Meeting the Needs of All Students

     

Differentiation means in part constant assessment. The differentiated teacher is proactive in setting up lesson plans while providing the scaffolding and obtainable goals for a diverse group of learners (culture, perceived weaknesses and strengths.)The teacher needs to be on top of their game and adjusting constantly to the pupils needs.

Differentiation also means aiming a little higher. Expectations on challenging subject matter can be achieved through adjustment strategies. Settling for mediocrity needs no longer to be the case. We should challenge not only the challenged pupils but the middle of the road and the exceptional child as well. The discovery of alternative teaching presentations, learning from the learners and what works for them, discovering more about your fortes and shortcomings so that you can become a better teacher.

Overarching ideas of differentiation do not necessarily challenge me to think in a different way. In my many years as an educator I have utilized many of the differentiation methods. Being a band teacher I have utilized cross curriculum training to reinforce both subject matters, recognizing of course the limitations of each educator. Therefore, in order to incorporate differentiation it would be incumbent upon me to attend the other teacher’s class and observe possible differentiation techniques and to have a brainstorm session with that colleague. This would open the door to more knowledge of the pupil’s abilities in another setting and would allow me to adjust my teaching strategies accordingly.

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Session 1: Defining Differentiation

Meeting the Needs of All Students

     My overall average score is 3.4 which puts me a little higher than My classroom has equal elements of both differentiated and traditional classrooms, therefore, I am leaning toward a more differentiated approach.

The one’s I will address first. Whole-class instruction is the norm in my band program. Whether it is a rhythmic warm up, a tonguing exercise (double and triple tonguing), lip slurs combined with finger movement warm up, singing while others are playing, and moving fingers and wrists while other sections are being worked on. All of these tasks and more are whole-class orientated. While it is true that in the second half of the school year I let students practice in practice rooms while I teach a smaller ensemble the norm is whole-class instruction. This method of teaching has worked very well and has met the test of time.

The next one is “The teacher directs student behavior. Again it depends on the time of the year. The norm has been 1. warm up - 2. execute what is on the board. 3. Silence during rehearsal. The differentiation that happens in the second half of the year is allowing students to warm up the band and rehearse the group. Those who are experienced musicians are offered the opportunity.

The next one is “The teacher provides whole class standards for grading”. The non-traditional classroom setting is what band directors provide on a daily basis. High grades are obtainable by everyone based in large part of attendance. The motivational impact is preserved by the challenging music and it’s execution as well as large group and solo and ensemble participation.

The five’s include “Many learning profile options are provided for” and “Multiple materials are provided.” Pupils utilize computers that feature music theory programs and are accessible and address a large spectrum of learning abilities. Reading rhythms by utilizing numeric and syllabic recitation methods are utilized in lessons. Recordings, Smart Music, and Band in a Box are digital media the pupil can and do access during class time to improve their playing abilities.

“Assessment is ongoing” is the daily norm. Continually as a band director I am recording my group as well as assessing during rehearsal. This learned assessment strategy is the foundation of an incredibly successful program. The utilization of tact is essential.

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Session 1: Defining Differentiation

Meeting the Needs of All Students

“Multiple perspectives on ideas and events are routinely sought.” I open the class up to decisions on where and what we play. I filter out what I do not want to do and then provide a large list of possibilities that are acceptable to me. The pupils then feel that their input is important.

My teaching supports many of the concepts of differentiation. More than I realized. I recognize also that I need to incorporate differentiation earlier in the school year. I believe that what Carol Ann Tomlinson said in her final video that this process could take up to five years. She also stated to take it one day at a time and build upon that. My reaction to those statements is to recognize that I do not have all of the answers and even though I pride myself as a terrific knowledge disseminator, there is room for improvement.

The survey provides me with more insight into my program than what I had prior to its realization. I recognize that the middle school director would not have scored the same way. My students recognize that discipline in class is not sacrificed by the differentiation techniques I currently utilize. They also recognize the difference between my teaching and that of the middle school director.

It is incumbent upon me to establish a better working relationship with the middle school director with the hopes of tactfully bringing up differentiation techniques.

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Meeting the Needs of All Students

Making my classroom a more effective learning community revolves initially around the amount of respect demonstrated by the individuals in the classroom setting. I have used Lee Cantor’s Assertive Discipline as my model in the past to provide a workable setting for my students and me. I really like the idea of asking the students for their contributions for classroom discipline. The framework would be a brainstorming session that would include the following: What are the parameters necessary for a classroom to show respect for one another, respect for the teacher, and the consequences for the lack of respect (what should the consequences be)? These parameters are set by the teacher. The students would share their opinions on their ideas, what they think the teachers ideas would be, and what they think their parents ideas are of respect. The teacher would give his/her view on the same subject matter. After dialogue is completed then a plan would be drawn up and instituted by the teacher and applied. The new method described here has to deal with more student involvement into areas I had not considered (discipline). The belief is when students are involved they take ownership.

A small group recording/performing center might feature techniques and equipment for improvising in a variety of styles. The practice facility would incorporate equipment to record and play not only the students results but also musical tracks. These tools can be put on a moveable cart so as to facilitate movement from one area to another. The new method here would allow students access to music that interests them as well as develop their abilities (stretch what they currently can do). The teacher will facilitate this area with recordings in the styles of interest.

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Session 2: Establishing a Learning Community

Meeting the Needs of All Students

A flexible grouping roadmap for my classroom starts with a major goal in mind. The major goal is the execution (the ability to successfully execute your individual part and incorporating that level of success within the larger group) of a selection of music (which has been chosen via a class activity where the teacher and pupils listen to a variety of novice, mid, and high level music which is voted on by the pupils as to whether or not they wish to sight read it, the pieces are then ordered on approval and played in class) at a high level, therefore, if you have your part down then the whole band can play the piece at a high level of competence.

The overall goal would be achieved through an initial whole class activity called sight reading. Pupils are walked through ahead of time concerning tempo, dynamic, articulations, and interpretation changes prior to reading the music and to listen for these while the piece is being sight read. Novice learners are instructed to pretend they are playing while following along. This way they can participate and join in when they are comfortable.

The director then sings the piece while the instrumentalist’s fingers move along while rehearsal letters are called out. The instructor then informs the group we will read through the piece after this exercise is completed. After the sight reading is done the instructor will assess the attention to detail of the participants at the time and by recording the session.

The next segment of class will call on the students’ perception of the piece. Who had the melody and where did they have it? As the analysis continues pupils will discover unlike instruments having the same part. They will then break off into large practice rooms and practice through these parts saying them first while moving their fingers and then playing them. A section leader will facilitate the mini rehearsals. The parameter set forth earlier by the teacher will be monitored and corrected by all members of the group.

Students will then break off into smaller practice rooms full of recordings of the piece and utilizing computer programs that will play their part for them and will also allow them to be recorded into the computer and be assessed by the computer software.

The instructor will collect all data from the practice room computers and relate to each of the band students during their weekly lessons the results of their individualized practice activities.

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Session 2: Establishing a Learning Community

Meeting the Needs of All Students

     

I can use the equalizer to set up goals. i.e. What is the result of playing an instrument in band? Continually the equalizer can be set up as grasping the piece the pupil needs to prepare. Correct posture, hand position, the ability to read all of the rhythms, pitches, dynamics, and articulations presented are the concrete aspects. Getting the student to recognize how their part fits into the whole leads to the abstract of “What was the composer trying to convey in this piece of music?”

To generate readiness which is the ability to read all of the rhythms, pitches, dynamics, and articulations at an appropriate level the teacher will supply the pupil with exercises that are transformational based upon the pupils abilities demonstrated to that point. Mini lessons would occur on a consistent basis even in a large group setting. Standard band lessons occur weekly to reinforce concepts one on one and move the bands of the equalizer.

Students who complete their part to a level of execution which is acceptable by the instructor then can realize how their part fits into the whole. The ability to go from simple (a single abstraction) part to seeing and hearing how it fits into the whole (multiple abstractions) will allow the pupil to advance even further. The next leap of course is to identify and listen to other parts while you are executing your own at a high level.

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Session 3: Students’ Readiness, Interests, and Learning Profiles

Meeting the Needs of All Students

     

     The lesson is: Motivating first year band students to practice:

Finale is a music notation program that can take scanned music and be edited in a reasonable amount of time to provide a multitude of challenge. Typically the music I choose to offer up for my students to vote on whether or not they would like to play it is of a higher caliber than what they are comfortable with. With the use of Finale I have rewritten music for all levels of competencies.

The teacher will provide a brainstorming session. The session will ask the question “What is your favorite kind of music?” Station one is full of music for all the band instruments listed in score order. The station includes music from all popular genres. The music is at a level of performance that is within the grasp of everyone in the group. Pupils can access a variety of levels of difficulty/challenge in order to maintain interest.

The next station has the same levels of challenge featuring duets, trios, and quartets. The ensembles have three levels of difficulty in each piece (to meet the abilities from novice to advanced learner), therefore, all students can be involved in the same ensemble even though the music is at three levels of challenge.

The next station is a practice room where all students can go to focus on their solo or ensemble preparation. Mentorship and mini lessons by student leaders and the teacher will be necessary in this area.

The next station has coins and staff paper. The coins are dropped on the floor to give the student the ability to creatively generate a rhythm if necessary. The staff paper is to record the results of the drop. Samples of previous years projects of varying genres and level of difficulty are provided. The use of a computer with a mentor to enter the original piece into the Finale data base enables the pupil to hear the piece played by computer.

At the end of the class students will have picked out their pieces and will play them at the end of the week on Thursday and Friday for the entire class. It is unknown if one week will be enough time to complete this project, therefore, the teacher will monitor the students’ progress and adjust the timeline accordingly.

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Session 3: Students’ Readiness, Interests, and Learning Profiles

Meeting the Needs of All Students

     Differentiating content for band will be done the following ways. Instead of having

first, second, and third chair hierarchy (this can have a tendency to alienate the slow learner who may be a terrific soloist and just may be a slower learner) I would group students who are high achievers near the lesser achievers to act as mentors in class for one song. The song would be at a level just above the slow learner. The faster learners would be required to look for correct hand position, posture, articulation, dynamics, and articulations. The advanced learner/mentor would report those findings to the teacher to aid in the assessment process via a checklist. The advanced learner would model the correct hand position etc. while the slower learner would play along or observe. The students’ needs will be met in readiness by having the option to play along with or observe the mentor. Options while observing the mentor include moving fingers along with the mentor while observing.

Another differentiating technique I would use is to take advanced learners and put them on a new instrument of their choice. Thereby enhancing interest and switching the roles in paragraph one. Now the slower learner has an opportunity to be a mentor for a higher learner establishing a positive atmosphere and acceptable learning profiles for both pupils. Interest in playing a new instrument will be met by the advanced pupil while the non-advanced learner can choose from a check list those learning aids they wish to impart on the advanced learner. The list would include, correct hand position, posture, articulation, embouchure, and breathing.

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Meeting the Needs of All Students

     The lesson I chose uses the instructional strategy of cubing to differentiate the content of the lesson titled “How to care for your instrument.”

The class would be divided up into stations. The learning profiles which would be offered at each station include written (backed with aural in the form of cd’s made up by the teacher), video (also made up by the teacher, and hands on with upper-class mentors present at all the stations).

1. Station one is on cleaning and lubricating the outside of your instrument for brass players. Practice cleaning on the instruments provided.

Pupils will be allowed hands on cleaning of sample instruments provided by the instructor. Advanced learners can clean an instrument outside of the one they play in band as well as their own. Novice to moderate learners may clean an instrument other than their own once they show proficiency. Materials provided for brass other than the materials stated earlier will include chamois, oil, and disinfectant dip.

2. Station two is on cleaning and lubricating the inside of your instrument for brass players. Practice on the instruments provided.

Pupils will be allowed hands on cleaning and lubricating of sample instruments provided by the instructor. Advanced learners can clean and lubricate an instrument outside of the one they play in band as well as their own. Novice to moderate learners may clean and lubricate an instrument other than their own once they show proficiency. Materials provided for woodwinds and brass other than the materials stated earlier will include chamois, and disinfectant dip. Trumpets, tubas, and baritones will have samples of valve oil and tuning slide grease. All brass will have a series of snakes to demonstrate cleaning. Trombones will have TST lubricant and tuning slide grease. French horns will have tuning slide grease and rotary oil.

3. Station three is on cleaning and lubricating the outside of your instrument for woodwind players. Practice cleaning on the instruments provided.

Pupils will be allowed hands on cleaning and lubricating of sample instruments provided by the instructor. Advanced learners can clean and lubricate an instrument outside of the one they play in band as well as their own. Novice to moderate learners may clean an instrument other than their own once they show proficiency. Materials provided for woodwinds other than the materials stated earlier will include chamois, and disinfectant dip.

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Session 4: Differentiating Content

Meeting the Needs of All Students

4. Station four is on cleaning the inside of your instrument for woodwind players. Practice on the instruments provided.

Pupils will be allowed hands on cleaning and lubricating of sample instruments provided by the instructor. Advanced learners can clean and lubricate an instrument outside of the one they play in band as well as their own. Novice to moderate learners may clean and lubricate an instrument other than their own once they show proficiency. Materials provided for woodwinds and brass other than the materials stated earlier will include chamois, and disinfectant dip. Trumpets, tubas, and baritones will have samples of valve oil and tuning slide grease. All brass will have a series of snakes to demonstrate cleaning. Trombones will have TST lubricant and tuning slide grease. French horns will have tuning slide grease and rotary oil.

5. Station five is on cleaning and maintaining snare drums. Practice on the instruments provided.

Pupils will learn from a variety of media sources how to replace a snare drum head, how to clean and lubricate the snare mechanism and how to properly adjust the tension of the heads.

Stations with mentors and three types of media are strong methods of differentiation. The learning profiles can usually be addressed by these methods. I like the idea of stations because they compartmentalize the activity. Pupils who complete one station can then try these techniques on their own instruments.

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Meeting the Needs of All Students

     

I chose the tool of Centers. Centers are distinct and provide the opportunity for students to look at a subject from a variety of learning tasks. By offering a variety of tasks at each center students choose a path to address the main theme. The center that represents their path allows the student to choose which avenue to support the main idea. Each center will include an assortment of materials to engage students of multiple learning capabilities.

For example: If the pupils are at center one (the teacher goes over each of the centers ahead of time and describes via a tour how each work. Clear instructions are provided at each center). If the subject matter is Wolfgang Amadeus Mozart his life and music center one would have explicit instructions that would ask the student to i.e. construct a concert poster for a Mozart performance. Include place of performance, time, date, pieces to be performed, and who the performers are. The teacher would provide a variety of materials which would support the poster requirements. The materials would address directly the readiness of the students by offering simple to complex materials.

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Session 5: Differentiating Process

Meeting the Needs of All Students

     

I have chosen centers as my method of differentiation. Centers are similar to stations but the materials do not work in concert with one another, they stand on their own. A task is assigned to each center. The tasks while they support the main topic are independent of each other. If for example we are studying the life and times of Mozart one task would be to make a concert poster. Another task could be to transpose a piece of music in the for your instrument. Another task (center) may to make a research the Wisconsin School of Music Association data base at wsmamusic.org and I-tunes in order to find as many examples of Mozart’s music on I-tunes that correlate directly with the WSMA list. In each of these centers the teacher would provide material to support each of the tasks. The materials would meet the criteria of novice to advanced pupils.

So let us examine how I differentiate material in center one dedicated to making a concert poster. The first question for all activities is what will the student learn or what are the learning expectations of the task? Having the students make a poster will enable the students to learn about the life and times of Mozart. Which pieces would be performed, who are the performers, what is the instrumentation (i.e. full orchestra or chamber music), where is it going to be performed, what would be an appropriate date, and what did the reviews have to say. Therefore, the pupil would have to listen to music, research the performing ensemble, research critics, and of course the life of Mozart to determine dates of his performances and where they happened. Ubiquitous materials such as markers, poster board, large working areas, scissors, paste, and rulers would be provided. Cd’s with Mozart’s music would be provided along with other media including DVD’s on his life. Books on Mozart’s life and music journals would be available for perusal. Overhead projectors would be used to project images for tracing onto the posters. Sample concert posters of today would also be provided. Each of the items provided address many learning profiles. Readiness is addressed because the learning materials provided reflect concepts from simple to complex. Interest is addressed through each learning center which offers very different assignments which do not directly support the other centers but which do support the main theme.

Another center would be to access the WSMA (The Wisconsin School of Music Association) data base and single out all of the music written by Mozart. Compare this list with what is available on I-tunes. Utilizing “Numbers” on the Macintosh computer provided record the solo and ensemble number, name of piece along with its availability on I-tunes. If you cannot find a piece on I-tunes, type in a link where it could be found. If you cannot find a link then indicate none is available. Computer access to the internet and classical recordings of period music would be available for pupil use. The reason for doing this is to

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Session 5: Differentiating Process

Meeting the Needs of All Students

facilitate solo and ensemble. Listening to recordings of pieces is essential in interpretation of classical music. Solo and ensemble participation is nearly 100% of the music body. The access provided by the completion of the assignment will give the pupil involved as well as the entire music organization a leg up on preparation.

Center three would ask the student to transpose a Mozart song to the key of their instrument. The key reason for doing this is to expose the music of Mozart to the student and to train the student in the use of a terrific state of the art music notation program titled “Finale”. Once students are trained they are able to act as facilitators in transposing midi files and parts, therefore, helping the instructor focus more on teaching than logistical issues and opening the door for creating their own Mozartesque composition. The pupil can access Mozart’s very own simple to complex demonstration by listening to the original version of “Twinkle, Twinkle” and then the improvised versions. Materials provided would be cd’s, videos, computer access to “Finale” and its tutorials. Standard sheet music with pencils would also be provided to help meet the learning profiles of students. The sheet would ask which song you are improvising to. What melodic techniques are utilized by Mozart in his improvisatory techniques (a list with recorded samples will be provided on the computer)? What key is the piece in before you transpose and which key is it in after you do so? A how to transpose paper would be available as a handout.

I like the use of centers because the materials and tasks focus on the expansion of current understanding. They allow for different avenues to examine the subject matter. Centers are very similar to stations. Stations are a format I have had some experience using and I believe the transition to centers would be an easier one.

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Meeting the Needs of All Students

Product assignments can be used in preparation for the state honors band. The criteria necessary for auditioning for this extremely prestigious group includes memorization, interpretation, articulation, and style execution. Weekly lessons would provide the assessment vehicle of the criteria necessary to obtain membership. By providing rubric based guidelines provided by the WSMA the pupil and teacher can monitor progress. Readiness to move on to the next lesson will be fostered through execution of lesson material via one on one meetings with the instructor. Through assessment and observation on a weekly basis the instructor can offer the pupil assignment options that have been prescreened by the instructor which will allow for rubric assessment. Interest can be maintained through the choice the pupil will have of assignments which will include written, aural, and visual options to help address learning profiles.

Product assignments can be used in preparation for performances throughout the year. Pupils will have the option of determining which performance (prescreened by the instructor) they wish to have emphasis on in preparation. The rubrics utilized by the Wisconsin School of Music Association will be utilized on a weekly basis during lessons. Readiness will be addressed by the student and instructor with the provision of multiple levels of difficulty to be performed in each performance. Interest is enhanced by allowing the student to pick which songs they wish to work on. A variety of media will be presented to facilitate learning profiles.

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Session 6: Differentiating Product

Meeting the Needs of All Students

      The assignment is to “Produce a performance/recording that incorporates the theme of a holiday”. Pupils will demonstrate, understand, and know how to write music and the etiquette for presenting a performance. The rubric developed is as follows:

Clefs, Key signature, Transpositions, Dynamics, Articulation, Style, Overall presentation.

Progress will be observed during lessons bi-weekly to help determine readiness, interest, and learning profiles. Pupils may collaborate with classmates into groups of up to 4. Pupils will choose one of the following projects based in part on readiness and interest. The projects are progressively more challenging. Pupils may begin their project after stations are completed. Here are the projects.

1. Pupils will create and perform their own song to celebrate the holiday (parts may be written for the whole band).

2. Pupils will choose an existing song and rewrite it for a soloist or a large group performance (the entire band).

←3. Pupils will write and perform a musical that incorporates the theme of the holiday.

The list of holidays (and helpful links) includes but is not limited to the following:

■ 1 January –New Year's Day

■ 17 January – Martin Luther King, Jr. Day (3rd Monday of January, traditionally 15 Jan.)

■ 2 February – Groundhog Day

■ 12 February – Lincoln's Birthday

■ 14 February – Valentine's Day

■ 21 February – Presidents Day (officially George Washington's Birthday; 3rd Monday of February,

traditionally 22 Feb.)

■ 8 March – Fat Tuesday (always the day before Lent starts)

■ 9 March – Ash Wednesday (Christian; movable; First day of the 40-day Lent Season – ending Palm

Sunday)

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Session 6: Differentiating Product

Meeting the Needs of All Students

■ 17 March – St. Patrick's Day (Originating in Ireland)

■ 20 March 2010 – Vernal Equinox (based on sun)

■ 17 April – Palm Sunday (Christian; Sunday before Easter)

■ 29 March 2010 – First day of Passover (Jewish; movable based on Jewish calendar)

■ 30 March – National Doctors' Day (always on 30 March)

■ 1 April – April Fools' Day

■ 22 April – Good Friday (Christian; Friday before Easter)

■ 24 April – Easter Sunday (Christian; movable; Sunday after first full moon during spring)

■ 25 April – Easter Monday (Christian; Monday after Easter)

■ 6 April 2010 – Last Day of Passover (Jewish; moveable, based on Jewish Calendar)

■ 18 April – Patriot's Day/Marathon Monday (New England and Wisconsin only)(3rd Monday of April)

■ 22 April – Earth Day

■ 29 April – Arbor Day (last Friday of April)

■ 5 May – National Day of Prayer (United States Congress, when people are asked "to turn to God in prayer

and meditation". 1st Thursday of May)

■ 8 May – Mother's Day (2nd Sunday of May)

■ 15 May – Armed Forces Day (3rd Saturday in May)

■ 12 June – Pentecost Sunday (Christian; 49 days after Easter)

■ 30 May – Memorial Day (last Monday of May, traditionally 30 May)

■ 14 June – Flag Day

■ 19 June – Father's Day (3rd Sunday of June)

■ 21 June 2010 – Summer Solstice (based on sun)

■ 4 July – Independence Day

■ 12 August 2010 – First day of Ramadan (Islamic, moveable based on Lunar calendar)

■ 5 September – Labor Day (first Monday of September)

■ 8 September 2010 – Rosh Hashanah (Jewish; moveable, based on Jewish calendar)

■ 10 September 2010 – Last day of Ramadan (Islamic, moveable based on Lunar calendar)

■ 11 September 2010 – Eid ul-Fitr after the end of Ramadan (Islamic, moveable, based on lunar calendar)

■ 11 September – Patriot Day

■ 17 September – Constitution Day – Celebration of the ratification of the Constitution of the United States.

■ 17 September 2010 – Yom Kippur (Jewish, moveable, 9 days after first day of Rosh Hashanah)

■ 22 September 2010 – First day of Sukkot (Jewish; moveable, 14 days after Rosh Hashanaah)

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Meeting the Needs of All Students

■ 23 September 2010 – Autumnal equinox (based on sun)

■ 29 September 2010 – Last Day of Sukkot (Jewish)

■ 30 September 2010 – Simchat Torah (Jewish; moveable, 22 days after Rosh Hashanah)

■ 10 October – Columbus Day (2nd Monday of October, traditionally 12 Oct.)

■ 31 October – Halloween

■ 1 November – All Saints Day (Christian)

■ 11 November – Veterans Day

■ 24 November – Thanksgiving (4th Thursday of November)

■ 25 November – Black Friday (Friday after Thanksgiving Day)

■ 29 November - Cyber Monday

■ 1 December 2010 – First day of Hanukkah (Jewish; moveable, based on Jewish calendar)

■ 7 December – Pearl Harbor Remembrance Day

■ 9 December 2010 – Last day of Hanukkah (Jewish; moveable, based on Jewish Calendar)

■ 21 December 2010 – Winter Solstice (based on sun)

■ 24 December - Christmas Eve (Christian)

■ 25 December – Christmas Day (Christian)

■ 26 December – First day of Kwanzaa (Kwanzaa is celebrated until 1 January)

■ 31 December – New Year's Eve

STATIONS -

All of the stations are supportive of the main goal. Students will be broken up into small groups based on readiness levels. They include:

Station one will feature samples of previous projects, ideas, scripts, and songs. Groups will be assigned by the instructor for the stations. After viewing previous projects students will fill out a questionnaire on which holiday they would like to do and be allowed to take home samples of presentations provided by the instructor.

Stations two will include access to computers utilizing the internet for content. The music notation software “Finale” for writing and “Audacity” (a music editing program)will be demonstrated by the teacher. Music theory programs explaining the rubrics will be available at this station. Students will be tested for mastery by completing the tutorial for “Oh Susanna”.

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Meeting the Needs of All Students

Station three is “How to write a concert program”. A “Please include” list will be provide Past concert programs will be analyzed and a worksheet will be provided that will feature the key ingredients to writing a successful program. The information to look for in the program construction include: Which holiday is your project about? What is the name of the group? What pieces are being performed? What is special about the piece? What time is the program and where is it?

Station four is located in practice rooms to initially play music that was written by previous students and eventually to practice what you have written. Smart music will feature previously executed assignments and will serve as a tool for assessment.

Progress will be observed during lessons during the week allowing one band class period a week as an opportunity to work on your piece.

Where do we start?

Stage one will be throughout the year. Whole-group work will feature class warm ups for the beginning of band period. Featuring question and answer sessions on the rubrics. Style (a March for example) will be part of the warm up including dynamics, articulation, style, key signature, and clefs. Transposition exercises will be addressed on Wednesdays.

By the end of the first quarter all students will be able to define the rubrics and have chosen their project.

By the end of the second quarter all students will have written their parts utilizing the rubrics.

By the end of the third quarter all rehearsing will have been accomplished.

By the end of the fourth quarter all projects will be ready for classroom presentation.

Small-group work will be part of the stations which will occur one day out of the week (more or less often depending on teacher observation). Pupils will focus on the stations provided and be assigned stations by the instructor according to readiness which is determined by weekly lessons evaluated by the instructor. Individual lessons will allow for pupils to ask questions of the instructor and address any of the media or computer areas that may be unclear and for the teacher to verify expectations and commitment to the project.

A quality project will feature all the rubrics listed above. The music needs to reflect the Holiday that it is being created for i.e. St. Patty’s day could have a 6/8 feel to it. Christmas songs may feature bells or other jingle percussion instruments. All transpositions need to be correct. Words (if used) need to reflect the sincerity and complexity of the Holiday as well.

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Meeting the Needs of All Students

     

In my position as a director of bands the greatest weakness I have is that of time commitment. The number of performances and internal demands of the job make anecdotal record keeping, portfolio updating, differentiation planning and constant assessment a challenge. Therefore, if I can job out some of my responsibilities and incorporate student aids to facilitate my new priorities I will be more able to have differentiation as an ongoing process.

I am (and as a result in part of this class was) a do it all kind of teacher. If a pupil would need a part constructed by utilizing “Finale” I would then pursue that and spend hours (of my own time) fulfilling that need. Instead I could train students to be proficient in the use of “Finale” and have them take over this time consuming task of part writing. Classroom set up and utilizing pupil input in designing differentiation stations, techniques, etc.

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Session 7: Making It All Work

Meeting the Needs of All Students

Some of the strategies outlined in chapter nine of “The Differentiated Classroom - Responding to the Needs of all Learners” would be adopted in my classroom. I would establish journal writing in my class. The journals would be kept on site. I would also have students broken into stations that would facilitate the creation of portfolios which would also be kept on site. Utilizing concrete anchors would be necessary.

The strategy of centers would incorporate areas of the classroom which would contain materials to reinforce and extend skills and concepts taught in the classroom. Prior to the label of differentiation these centers existed but were seldom utilized by the students or the teacher. The key here is utilization. Making it all work together.

Pupils in band are there for several reasons. Among the reasons (not addressing coercing from parents) are: 1) To improve their playing ability (reading rhythms, notes, articulation, dynamics, etc.) ← 2) To participate in fun events. ← 3) To participate in band with others.← 4) To play challenging music. ← 5) To play fun music. ← 6) To zone out from the pressures and challenges of school and life. ← 7) To be proud of something.←← So how would differentiation strategies be incorporated for this student?←← The stations would be used for a yearlong project. The project would be “Preparing

Music for Performance”. Pupils recognize from day one that this is what band students do. I have never broken it down into units and stations before. The stations will reflect most aspects of the band rehearsal.

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Session 7: Making It All Work

Meeting the Needs of All Students

The ongoing use of this strategy would follow a schedule. The band period would be the same schedule 4 out of the 5 days of the week (keeping in mind that everything in differentiation is fluid).

Typically each band day is identical in process to the one previously. Warm ups are done with warm up books. These books address first-hand the expectations I have of my students.

The warm up procedure can be done in individual practice, small and large group dynamics.

The warm up follows the same goals in each area. How those goals are reached is based on utilizing differentiation while working toward these goals.The following is a list of the goals during warm up and the differentiated ways of achieving those goals. The stations are used to reinforce the goals. Competencies are realized through demonstrating the goals at lessons and with a computer program called “Smart Music”.

The structure of the warm up is as follows:

1) Brass “Lip Slurs” - the brass players break in their embouchure slowly and progress through 5 valve/slide combinations. As observed proficiency levels increase the instructor will demand more on correct hand position, bell position, and posture. These demands are articulated in writing at a station.

←2) Woodwinds - “Fingers” - the woodwind players work on the same concert pitches as

the brass players but move between the intervals quickly. As observed proficiency levels continue to develop the teacher discusses finger height and refers to stations concerning the pencil technique.

3) Percussion - “Rudiments” - the percussion players execute one of the 40 drum rudiments while the brass and woodwind players are warming up providing “the beat”. As proficiency improves more rudiments will be introduced. While everyone is expected to play all the rudiments the differentiation equation allows for advanced players to play more advanced rudiments while the non-advanced can play at the same time easier rudiments (peer mentoring will be promoted here).

1, 2, and 3 occur at the same time with verbal and written (white board) commands.

4) Double and triple tonguing exercises are executed daily (a station will have ← music pieces that contain double and triple tonguing requirements along with

recordings of what it sounds like offering up remedial to advanced pieces). 5) Rhythm exercises utilizing the Sueta method which addresses all learning levels. A

Sueta station will be available. Sueta substitutes syllables for numerical counting. The idea is that students can say the word too, tuh, and tee outside of their instruments and into their instruments whereas, the numerical counting can only occur outside of their

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Meeting the Needs of All Students

instruments. This technique is awesome when applied to sight reading and applies directly to auditions for honors bands and daily execution.

6) Chorales. Warm air utilization will be demonstrated by the instructor. Students will always utilize warm air presentation on chorales. The goal on chorales is to play in tune, with intensity, feeling, and to sing your parts. The progress through the school year will start with the chorale used as a sight reading exercise. The next step is to incorporate phrasing. Then every other person sings their part and by the end of the year everyone is singing their part.  Itervalic recitation will be included with the chorale singing.  “Smart Music” can be used both vocally and instrumentally and will be supporting the chorales in class.

Performances throughout the year in order to be at a level where the public will at the very least tolerate your performance and at the very best be wowed by it need to be supported with fundamentals. The warm up procedure and the supporting stations are a continual path to improvement. The task will be to update the stations, monitor progress via “Smart Music” and lessons, and then to adjust the materials and stations and presentations accordingly. This warm up I have used for years. It has produced state honors band membership, first place finishes in large group competition in all classes, state solo and ensemble firsts and exemplary soloists.

I choose the stations rationale because it offers the most flexibility and I have used it before.

Differentiation in the stations will include but not be limited to supporting material to fit learners of all ability levels. The Sueta method incorporates multi - level ability levels. The chorales are of a simplicity that the remedial learner can achieve the reading of them easily. The advanced learner will be challenged to sing their part accurately while the other parts are played through “Smart Music”. Double and triple tonguing exercises will start at slow speeds and students will be able to chart their progress on a weekly basis.

The change in what I am doing directly reflects the success I have had with students already. Differentiation with charting, music assessment programs, and lessons will (I hope) allow for more students to have success and therefore, more interest and higher numbers in my program.

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