5 chord
(A), and jump to 1 (D) when you hear the 1 chord. The teacher will also emphasize
bodily awareness and being careful when jumping from spot to spot
- The teacher will conduct a short lesson of how the activity will work. The teacher
will go to the piano and play the 1 chord, where the students are already standing.
Next, the teacher will play the 4 chord and will have the students jump to G. Then
the teacher will play the 5 chord and the students will jump to A. Then the teacher
will play the 1 chord again and have the students carefully jump backwards onto the
1 chord note D
- The teacher will explain further if necessary
- The teacher will play the recording and the students will resume with the jumping
activity
- After the song ends, the teacher will give the students a moment to catch their
breath
- The teacher will then go to the piano and have the students sing D, G, and A
- The teacher will repeat step 9 but will have the students singing each note as they
jump
- The teacher will play the song again as the students repeat the jumping activity,
but singing the notes (D,G,A) as they jump.

Assessment: The teacher will grade the students based on the checklist.

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 10. Composition

Standards: MU:Cr2.1.5a Demonstrate selected and developed musical ideas for

improvisations, arrangements, or compositions to express intent, and explain
connection to purpose and context.

MU:Cr3.2.5a Present the final version of created music for others that
demonstrates craftsmanship, and explain connection to expressive intent.

Objectives: By the end of the lesson the students will build chords (1, 4, or 5)
underneath a presented melody.

Materials:

Checklist:
Composition is titled
Each measure is initialized by who composed it
Each group member has composed 4 measures
Time signature is present and correct
Key signature is present and correct
Clef is present and is drawn correctly
All notes are notated in the correct octaves (based on what part of the keyboard
is used in the composition)
All three chords (I, IV, V) are used in the composition
The students can accurately perform their compositions with minimal errors

32
Pencils
Manuscript paper
Projector
Presented melody
Keyboard instruments
Example sheet

Sequence:

-The teacher will tell the students that their new project is to make a composition
involving their new knowledge about the 1, 4, and 5 chords
- The composition must be in the key of C, G, or F major, at least 16 with a
measures in length using a 4/4 time signature, must have a title, and can feature
school-appropriate words but words are not required. Compositions will be
done using keyboard instruments. There will be four members per group; each is
responsible for composing four measures of the piece
- The students will be given a sheet of paper with the presented melody, as well
as the notes that are in the 1, 4, and 5 chords in each of the three keys. This will
help the students know which notes they need for the requirements of the
assignment.
- The teacher will put a different melody on the board (using the projector) and
will work through the melody putting chords underneath the melody and
explaining why certain chords work better in those spots
- The teacher will split the students into groups of 4
- The teacher will hand out the checklist for the final grade, as well as several
pieces of manuscript paper to use for rough drafts, as well as the final draft
- The teacher will let each group work on their own, but will continually walk
around the room and make sure the students stay on task
- The teacher will then ask if any groups would like any help. If many groups do,
the teacher will instruct them to keep working until the teacher is able to get to
their group
- After all the groups have been helped, the teacher will give the students time to
learn their compositions on their instruments
- Each group will present their compositions and perform for the class.

Assessment: The teacher will be assessing the compositions based on the

checklist that was given to the students.

33
 First Suite in Eb
by
Gustav Holst

Publisher: Boosey and Hawkes

Grade Level: 4

670 Fall 2017
Matt Scott

34
 Table of Contents

Unit Goals.1
Unit Objectives..1
Standards.1-2
Resources.....2
Score Analysis....3-20
Historical background...21-24
Lesson 1.25-26
Lesson 2.....27
Lesson 3..28-29
Lesson 4..30-33
Lesson 5..34-35
Warm-ups..36-40
Student Guide..41-44

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 Unit Goals:

The students will learn the vocabulary of the terms in First Suite in Eb

The students will write a story using musical terms and examples within the paper

The students will rhythmically and aurally identify the melody of the
Chaconne/Passacaglia in the first movement

Unit Objectives:

After listening to the recordings of First Suite in Eb, students will answer the
questions given to them by aurally identifying them

Students will complete a worksheet about the history of Gustav Holst.

By the end of the warm-up, the students will have sung the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson, the students will have played the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson the students will be able to perform the Eb major scale
stylistically correct based on the term from the glossary being performed.

By the end of the lesson the students will complete a glossary term quiz and will
finish with a minimum 80% accuracy.

The students will complete a story (minimum 1 page) based on the presented
artwork and recording of First Suite in Eb.

Standards:

Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.

Pr.2.Ac Document and demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects of
musical works may impact and inform prepared and improvised performances.

Pr.4.Ac Develop and apply appropriate rehearsal strategies to address individual
and ensemble challenges in a varied repertoire of music, and evaluate their success.

36
Re.3.I Identify and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts,
and (when appropriate) the setting of the text.

Resources:

Recording: https://www.youtube.com/watch?v=fLbP6qpI1YI

Helpful articles:
https://en.wikipedia.org/wiki/First_Suite_in_E-flat_for_Military_Band
http://windliterature.org/2010/12/14/first-suite-in-e-flat-by-gustav-holst/
http://www.gustavholst.info/biography/index.php?chapter=1

Score Analysis

37
 3. Passing the Melody

Standards:

Pr.2.Ac Document and demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects of
musical works may impact and inform prepared and improvised performances.

Pr.4.Ac Develop and apply appropriate rehearsal strategies to address individual
and ensemble challenges in a varied repertoire of music, and evaluate their success.


Objectives:

By the end of the warm-up, the students will have sung the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson, the students will have played the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

Activity: The teacher will lead a warm-up having the students sing (and later in the
lesson play on their instruments) the chaconne/passacaglia on pitch and work on a
seamless transition from each section in the order the melody appears throughout
the ensemble.

Process: Warm-up

- The teacher will go up to the board with a marker (or chalk) and ask the students
who has the main melodic line first, and write the answer on the board
- The teacher will repeat this process until the entire first movement has been gone
through
- The teacher will have the students with the melody first be ready to sing. The
teacher will instruct the students who have the melody next to raise their hands and
be ready to continue the melody, and when they begin singing the next group to
receive the melody will raise their hands
- The teacher will not stop until the whole first movement has been completed
- The teacher will then ask the students for feedback for what they observed
throughout the activity
- The teacher will offer their own comments
- The teacher will begin the exercise again, and will expect the students to make
adjustments based on the comments

Process: The Lesson

38
- The teacher will tune the band in the tuning sequence (F on trumpet, Bb on tuba, A
on oboe)
- Once the band is in tune, the teacher will move on in the lesson
- The teacher will conduct the same lesson as the warm-up, except now the students
will be playing their instruments. The students who will receive the melody do not
need to raise their hands as the givers of the melody know who they are passing
the melody to, and the receivers of the melody know that they are next to have the
melody
- At the conclusion of the first movement, the teacher will offer comments
- The teacher will have the students perform the exercise one more time (unless
more is necessary later)
- The teacher will play the metronome at the desired tempo of the first movement
and will turn the metronome off at the end of the first melodic line. The goal is for
the students to be responsible for the pulse. The teacher will only stop the ensemble
if there are severe rhythmic or note/pitch issues
- The teacher will run the exercise one more time if necessary
- The teacher will now put the exercise in context and play through the first
movement from top to bottom. The focus is on note and rhythmic accuracy of the
chaconne/passacaglia and the seamless transitions of the melodic line
- The teacher will offer comments from the run-through, and will then ask if any
students have questions or comments

Assessment: The teacher will evaluate student performance based on note and
rhythmic accuracy, as well as how well the seamless transition of the melodic line
worked

39
 4. Glossary Definitions

40

Standards:

Re.3.I Identify and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts,
and (when appropriate) the setting of the text.


Objectives:

By the end of the lesson the students will be able to perform the Eb major scale
stylistically correct based on the term from the glossary being performed.

By the end of the lesson the students will complete a glossary term quiz AND WIL
COMPLETE WHAT PERCENT

Warm-up:

- The teacher will have the students perform an Eb major scale, and will explain the
reason for the Eb scale is because that is what First Suite is in
- The teacher will have the students list the terms that indicate style that are
involved throughout the piece. The teacher will call on the students, and will ask the
students what they think the term means
- After a student has listed a term and the definition (assuming their definition is
correct; if they are incorrect the teacher will call on other students who might have
the correct answer), the teacher will conduct the scale in that style and the students
will perform the scale in that style

Sequence:

- The teacher will have the students choose a term and mention where it is in the
music
- The teacher will tell the students to play a few bars, in the proper style
- The teacher will ask the students if their playing matches the style
- If the style matched, the teacher will move on to the next term. If the style does not
match, the teacher will explain what will make the style match

Assessment:

The teacher will pass out a matching term-definition quiz. The questions will be
graded on right answers.

Terms:

Chaconne

41
Allegro Moderato

Legato

Stacc(ato)

Pesante

Maestoso

Vivace

March

Piu mosso

Meno mosso

Definitions:

A. Repeated short progression

B. Moderately Fast

C. Smooth and connected

D. Detached or separated

E. Heavy, with great weight

F. In a dignified or majestic fashion

G. Lively or brisk manner

H. A procession suited for a parade or marital affair

I. More motion

J. Less motion

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 Answer Key:

Vivace: G

Meno mosso: J

Legato: C

Maestoso: F

Piu mosso: I

Pesante: E

Stacc(ato): D

Chaconne: A

Allegro moderato: B

March: H

43