Final Experience Design Unit

Emily Ranttila and Allison Satterwhite

Context Statement
According to StartClass, there are about 225 students enrolled in this school and 16 full time
teachers working with them. Most of the resource and specialty (music/art/etc.) faculty at the school is
part-time, where they work for other schools in Rockingham County. A majority of the students in the
school district are white (70,251) and the second most prevalent race is African-American (1,268). The
average income of a household in Rockingham County is $51,232. However, we can infer that a
significant amount of our students families may fall below this line, due to the primarily rural farming
community surrounding the school.
This school has recently undergone a change in music faculty, so there is a significant and
obvious lack of continuity from the 2015-2016 school year to now (2016-2017). The students are working
on gaining a stronger foundation in music theory and performance, so some of the lessons in this unit can
seem age-inappropriate at first glance. However, that is due to the fact that classes are 1-2 grade levels
behind in their SOL levels during this transitional time.
This unit would be toward the beginning of a school year. It would be close to
November/December time frame. This unit covers a lot of basics that can be transferred onto later units. It
also has skills that need to be slightly developed beforehand, like basic use of Orff instruments and the
concept of improvisation.

Experience Overview
Experience 1: Listening Maps

In this experience, students will work individually and in groups to follow and create listening maps to
different pieces of music. This will familiarize the students with the informal/graphic notation of rhythms,
dynamics, and instrumentation. Students will also be exposed to different genres of music.
VA Standards
5.8
5.11
5.17
National Standards
MU:Cr2.1.5b

Experience 2: Beginning Rhythmic Improvisation with Chant/Voice

Through this experience, students will gain an understanding of the creation of rhythmic motives through
the use of a story. Throughout the story, students will work together in pairs to create these rhythmic
improvisations within the parameters of the story (e.g. what sound would this character make?; what
sound would this action create?).

VA Standards

Emily Ranttila and Allison Satterwhite

5.2
5.4
5.6
5.17

National Standards
MU:Cr1.1.5a
MU:Cr1.1.5b

Experience 3: Beginning Melodic Improvisation with Orff Instruments

Students will experiment with improvising on Orff instruments by removing bars not in the pentatonic
scale. Students will play using rhythms previously learned in a chant or song in Experience 2. This
connection will allow them to not have to learn new rhythms as they improvise melodically.
VA Standards
5.3
5.4
5.6
National Standards
MU:Cr1.1.5a
MU:Cr1.1.5b

Experience 4: Beginning Notation with Orff Instrument

Students will play Orff instruments along with a recording of music from Experience 1. Their part will
incorporate melody and borduns. The students will then create visual representations of the piece as a
whole (incorporating form) as well as iconically notating their own part of the Orff accompaniment.
VA Standards
5.3
5.6
5.7
National Standards
MU:Cr2.1.5b

Experience 5: Composition with Hand Percussion

In a continuation from Experience 2, students will work with their groups to create rhythmic motives and
movements and then apply them to different forms of hand percussion. This will enable students to not
only think about composing rhythms, but will allow students to explore the creation of different sounds and
how certain sounds relate to characters, actions, and settings.
VA Standards
5.3
5.4
5.6
5.11
National Standards
MU:Cr1.1.5b

Experience 6: Create and Perform

Prompt: You are an up and coming composer. A famous TV show has contacted you and has asked for
an original song to be used in the opening credits of the show. You will write an original composition for
the TV show that will be performed for the producers of the show. The composition should be

Emily Ranttila and Allison Satterwhite

appropriate for a short TV show opening and include specific music theory elements such as notation,
basic performance skills, tempo, and musical form.

Students will work together in groups of three to compose a song for the opening of a TV show using Orff
instruments and hand percussion. The composition will include a clear beginning, middle, and ending and
will be notated in a format similar to listening guides. Students will then perform their compositions for the
class.
VA Standards
5.1
5.3
5.4
5.6
5.8
5.13
National Standards
MU:Cr2.1.5a
MU:Cr2.1.5b
MU:Cr3.2.5a
MU:Cn11.0.5a
MU:Cn10.0.5a
MU:Re7.2.5a
MU:Pr6.1.5b

Experience 7: Tools for Evaluating

In this experience, students will explore different types of critical evaluations in regards to music. Students
will practice evaluating arrangements provided by the teacher, and will culminate their final project from
Experience 6 by performing a peer evaluation of their group compositions.
VA Standards
5.11
5.12
5.14
5.15
Nationals Standards
MU:Cr3.1.5a
MU:Cn11.0.5a
MU:Cn10.0.5a
MU:Re9.1.5a

Rationale
Students in this school are working on gaining a stronger foundation in music theory and
performance, so some of the lessons in this unit can seem age-inappropriate at first glance: that is due
to the fact that classes are 1-2 grade levels behind in their SOL levels during this transitional time. This
unit explores various basic theory techniques such as simple notation, dictation, improvisation, and simple
rhythms while still incorporating creativity and improvisation at the appropriate age level. The unit also
draws significantly on the practice of asking critical thinking questions, as equipping students with the
skills and language to discuss, describe, and defend music they know and like, as well as music that is
new and different, is an essential aspect of music teaching (Allsup & Baxter, 2004, p. 1). As the students

Emily Ranttila and Allison Satterwhite

are so far behind in their understanding of music, it is important to quickly and effectively give them the
vocabulary and language needed to discuss and inquire about what theyre learning.

Experience Designs
Experience 1: Listening Maps
In this experience, students will work individually and in groups to follow and create listening maps to
different pieces of music. This will familiarize the students with the informal/graphic notation of rhythms,
dynamics, and instrumentation. Students will also be exposed to different genres of music.
Understanding Statement:
Through this experience students will gain an understanding of musical forms. They will use art supplies
and listening skills to draw clear beginning, middle, and ends of pieces. Students will also be exposed to
various genres of music.

1.

a.
b.
c.
2.
a.
3.

4.
a.
5.
a.

I can Statements:
I can talk about a piece of music using my musical vocabulary, specifically about its tempo, genre,
dynamics, and instrumentation. (VA Standard 5.11.3 The student will analyze music by analyzing
elements of music through listening, using music terminology)
I can draw a picture based on what Im hearing in the music. (VA Standard 5.17 The student will examine
factors that may inspire musicians to perform or compose)
Process:
Students will begin the class with a walk-about activity to five pieces of music: The Cowboys Overture by
John Williams, I Know You Know by Esperanza Spalding, Jolene by Pentatonix/Dolly Parton, Shes Out of
Her Mind by blink-182, and Water Under the Bridge by Adele.
Students will be given a handout that details outlines each song in terms of tempo, genre, dynamics, and
instrumentation.
Students will find a partner as the first song begins to play. Together they will fill out the form for Song No.
1.
Students will move to a new partner as the song changes and repeat the process under step b. This will
continue until all 5 songs have been completed.
After the walk-about activity has been completed, the class will discuss (compare/contrast) their findings
and explore different musical vocabulary words that can be applied to each song.
Examples of each word will be shown from the walk-about songs so the students are provided with an
idea of the words application.
As a class, students will then look at an example of a listening map for Water Under the Bridge by Adele.
Based on their walk-about activity and their discussion on musical vocabulary, class will interpret and
discuss what the drawings on the listening map might mean.
In groups of three, the students will then create their own listening map to Jolene by Pentatonix/Dolly
Parton.
Groups will then pair up and share their listening maps with each other, using their musical vocabulary to
discuss the maps.
Individually, students will then create a listening map to The Cowboys Overture by John Williams.
As a closing activity, students will write a summary of their final listening map that incorporates musical
vocabulary to explain the rationale behind their drawings.
Assessments:

Emily Ranttila and Allison Satterwhite

Students will complete the walk-about activity in pairs, and then discuss their findings using musical
terminology.
Students will turn in their final listening maps with an explanation/rationale of their drawings.

Extension:
Students will be able to choose their own songs to create listening maps to, individually or in groups.
If time, the class can explore musical terminology regarding the beginning, middle, and ends of piece.
Coda, introduction, etc.

Adaptations:
Color
Students can be given multiple colors to draw with for more expression.
Size
Students can be given larger paper to draw on.
Pacing
Students can listen to the music multiple times before having to draw/having a final drawing.
Modality
Visual
Students can be given an option of various crafts supplies to use, not just drawing. (legos, pom poms,
pipe cleaners, etc.)
Aural
Students can describe what they saw when they listened, instead of drawing.
Kinesthetic
Students can create movements instead of drawing.

Experience 2: Beginning Rhythmic Improvisation with Chant/Voice

Through this experience, students will gain an understanding of the creation of rhythmic motives through
the use of a story. Throughout the story, students will work together in pairs to create these rhythmic
improvisations within the parameters of the story (e.g. what sound would this character make?; what
sound would this action create?).
Understanding Statement:
The students will experience moving their bodies in time with a chant. They will learn three
layered parts of Engine, Engine. The students will experience choosing instruments that connect to
characters in the story that go along with the chant. Students will improvise rhythmic ideas on non-pitched
percussion.

I can Statements:
I can move my body to the beat of Engine, Engine. (VA Standard - 5.5.1 The student will respond to
music with movement by performing non-choreographed and choreographed movements, including
music in duple and triple meters)
I can play a rhythm from a chant on non-pitched percussion. (VA Standard - 5.4 The student will perform
rhythms of increased complexity, including syncopations)
I can play an improvised rhythm on non-pitched percussion. (VA Standard - 5.6.1 The student will create
music by improvising melodies and rhythms of increasing complexity)

Process:
1. The instructor will begin the class with a story about a train engine to introduce Engine, Engine.
a. As the instructor says each part of the chant, he or she will tap a rhythm along
i.
Engine, engine - pat legs
ii.
Puff Puff - move arms like a train

Emily Ranttila and Allison Satterwhite

iii.

All aboard - sway left and right

b. The was once a train engine that would travel all around Chicago. Does anyone know what state Chicago
is in? Illinois! This Engine would travel every day up and down the line. As you saw it pass, you would
everyone talk about the train. Engine, engine number 9. Going down Chicago line. See it sparkle, see it
shine. Engine, engine number 9. (REPEAT x2) Can you say that with me? (repeat 2x) Every day, the
engine would travel all around. Even when you werent near the train station, you could hear the train
from far away. Puff, puff, ch ch ch ch. Puff, ch ch ch ch. Puff, puff, ch ch ch ch. Puff, ch ch ch ch. Lets try
that together (repeat 2x). If you were at the station, the train would pull up, and you could see the
conductor. Can someone tell me what the conductor of a train is? Its the person who drives the train and
helps people get on and off. When the train stopped and the passengers got off, you would hear the
conductor say, All abooooooooooard, all aboooooooooard, all abooooooooooard, all aboooooooooard.
Does someone want to demonstrate this? (have 3 volunteers) What does all aboard mean at the train
station? That everyone can now get on the train before it leaves down the Chicago line. So, every now
and then, right as the train is leaving, you can hear all of those parts. Does anyone remember what the
first sound we hear was? (Engine, engine) What about the second one? (puff puff) And the last one? (all
aboard). Because I cant say them all at once, Ill need your help.
2. Instructor will demonstrate saying Engine, engine while marching in place to the rhythm.
a. Repeat with students joining.
3. Instructor will separate students into 3 trains, designating one conductor or line leader for each line.
4. Instructor will demonstrate moving forward while marching to the rhythm of Engine, engine moving their
arms along.
a. Repeat with students joining, twice through the chant.
5. Repeat modeling in place, students repeating, and moving for both the puff puff and all aboard rhythms
and movements.
6. After all three movement sequences have been done by all the trains, the instructor will designate one
train for each layer of the chant.
7. Have students layer in, starting with puff puff then all aboard and finally engine, engine.
a. Repeat the chant as seen fit by the instructor.
b. Change which train has which chant until all 3 trains have had all 3 chants.
8. Instructor will pair students up into groups of 3, one from each train.
9. Instructor will prompt question to have student pick a non-pitched percussion that matches their part.
a. What would your part sound like if you had to make it without using your voice? Go find an instrument
that matches that sound. Go back to your group and share your sound and why you chose it.
10. Instructor will ask for a variety of volunteers to share their sound and why they chose it.
11. Students will play the rhythm of their part of the chant on their pitched percussion twice through as a class
(all parts at once).
12. Instructor will prompt puff puff and all aboard groups to play their parts again. Engine, engine group
will be asked to make up another rhythm that sounds like it could be the engine going down the Chicago
line.
a. Repeat with each group having the chance to improvise a rhythm that relates to their own part.

Assessments:
Students are marching their feet to the given rhythm.
Students choose a non-pitched percussion that represents their chant and they have a rationale for
choosing it.
Students improvise along with their group, utilizing rhythmic ideas from their chant.

Extension:
Students can improvise in their smaller groups and give rationale as to why they did what they did.
Students can perform their improvisations while their group/the rest of the class play the original chant.

Emily Ranttila and Allison Satterwhite

Adaptations:
Color
Each train/layer of the chant can be given a color.
Size
The chant can be broken down into parts, instead of the whole thing at once.
Pacing
The parts of the chant can be repeated more times as necessary.
Modality
Visual
The words to the chant can be written/displayed.
Aural
The students can have more opportunities to listen to the chant before having to say it themselves.
Kinesthetic
The students can move other parts of their body instead of marching.

Experience 3: Beginning Melodic Improvisation with Orff Instruments

Students will experiment with improvising on Orff instruments by removing bars not in the pentatonic
scale. Students will play using rhythms previously learned in a chant or song in Experience 2. This
connection will allow them to not have to learn new rhythms as they improvise melodically.
Understanding Statement:
Through this experience, students will be exposed to improvisation on pitched percussion. They
will use previously learned rhythms to improvise melodically, taking away the use of criteria to create
music.

I can Statements:
I can move my body to the rhythm of Engine, Engine Number Nine. (VA Standard - 5.5.1 The student
will respond to music with movement by performing nonchoreographed and choreographed movements,
including music in duple and triple meters)
I can play the instruments to the rhythm of Engine, Engine Number Nine. (VA Standard - 5.3.4 The
student will play a variety of pitched and nonpitched instruments alone and with others, including
demonstrating proper playing technique.)
I can improvise a melody using the given notes. (VA Standard - 5.6.1 The student will create music by
improvising melodies and rhythms of increasing complexity)

Process:
1. The instructors will begin the class with the chant, Engine, Engine Number Nine. This chant was
previously studied in Experience 2 the week before.
a. Engine, engine number nine. Going down Chicago line. See it sparkle, see it shine. Engine, engine
number nine.
b. As one instructor continuously repeats the chant, the other will ask students to listen and then join along
when they have a grasp on the chant.
2. Once the class has chanted through Engine, Engine Number Nine together, the teachers will ask a few
questions to assess their understanding of the chant.
a. What number engine are we talking about?
b. Can you remember if Engine Number Nine is going down the Boston line or the Chicago line?
c. Do you think the engine is clean or dirty? Why?
3. Students will then be placed into groups of three. They will work in these groups to create body
percussion movements to the syllables of Engine, Engine Number Nine, similarly to Experience 2.
a. The instructors will demonstrate an example of using body percussion movements to the syllables.
b. Student groups will be selected to perform their motions while the rest of the class chants along.

Emily Ranttila and Allison Satterwhite

4.
a.
b.
5.
a.
6.
a.
b.
c.
7.
8.
a.
b.
9.
a.
10.
a.

The instructors will then model the next two layers of the chant:
Puff, puff, ch ch ch ch.
All abooooooooooard, all abooooooooooard!
Students will then make rhythm trains and walk around the classroom to the beat of their rhythm.
For assessment, the instructors may ask students why they chose a specific beat to walk to.
Students will then move to Orff instruments still in their groups.
Bass instruments - Puff
Middle instruments (smaller metallophones/xylophones) - Engine
Glockenspiels - All aboard
Students will be asked to remove burgers (the B keys) and fries (the F keys) on their instruments. This
creates a pentatonic scale.
All together, students will improvise on the Engine, Engine Number Nine chant.
Overall, students can choose any note/combinations of notes as long as they stick to the chant, similarly
to the body percussion done in step 3.
Students will chant Engine, Engine Number Nine as they improvise over its rhythm.
Students will then move back into their groups to create improvisations over their own rhythm layers. The
instructors will float around the room asking students why they chose particular notes and rhythms.
Each group will come up with ONE melodic improvisation for their rhythm.
Students will then perform their melodic improvisations all together.
Students will be able to conduct the group to layer in different rhythms to create a beginning, middle,
and ending.
Assessments:
Students bodies are moving in time with the rhythm.
Students are playing the instruments using the given rhythms (rhythm of the chant).
Students can take individual turns improvising while the whole class says the chant, allowing the student
playing to be assessed.
Extension:
Once the students are comfortable improvising in the given rhythm of the chant, the instructor can go
further into why the notes do or do not sound good in the scale.
The B and F bars can be put back on the instruments so students learn more control over the mallets.
Once the class has performed their melodies to Engine, Engine Number Nine they can discuss what
makes for a good beginning, middle, and end of a piece. Including but not limited to:
Dynamics (playing louder and softer).
Intensity of performance (playing faster, more aggressively).
Adding layers one at a time vs. all at once.
Removing layers one at a time vs. all at once.
Adaptations:
Color
Each note on the Orff instruments can be given a color and students can be instructed to only play certain
colors.
Size
Students can be provided with personal handouts and/or a projection of the words to Engine, Engine
Number Nine and the corresponding layers.
Pacing
Students can be assigned to play during specific lines (e.g. play when they say the word engine or play
during the first and last lines of the chant).
Modality
Visual
The teacher can use stop and go signs (like street signs) to signal when students/sections/layers are
supposed to play.

Emily Ranttila and Allison Satterwhite

Aural
Students can be provided with earplugs to reduce the noise of 15 other children playing on Orff
instruments together.
Kinesthetic
Student can be provided with putty molds over the mallet handles to assist them in holding the mallets
correctly.

Experience 7: Tools for Evaluating

In this experience, students will explore different types of critical evaluations in regards to music. Students
will practice evaluating arrangements provided by the teacher, and will culminate their final project from
Experience 6 by performing a peer evaluation of their group compositions.
Understanding Statement:
Students will have a further understanding of what qualifies feedback as good or bad. Students
will have the opportunity to choose between two evaluations to see which is better, as well as construct
their own feedback for peers.

I can Statements:
I can identify a good vs. bad evaluation of a piece of music. (VA Standard - 5.12 The student will evaluate
music by applying accepted criteria when judging the quality of compositions and performances.)
I can write my own feedback on a composition of my peers. (VA Standard - 5.15 The student will develop
personal criteria to be used for determining the quality and value of musical compositions)

Process:
1. Students will be shown two examples of feedback, one that is specific, uses positives and constructive
terms, and is precise, the other that is generic and not constructive.
2. Instructor will ask for 2 volunteers, one to read each of them.
a. Example 1
i.
The performance of the band was very good in many aspects. The performers stayed together with the
conductor and knew their music. The performance could have been enhanced by the players being more
in tune. The posture of many performers could have been better by sitting up straight and keeping their
feet solidly on the floor.
ii.
The band sounded pretty. I liked how the flute looked. The tubas were bad because they were loud.
3. After the students answer, the instructor will discuss what makes good feedback.
a. Descriptive
b. Positive and constructive, not just negative
c. Suggests how to fix potential issues
4. Students will then complete a worksheet on good/bad feedback.
a. The worksheet will have various examples of good and back feedback. Students will be asked to edit the
sentences that need improvement on how they can be better feedback, using the requirements as
discussed before.
b. Instructor will collect worksheets for assessment.
5. Students will then break up into their groups from the performance in Experience 6.
6. Student will be tasked with watching videos of their performances and writing one paragraph of feedback
for their group.
a. The students must watch the performance once before writing/discussing.
b. The students will watch the video a second time, discussing and writing as necessary.
c. Students will write an initial feedback paragraph together.
i.
Requirements for the paragraph is that each member must contribute at least 1 sentence.
ii.
No performers individual name should be mentioned in the paragraph.
d. Students will watch the video at least once more, adjusting feedback as necessary.

Emily Ranttila and Allison Satterwhite

Assessments:
Students written feedback will be collected to see use of music terminology and specifics in the writing.
Students verbal evaluations will be scanned for specific details about the piece and use of music
terminology.

Extension:
Students can watch other groups videos and write feedback. The two groups can then compare their
feedback and discuss why they wrote what they did.

Adaptations:
Color
Students can highlight the sentences red or green for the bad and good feedback on the worksheets.
Size
Worksheets can be on larger paper or with larger font
The example feedback sentences can be on handouts instead of just projected.
Pacing
The sentences can be read multiple times.
Modality
Visual
The videos can be watched on larger screens.
Aural
Students can use headphones while listening to the videos for more clarity in the sound.
Students can have the sentences on the worksheets read aloud.
Kinesthetic
Students can be provided with putty molds over their pencils to assist them in holding and writing with
ease.