Jason Cebulski

Dr. Brent Talbot

MUS_149

4.1 – Non-Verbal Rhythmic Lesson

Context: High School Wind Ensemble (10th Grade and Up).
Prior Knowledge: Students are proficient at playing III/IV grade music on their primary
instruments in Concert Band. They are proficient in the time signatures rehearsed in Concert
Band (4/4, 2/2, 3/4). They have shown further interest in music and have shown they can
perform in a more advanced group. They are comfortable in common Concert Band keys/time
signatures/rhythmsThey have signed up for Wind Ensemble, which rehearses IV/V+ grade
music, which will introduce new, irregular time signatures to them (5/4, 9/8, 7/8)..
Essential Question: How do accented rhythms differ in irregular time signatures compared to
common time signatures?. How do composers use different time signatures to adjust the style
and tone of their compositions? I can answer this question. Rhythms have a right way of
performing them. How about something like...how do composers use time signatures to effect to
style and tone of their compositions?

National Standards
I. MU:Cr1.1.E.8a – Compose and improvise ideas for melodies and rhythmic passages
based on characteristic(s) of music or text(s) studied in rehearsal.
II. MU:Pr4.2.8a – Compare the structure of contrasting pieces of music selected for
performance, explaining how the elements of music are used in each.
III. MU:Pr6.1.8a – Perform the music with technical accuracy, stylistic expression, and
culturally authentic practices in music to convey the creator’s intent.
IV. MU:Re7.2.8a – Compare how the elements of music and expressive qualities relate to the
structure within programs of music.
V. MU:Cn10.0.H.IIIa – Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.
Learning Outcomes
I. Students will learn rhythms through a whole-part-whole approach.identifythe difference
between simple and irregular time signatures.
II. Students will utilize body percussion in order to explore rhythms in irregular time
signatures.perform rhythms in irregular time signatures. using body percussion
III. Students will explore various forms including binary, ternary, and archcreate their own
rhythms in irregular time signatures..
IV. Students will reflect upon the relevance of the rhythmic activity to the repertoire
currently being worked on in class.discuss the challenges of performing in various time
signatures.
Materials
 The Human Body
 Adequate spacing for following COVID-19 standards for safe learning
 A metronome
References

 OnMusic Dictionary. (2015). On music dictionary. Retrieved September 15, 2020. From
http://dictionary.onmusic.org/

Recordings

 The Score Reading Channel. [The Score Reading Channel]. (2016, April 5). Gustav
Holst, The Planets – Mars – Orchestral Score [Video]. YouTube.
https://www.youtube.com/watch?v=kwnY7SbOsSM

Key Terms
 Accent – A stress or special emphasis on a beat
 Arch Form -– ABCBA1,2,3,2,1
 Beat – The regular pulse of music which may be indicated by a metronome or a
conductor
 Binary Form -– 1,2AB
 Ensemble – A group of musicians that perform as a unit.
 Repertoire – A list of music being prepared for a performance/performance-ready.
 Ternary Form -– ABA1,2,1
 Time Signature/Meter – A symbol used to indicate the meter of a composition.
o Irregular Time Signature – Time signatures that do not indicate duple, triple, or
quadruple time.
Procedure
I. The teacher will ask the students to form a circle while maintaining a six-foot distance
between each other.
II. The teacher will indicate that the teacherhe will perform a rhythm using body percussion
and the students will repeat.
III. The teacher performs a rhythm created by the teacher and the students will repeat.
 IV. Repeat step III until students seem comfortable with repeat after me instruction and seem
prepared for the main activity. If time allows, the teacher may ask students to create
rhythms for the rest of the group to repeat to allow for individual creativity.
V. The teacher will then set a metronome to 120bpm and adjust the volume so everyone can
hear. In order to adjust the volume, the teacher will ask if everyone can hear, and the
students will indicate with a thumbs up or a thumbs down if they can hear.The teacher
will evaluate the level of volume by a thumbs up/down embedded assessment.
VI. The teacher will then demonstrate the whole ABCBA 1,2,3,2,1 activity in tempo with the
metronome. This will present the students with the end goal that will be built up to.
VII. Then the teacher will look around and assess the looks on the students’ faces/their
actions. If they look confused or are performing incorrectly, then proceed at a slower
tempo/ slower pace to help guide them to success.
VIII. The teacher will signal “1” an “A” in sign language to indicate the first section, and then
will demonstrate the two bars of 5/4 associated with “1”A. See attached.
IX. The teacher will then perform each part of the section individually, and slowly build it up
to the whole section A.use the whole – part – whole method for students to be able to
perform the whole section “1”.
X. The teacher will then perform section “1”A with the students. while repeating step VII.
XI. The teacher will signal a “2B” in sign language to indicate the next section, and then will
demonstrate the two bars of 5/4 associated with “2”B. See attached.
XII. The teacher will use the whole – part – whole method for students to be able to perform
the whole section “2”.
XIII. The teacher will then perform each part individually, and slowly build it up to the whole
section B.
XIV. The teacher will then perform section “2”B with the students. while repeating step VII.
XV. The teacher will sign and then perform “1,2”AB and then ask the students to join in. This
is the first of three forms – binary. The teacher will sign and then perform ABA “1,2,1”
and then ask the students to join in. This is the second of three forms – ternary. The
teacher will use embedded assessment on a 0-1 scale to evaluate the students’
performance.
XVI. The students will be informally assessed based upon a thumbs up or thumbs down rating
of comfortability in tandem with the teacher’s conclusion of how the performances went.
If thumbs down or reasonable doubt of student understanding, then repeat XIV.
XVII. The teacher will signal a “3C” in sign language to indicate the next section, and then will
demonstrate the one bar of 5/2 associated with “3”C. See attached.
XVIII. The teacher will use the whole – part – whole method for students to be able to perform
the whole section “3”.
XIX. The teacher will then perform each part individually, and slowly build it up to the whole
section C.
XX. The teacher will then perform section “3”C with the students. while repeating step VII.
XXI. The teacher will then perform ABC “1,2,3” and then ask the students to join in. The
teacher will use embedded assessment on a 0-1 scale to evaluate the students.
 XXII. The students will be informally assessed based upon a thumbs up or thumbs down rating
of comfortability in tandem with the teacher’s conclusion of how the performances went.
If thumbs down or reasonable doubt of student understanding, then repeat XIX.
XXIII. The teacher will sign and ask the students to perform ABCBA“1,2,3,2,1”. The teacher
will use embedded assessment on a 0-1 scale to evaluate the students’ performance.This
is the third and final form – arch.
XXIV. The students will be informally assessed based upon a thumbs up or thumbs down rating
of comfortability in tandem with the teacher’s conclusion of how the performances went.
If thumbs down or reasonable doubt of student understanding, then repeat the previous
step.
XXV. Then tThe teacher will break the ensemble into three roughly equal groups and ask one
group to start performing “1”A with the metronome set to 120bpm on repeat.
XXVI. Then the second group will jump in performing “2”B on repeat.
XXVII. Finally, the third group will jump in performing “3”C on repeat.
XXVIII. During the past 3 steps, the teacher will informally assess the students by evaluating how
they are doing. If there is confusion or an unsuccessful attempt made, then go back and
build it up again but slower. Or create just two groups and combine just two sections. The
teacher will use embedded assessment on a 0-1 scale to evaluate the students’
performance.
XXIX. Repeat the past 4 steps but swap the part each group performs.
XXX. The teacher will then ask the students about what they accomplished during this exercise,
giving them time to think and raise their hands in response. This will allow the teacher to
evaluate their critical thinking skills and see if they make the desired connections to
larger musical elements on their own. The desired connections are listed in XXIX.
XXXI. The teacher will then encourage the students to split into partners to create their own
rhythm in an irregular time signature.
XXXII. The teacher will then have each pair perform for the class. The teacher will use embedded
assessment on a 0-1 scale to evaluate the students’ performance.
XXXIII. The teacher will guide a reflective conversation connecting the exercise with larger
musical elements. around what was challenging with creating and performing in irregular
time signatures. Those elements including, but not limited to -Key words the teacher will
look for includes beat, accent/emphasis, binary/ternary/arch form, and irregular time
signature/meter.
Assessment
I. The teacher will assess the students’ identification of irregular time signatures through a
class-wide discussion. Words the teacher will be looking for includes beat, accent,
division, time signature/meter, simple/irregular.
II. The teacher will assess the students’ body percussion performances of the rhythms given
by the teacher using a 0-1 scale.
0 1
The student doesn’t perform the indicated The student performs the indicated rhythm
rhythm in time and/or with rhythmic in time and with rhythmic accuracy.
 accuracy.
III. The teacher will assess the students’ body percussion performances of the rhythms they
createdcreation of rhythms in partners using the following 0-1 scale.
0 1
The pair doesn’t perform a new rhythm in The pair performs a new rhythm in an
an irregular time signature in time. irregular time signature in time.

IV. Through a reflective class-wide conversation, the teacher will assess the challenges of
performing in various time signatures discussed by the students. Words the teacher will
be looking for includes march, accent, irregular time signature/meter, beat.
I. The teacher will visually and aurally be constantly evaluatingassess the students’
progress and comfortability at each step of the exercise to ensure that students are
learning the rhythms, applying the appropriate accents, and following the form being
performed at the time.
II. The teacher will occasionally ask for a thumbs up or down before moving on to
informally assess where the students are. Thumbs up means they are comfortable enough
to move on, while thumbs down means the step should be repeated to allow everyone to
get onto the same page. This will be used in tandem with step I.
III. The teacher will evaluate the students’ understanding through an informal performance
evaluation. The performance will be of the ABCBA arch form, that way the teacher can
evaluate student comprehension of each individual rhythm with specific accents, and
transitions between sections.
IV. The teacher will guide a reflective conversation connecting the exercise with larger
musical elements. Those elements including, but not limited to - beat, accent/emphasis,
binary/ternary/arch form, and irregular time signature.
*Note, as this is a warmup rhythmic exercise meant to go with a rehearsal plan., there will be no
formal means of assessment. *
Extension: In the music later worked on in class, the students will recognize and perform with
more confidence the rhythms included in this exercise. will be able to recognize various time
signatures and practice them, building on this recognition. This exercise and example waswere
written with common rhythms from Mars by Gustav Holst.
Gettysburg Honor Code
I affirm that I have upheld the highest principles of honesty and integrity in my academic work
and have not witnessed a violation of the Honor Code. – Jason A. Cebulski