Lesson Plan

Grade Level: 9-12

Objective(s): Students will be able to verbalize or dictate their thoughts during class discussions.

Eleven out of Sixteen students will perform #6 or #10 with 80% accuracy (1 point off for every mistake) at a
steady tempo.

On Monday, each student will be able to recall and verbalize or dictate one new concept they found to be
interesting.

Thirteen out of sixteen students will keep a steady beat while they spontaneously verbalize rhythmic
creativity.

Eleven out of sixteen students will apply rhythmic creativity to their instrumental performance.

Eleven out of sixteen students will consistently participate in class discussions with or without prompting.

Thirteen out of sixteen students will keep a steady beat as they spontaneously verbalize rhythmic and melodic
creativity.

Eleven out of sixteen students will integrate melodic creativity at a 70% success rate or higher.

Thirteen out of sixteen students will complete a four measure aleatoric composition.

Thirteen out of sixteen students will recall and understand the importance of a click track for ensembles.

Students will individually self-assess their final improvisation recordings based on rubric 3.

Thirteen out of sixteen students will actively participate in both of Friday’s class discussions.
District/State Standard(s):
9.1.12 A. Know and use the elements and principles of each art form to create works in the arts and
humanities.
9.1.12 B. Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to
produce, review and revise original works in the arts.
9.1.12 C. Integrate and apply advanced vocabulary to the arts forms.
9.3.12 B. Determine and apply criteria to a person’s work and works of others in the arts.

National Core Arts Standard(s):

MU:Pr5.1.H.5a Apply teacher-provided criteria to critique individual performances of a varied repertoire of
music that includes melodies, repertoire pieces, and chordal accompaniments selected for performance, and
apply practice strategies to address performance challenges and refine the performances.
MU:Cr1.1.2 a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
MU:Cr1.1.3 b Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter.
MU:Cr3.1.6 a Evaluate their own work, applying teacher-provided criteria such as application of selected
elements of music, and use of sound sources.
MU:Pr6.1.7 a Perform the music with technical accuracy and stylistic expression to convey the creator’s
intent.
MU:Cr3.2.C.Ib Describe the given context and performance medium for presenting personal works, and how
they impact the final composition and presentation.

Key Vocabulary Materials

Improvisation / Improvise / Improv Computers – Share screen & audio, internet
Spontaneous Microsoft Teams
Structured Improvisation PowerPoint
Aleatoric music YouTube
(Written) Solo Picture / recording devices
Notes & Rhythm Instruments (practice pad) & accessories
Eb Major Scale (Eb F G Ab Bb C D Eb) iMovie (or similar software)
Rhythmic Interest Metronome (app) & Headphones
Silence / Rest
 Procedures Slide 1. What is Improvisation? – Gather initial thoughts

Slide 2. Improvisation, Improvising, or Improv, is a type of spontaneous

performance. What does spontaneous mean? Unplanned, unprepared.

Slide 3. Student-led, teacher-facilitated discussion of the following:

Where does improv occur?

When does improv occur?

Who improvises?

Is improv the same as a solo?

Why improvise?

How does it help you develop as a musician?

How can you improvise?

What can you include in an improvisation?

Slide 4. Where & When does improvisation typically occur?

Monday

Improv occurs in jazz so often that people might think jazz is the only place
improv happens. That is definitely not the case.

There are many jazz pieces without opportunities to improvise, and improv occurs
in concert band as well, especially in more modern, aleatoric pieces. Does anyone
know what aleatoric music is?

Aleatoric music = chance music. Some part of the composition is left to chance, or
for the performer to decide. (Yes, jazz with a solo section can be considered
aleatoric.)

In concert band: It is much more likely that the composer may specify notes,
rhythm, a specific phrase to repeat at your own speed, and many other things.

Slide 5. Who typically improvises?

In Jazz: Typically your 2nd players, especially for trumpet and trombone. (Lead
players need to save chops for high range). Rhythm section will most often have
drum set or guitar, but any player in any section can solo, especially if they want
to and it’s an open solo section.

In Concert Band: Typically, one or multiple sections will be given an aleatoric

part, sometimes the whole band at once.

Is improv the same as a solo? No. (Even if they are used interchangeably in jazz)
Sometimes in a solo section there are written solos. In concert band, improvisation
will often happen with multiple people at the same time, whereas a solo will often
be written.

Slide 6. Why Improvise?

Creativity: You can try new things and create whatever you want, especially this
week, in a space where you can’t fail, and nobody will make fun of you for trying.

Performance: Because improv is spontaneous, you can’t rely on the paper to tell
you exactly what to do. The nerves you feel right before you improvise are
natural, but if you can learn to work with them, staying composed under pressure,
and making quick decisions, you’ll be prepared for anything life throws at you.

Ear Training: hearing relationships between notes as well as tuning is important in

any music. If you’re out of tune, it won’t sound good. Training your ear can take a
lot of dedication, which is a skill that will serve you well on any path you choose
in life

Communication: What emotions are you conveying as you improvise? What are
you doing stylistically that we can tell that by listening to you?

Confidence: Put yourself out there. The more confidence you have, the more
successful you will be, both in music and in life.

Slide 7. Where to Start

Which is more important to have a good improvisation? Why? (Which factor will
create more interest?) – Discuss

Rhythm is going to be the driving factor behind an interesting improvisation.

Rhythm is the cake. Notes are the icing.

However, unless you only play unpitched percussion, we can’t have awesome
rhythms if we don’t know what notes we can play on those rhythms.

Eb Major – Does anyone have any serious problems with Eb Major? – Have
someone spell Eb Major.

Slide 8. Classwork – Pick one:

#6 Antipasti or #10 Tetrazzini

Transpose to Eb Major

Record yourself performing it

PDN

Why Antipasti or Tetrazzini? Because the more comfortable you are with the
notes, the less you have to think about when you improvise.
 Exit ticket: What did you learn about improvisation today?

Assessment Informal formative assessment of student’s thoughts and verbalization thereof in a

discussion of Slides 1 & 3.

Ongoing informal assessment of student’s verbal responses with immediate

feedback from the teacher.

Accuracy of student performances on #6 and #10.

Exit ticket – can students tell me at least 1 thing they learned about or thought was
interesting today?
 Procedures Slide 9. How to Improvise Rhythmically

Slide 10.

You can use any rhythms you want, though typically an interesting improvisation
doesn’t have many half or whole notes. Why? Because they lack rhythmic
interest, which is a huge part of moving the music forward. Try to start with
quarter notes.

Use more complicated rhythms as you feel more comfortable.

Use the silence! Believe it or not, silence will make anything you play sound
more interesting.

Slide 11. Rhythm Bank

Now we’re going to try it. Raise your hand if you would like to volunteer.

These are just a few examples of rhythms you could include in one measure of
improv. Please use whatever rhythms you want, whether they are up here or not.

I will give one measure of rhythm, then you respond with your own measure of
rhythm. We will repeat it a few times. Don’t copy exactly what I do if you can
Tuesday

help it.

Slide 12. Classwork

Practice your rhythmic improvisation

Pick 1 note, any note, in the Eb major scale

Rhythmically improvise for 4 measures of 4/4

Between 60-120 bpm

Record it

PDN

Percussion, you don’t need to pick a note.

Exit Ticket: I give a measure of rhythm; each student must respond with their
own rhythm.

Assessment Slide 11 & Exit ticket: Informal assessment of students verbalized rhythmic
creativity. Are students in time?

Classwork: Formal assessment of student performance & creativity on their

instruments. See rubric 1.
 Procedures Slide 13. Adding notes

Slide 14. How to Add Notes

Stay in the scale: What are the notes of an Eb major scale?

Start with 2 notes: Add more as you get more comfortable

Less is more: You’ll be more musical doing 2 notes well versus

stumbling over more than you are ready for

Don’t forget rhythm: The rhythm is what makes improv fun

Percussion: What can you add besides more traditional rhythm? Rim shots?
Flams?

Slide 15. Rhythm Bank

I will give one measure of scat with pitch, then you respond with your own
measure. Don’t copy exactly what I do if you can help it.
Wednesday

Try to keep it simple only using 2 or 3 pitches.

Slide 16. Classwork

Record yourself:

4 measures of 4/4

Rhythmically improvise with 2 or more pitches

Between 60-120 bpm

Percussion: add more techniques like flams and rimshots, or alternatively, add
different sounds than a practice pad. What can you find around your house that
you can use (with permission of course!)

Assessment Informal assessment of student participation in discussions.

Exit ticket: student creation of 1 measure

Formal assessment of student improvisation – adding notes. See rubric 2.

 Procedures Slide 17. Composing

Slide 18. What Can a Composer Instruct a Musician to do While Improvising?

In spontaneous improv, a performer may be instructed of the meter, key,

duration...

In structured improv, a performer may be instructed on notes, rhythm, a specific

phrase to repeat at your own speed, mutes, extended techniques...

What is an extended technique? Anything that isn’t a typical method of playing

your instrument.

What would be considered an extended technique on your instrument? (slap-

tonguing, altissimo, growling or flutter tonguing, glissando, pitch bending,
multiphonics, air, bowing marimba, etc.)

Slide 19. Compose

Take 4 measures of 4/4 in Eb Major

Thursday

Structure improvisation

Will you put specific notes or rhythms? A short phrase to repeat? Extended
techniques? Mutes?

Slide 20. Classwork

Show me what you know! This should showcase you with your best tone and
musical ideas! Tomorrow we will put all the recordings together and decide
what order we want them in for the final product.

What is the importance of using a click track?

Assessment Assess student thoughts/ideas through discussion in Slide 18.

Check for completion and comprehension of composition.

Review prior knowledge of click tracks.

Students will begin to individually self-assess their final improv recordings

based on rubric 3.
 Procedures Slide 21. Arranging

Slide 22. How should we order the clips?

What criteria or guidelines should we use when determining how to order the
clips? Why?

Will we use:

Rhythm?

Pitches?

Range?

Score order?

- Students discuss ideas and select top 3

*Stop screen-share of PowerPoint & begin sharing iMovie (or other software)*
Friday

Facilitate student discussion and determination of clip order.

Once a final decision is reached, play the whole project.

*Return to PowerPoint screen-sharing*

Slide 23. Assignments for the weekend:

Practice your chamber music

PDN due by Midnight tonight

Assessment Observe student discussion on creating guidelines for clip order.

Students will assess the group during discussion and make determinations on
how to fit the clips together.

Students will individually self-assess their final improv recordings based on

rubric 3.
 • Differentiated Optimize individual choice and autonomy (checkpoint 7.1)
Instruction Students may choose the means of learning Eb major, and
• Universal Design for spontaneously choose what to perform.
Learning Strategies
Optimize relevance, value, and authenticity (checkpoint 7.2)
Students will create short aleatoric compositions similar to those
commonly found in modern concert band music.

Heighten salience of goals and objectives (checkpoint 8.1)

Scaffold the goal of improvising into smaller, more manageable steps.

Increase mastery-oriented feedback (checkpoint 8.4)

Students will receive timely feedback on each improvisation.

Develop self-assessment and reflection (checkpoint 9.3)

Students will continuously self-assess throughout each improvisation
before reflecting on a final written rubric.
Accessibility

Offer alternatives for auditory information (checkpoint 1.2)

All information is fully stated in the notes section of each PowerPoint
slide, which students have access to.

Clarify vocabulary and symbols (checkpoint 2.1)

Review old terms and define new terms through discussion.

Maximize transfer and generalization (checkpoint 3.4)

Connect familiar jazz concepts to new concepts in the context of
concert band.

Use multiple tools for construction and composition (checkpoint 5.2)

Students have the option to compose digitally or produce a hard copy.

Build fluencies with graduated levels of support for practice and

performance (checkpoint 5.3)
Students are assessed at each level of improvisation.

• Accommodations Word document of content given to IEP student(s) ahead of time.

• Modifications
Read PDNs out loud after class and allow a verbal response from the
student(s).