UNIT COVER PAGE

Unit Title:

Musical Literacy: You can read music!

Subject/Topic Areas:

Grade Levels:

2nd-3rd

Music

Key Words: music, staff, lines, spaces, audiate, meter, resting tone, major tonality, minor
tonality
Designed By: Aimee Pearsall

Brief Summary of Unit (including curricular context and unit goals):

Students will continue their journey toward musical literacy through a variety of
activities like writing to musical penpals, engaging with the Smartboard, and playing musical
games like headbandz. The students are already able to improvise rhythmically and tonally in
major and minor tonalities and in duple and triple meters. In this unit, they will gain an
understanding of how to take these improvised melodies/chants and notate them. The children
will also be able to chant/sing simple, unfamiliar chants/melodies. Additionally, students
will learn that some rhythms that are perceived orally can be notated in different ways, and
will also demonstrate an understanding of transposition.
In the culminating performance task, students will create their own audiobook, which
will include two tonal and two rhythmic compositions in different meters (duple/triple), and
tonalities (major/minor). These compositions will be posted online, along with the childs
voice accompanying the compositions.

Understanding By Design Unit Plan

Title of Unit
Subject
Developed By

Musical Literacy: You can read music!

Grade Level

Grade 2-3

Elementary General Music

Time Frame

Two Years

Aimee Pearsall

Stage 1 - Identify Desired Results

Big Idea: Actualizing Audiation
Established Goals:
Students will be able to read and write rhythmically and tonally in duple/triple meters and major/minor tonalities. Students will be able to read
and write rhythmically and tonally in different keyalities and with different note values as the macrobeat.
Common Anchor #1: Students will generate musical ideas for various purposes and contexts.
Common Anchor #2: Students will select and develop musical ideas for defined purposes and contexts.
Common Anchor #3: Students will evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.
Common Anchor #4: Students will share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality.
Common Anchor #6: Students will perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to
the audience and context.
Common Anchor #10: Students will synthesize and relate knowledge and personal experiences to make music.
Common Anchor #11: Students will relate musical ideas and works with varied context to deepen understanding.

Enduring Understandings
Students will understand that...
A rhythm perceived aurally can be notated in different ways.
Tonality is made up relationships.
Notation is a reflection of ones audiation.

Essential Questions

Pre-requisite Knowledge:
Students will know...
Key terms: audiate, meter, duple meter, triple meter, resting
tone, major tonality, minor tonality.

Knowledge:
What knowledge will student acquire as a result of this unit?

What are different ways to notate a rhythm that you hear/audiate?

Why do rhythms that look different sometimes sound the same?
Why can melodies with the same solfeggio look different on the
staff?
How can you audiate and sing a notated melody?
How can you audiate and chant a notated rhythm?

Pre-requisite Skills:
Students are able to
Imitate and improvise MB and mb patterns in duple and triple
meters with syllables.
Imitate and improvise tonal patterns (stepwise and skipping)
using solfeggio in major and minor tonalities.
Follow along with simply tonal/rhythmic notation by pointing to
the macrobeats while a rhythmic or tonal story is read to them. S
are able to do this in different keyalities and with different note
values as the macrobeat.
Compose their own pieces vocally and with small instruments,
without the limitations of notation.
Read rhythmically in both duple and triple meters from the
teachers big book.
Skills
What skills will students acquire as a result of this unit? List the skills
and/or behaviors that students will be able to exhibit as a result of their
work in this unit.

Students will know...

Key terms: staff, lines, spaces. audiate, meter, duple meter,
triple meter, resting tone, major tonality, minor tonality.

Students will be able to

(Continue to hone their pre-requisite skills AND)
Audiate and notate MB and mb patterns in duple and triple
meters.
Notate the same MB/mb rhythm patterns in multiple ways.
Sing (read) stepwise tonal patterns in major and minor tonalities
when given do.
Sing (read) skipping tonal patterns that outline the I and V chords
in major/minor tonalities.
Notate the same tonal patterns in different keyalities.
Notate their own tonal compositions (melodies) in major and
minor tonalities, and sing (perform) them.

Stage 2 Assessment Evidence

Performance Task
GRASPS Elements of the Performance Task
G Goal
What should students accomplish by
Transposition Project: Pretend that you are an arranger. A performer does not want to sing/play the written
completing this task?
music with the resting tone in the place where it currently is (they want to sing/play in a different
R Role
keyality!). You will be given two tonal compositions that one of your classmates already composed. It is
What role (perspective) will your students be
your job to translate each tonal composition so that the resting tone is on a different line or space.
taking?
Remember, the performer still wants the song to have the same solfeggio and rhythm, just with a different
A Audience
Who is the relevant audience?
resting tone (in a different keyality)!
S Situation
The context or challenge provided to the
student.

P Product, Performance
What product/performance will the student
create?

Audiobook Project: Your task is to write a book with musical language. Your book should include at least 2
tonal compositions (at least one in major and one in minor tonality), and at least 2 rhythmic compositions
(at least one in triple meter and one in duple meter). Your target audience is a class of younger students
(Kindergarten and 1st grade students). Your book should have a front cover that younger students would
find appealing, and each composition should have an appealing title that your audience might enjoy. After

writing your compositions and designing your book, you will record your voice for the audio portion.
These will be posted online, along with a copy of your book for students in the school to listen to.

S Standards & Criteria for

Success

See attached measurement tools.

Create the rubric for the Performance Task

Other Evidence
Through what other evidence (work samples, observations,
quizzes, tests, journals or other means) will students demonstrate
achievement of the desired results? Formative and summative
assessments used throughout the unit to arrive at the outcomes.
Informal Checks:
Teacher will use SmartBoard activities to check for
understanding of notating the same MB/mb rhythm
patterns and tonal patterns in multiple ways.
Teacher will observe students reading tonal and rhythm
stories to their book buddies in class.
Students will choose a rhythm story to chant out loud to
the class during read-aloud time.
Students will choose a tonal story to sing out loud to the
class during read-aloud time.
Teacher will informally assess each groups rhythmic
ostinati written to a pop song.
Teacher will informally assess each student/groups ability
to chant unfamiliar ostinati to a pop song.
Teacher will informally assess each partners headbandz to
see if they are enrhythmic but notated differently.
Teacher will informally assess each students ability to
differentiate in the headbandz matching game.

T will listen as S sing melody for T in groups before notating it on

Noteflight (assessing Ss ability to audiate and recall a new melody).

Student Self-Assessment
How will students reflect upon or self-assess their learning?

1. Self-assess your audiobook using the rubric. Write about what you
are proud of and what you could have done better (see attachment).

T will informally check Ss group Noteflight compositions throughout

the process.
T will listen as S sing the melody that they notated in groups on
Noteflight.
T will listen as S sing the melodies that other groups notated on
Noteflight.

Academic Prompt: Musical Pen Pals:

Students will be assigned a musical pen pal in another
class. The students will write musical letters to their pen
pals in/out of class, and will deliver the letters each week.
The students will have time during class to read their
received letters to other students out loud. Teacher will
observe and assess the letters.
Quiz: Students will notate rhythms that the teacher chants.
Quiz: Students will chant rhythm patterns that are notated.
Quiz: Students will sing tonal patterns that are notated.
Quiz: Students will notate tonal patterns that the teacher sings.

Stage 3 Learning Plan (Overall)

Where are your students headed? Where have they been? How will you make sure the students know where they are going?
What experiences do the learners bring to the unit? How have the interests of the learners been ascertained? Have the learners been
part of the pre-planning in any way? What individual needs do you anticipate will need to be addressed?
Learning environment: Where can this learning best occur? How can the physical environment be arranged to enhance learning?
The students have been immersed in many rhythmic and tonal patterns in various meters tonalities. They have improvised in duple and triple
meter, as well as in major and minor tonalities. T will have already read to the S in major and minor tonalities, as well as duple and triple
meters for a couple of months (or years). When the S can read independently from the T in duple/triple meters from the Ts big book, then the
unit can begin. The S are headed toward tonal and rhythmic literacy! I will make sure that the S know where they are going by informing the S
of the projects well in advance, and by giving them goals to achieve. The S will be asked for their input about some of their favorite

songs/artists, so that I can incorporate the notation of some of their favorite songs. There will definitely be individual needs that I should
address. By working in groups for much of the time, I am hoping to facilitate a cooperative learning environment in which I can help individual
students while simultaneously letting higher aptitude students take the reigns. I would like S to be able to spread out all over the room when
working, but they will probably need clipboards throughout the process. I will also need to add mailboxes to the room, as well as a recording
station.
How will you engage students at the beginning of the unit? (motivational set)
I will introduce the musical pen pals as an engaging activity to hook the students at the beginning of the unit.

Stage 3 Learning Plan, Part 1

Established Goals:
Students will be able to read and write rhythmically in duple/triple meters. Students will be able to read and write rhythmically with
different note values as the macrobeat.
Common Anchor #1: Students will generate musical ideas for various purposes and contexts.
Common Anchor #2: Students will select and develop musical ideas for defined purposes and contexts.
Common Anchor #3: Students will evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.
Common Anchor #4: Students will share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits
originality.
Common Anchor #6: Students will perform expressively, with appropriate interpretation and technical accuracy, and in a manner
appropriate to the audience and context.
Common Anchor #10: Students will synthesize and relate knowledge and personal experiences to make music.
Common Anchor #11: Students will relate musical ideas and works with varied context to deepen understanding.
Enduring Understandings:
Students will understand that...
A rhythm perceived aurally can be notated in different ways.
Notation is a reflection of ones audiation.
Essential Questions:

What are different ways to notate a rhythm that you hear/audiate?

Why do rhythms that look different sometimes sound the same?
How can you audiate and chant a notated rhythm?

Assessment:

Informal Checks:
Teacher will use SmartBoard activities to check for understanding of notating the same MB/mb rhythm patterns in multiple
ways.
Teacher will observe students reading tonal and rhythm stories from their book buddies in class.
Students will choose a rhythm story to chant out loud to the class during read-aloud time.
Teacher will informally assess each groups rhythmic ostinati written to a pop song.
Teacher will informally assess each student/groups ability to chant unfamiliar ostinati to a pop song.
Teacher will informally assess each partners headbandz to see if they are enrhythmic but notated differently.
Teacher will informally assess each students ability to differentiate in the headbandz matching game.
Academic Prompt: Musical Pen Pals:
Students will be assigned a musical pen pal in another class. The students will write musical letters to their pen pals in/out of
class, and will deliver the letters each week. The students will have time during class to read their received letters to other
students out loud. Teacher will observe and assess the letters.
Quiz: Students will notate rhythms that the teacher chants.
Quiz: Students will chant rhythm patterns that are notated.
What events will help students experience and explore the enduring understandings and essential questions in the unit? How will you
equip them with needed skills and knowledge?
#
Lesson Activities
Diagnostic Assessment: T will assess if individuals are able to improvise Mb and mb patterns in duple and triple meters, and will
assess their ability to read rhythmically in both duple and triple meters from the teachers big book. This will help the teacher to
check for misunderstandings and gauge when to begin the unit based on the students prior knowledge.

1. T will have S read a duple meter story along with the T, and will assign the S their musical penpal in another class, which will
function as a hook to musical reading and writing. T will establish mailboxes for each class so that the S can deliver their
letters.
2. T will invite S to write their own duple meter story to their penpal.
3. Next class, T will allow S to read aloud their story that they received from their penpal (first to their partner, then out loud to the
class). The penpal activity will continue informally, with the T allowing S to drop off notes to their penpals in the mailboxes when
they have free time.
4. T will have S create their own rhythmic ostinati (2 ostinati-one for the chorus and one for the verses) to a popular song of the class
choosing. The S will notate those ostinati in groups. S will then create their own arrangement of the popular song by deciding on
instrumentation for each of the ostinati and for the melody. The class will do this first as a large group for a model, and then this will
occur in small groups.
5. The S will then rotate groups around the room and work to learn the other Ss arrangement to the pop song. The groups that
switched will then meet to discuss intentions vs. interpretations of the notated rhythms and instrumentation.
6. The T will read from the big book and have the S re-discover that rhythms can sound the same but be notated differently. This
will be re-inforced through differentiation. The S will have already discovered this, but it has not been a focus up to this point.
7. T will use Smartboard activities to have the S practice reading in different time signatures, and matching enrhythmic patterns
together.
8. T will have students complete a formal reading quiz with the teacher by chanting rhythm patterns that are notated.
9. T will introduce the game of musical headbandz with the S. Each pair of S partners will make their own musical headbandz.
They will look different but feature patterns that sound the same. After the headbandz are made, the whole class will play the game.
They will have to say other peoples patterns out loud, and try to find their partner whose headband features the same-sounding
pattern.

10. The class could re-use the headbandz but play it as a matching game on the floor, so that everyone could see all of the patterns.
Each S would have a chance to find a match and say the patterns out loud. T would use this opportunity as an informal assessment of
reading, and as an assessment of differentiation.
11. T will have the S take a quiz, notating rhythms that the T chants. This will be a formal assessment of writing.
12. NOTE: Throughout 1-11, T will also read tonally to the S from the big book in both major and minor tonalities.

Stage 3 Learning Plan, Part 2

Established Goals:
Students will be able to read and write rhythmically and tonally in duple/triple meters and major/minor tonalities. Students will be able
to read and write rhythmically and tonally in different keyalities and with different note values as the macrobeat.
Common Anchor #1: Students will generate musical ideas for various purposes and contexts.
Common Anchor #2: Students will select and develop musical ideas for defined purposes and contexts.
Common Anchor #3: Students will evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.
Common Anchor #4: Students will share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits
originality.
Common Anchor #6: Students will perform expressively, with appropriate interpretation and technical accuracy, and in a manner
appropriate to the audience and context.
Common Anchor #10: Students will synthesize and relate knowledge and personal experiences to make music.
Common Anchor #11: Students will relate musical ideas and works with varied context to deepen understanding.
Enduring Understandings:
Students will understand that...
A rhythm perceived aurally can be notated in different ways.
Tonality is made up relationships*
Notation is a reflection of ones audiation.
Essential Questions:

What are different ways to notate a rhythm that you hear/audiate?

Why do rhythms that look different sometimes sound the same?
Why can melodies with the same solfeggio look different on the staff?*
How can you audiate and sing a notated melody?*
How can you audiate and chant a notated rhythm?

*=Focus of this section of the learning plan

Assessment:
Informal Checks:
Teacher will use SmartBoard activities to check for understanding of notating tonal patterns in multiple ways.
Teacher will observe students reading tonal and rhythm stories from their book buddies in class.
Students will choose a tonal story to chant out loud to the class during read-aloud time.
Teacher will observe students during the catepillar and large staff paper activities to check for understanding of tonal
notation.
Academic Prompt: Musical Pen Pals:
Students will be assigned a musical pen pal in another class. The students will write musical letters to their pen pals in/out of
class, and will deliver the letters each week. The students will have time during class to read their received letters to other
students out loud. Teacher will observe and assess the letters.
Quiz: Students will sing tonal patterns that are notated.
Quiz: Students will notate tonal patterns that the teacher sings.
GRASPS Performance Task:
Transposition Project: Pretend that you are an arranger. A performer does not want to sing/play the written music with the
resting tone in the place where it currently is (they want to sing/play in a different keyality!). You will be given two tonal
compositions that one of your classmates already composed. It is your job to translate each tonal composition so that the
resting tone is on a different line or space. Remember, the performer still wants the song to have the same solfeggio and
rhythm, just with a different resting tone (in a different keyality)!
What events will help students experience and explore the enduring understandings and essential questions in the unit? How will you
equip them with needed skills and knowledge?
#
Lesson Activities

Diagnostic Assessment: The previous lesson activities and the following Smartboard activities will also serve as a diagnostic
assessment to check for misunderstandings.
1. T will introduce a series of SmartBoard activities for the S that focuses on tonal music reading. S will be expected to match
solfeggio to patterns, and differentiate between same/different patterns. S will also be expected to find patterns that have different
keyalities but are the same. Throughout, S will be expected to sing in order to indicate to the T that they are audiating.
2. S will participate in caterpillar activities, in which they work in small groups and match the parts of the catepillar together that go
together. For example, they would match the correct notation with the correct solfeggio. They would be expected to sing all of the
patterns while working it out.
3. S will use chips on large staff paper to notate a familiar song (for which they already have determined the solfeggio) in groups.
This would not include rhythm, but would focus on the placement of the chips on the staff paper. S would be asked to notate the
same song in several different keyalities. There will be posters around the room with the key signatures (indicating what flats and
sharps need to be present if do is in different places), and S will have the opportunity to practice placing sharps and flats (made from
paper) on their staff paper.
4. S will take a quiz in which they will have to sing patterns (stepwise and simple skipping) that are notated and familiar.
5. T will introduce S to the Transposition Project. S will receive a worksheet and be asked to transpose the melody of a familiar
popular song. First, the group will read the melodies on solfeggio, and then the S will be asked to decide where they would like do
to be, and notate the song twice, in two different keyalities. This will serve as a formal assessment. There will be posters around the
room with the key signatures (indicating what flats and sharps need to be present if do is in different places), and S will have the
opportunity to practice placing sharps and flats (made from paper) on their staff paper.
6. S will take a quiz in which they will have to notate patterns (stepwise and simple skipping) that are familiar.
7. NOTE: Throughout 10-13, T will engage the S in tonal reading to the class from the big book during read-aloud time. The readaloud time will end with the whole class singing through the story together. S will also read tonal stories to their book buddies in
class.

Stage 3 Learning Plan, Part 3

Established Goals:
Students will be able to read and write rhythmically and tonally in duple/triple meters and major/minor tonalities. Students will be able
to read and write rhythmically and tonally in different keyalities and with different note values as the macrobeat.
Common Anchor #1: Students will generate musical ideas for various purposes and contexts.
Common Anchor #2: Students will select and develop musical ideas for defined purposes and contexts.
Common Anchor #3: Students will evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.
Common Anchor #4: Students will share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits
originality.
Common Anchor #6: Students will perform expressively, with appropriate interpretation and technical accuracy, and in a manner
appropriate to the audience and context.
Common Anchor #10: Students will synthesize and relate knowledge and personal experiences to make music.
Common Anchor #11: Students will relate musical ideas and works with varied context to deepen understanding.
Enduring Understandings:
Students will understand that...
A rhythm perceived aurally can be notated in different ways.
Tonality is made up relationships
Notation is a reflection of ones audiation.
Essential Questions:

What are different ways to notate a rhythm that you hear/audiate?

Why do rhythms that look different sometimes sound the same?
Why can melodies with the same solfeggio look different on the staff?
How can you audiate and sing a notated melody?
How can you audiate and chant a notated rhythm?

Assessment:
Academic Prompt: Musical Pen Pals:
Students will be assigned a musical pen pal in another class. The students will write musical letters to their pen pals in/out of
class, and will deliver the letters each week. The students will have time during class to read their received letters to other
students out loud. Teacher will observe and assess the letters.
Informal Checks:

T will listen as S sing melody for T in groups before notating it on Noteflight (assessing Ss ability to audiate and recall a new melody).
T will informally check Ss group Noteflight compositions throughout the process.
T will listen as S sing the melody that they notated in groups on Noteflight.
T will listen as S sing the melodies that other groups notated on Noteflight.

GRASPS Assessment:
Audiobook Project: Your task is to write a book with musical language. Your book should include at least 2 tonal compositions
(at least one in major and one in minor tonality), and at least 2 rhythmic compositions (at least one in triple meter and one in
duple meter). Your target audience is a class of younger students (Kindergarten and 1st grade students). Your book should have
a front cover that younger students would find appealing, and each composition should have an appealing title that your
audience might enjoy. After writing your compositions and designing your book, you will record your voice for the audio
portion. These will be posted online, along with a copy of your book for students in the school to listen to.

What events will help students experience and explore the enduring understandings and essential questions in the unit? How will you
equip them with needed skills and knowledge?
#
Lesson Activities

Diagnostic Assessment: The previous lesson activities and the following group activities will also serve as a diagnostic assessment to
check for misunderstandings before the students begin the audiobook project.
1. S will improvise tonal patterns in major and minor with the T. The S will take turns placing large notes (made from paper) on a staff
made from tape on the floor for their improvised patterns.
2. T will have the class aurally compose a piece in major/minor tonality as a class. Then the T will use an iPad to project Noteflight
onto the Smartboard. The T will have the class practice using Noteflight on the iPad that is projected onto the Smartboard.
3. S will divide into small groups of 3-4 students. The students will be instructed to compose aurally a melody in major or minor
tonality. After the students can sing the melody to the teacher, they will then be asked to notate their melodies using Noteflight on the
iPad. Afterward, the students will project their final version of the piece on the Smartboard, and will perform (sing) for the class. If the
S desire, they may decide to make an arrangement of the melody (using instruments that were previously introduced) and perform this
for the class. The class will subsequently sing each melody all together.
4. T will introduce the Audiobook Project. S will compose their own melodies (one in major and one in minor tonality), and will
notate them on Noteflight using iPads. T will work with the S to facilitate this process, mostly ensuring that the S are really audiating
throughout (S will only be allowed to notate their melody once they can sing it for the teacher). S will also record themselves singing
their melodies on Garageband as they are ready in the recording studio. They will continue this process by designing their own
cover for their audiobooks, and writing in duple and triple meter. To finish, they will use Audiobook Binder to create the finished
product to post on the website. I expect this to take quite a few weeks. The T will assess the students progress throughout the process
and provide feedback.

5. NOTE: The S will continue the musical penpal activity throughout the entirety of the unit, not just for rhythmic compositions, but
for tonal ones as well. Additionally, this plan is flexible. If S need more practice with a particular skill, the T may decide to spend
more time on that particular skill.

Aimee Pearsall
Continuous Rating Scale
Transposition Project-Transposition 1
Ratings

Criteria

The piece is in a different keyality (the resting tone is in a different place than it
was originally) and the relationships are the same between all pitches when
compared to the original composition.
The piece is in a different keyality (the resting tone is in a different place than it
was originally), and only a few relationships are different between the pitches
when compared to the original composition.
The piece is in a different keyality (the resting tone is in a different place than it
was originally), and many relationships are different between the pitches when
compared to the original composition.
The piece is not in a different keyality (the resting tone is not in a different place
than it was originally), though few relationships are different between the pitches
when compared to the original composition.
The piece is not in a different keyality (the resting tone is not in a different place
than it was originally), and many relationships are different between the pitches
when compared to the original composition.

4
3
2
1

Transposition Project-Transposition 2
Ratings

Criteria

The piece is in a different keyality (the resting tone is in a different place than it
was originally) and the relationships are the same between all pitches when
compared to the original composition.
The piece is in a different keyality (the resting tone is in a different place than it
was originally), and only a few relationships are different between the pitches
when compared to the original composition.
The piece is in a different keyality (the resting tone is in a different place than it
was originally), and many relationships are different between the pitches when
compared to the original composition.
The piece is not in a different keyality (the resting tone is not in a different place
than it was originally), though few relationships are different between the pitches
when compared to the original composition.
The piece is not in a different keyality (the resting tone is not in a different place
than it was originally), and many relationships are different between the pitches
when compared to the original composition.

4
3
2
1

Total= ___/10

Aimee Pearsall
Audiobook Project
Ratings

Criteria: Students audiobook contains:

______

an appealing front cover (2)

______

a title (2)

Total=____/4
Audiobook Project: Rhythmic Composition in Duple Meter
Ratings

Criteria

The composition is written in duple meter. The barlines divide the bars into a
consistent number of macrobeats per measure. The composition contains a
combination of MB, mb, and potentially divisions/elongations.

The composition is written in duple meter. Barlines may or may not be present.
The composition contains an even number of macrobeats that aligns with the
meter. The composition contains a combination of MB, mb, and potentially
divisions/elongations.

The composition is written in duple meter. Barlines may or may not be present.
The composition does not contain an even number of macrobeats that aligns with
the meter. The composition may not contain a combination of MB, mb, or
divisions/elongations.

The meter is indistinguishable. Barlines may or may not be present. The

composition may not contain a combination of MB, mb, or divisions/elongations.

Audiobook Project: Rhythmic Composition in Triple Meter

Ratings

Criteria

The composition is written in triple meter. The barlines divide the bars into a
consistent number of macrobeats per measure. The composition contains a
combination of MB, mb, and potentially divisions/elongations.

The composition is written in triple meter. Barlines may or may not be present.
The composition contains an even number of macrobeats that aligns with the
meter. The composition contains a combination of MB, mb, and potentially
divisions/elongations.

The composition is written in triple meter. Barlines may or may not be present.
The composition does not contain an even number of macrobeats that aligns with
the meter. The composition may not contain a combination of MB, mb, or
divisions/elongations.

The meter is indistinguishable. Barlines may or may not be present. The

composition may not contain a combination of MB, mb, or divisions/elongations.

Total for Rhythmic Compositions: ____/8

Audiobook Project: Tonal Composition in Major Tonality: Rhythmic Component
Ratings

Criteria

The composition is written in duple or triple meter. The barlines divide the bars
into a consistent number of macrobeats per measure.

The composition is written in duple or triple meter. Barlines may or may not be
present. The composition contains an even number of macrobeats that aligns with
the meter.

The composition is written in duple or triple meter. Barlines may or may not be
present. The composition does not contain an even number of macrobeats that
aligns with the meter.

The meter is indistinguishable. Barlines may or may not be present.

Audiobook Project: Tonal Composition in Major Tonality: Tonal Component

Ratings

Criteria

The composition is written in major tonality, and ends on do. The composition
contains patterns that the students have demonstrated the ability to audiate
(stepwise and outlining I, IV, or V chords).

The composition is written in major tonality, and ends on do. The composition
mostly contains patterns that the students have demonstrated the ability to audiate
(stepwise and outlining I, IV, or V chords).

The composition is written in major tonality, and may or may not end on do.
The composition contains many instances that the students have not yet
demonstrated the ability to audiate.

The composition is not in major tonality, and may or may not end on do. The
composition is not something the student would be able to audiate at this point in
his/her musical development.

Total for Tonal Composition in Major Tonality: ____/8

Audiobook Project: Tonal Composition in Minor Tonality: Rhythmic Component

Ratings

Criteria

The composition is written in duple or triple meter. The barlines divide the bars
into a consistent number of macrobeats per measure.

The composition is written in duple or triple meter. Barlines may or may not be
present. The composition contains an even number of macrobeats that aligns with
the meter.

The composition is written in duple or triple meter. Barlines may or may not be
present. The composition does not contain an even number of macrobeats that
aligns with the meter.

The meter is indistinguishable. Barlines may or may not be present.

Audiobook Project: Tonal Composition in Minor Tonality: Tonal Component

Ratings

Criteria

The composition is written in minor tonality, and ends on la. The composition
contains patterns that the students have demonstrated the ability to audiate
(stepwise and outlining I, IV, or V chords).

The composition is written in minor tonality, and ends on la. The composition
mostly contains patterns that the students have demonstrated the ability to audiate
(stepwise and outlining I, IV, or V chords).

The composition is written in major tonality, and may or may not end on la. The
composition contains many instances that the students have not yet demonstrated
the ability to audiate.

The composition is not in minor tonality, and may or may not end on la. The
composition is not something the student would be able to audiate at this point in
his/her musical development.

Total for Tonal Composition in Major Tonality: ____/8

Audiobook Project: Recording of Rhythmic Composition

Ratings

Criteria: Student reads with

______

vocal inflection

______

fluency

Number of Macrobeats read correctly: ____/____

Total=____/_____
Audiobook Project: Recording of Tonal Composition
Ratings

Criteria: Student reads with

______

headvoice

______

fluency

Number of Macrobeats read correctly: ____/____

Total=____/_____

Total Overall= _____/______

Percentage=

Aimee Pearsall
Audiobook Project Self-Assessment Before Recording
My audiobook contains:
______

an appealing front cover

______

a title

______

a tonal composition in major tonality that I can audiate and sing (ending on do,
containing barlines).

______

a tonal composition in minor tonality that I can audiate and sing (ending on la,
containing barlines).

______

a rhythmic composition in duple meter that I can audiate and chant (containing
barlines).

______

a rhythmic composition in triple meter (containing barlines).

What do you like about your compositions?

______________________________________________________________________________
Are there any changes that you want to make to your tonal/rhythmic compositions before
recording? What and why?

______________________________________________________________________________

Audiobook Project Self-Assessment After Recording

When I listened to my recordings, I noticed that:
______

I didnt pause in the middle

______

I sang my tonal composition in major tonality correctly

______

I sang my tonal composition in minor tonality correctly

______

I chanted my rhythmic composition in duple meter correctly

______

I chanted my rhythmic composition in triple tonality correctly

What do you like about your audiobook?

______________________________________________________________________________
Are there any changes that you think that you would want to make to compositions or
recordings? What and why?

______________________________________________________________________________

Welcome to Miss. Pearsalls Music Class! Your child is currently in

2nd or 3rd grade, which means that we will be spending a large
amount of class time with a focus on musical literacy.
In this unit, students will understand that:

Rhythms may sound the same but can be written differently

The same song can be written in different places on the musical staff
Notation reflects the music that they hear in their heads

In this unit, students will be able to:

Discuss Key Terminology: Staff, lines, spaces, audiate, duple meter, triple meter,
resting tone, major tonality, and minor tonality.
Read rhythms and songs in different meters and in major and minor tonalities
Notate rhythms and songs in different meters and in major and minor tonalities
Notate and perform their own compositions

Students will complete special performance tasks:

They will pretend they are an arranger, and change how a song is written on the staff
(higher or lower). The song will end up sounding similar but will look different.
They will create their own audiobook! They will notate four original compositions, and
record themselves singing/chanting them. These will be posted online and S will read
these to the younger students in our school!

Musical literacy is an individual process for each student, just like

learning to read and write in English. I will be continually keeping
track of each students developmental progress throughout the
unit through informal assessments, like listening to and watching
your child read and write music. The students will take a couple of
quizzes in which they will read and write music, and though I will
grade their performance tasks, they will also self-assess their own
work.
We are so excited to become music literate! Check our music
class website, blog, and edmodo page at
www.misspearsallsmusicroom.com for updates, videos, and
pictures of our music class reading and writing!

Sincerely,
Miss. Pearsall

Childs Name: __________________________

Classroom Teacher: _____________________

N/A
Points to the MB of tonal/rhythmic stories
Reads rhythmically in duple/triple meters
with different values as the macrobeat
(MB & mb)
Reads rhythmically in duple/triple meters
with different values as the macrobeat
(MB, mb, divisions/elongations)
Read stepwise tonal patterns in major and
minor tonalities.
Read skipping tonal patterns that outline
the I and V chord in major and minor
tonalities
Notate MB and mb patterns in duple and
triple meters (MB & mb)
Notate MB and mb patterns in duple and
triple meters (MB, mb,
divisions/elongations)
Notate simple stepwise tonal patterns in
major and minor tonalities and different
keyalities
Notate their own tonal compositions in
major and minor tonalities and
sing/perform them

Developin
g

Proficient Advanced

*MB=Macrobeat (the big beat in the music)

*mb=microbeat (the small beat in the music)
Teacher Comments: _____________________________________________________________

_____________________________________________________________________________.

References
Pinzino, M. E. (2015). Come children sing! Retrieved from
http://www.comechildrensing.com/teachers/
State Education Agencies Directors of Arts Education (2014). National Core Arts Standards.
Retrieved from http://www.nationalartsstandards.org
Wiggins, G., & McTighe, J. (2005). Understanding by design. Alexandria, VA: Pearson.
Resources List
1.
2.
3.
4.
5.
6.

Come Children Sing!

a. http://www.comechildrensing.com/teachers/
Noteflight
a. https://www.noteflight.com/login
Audiobook Binder
a. https://itunes.apple.com/us/app/audiobook-binder/id413969927?mt=12
Garageband
a. https://www.apple.com/mac/garageband/
Edmodo
a. https://www.edmodo.com
National Core Arts Standards
a. http://www.nationalartsstandards.org