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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

SLIDE 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 I n s t r u c t i o n

Heather Nelson Shouldice 

Eastern Michigan University hshouldi@emich.edu www.everydaymusicality.com/resources

1

To begin with the end in mind means to start with 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 take are always in the right direction.

—Stephen R. Covey

2

Identify desired results. Determine acceptable evidence. Plan learning experiences.

Understanding by Design (Wiggins & McTighe) 3

What do students need to

know and/or be able to do in order to be successful with this goal?

How can I break this up

into smaller sequential learning goals over time so that each step prepares students for the next?

EFFORTLESS LEARNING, NOT EFFORT-FULL!

4

SLIDE 2

E N D G OA L ?

ART.M.I.6.5 Sight read basic melodies in

treble or bass clef, using combinations of whole, half, quarter, and eighth notes and rests; in simple meter.

5

SOUND SIGHT PRINCIPLE 1

6

PRINCIPLE 1 SOUND SIGHT SYLLABLES THEORY

Patterns on neutral syll. Perform & label function Read with syllables

7 8

SLIDE 3

9 10

PRINCIPLE 1 SOUND SIGHT SYLLABLES THEORY

Patterns on neutral syll. Perform & label function Read with syllables

11

PRINCIPLE 2 “Rote” is not a dirty word! Rote learning is a necessary readiness for generalization!

12

SLIDE 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 “Rote” is not a dirty word! Rote learning is a necessary readiness for generalization!

15

PRINCIPLE 3 “Vocabulary” and Context are also readiness for Improvisation/Composition!

VOCABULARY CONTEXT TONAL: tonal patterns sense of resting tone RHYTHM: rhythm patterns sense of macro/microbeat

16

SLIDE 5

D I S C R I M I NAT I O N L E A R N I N G AU R A L / O R A L V E R BA L A S S O C I AT I O N PA RT I A L S Y N T H E S I S S Y M B O L I C A S S O C I AT I O N C O M P O S I T E S Y N T H E S I S I N F E R E N C E L E A R N I N G G E N E R A L I Z AT I O N C R E AT I V I T Y / I M P R OV I S AT I O N T H E O R E T I CA L U N D E R S TA N D I N G

www.everydaymusicality.com/podcast

“Skill Learning Sequence” Framework

17

1)Gather tools to inform the process.

✓ MI Standards ✓ National Standards ✓ District curriculum ✓ Sequence of a specific approach? (MLT, Kodaly,

Orff, Conversational Solfege, etc.

C U R R I C U L U M M A P P I N G

18

2)Create a document for every grade level.

C U R R I C U L U M M A P P I N G

K K 1st 2nd 3rd 4th 5th

19

3)Look at the big picture across grade levels.

✓ What are your main priorities and/or significant

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?

C U R R I C U L U M M A P P I N G

20

SLIDE 6

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

Grade 2 Curricular Goals

Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable)
Review posture, instrument etiquette
Review Laban movement
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
Review call & response
Review ostinato à create rhythmic ostinati (without & with syllables)
Review AB, ABA form
Review circle dances/dance readiness
Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1,

3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 4C1, 7A1, 7A2

Introduce Major/minor tonic/dominant patterns, patt. w/syllables
Division/elongation patterns in duple/triple
Unison v. Harmony- identify and perform
Tonic/dominant ostinati & root melodies – singing & instruments
Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root

melodies

Review phrases à create answer phrases
Improvise rhythmic answers in the style given
Creativity/Improv. on functions (M/m, D/e) in duple/triple
Create in AB & ABA form
Melody begins/ends on resting tone.
Shape of a melody (steps, leaps, repeats, skips)
Create/improvise simple melodies
Create tonal patterns (without & with solfege)
Crescendo/decrescendo
Verse/Refrain, Strophic form

Describe the effect expression has on music Instrument ID: Oboe, French Horn, Bassoon, Timpani

21

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

Grade 2 Curricular Goals

Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable)
Review posture, instrument etiquette
Review Laban movement
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
Review call & response
Review ostinato à create rhythmic ostinati (without & with syllables)
Review AB, ABA form
Review circle dances/dance readiness
Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1,

3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 4C1, 7A1, 7A2

Introduce Major/minor tonic/dominant patterns, patt. w/syllables
Division/elongation patterns in duple/triple
Unison v. Harmony- identify and perform
Tonic/dominant ostinati & root melodies – singing & instruments
Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root

melodies

Review phrases à create answer phrases
Improvise rhythmic answers in the style given
Creativity/Improv. on functions (M/m, D/e) in duple/triple
Create in AB & ABA form
Melody begins/ends on resting tone.
Shape of a melody (steps, leaps, repeats, skips)
Create/improvise simple melodies
Create tonal patterns (without & with solfege)
Crescendo/decrescendo
Verse/Refrain, Strophic form

Describe the effect expression has on music Instrument ID: Oboe, French Horn, Bassoon, Timpani

22

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

Grade 2 Curricular Goals

Review singing voice, resting tone, tonal/rhythm patterns (neutral syllable)
Review posture, instrument etiquette
Review Laban movement
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
Review call & response
Review ostinato à create rhythmic ostinati (without & with syllables)
Review AB, ABA form
Review circle dances/dance readiness
Learning Sequence Activities: Tonal Unit 2A1, 2A2, 2B1, 2C1, 2B3, 2C3, 3B1,

3B2, 4A1, 4B1, 5A1, 5A2, 5B1, 5C1; Rhythm Unit 3A2, 3B2, 4A1, 4A2, 4B1, 4C1, 7A1, 7A2

Introduce Major/minor tonic/dominant patterns, patt. w/syllables
Division/elongation patterns in duple/triple
Unison v. Harmony- identify and perform
Tonic/dominant ostinati & root melodies – singing & instruments
Simple accompaniments: macro/micro, rhythmic ostinati, tonal ostinati, root

melodies

Review phrases à create answer phrases
Improvise rhythmic answers in the style given
Creativity/Improv. on functions (M/m, D/e) in duple/triple
Create in AB & ABA form
Melody begins/ends on resting tone.
Shape of a melody (steps, leaps, repeats, skips)
Create/improvise simple melodies
Create tonal patterns (without & with solfege)
Crescendo/decrescendo
Verse/Refrain, Strophic form

Describe the effect expression has on music Instrument ID: Oboe, French Horn, Bassoon, Timpani

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 I n s t r u c t i o n

1

To begin with the end in mind means to start with 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 take are always in the right direction.

—Stephen R. Covey

2

Identify desired results. Determine acceptable evidence. Plan learning experiences.

Understanding by Design (Wiggins & McTighe) 3

know and/or be able to do in order to be successful with this goal?

into smaller sequential learning goals over time so that each step prepares students for the next?

EFFORTLESS LEARNING, NOT EFFORT-FULL!

4

E N D G OA L ?

treble or bass clef, using combinations of whole, half, quarter, and eighth notes and rests; in simple meter.

5

SOUND SIGHT PRINCIPLE 1

6

PRINCIPLE 1 SOUND SIGHT SYLLABLES THEORY

Patterns on neutral syll. Perform & label function Read with syllables

7 8

9 10

PRINCIPLE 1 SOUND SIGHT SYLLABLES THEORY

Patterns on neutral syll. Perform & label function Read with syllables

11

PRINCIPLE 2 “Rote” is not a dirty word! Rote learning is a necessary readiness for generalization!

12

E X A M P L E S O F G E N E R A L I Z AT I O N

to new music/patterns.

patterns.

patterns (i.e., taking dictation).

meter of a new song.

13 14

PRINCIPLE 2 “Rote” is not a dirty word! Rote learning is a necessary readiness for generalization!

15

PRINCIPLE 3 “Vocabulary” and Context are also readiness for Improvisation/Composition!

VOCABULARY CONTEXT TONAL: tonal patterns sense of resting tone RHYTHM: rhythm patterns sense of macro/microbeat

16

www.everydaymusicality.com/podcast

“Skill Learning Sequence” Framework

17

1)Gather tools to inform the process.

✓ MI Standards ✓ National Standards ✓ District curriculum ✓ Sequence of a specific approach? (MLT, Kodaly,

Orff, Conversational Solfege, etc.

C U R R I C U L U M M A P P I N G

18

2)Create a document for every grade level.

C U R R I C U L U M M A P P I N G

K K 1st 2nd 3rd 4th 5th

19

3)Look at the big picture across grade levels.

✓ What are your main priorities and/or significant

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?

C U R R I C U L U M M A P P I N G

20

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

21

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

22

4)Then look within each grade level.

✓ How might skills/concepts be sequenced across

the school year? What readinesses can be built in the earlier part of the school year that will set students up for success with later goals in that grade level?

✓ Once you have a general “flow” for each grade

level, map out the timeline for the entire year (by months or quarters, etc.).

C U R R I C U L U M M A P P I N G

23 h s h o u l d i @ e m i c h . e d u w w w. e v e r y d a y m u s i c a l i t y. c o m 24