All That - Kansas City, Kansas Public Schoolsmusicaft.kckps.org/2004/lessons/all_that_jazz.pdf · In general music, using pentatonic scales and nursery rhymes, students explore the

All That Jazz! http://www.kckps.org/iarc/2004/laalonz/jazz.html#resources

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All That

Entr'Acte (All That Jazz), (1996 Broadway Revival of Chicago)

Author | Time Frame | SBIs | Objectives | Assessment | Resources || Learning Activity: anticipatory set • research paper • time line • oral presentation • general music

improvisation • strings improvisation |Authors' Reflections | Content | Strategy

The key for this interdisciplinary unit follows:

The portions of the text that are black refer to the portion of the lesson co-taught byclassroom, general music, and strings teachers. The portions of the text that are brown refer to the Written Research Paper portion of thislesson. The portions of the text that are blue refer to the Jazz Unit Timeline portion of thislesson. The portions of the text that are red refer to the Oral Presentation portion of thislesson. The portions of the text that are green refer to the General Music portion of thislesson. The portions of the text that are purple refer to the Strings portion of this lesson.

Authors: David Alonzo, Mary Ardrey, Courtney Hull, Marsha Longabach, and Courtney WilliamsE-mail: [email protected], [email protected], [email protected], [email protected], [email protected]

Time Frame:

The anticipatory lesson, Jazz Cats, will take one extended lesson, 60-90 minutes. The written research paper will take about eleven days.The Jazz Unit Timeline activity will take about nine days, 60 minutes each day. The oral presentation activity will take about eight days, 60 minute each day.Using 10 to 20 minutes of approximately 13 thirty minute class periods. Approximately six 30-minute sessions. Movement from lesson to lesson will depend on studentprogress and comprehension.

Description:


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The lesson begins with an introductory activity, based on the lesson by Cynthia Colwell and NancyFerguson. This activity utilizes the book Jazz Cats by Davis and Galey as a readaloud and as the impetus formusical interpretation. It also introduces the blues progression that will later be used in the stringsimprovisation as well as introductory information about the history of jazz which students will use inwriting their papers. This lesson includes several WebQuests that the students will use as a basis for theresearch they will need for written and oral presentations. The WebQuests are designed to guide thestudents to Internet information about Kansas City jazz artists and some non-Kansas City jazz artists thatare featured in the American Jazz Museum in Kansas City with materials to guide them to find appropriateinformation about these artists. The musical portion of this lesson will introduce students to the craft ofimprovisation, which is an essential part of the art of jazz. Strings students will play the bass line of the12-bar blues along with the “Batman Theme Song” by Neal Hefti on CD. Then students will improvise bothrhythmically and melodically with the 12-bar blues. In general music, using pentatonic scales and nurseryrhymes, students explore the world of improvisation and jazz

Essential Question: Why is Kansas City known throughout the world for its Jazz? What is improvisation?

SBI:

Addressed:

Reading: Grade Four:

4.1.1 Read and comprehend grade level material, narration, exposition, persuasion and technicalwriting, both fiction and non-fiction.

Literature: Grade Four:

4.2.1 Compare literature, both fiction and non-fiction, from a variety of cultures and historicalperiods, which addresses human experience. 4.2.1.1 Recognize the impact of customs on culture.

General Music:Grade Four:

4.4.1 Compose music using specified guidelines for style, form, instrumentation, and compositionaltechnique. 4.4.1.1 Compose melodies using the pentatonic scale following specifications for meter and form. 4.8.1 Interpret music in relation to history.

Strings:Level I:

I.2.1.1 Demonstrate proper bowing techniques, including placement, speed, and pressure. I.2.1.2 Model proper posture and instrument-specific position while performing.


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I.5.1 Read, perform, and notate notes and rests. I.5.1.1 Read, perform, and notate rhythms in simple meters (e.g., 4/4, 3/4, 2/4, and commontime), including both note and rest values. I.5.1.2 Use a system (e.g., syllables, numbers, letters) to read simple pitch and rhythm notation inthe clef appropriate to the performing instrument. I.5.1.3 Identify symbols and traditional terms referring to dynamics, tempo, and articulation.

I.8.1 Identify musical examples from various historical periods and cultures. I.8.1.1 Evaluate specific compositions from performance literature with regard to the historicalsetting and cultural influences. I.9.1 Explore the relationships of music with other school subjects.

Assessed:

Writing:Grade Four:

4.3.1 Write (using the writing process of prewriting, drafting, revising, editing and proofreading, andpublishing) a variety of texts (e.g., narrative, expository, poetic) for audiences within and beyond the classroom. 4.3.1.1 Select a topic and maintain focused writing. 4.3.1.2 Write a cohesive piece with a clear beginning, middle, and ending using smoothtransitions. 4.3.1.3 Use a variety of sentence structures (including simple and compound) and introductory phrases. 4.3.1.4 Incorporate own personalities into writing pieces. 4.3.1.5 Use specific nouns, powerful verbs, vivid adjectives, adverbs and descriptive phrases in writing. 4.3.1.6 Use accurate punctuation, capitalization, and correct spelling. 4.3.1.7 Use a variety of organizational strategies, which may include webbing, concept mapping, graphic organizers, clusters, and brainstorming.

Social Studies (Research): Grade Four:

4.1.2 Gather data and construct bar, line and circle graphs, charts, timelines, maps, and globes to answer questions. 4.1.2.1 Be able to show important events in history on a time line chart.

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Listening and Speaking:Grade Four:

4.5.2 Make oral presentations appropriate to the audience and purpose. 4.5.2.1 Speak with verbal expression (volume, pace, tone, inflection). 4.5.2.2 Use expressive gestures.


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General music: Grade Four:

4.3.1 Improvise vocal or instrumental melodies, variations, and accompaniments. 4.3.1.1 Improvise question and answer patterns using the extended pentatonic scale.

Strings:Level I:

I.2.2 Perform music literature level material independently and in small or large ensembles. I.2.2.1 Perform music literature level material independently and in small or large ensembles, onpitch, in rhythm, with appropriate dynamics, maintaining a steady tempo. I.3.1 Improvise in a given rhythmic and melodic style. I.3.1.1 Improvise answers in the style of given rhythmic and melodic phrases.

Return to top Objectives:

The student will be able to write an expository paper on the topic of "Jazz". The student will use the writing process of pre-writing, drafting, revising, editing, proofreading, and publishing.

The student will create a timeline on a specific Jazz musician. The student will gather data about a chosen musician to show important events in his/her life. The students will identify jazz music of Kansas City and identify the cultural importance of Kansas City to jazz.

The student will be able to present an oral presentation about a chosen Jazz musician to their classmates.

The student will improvise melodies created from pentatonic scales in C and G with a steady beat.

Assessment:

Summative Description:

The students will complete the activities in the WebQuests. Students need to gather enough information to create the timelines that the classroom teachers will have the students complete. The classroom teacherwill use the rubric to grade the students' final time line projects.

Students will be graded on their oral presentations according to the rubric.

Each student will perform for the class improvised melodies based in syllabic word patterns from nursery rhymes. Their performances will be assessed based on the rubric.

Each student will perform for the class improvised melodies based on the blues progression found in theBatman TV show theme. Their performances will be assessed based on the rubric.


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Task prompts:Jazz Cats By David Davis and Chuck Galey Pelican Publishing Company ISBN: 1-56554-859-0Word cards to represent changing refrain. Download them athttp://www.kckps.org/iarc/2004/laalonz/jazzcatswords.pdf. Swingin’, Swayin’, Groovin’, Wailin’ Far-out, Real hip, Singin’, Rhythm Party, Chilled-out, Dancin’, Dixie Happy, Sleepy, Swingin’, Southern12 bar blues chart. Download them athttp://www.kckps.org/iarc/2004/laalonz/ebluesprog.pdfOrff instruments Chant by and Orffestration by Dr. Melissa Colwell and Nancy Ferguson (view by clicking here or download printable version by clicking here.)ComputersWebQuests (for list of WebQuests, click here)Paper (Writing paper and Typing paper) Art suppliesMagazinesFlip charts Hard copies of the rubricsJazz unit timeline Oral presentationHard copies of the rubricsWorksheets on musicians Definition of Jazz Worksheet The Official Site of the Louis Armstrong House & Archives (on overhead)Chart paperMarkersPost-it notesMiles Davis CDLouis Armstrong CDCD playerInfo SheetHighlightersGraphic organizerConstruction paperInfo cardsU.S. MapInfo cardsOverhead transparencyOverhead pensCrayonsJazz WebQuests 1-20 (Click here for list of WebQuests.)CD: TV Land Presents Favorite TV Theme Songs, Rhino Entertainment Co., 2002, Los Angeles, CA(“Batman Theme Song” by Neal Hefti)FlashcardsD G A I IV V i iv vRhythm Flashcards


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InstrumentUnpitched percussionBarred percussion instrumentRecordersNursery Rhyme posters

Return to topRubric: See rubric for Jazz Research Paper by clicking here. For printable version click here. See rubric for Timeline by clicking here. For printable version click here. See rubric for the Oral Presentation by clicking here. For printable version click here.See rubric for the Improvisations by general music students by clicking here. For printable version click here. See rubric for the Improvisations by strings students by clicking here. For printable version click here.

Performance Standard: 2-Approaching Standard (see rubric)2-Approaching Standard (see rubric)2-Approaching Standard (see rubric)3-Conistently at Standard (see rubric) 2-Approaching Standard (see rubric)

Student exemplars: Coming soon.

Formative Description:

After the second day, the teacher will evaluate the students by checking their timelines as they complete them in class. If their timelines are complete, they will receive a 5/5 for participation. This assignment is a practice introduction to timelines to see if they understand how a timeline is to be set up. Teacher will be sure that the students understand the following concepts:

Information is in chronological order.Information labeled with a date.Information is visually represented as being connected.

As students are creating their timelines, the teacher will roam around the room to make sure the students are following their rubrics, the teacher look to make sure the information is in chronological order and that the information is labeled with a date. Also, the teacher is there to help guide them in the correct direction.

Students will perform their melodies on available pitched instruments.

The teacher will provide support and encouragement while monitoring the students as they follow the improvisation guidelines.


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Materials/Resources:

Databases, online encyclopedias, and web sites with information about jazz and jazz musicians:African American Registry. (2004-2005). The African American Registry. Retrieved June 26, 2004 from http://www.aaregistry.com.Alexander, Scott. (????). The Red Hot Jazz Archive. Retrieved July 22, 2004 from http://www.redhotjazz.com/index.htm.American Jazz Museum. (2004). The American Jazz Museum. Retrieved June 29, 2004 from http://www.americanjazzmuseum.com.Brehaut, T. (1999-2004). Hypermusic - History of Jazz. Retrieved June 29, 2004 from http://www.hypermusic.ca/jazz/mainmenu.html.Hot Jazz Management and Production. (1996-2004). Hot Jazz Management - Preserving the SwingTradition. Retrieved June 26, 2004 from http://www.hotjazznyc.com.IcebergMedia.com, Inc. (2003). Iceberg Radio . Retrieved June 26, 2004 from http://www.icebergradio.com.International Association for Jazz Education. (2004). NEA Jazz Masters Past Recipients. RetrievedJune 18, 2004 from http://www.iaje.org/pastrecipients.asp.Jazz Files.com. (2003-2004). The Jazz Files. Retrieved June 26, 2004 from http://www.thejazzfiles.com.Jeffrey, P., ed. The Duke (University) Archive. June 24, 2004 fromhttp://www-music.duke.edu/jazz_archive.Kansas City Public Library. (2004). Local History Guide - Kansas City Public Library . Retrieved June 26, 2004 from http://www.kclibrary.org/localhistory.Kansas City Star. (2002). Kansas City Jazz. Retrieved June 26, 2004 fromhttp://www.kcstar.com/projects/jazz.Morgan, T.L. (1996). Jazz: the First Thirty Years Retrieved June 29, 2004 from http://www.jass.com/jazzo.html.Muze UK, Ltd. (1989-2002). Lycos Music . Retrieved June 26, 2004 from http://music.lycos.com.National Public Radio. (2004). NPR's Jazz Profiles: Show Archive. Retrieved June 18, 2004 from http://www.npr.org/programs/jazzprofiles/archive/.Pfeffer, M. L. (1979-2001). The Big Bands Database Plus. Retrieved June 26, 2004 from http://nfo.net.Public Broadcasting Service. (2000). Jazz: A Film by Ken Burns: Biographies. Retrieved June 18, 2004 from http://www.pbs.org/jazz/biography/. Public Broadcasting Service. (2003). PBS--Jazz Kids. Retrieved June 18, 2004 from http://www.pbs.org/jazz/kids. Shipton, A. (2003). BBC - Radio 3 Jazz Profiles . Retrieved June 24, 2004 from http://www.bbc.co.uk/radio3/jazz/profiles. University of Missouri at Kansas City. (1996). Club Kaycee: Kansas City Jazz History--People. Retrieved June 18, 2004 from http://www.umkc.edu/orgs/kcjazz/jazzfolk/0folk.htm.University of Missouri at Kansas City University Libraries. (1996-2002). Kansas City: Paris of thePlains: Musical Kansas City From Rags to Classic Jazz to the Classics. Retrieved July 20, 2004 fromhttp://www.umkc.edu/lib/spec-col/ParisOfThePlains/WebExhibit/page4.htm.Verve Music Group. (1999-2004). Jazz History - Presented by Verve Music Group. Retrieved June26, 2004 from http://www.vervemusicgroup.com/history.aspx?hid=8.Wayne, L. (2004). Jazztime. Retrieved June 26, 2004 from http://www.jazzdate.com.

Periodicals with information about current jazz musicians:


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About, Inc. (2004). Guitar at About. Retrieved June 26, 2004 from http://guitar.about.com.Des Moines Register. (2004). The Des Moines Register. Retrieved June 26, 2004 fromhttp://desmoinesregister.com.Kansas City Jazz Ambassadors. (1990-2004). JAM Magazine . Retrieved June 26, 2004 from http://www.jazzkc.org/.Missouri Life Magazine. (1999). Missouri Life Magazine Online. Retrieved June 18, 2004 fromhttp://www.missourilife.com.New Times. (2004). The Pitch Retrieved June 26, 2004 from http://www.pitch.com.

Return to topHome pages for jazz musicians and bands:

104 PM Tours, Inc. (1994). Pat Metheny Group Listener Network. Retrieved June 18, 2004 fromhttp://www.patmethenygroup.com.Adelson, Steve. (2004). Steve Adelson | Guitar and Stick Master. Retrieved June 26, 2004 from http://www.steveadelson.com.D & D Trio, LLC. (2002-2003). The Official Website of Eldar Djangirov. Retrieved June 18, 2004 fromhttp://eldarjazz.com/ Kavanaugh, K . (1999-2004). Ida McBeth: Homepage. Retrieved June 18, 2004 from http://www.idamcbeth.com/. Stiletto Entertainment. (2003-2004). Karrin Allyson: Homepage. Retrieved June 24, 2004 from http://www.karrin.com. Queens College, City University of New York. (2002-2003). The Official Site of the Louis Armstrong House & Archives Retrieved June 28, 2004 from http://www.satchmo.net.

This lesson plan in printable format :Alonzo, L. D.; Ardrey, M. F.; Hull, C.; Longabach, M. J.;and Williams, C. (2004). All That Jazz . Retrieved June 28, 2004 from http://www.kckps.org/iarc/2004/laalonzo/allthatjazz.pdf.

Other related lesson plans/study guides: Cogbill, M.; Alonzo, L. D.; Transue, P.; Ardrey, M., Gish, A. B. (2003). Searchin' for the Blues . Retrieved June 28, 2004 from http://www.kckps.org/iarc/2003/itsmusic/gis/strings1.html.Colwell Dunn, C. M. and Ferguson, N. (2004). Jazz Cats (Chant, Orffestration, Movement). Retrieved July 11, 2004 from http://www.kckps.org/iarc/2004/laalonzo/jazzcats.pdf.Davis, D. (2003). Study Guide for Jazz Cats and Writing. Retrieved July 10, 2004 from http://users2.ev1.net/~lastditch/Teachers%20and%20Librarians.htm. Tolles, S. (1999). Jazz Musicians. Retrieved July 11, 2004 from http://www.davidson.k12.nc.us/webquests/jazzhist/jazzhist.htm.Zimmerman, F. (2002). Curwen Hand Signs for Primary Grades . Retrieved June 28, 2004 fromhttp://www.kckps.org/iarc/2002/websites/zimmerman/curwen.html.

Books:Collier, J. L. (1997). Jazz: An American Saga. Henry Holt & Company. [ISBN 0-8050-4121-4]Davis, D. and Galey, C. Pelican Publishing Company. (2002). Jazz Cats. [ISBN: 1-56554-859-0]Weatherford, C. B. (2000). The Sound that Jazz Makes by Carole Boston Weatherford. Walker andCompany. [ISBN 0-8027-8721-5]Monceaux, M. (1994). Jazz: My Music, My People. Alfred Knopf and Company. [ISBN0-679-85618-8]Hughes, J. L. (1997). First Book of Jazz. Ecco Press. [ISBN 0-8800-1552-7]


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Learning Activity:

Fourth grade classroom teachers and all music teachers will be involved in the teaching of the Jazz Catsanticipatory lesson originally designed by Cynthia Colwell and Nancy Ferguson. This will take 60 to 90 minutes. This will be the foundation for all work having to do with jazz and improvisation. The remainder of the activities will be taught by the classroom teachers in their classrooms, or by the music teachers in their classrooms.

Anticipatory Set - Jazz Cats(Original lesson by C. Colwell and N. Ferguson)

Day 1-Introduction

Around 1890, the blues developed as a refinement of the work song. Work rhythms were abandoned in favor of freer, more expressive rhythms. The blues express the feelings of the singer and aresometimes sad or funny. The first blues was published in 1912 (Dallas Blues and Memphis Blues).

1.

Place the visual of the 12 bar blues progression on the wall.2.Sing the Roman numerals then letters from the visual in e minor pentatonic.3.Have the class stand and sing using directionality for chord changes: I straight ahead, IV to the right,and V to the left.

4.

Add the bass and alto xylophones on the roots of the three chords.5.Refer to the Jazz Cats Chant with visuals of 16 descriptors on wall. (Entire lesson as originally written by Nancy Ferguson and adapted by Cynthia Colwell is available at http://www.kckps.org/iarc/2004/laalonz/jazzcatswords.pdf.)

6.

Teach the refrain by rote using a rhythmic whisper. 7. Jazz Cats, swingin Jazz Cats, I say Jazz Cats, swingin’ Jazz Cats.Introduce the book Jazz Cats. Tell the students that while they read, they need to listen very carefullyand watch the list on the wall so they know when to come in with the refrain.

8.

Get the blues root pattern going on the first Orff instrument. After each pattern, have the next personin the circle take over the 12-bar blues pattern one at a time. In total, it will be played 16 times.

9.

Have them play one complete 12 bar pattern before the teacher starts reading. Encourage the group to whisper the refrain with the teacher.

10.

Return to the song Jazz Cats.11.Assign only the bass xylophone to play the root of each chord.12.Sing with scat syllables: I on da (quarter), IV on da-ba (two eighths), and V on da-ba dot (two eightsand a quarter).

13.

Add a small group on ostinato #1. Add soprano metallophone and alto metallophone to oxtinato #1part.

14.

Add a small group on ostinato #2. Add soprano xylophone and alto xylophone to ostinato #2 part.15.Teach the Jazz Cats Chant using the visuals as cues.16.Perform the entire blues number layering in from the bottom up.17.

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Research PaperDay 1-Introduction


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Tell students they will be learning about the history of jazz in order to write an expository paper about jazz. Discuss what an expository paper is and why people write them.

1.

To introduce this lesson, display a KWL (see strategy description) chart in the front of the room. Havestudents think about what they know about jazz. As they are thinking, pass out one post-it note toeach student. Have the students each write one thought on the post-it.

2.

Students will come to the chart, one at a time to share their thought and place their note onto the chart.

3.

Next, have the students listen to “Way Down Yonder in New Orleans” by Louis Armstrong. Ask thestudents to listen for all the instruments that they can hear. As the students are listening, pass outtwo post-it notes to each student. After the song is over have students write down their thoughtsabout the song. (Instruments they heard, what they liked, other things they noticed, no opinions). Allow a few students to share their thoughts. Collect all post-its and place them on a chart titled:“Our thoughts about Jazz”.

4.

Next, Play “I Gotta Right to Sing the Blues” and have the students record their thoughts again. Allow afew to share after the song is over and place all thoughts onto the poster.

5.

Display this poster where students can look at it throughout the rest of the unit.6.Come back to the KWL chart and, as a class brainstorm several questions for the W column. 7.

Day 2-History of Jazz

Give each student a graphic organizer that they will be using to keep notes on for their expositorypaper. Discuss the three main headings and tell them that we are going to focus on the first onetoday, the history of jazz.

1.

Pass out the information sheet and as a class, read through each paragraph.2.After each paragraph stop and discuss important information and have the students highlight this. 3.After reading the entire sheet, model for students how you want them to transfer the information onto their graphic organizer by putting the information into your own words. Work through a few moreand then allow time for the students to work independently or with a partner to finish.

4.

Read Jazz:An American Saga by Collier. Have students add any other information they see fit as youread.

5.

Look at the KWL chart, have students think about one thing they could add to the L column. Allow thestudents to share with a shoulder partner. Take a few suggestions and write them on the chart.

6.

Day 3-Types of Jazz

Tell the students that there are many kinds of jazz and today we are going to learn about three kinds: the Blues, Dixieland, and Bebop.

1.

In pairs, students will make posters that “advertise” their assigned type of jazz. The posters willinclude 4-5 interesting facts about that type of jazz, important musicians, and an illustration.

2.

Each pair of students will receive an information card about their type of jazz. They are to read theinformation and then make a rough draft of their poster on notebook paper. After they have shownthe teacher their rough draft they will receive a piece of construction paper to make their poster.

3.

Posters will be displayed around the room, where students can see them. Students will take a gallerywalk around the room, looking for information to put on their graphic organizer.

4.

As a class, discuss information that should be added to their graphic organizer based on what the students have seen.

5.

Refer to the KWL chart and have students make suggestions on what to add to the L column.6.Day 4-Where Jazz is found

On a map of the United States, help students locate the following cities: New Orleans, Kansas City, Chicago, and New York.

1.


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Tell students that they will be learning about how jazz played an important role in these cities.2.Put students into 4 groups. Each group will be responsible for one city. 3.Each group will need to answer the following questions:4.

When did jazz arrive in this town?What kind of jazz was it?Who was playing it?

The students will use information sheets and books to find the answers. They will then write theirfindings on an overhead transparency to later share with the class.

5.

As each group shares their findings, we will discuss the information the students want to put onto their graphic organizers.

6.

After each group has shared their notes, refer to the KWL chart and add to the L column.7.

Day 5-Writing the Introduction to the Paper

Have students look at the information they have collected on their graphic organizers and on the KWL chart.

1.

Tell students that the are going to take all of the information they have gathered and put it into an expository paper so they can teach others about jazz.

2.

Discuss what makes an introduction a good one. (has a hook, tells what the paper will be about) As aclass brainstorm some hooks and then discuss what the students will be including in their papers.

3.

Give students time to write their own introduction in their Writer’s Workshop notebook.4.

Day 6-Revising and Paragraph 2

Use a student example of the previous day’s work to revise with the class, discussing what is goodand what could be changed.

1.

Give students a few minutes to revise their own introduction paragraph.2.Look at graphic organizers and focus on the information from the history section. Discuss what thestudents think is important for this paragraph, writing down their ideas.

3.

Give students time to write this paragraph. Students must include at least five interesting facts aboutthe history of jazz.

4.

Day 7-8 (use the same format for the last three paragraphs)

Use a student example of the previous day’s work to revise as a class, looking at the things that couldbe changed and the things that are good.

1.

Give students a few minutes to edit their own paragraph.2. Discuss important facts to include in the next paragraph.3.Allow time for students to work on next paragraph, making sure to include five interesting facts in each paragraph.

4.

Day 9-Conclusion Paragraph

Use a student example of the previous day’s work to revise as a class.1.Give students a few minutes to edit their own paragraph.2.Read examples of good and bad conclusion paragraphs (that you wrote) and have students decide which is which. Discuss what made the good one good and the bad one bad.

3.

Give students time to write their conclusion paragraph.4.

Day 10-11 Peer Editing and Final Drafts

After students finished writing their papers they will need to have at least two other students edit their papers using different colored markers.

1.

The teacher will then conference with the student for any final changes.2.


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The student will write a final copy of their paper onto a “neat sheet”.3.Each student will make an illustration to go along with his or her paper.

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Jazz TimelineDay 1 and 2 (60 minutes each day)

Over the last few weeks we have been discussing Jazz through writing and in your music classes. The next project that we will be working on is making a timeline of different Jazz musicians that are from Kansas City and other parts of the region.

1.

Can anyone name any Jazz musicians that we have discussed in the classroom or within your music classes?

2.

Explain to the class that a timeline is a calendar of events and that it makes it easy to see the order in which the events occurred.

3.

Put a horizontal timeline on the overhead of the teacher's personal life.4.As a group discuss the components on the timeline. What do you notice? Talk to the students about the events. Point out to the students that not everything the teacher has done is on the timeline. It is highlighted with major events.

5.

Now explain to the class that they will be constructing a timeline of their life, beginning with when they were born.

6.

Hand out paper, supplies and magazines. (If you do not have enough magazines, send home a note the prior week asking for magazines.)

7.

Tell the students that they will use magazines because they will look for pictures that represent them or an event in their life. Tell the students to be as creative as they can.

8.

Once the students have had enough time to work on their timelines, divide the students up into groups of three. Within their groups they will share their timelines.

9.

Day 3 (60 minutes)

The day before we discussed timelines. What is a timeline? Why would we use a timeline?1.Today we are going to continue on with looking at and working with timelines. The main goal that you will be accomplishing is creating a timeline on a particular Jazz musician of your choice.

2.

Let’s take a look at an example of a timeline of Louis Armstrong. He is considered the founding fatherof Jazz. (In order to do this you will need a computer that is able to hook up to a projector to showthe following web site.) The web site is www.satchmo.net/bio/ and then click on Louis Armstrong.

3.

Walk the children through the timeline step by step. Make sure as you are reading it to the childrenthat you are pointing out that the dates are in chronological order (sequence) from the earliest to the latest. Also point out that only the important events are listed that pertain to him personally and professionally.

4.

Once we have walked through the web site, I will let the children ask questions about how the timelines are set up. This would also be a good time to give examples of what is considered to be important events.

5.

Now let the students take a few minutes to think about whom they might like to research. If the students need help, the teacher will have a list for them to look at. If a child is having a hard time, the teacher should give suggestions.

6.

Now that the students have their Jazz musician picked out, brainstorm with the class some things that they may want to include on their timeline. List the ideas on chart paper to hang up.

7.

Day 4 (60 minutes)


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Yesterday we talked about timelines and we went ahead and picked out our Jazz musician that you are going to create a timeline on. Before you can start to make a timeline about someone, you need someinformation.

1.

Where are some places that you can go to find information? Look for responses such as encyclopedias, almanacs, Internet, books from the library, etc.

2.

You have your choice of several jazz musicians to write about in the list at http://www.kckps.org/iarc/2004/laalonz/webquestlist.html. You will find links when you chooseyour musician from that list. These links will be sources of information about that musician. When researching your person, make sure you note specific dates when the event happened. At first youmay want to write down events that seem interesting. It is always easier to gather more information than not enough. You can probably find enough information about your musician in all of these links. However, you are free to use any sources of information that is available to you.

3.

Once you have your information collected, you will need to list the events in chronological order. Make sure you have the correct year.

4.

Once you have your timeline all written out on your piece of paper, then you will transfer it to a flip chart to make your timeline. With a flip chart, write the year on the outside. Flip it up and write the event on the inside and draw a picture of that event. Before beginning I would like to go over the rubric on how your timeline will be graded to make sure we understand the process.

5.

If there are no questions, then we will begin to do some research today.6.

Day 5, 6, and 7 (60 minutes each day. (If you find your class needs more or less time, then change to your needs.)

Each day let your students work on their research. If you have computers in the classroom, you maywant to rotate the students through so that they will all have ample time to work. The teacher will bewalking around the classroom, checking on student’s progress through observation and questioning.Examples of questions are:

How have you decided on specific events? Why do you think this event is important to put in the timeline?

Day 8 and 9 (60 minutes, more or less depending on your class)

This is the time in which the students will have time to put their timelines together. The students willwrite out their information on their flip charts and draw their pictures. It is a time for them to be creative.

1.

On the last day, the students will do a Mix Pair Share. What the students do is they walk around theclassroom and when the teacher turns off the lights, the students have to find a partner and then share their timeline. The teacher will do this three or four different times so the students can show off their hard work.

2.

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Oral PresentationDay 1 and 2 (About 60 minutes)

Today we are going to start to discuss what an oral presentation is. Does anyone want to try and discover what this might be?

1.

An oral presentation is when a person gives a speech or presentation on a topic in front of a group ofpeople. Before you start to think, oh no I can’t speak in front of a group of people, we are going to do

2.


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an activity that you will feel comfortable speaking about. The ultimate goal of this is that you will givean oral presentation on the Jazz musician that you created your timeline on.To begin the lesson, the teacher will give a oral presentation about his or her dream vacation.3.When the teacher is done, the class will discuss what they liked about the presentation. What makes a good oral presentation to them when they are listening to people speak to them about topics? What keeps them interested? Take a minute to think about a time when you had to listen to someone speak. What made one presentation better then another? Discuss this as a group. Let the students share their thoughts and feelings.

4.

To begin this activity, the students will have a choice of telling about a dream vacation or a game that they like to play. Give the students a few minutes to think about each topic and if they need to they can write down a few things they could discuss under each topic. Once the students have decided on a topic, give them about 15 minutes to write a small description.

5.

Once they have their notes, they need to practice speaking. To make things more comfortable, the students will practice with partners. Rotate every three to four minutes to a new person. After rotating through five people, tell the students that tomorrow they will be giving their small presentation in front of the class. This will allow the students not to be caught off guard and that they can practice this at home.

6.

On day two, the students will present their presentation on their dream vacation or a game they like to play. This is a great time for teachers to give positive feedback to each student. Do not single a child out. Instead at the end, use it as a teaching opportunity to discuss what good oral presentations should include. Talk with the students and have them give their thoughts and feelings of what they liked and what they could improve. Tell students it is just like writing a paper. You should have a catchy or descriptive introduction and then that your speech should flow in order and end with a conclusion or ending to leave your audience excited.

7.

Tips on presenting a good Oral PresentationSpeak in complete sentences.Speak in a loud, clear voice.Look at your audience.If you use note cards, do not directly read from them. Know your material and practice it. When your project is due, come prepared. It makes it easier to talk in front of a crowd.

8.

After discussing these tips, tell the students that tomorrow we will begin taking our timeline information and making oral presentations from that material.

9.

Day 3 (60 minutes)

Today we are going to take our timelines about our Jazz musician and we are going to take some of the information and start to transform it so you will be able to present it to the class. To do this, they need to decide on some interesting facts that they would like their audience to know about their musician. Once they decide on their facts that they want to share, they will need to turn it into a dialogue. By writing out their presentation the students will be able to use exciting and descriptive words. The idea is to have the students become that particular musician.

1.

Each student will need to have at least have 5 interesting facts about the musician and tell when s/he was born and if the person is still living or deceased.

2.

Another component to this is that the students will need to dress as their musician. The students may bring any props to help enhance their presentation and that may include music that they have learned in their other classes.

3.

The presentation will need to be three to five minutes long.4.Pass out the rubric on how the students will be assessed and go over it.5.

Day 4 and 5 (60 minutes for each day)

Allow the students time to work on developing their oral presentations. The teacher will need to observe


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the students to make sure they are following the standards that have been set. The teacher is there to help the students if they get stuck, but otherwise the students are on their own. They can discuss this with other students to get ideas if they need some help.

Day 6 (30 minutes)

The students will have time to practice within the classroom with their peers. The teacher will pair the students up with each other and have them practice with one another. While one student is presenting, the other student will listen actively and also be looking at their rubric to see how they are doing. The students will give them positive feedback and maybe some areas of where they can improve.

1.

Tell the students that they will have a few days to practice at home on their oral presentation. The teacher will tell the students which day they will be giving their presentation so they can be ready.

2.

Day 7 and 8 (45 minutes each day)

The students will give an oral presentation on the Jazz musician that they selected from their timeline.

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General Music: ImprovisationDay 1

Introduce/review the words improvise, improvising, and improvisation.1.Explain to students that in jazz, improvising is a very important part of performance.2.Students will determine how many syllables make up their first and last names.3.Clap syllable pattern of their first and last names. 4.

Day 2

Review clapping activity of syllable pattern for each students name.1.Each student will choose a non-pitched percussion instrument to perform the syllable pattern of their name.

2.

Day 3

Read the words to the nursery rhyme Humpty Dumpty.1.Clap the rhythm of the words (syllables)2.Choose a non-pitched percussion instrument to perform the rhythm of the words of Humpty Dumpty.3.

Day 4

Read the words to the Nursery Rhyme Jack and Jill1.Clap the rhythm of the words2.Choose a non-pitched percussion instrument to perform the rhythm of the words of Jack and Jill3.

Day 5Introduce/review pentatonic scales.1.Review care and handling of barred percussion instruments.2.Have bar mallet instruments preset in C pentatonic.3.Remind students that they can start on any bar.4.


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Each student will play the rhythm of their name on a bar mallet instrument.5.

Day 6

Review day 51.Read the words to the nursery rhyme Humpty Dumpty.2.Say and play Humpty Dumpty on bar mallet instruments.3.Whisper and play Humpty Dumpty on bar mallet instruments.4.Play Humpty Dumpty on bar mallet instruments.5.Repeat in small groups until everyone has their turn.6.

Day 7

Read the words to the nursery rhyme Jack and Jill.1.Say and play Jack and Jill on bar mallet instruments.2.Whisper and play Jack and Jill on bar mallet instruments.3.Play Jack and Jill on bar mallet instruments.4.Repeat small group performance until everyone has their turn.5.

Day 8

Introduce/review recorder skills and review fingering for g, a, and b. 1.Play rhythm patterns of each students name on recorder using g, a, and b patterns.2.Students who have not had recorder before can stay on one note for each rhythm pattern until they feel comfortable to switch notes.

3.

Day 9

Review recorder skills and add fingerings for d and e.1.Play rhythm patterns of each students name on recorder using d and e.2.Review words for Humpty Dumpty and Jack and Jill.3.Play rhythm patterns of the words for each nursery rhyme.4.

Day 10

Students will be given practice time on recorders or bar mallet instruments.

Day 11

Four nursery rhymes will be used for performance, see appendix A.1.Students will choose to work individually or in small groups to read through nursery rhymes.2.They will determine the rhythm of the words and put the patterns to a steady beat.3.When they are ready, they will sign up for an individual performance time.4.

Day 12 and 13

Performance Day

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Strings: ImprovisationDay 1-Introduction

As a class, discuss jazz music and improvisation’s role in jazz music.1.


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Play the “Batman Theme Song”. Ask the students if they have heard the song before.2.On a piano or other instrument, play the chord progressions with the song. (I, I, I, I, IV, IV, I, I, V, IV, I, I)

3.

Have the students sing the chord progressions with the song, using flashcards with the chord progressions written on them (D, G, A).

4.

Have students sing a scale using solfege and Modally hand signs, if desired. 5.Repeat singing the chord progressions with the song, only this time including the Curwen signals. (I=fists over nose, IV=fists over head, thumbs pointing down, V=palms facing back, above head.) http://www.kckps.org/iarc/2002/websites/zimmerman/curwen.html.

6.

Students sing the scale (D Major) using letter names.7.Students play the D Major scale on their instruments.8.Ask students, “If I is D, what is IV? What is V?”9.Still using the Curwen signals for I, IV, and V, have the students substitute pitch names while they sing with the song. (I=D, IV=G, V=A) Have students do this several times until they feel comfortablewith it.

10.

Review.11.

Day 2-Chords and Chord Roots Review 1.Sing the blues chord progression using the chord names (I, IV, V) and Curwen signals.2.Sing the blues chord progression using the letter names for the root of the chords (D, G, A). Useflash cards to assist students as needed.

3.

Play and sing the D Major Scale, using note names.4.Using string instruments, have students play the chord progression on their instruments, which need to be tuned to the CD. Students should sing the pitch names while they sing.

5.

Allow time for guided practice.6.Have students perform the chord progressions to the “Batman Theme Song” in small groups.7.Review.8.

Day 3-Blues Progression

Review1.Play the D Major scale.2.Play the chord progressions as a class to the “Batman Theme Song” CD.3.Play the chord progressions without the CD.4.Explain that the blues progression that they’ve been playing is the 12-bar blues, the basis of manyblues, and that the blues are a type of jazz music.

5.

Review how chords are built, and explain that in playing jazz music, the students will be playing a lowered third in the chords. Discuss the i, iv, and v chords. Practice playing these new chords as agroup, using the flashcards for a prompt.

6.

As a group, have students play notes from the i, iv, and v triads as the teacher calls them out using flashcards.

7.

Day 4-Melodic Improvisation (Pitch)

Review the blues progression and minor triads.1.Play the minor triads for i, iv, and v as a group.2.As a group, play the minor triads with the “Batman Theme Song”.3.Discuss improvisation in jazz music. Focus on melodic improvisation.4.As a group, allow students to experiment with their improvisation. Explain that as long as studentsplay the notes from the correct triad, there will be no wrong notes.

5.

Allow students to play in small groups for the class as time permits.6.


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Students may play their melodic improvisations with the “Batman Theme Song” CD.7.

Day 5-Melodic Improvisation (Rhythm)

Review1.Discuss rhythmic improvisation in jazz music. Give examples of various simple rhythms in commontime, written on flashcards. Practice as a class, playing the rhythms on the tonic of each triad. Somerhythms will require more practice than others.

2.

Practice the rhythmic improvisations with the CD.3.As a class, echo-play a combination of melodic and rhythmic improvisations.4.Allow time for guided practice.5.Allow students to play in small groups for the class as time permits.6.Review.7.

Day 6-Performance

Review1.Allow time for students to practice their improvisation.2.Students perform their improvisation for the class for a grade. 3.

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Authors' Reflections:

This lesson would be best if taught after students have had experience with expository writing and peer editing.

1.

The trade books are a great way to keep early finishers involved in the research process. I usuallykeep all my trade books out for the students to look at throughout the unit.

2.

Did the class enjoy this activity?1.Did the students understand how a timeline is used?2.Was there enough time?3.What did the class learn from this activity?4.How could I do this lesson differently?5.

Did the introduction activity help the students feel more at ease about giving an oral presentation?1.Did I give the students enough time to prepare for their presentation?2.By already having the research done, did it make it easier for the students to adapt it to a presentation?

3.

Teaching TipsMore practice time may be needed for some students or classes to prepare for performance.

1.

ConnectednessThe skills used in reading music provide further practice of skills learned in reading in language arts.

2.

Active EngagementStudents are actively involved through making choices and performing.

3.

As residents of Kansas City, we are fortunate to have the American Jazz Museum in our community. Afield trip to that institution would enrich this lesson.

1.

We have also spoken to the feeder middle school instrumental music teacher about getting involved in this activity, perhaps to help him recruit. This would foster the continuity of care concept that our

2.


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school district espouses.

Adaptations:

For a student with ESL or special needs, the student may use illustrations with captions to make their timeline.

For Day 1 and 2, if the students feel some anxiety, then they may work in pairs to create a presentation on a game they like to play in P. E. or what is the best thing about school.

Students with physical disabilities should use instruments and word patterns to fit their abilities.Some students may need a peer coach to encourage their participation.

Return to topContent Refreshers:

To teach this lesson, the teachers need to be familiar with a variety of jazz musicians (particularly theones for which we have WebQuests) as well as the history of jazz and the different types of jazz.

To teach this lesson, the teacher needs to be familiar with pentatonic scales, and creating rhythm patterns from syllables in words.

Strategy Refreshers:

KWL chart. (This is a 3 column chart that shows: K-what you know, W-what you want to know, andL-what you learned. It is important to revisit the chart so the students can think about an verbalizetheir learnings throughout the lesson.)

Peer editing. (This is where students edit their peers' papers for errors. Students also discuss andgive suggestions to each other on how they can improve their papers.)

Direct Instruction Kagan: Mix Pair ShareModeling

Direct Instruction Kagan: Mix Pair ShareModeling

Direction InstructionGroup and Individual Practice

Direct InstructionModeling


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Background image of Charlie Parker compliments of http://www.jazzozieri.com.Jazz graphic found at http://www.cc.utah.edu/~jay/url-list.html.

Developed by the authors in conjunction with Music: It's a 1st Thing, a partnership between the

Kansas City, Kansas Public Schools and the University of Kansas.

Documents

All That - Kansas City, Kansas Public Schoolsmusicaft.kckps.org/2004/lessons/all_that_jazz.pdf · In general music, using pentatonic scales and nursery rhymes, students explore the