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

Emily Ranttila and Allison Satterwhite

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 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

Emily Ranttila and Allison Satterwhite

Rationale
tudents in this school are working on gaining a stronger foundation in music theory and
S
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 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.
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:
1. 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.
a. Students will be given a handout that details outlines each song in terms of tempo, genre,
dynamics, and instrumentation.
b. Students will find a partner as the first song begins to play. Together they will fill out the
form for Song No. 1.
c. 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.
2. 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.

Emily Ranttila and Allison Satterwhite

a.

3.

4.

5.

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.
a. 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.
a. 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:
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

Emily Ranttila and Allison Satterwhite

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
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.

Emily Ranttila and Allison Satterwhite

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.
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

Emily Ranttila and Allison Satterwhite

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.
4. The instructors will then model the next two layers of the chant:
a. Puff, puff, ch ch ch ch.
b. All abooooooooooard, all abooooooooooard!

Emily Ranttila and Allison Satterwhite

5.

Students will then make rhythm trains and walk around the classroom to the beat of their rhythm.
a. For assessment, the instructors may ask students why they chose a specific beat to walk
to.
6. Students will then move to Orff instruments still in their groups.
a. Bass instruments - Puff
b. Middle instruments (smaller metallophones/xylophones) - Engine
c. Glockenspiels - All aboard
7. Students will be asked to remove burgers (the B keys) and fries (the F keys) on their instruments.
This creates a pentatonic scale.
8. All together, students will improvise on the Engine, Engine Number Nine chant.
a. 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.
b. Students will chant Engine, Engine Number Nine as they improvise over its rhythm.
9. 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.
a. Each group will come up with ONE melodic improvisation for their rhythm.
10. Students will then perform their melodic improvisations all together.
a. 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

Size

Each note on the Orff instruments can be given a color and students can be instructed to
only play certain colors.

Emily Ranttila and Allison Satterwhite

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.
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.

Emily Ranttila and Allison Satterwhite

3.

4.

5.
6.

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
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.
Students will then break up into their groups from the performance in Experience 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.

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

Emily Ranttila and Allison Satterwhite

Students can be provided with putty molds over their pencils to assist them in
holding and writing with ease.