BRAVO: Incorporating Composition in Middle School String Classes

Kristen Walker
Lynchburg College

BRAVO: Incorporating Composition in Middle School String Classes

Abstract
Music composition is important to the development of overall musicianship; however, it
is often neglected in middle school string classes because teachers focus primarily on playing
technique. With the intent of improving music pedagogy, the purpose of this research was to
examine music composition in middle school strings classes. The particular problems of this
study were: 1) to outline the importance of music composition in middle school string
classrooms; 2) to identify possible solutions that explain the absence of compositional activities
in middle school string classes; and 3) to develop a series of five lesson plans that will expose
middle school strings students to musical composition.
Composition provides a holistic way for students to demonstrate musical knowledge that
contributes to their overall musicianship. Some factors that contribute to students limited
classroom composition experience include class time constraints, the music teachers
unfamiliarity with composition practice, and large class sizes. I developed five lesson plans
related to the acronym BRAVO that target the inclusion of classroom music composition. The
addition of composition in the music curriculum increases student creativity and provides a
foundation for the implementation of National Standard 4: Composing and arranging music
within specified guidelines.

Table of Contents

Abstract................................................................................................................................ii
Table of Contents................................................................................................................iii
Introduction..........................................................................................................................1
Purpose.................................................................................................................................2
Problems..............................................................................................................................2
Literature Review.................................................................................................................2
Methodology........................................................................................................................5
Problem One: The importance of music composition.........................................................5
Problem Two: Possible explanations for the absence of compositional activities...............8
Problem Three: a series of five lesson plans......................................................................11
Conclusion.........................................................................................................................12
Implication for Music Education.......................................................................................12
Future Research Studies.....................................................................................................12
Bibliography......................................................................................................................14
Rubrics...............................................................................................................................15
Lesson Plans.......................................................................................................................17

Introduction
Music composition is an important part of overall musicianship and school music
teachers can incorporate exercises that support creative composition in their daily lessons. The
New Groves Dictionary of Music (2000) defines composition as The activity or process of
creating music and the product of such activity. Claude Lvi-Strauss called composition The
supreme mystery among the human sciences (Sadie & Tyrell, 2000, p. 186-187). Teachers need
to teach composition because composition allows for a holistic music education with musical
benefits. According to Bush (2007), middle school students make the perfect audience for
teaching musical composition; however, music teachers often have problems implementing
composition (p. 6). Solutions for compositions inclusion solve the problems.
Despite the complications with establishment, musical composition generates positive
outcomes for the community of musical learning in the middle school level. Besides the intrinsic
rewards students receive from creating their own work, students learn other technical skills
through the musical creation process (Bush p. 6). At this level, students act on mature decisions
about musical elements and become acquainted with numerous musical forms (Bush 6).
Composition at the middle school level starts as exercises, and the students gradually notice the
musical creativity in the act (Bush, p. 6). Composition thus allows students to learn about music.
I created lesson plans as a means to implement composition formally in middle school
string programs through a specific route. I used BRAVO as my acronym because according to
the Virginia Tech Multimedia dictionary, bravo means An exclamation of approval often used
after particularly moving opera performances (often after arias) meaning excellent or very good.
Bravo derives from Italian, a language often used in music, especially in stringed instrumental
performance. I used the acronym because it provided for a set order in my lesson plans.

Purpose
With the intent of improving music pedagogy, the purpose of this research was to examine music
composition in middle school strings.
Problems
The specific problems of this study were as follows:
1) To outline the importance of music composition in middle school strings;
2) To identify possible solutions that explain the absence of compositional activities in middle
school strings; and
3) To develop a series of three lesson plans that will provide an opportunity for composition for
middle school strings.
Literature Review
I used ten sources in my research to complete this study focused on composition and
creativity in music. The sources I used consisted of two primary sources, four encyclopedias, two
books, and two scholarly journals. These sources provided me with useful information
contributing to my research.
Bush, J. E. (2007). Composing and Arranging in Middle School General Music. General
Music Today, 21(1), 6-10. In this scholarly journal article, the author stated that the middle
school age group is the best age group to learn composition and arranging. This article was
important to my study because it provided strategies for teachers about composing music and
teaching students how to compose music. The strategies in this article were intended for an
audience of general music teachers, not middle school string teachers in particular.
Franklin, E. (2007). The Charlotte Civic Orchestra's Composer-in-the-Schools Project:
Teaching Artistry in the Middle School. Teaching Artist Journal, 5(1), 47-55. This article derived

from a scholarly journal. The Charlotte Civic Orchestra's Composer in the Schools Project brings
professional musicians into Charlotte, North Carolina middle school string programs to help the
students learn about composition. The source was relevant to my topic of teaching middle school
string students composition and the outcome of this project was in favor of my research.
Bugos, J., & Jacobs, E. (2012). Composition instruction and cognitive performance:
Results of a pilot study. Research and Issues in Music Education, 10(1), This scholarly journal
article discussed a study done on a program named Composers in Public Schools. I liked this
article because it described some of the problems with implementing composition education in
schools. The research only focused on sixth graders.
Cole, R. & Schwartz, E. (2012). Virginia Tech Multimedia Music Dictionary. Retrieved
from http://www.music.vt.edu/MUSICDICTIONARY/ This source provides musical terms and
gives a definition for each resource. The website uses more than just text; it uses sound files as
well. I received several definitions for my research using this resource.
Priest, T. (2002). Creative thinking in instrumental classes. Music Educators Journal,
88(4), 47-51,58. The author discussed how to foster students creativity using composition.
Teachers need to use techniques that assist with thinking creativity, not just learning notes. I liked
this article because the author discussed the importance of creativity, assisting me in answering
question one of my research.
Arnold, D., & Scholes, P. (1983). The new oxford companion to music. (609-610) Oxford;
New York: Oxford University Press, 1983. I found information about education in this resource,
which allowed me to understand the contexts of music education in my study. I got a general
sense of where I want my paper to go using this resource. The resource was broad.

McPherson, G. & Welch, G. (2012). The oxford handbook of music education, Volume 2.
(319-324, 390-405) New York: Oxford University Press. This resource provided a holistic
account on music education. I found a section in the book about creativity on the classroom.
Published in England, the source focused on music education in England. This resource could
have been more detailed on the creative aspect of music education.
Sadie, S., & Tyrrell, J. (2000). The new grove dictionary of music and musicians. (186187) New York: Grove's Dictionaries, 2000. This dictionary defined musical terms with detail.
As an encyclopedia, the topics were too broad for me to find specific information on my topic.
This resourced assisted me in finding quotes and definitions for my research.
Slonimsky, N. (1989). Lectionary of music. (116-117) New York: McGraw-Hill. This
encyclopedia was not as detailed as I wanted it to be. Because it is an older resource, the material
might be different from the present. I did not get as much out of this resource due to the broad
topic.
Kaschub, M. & Smith, J.P. (2013). Composing our future: Preparing music educators to
teach composition. (149-157,163-164, 277-278) New York: Oxford University Press. The editors
of this book provided ways of facilitating composition in schools. Readings consisted of several
authors compiled in one reading. The authors gave specific ways to implement composition
through its detail.
Methodology
The need for creativity in the music curriculum led to this study. I analyzed different
scholarly sources to discover reasons for the non-inclusion of composition in the middle school
music curriculum and possible solutions to the problem. I created five lesson plans that provide

practical suggestions for teachers. The instrumentation of this study consisted of scholarly
research sources including information about composition education on the middle school level.
To complete research question one, I found several resources outlining the importance of
music composition on the middle school level. To complete research question two, I examined
several scholarly sources to see what others did to implement composition. I then created a
solution to implement composition. To complete research question three, I created an acronym
famously used in string performance, BRAVO, and created a series of five lesson plans that
correspond with each letter. I presented my findings in a poster display on Wednesday April 9,
2014 at the Student Scholar Showcase at Lynchburg College in Lynchburg, Virginia.
1) To outline the importance of music composition in secondary school classrooms
Music composition is important because it addresses several national standards for music
and the Commonwealth of Virginias standards of learning in music. Composing music in
secondary music classes contributes to the overall musicianship of a student by providing an
opportunity for students to compose and utilize several types of knowledge (Bush, p. 6-10).
Arnold and Scholes (1983) wrote, Children should not only be creative, but should also employ
the techniques and sound resources of modern composers (p. 609). This illustrates the
importance of learning musical form through composition, fostering creative thinking in music.
Music scholars debate if composing music ranks higher on the mental ladder than
preforming music. Most performers only preform and most composers only compose, dividing
music between composing and preforming interpretations of songs (Slonimsky, 1989, p. 116117). Slonimsky (1989) argues the musical left side of the brain, allowing for composition,
makes composition superior. In my opinion, based on the sources I read, both composition and
performance help create a well-rounded musician.

Composition provides a creative outlet for students. In a world of skills based learning,
musical creativity allows students to use higher order thinking skills, rather than just knowing an
answer (Kaschub & Smith, 2013, p. 149). Students need room to think for themselves in
composing; however, some limits on composition benefit students creativity instead of hindering
originality. Kaschub and Smith (2013) argued, Establishing limits helps students focus their
creativity instead of being overwhelmed by options (p. 157). Instructions for the composition
need to be simple with few graded points (Ibid 164). Too many instructions cause composition to
become solely notes on a page with no self-expression.
Both the national standards for music education and the Virginia SOLs in music include
composition as a standard. The fourth national standard states:
4. Composing and arranging music within specified guidelines.
The Virginia Music SOLS include composition standards throughout a childs musical career in
Virginia public schools, including middle school instrumental music. One such instance of a
Virginia compositional standard in middle school music includes:
MIAD.7 The student will use music composition as a means of expression by
1. Composing an eight-measure rhythmic-melodic variation; and
2. Notating the composition in standard notation, using contemporary technology
To meet the musical standards on the national and state level, a music teacher ought to
include composition in the curriculum. Music teachers can include composition in the curriculum
as a means of addressing state and national standards in music that foster student creativity and
the development of musicianship.
Students want to be successful in their classes; composition permits a student to be
successful in music class. After composing, many students feel like they created something

special. To allow others to hear a students composition, the other students in the class listen to a
students composition. (Arnold & Scholes, 1983, p. 610). Composition can be used to raise the
self-esteem of a student with low self-confidence.
Composing music allows a student to improve his or her overall musicianship. Musical
benefits of composition include skills in listening, musicianship, and theory. Composition assists
with improving a musicians playing skills (Kaschub & Smith, 2013, p. 149). The following
paragraphs contain ways to further students musicianship through composition.
Students compose warm ups to improve musicianship and to incorporate composition in
class. The teacher then uses the warm-ups in to assist students in warming up before preforming
in class. Some techniques for warm-ups students can compose include bowing exercises or finger
placement exercises. Students can use different rhythms or bowings with a scale (Kaschub &
Smith, 2013, 155-156). This allows the teachers to teach composition and to create ensemble
warm-ups.
Students compose variations to make musical compositions. Variations use someone
elses materials but make creative changes (Kaschub & Smith, 2013, p. 156-157). Students use
different notes and rhythms through variation, showing musical knowledge. When composing
variations, students learn the concept of phrasing when the teacher gives students different
phrases of a song to create variations. For example, Hot Cross Buns, a song using three notes,
allow even the most beginner students to create a variation (Priest, 2002). Middle school string
students, no matter how new to the instrument, can compose variations.
Teachers implement compositional activities in classes by employing composition as a
medium to learn new techniques. In a string techniques class, students need to show proficiency
in all bowing articulations. Using different articulations, students compose to show their

knowledge of the articulations. They later preform their composition to the class to show their
knowledge. (Kaschub & Smith, 2013, p. 163). When performing in front of the class, students
not only get to perform their composition, they get to be evaluated for their knowledge on that
technique.
2) To identify possible solutions that explain the absence of compositional activities in
secondary music classes
Even though composition fits standards at the state and national level, teachers do not
include composition in the curriculum for several reasons. Reasons for compositions noninclusion include a vague definition of creativity, time constraints, lack of training, large groups,
and problems with assessment of creative activities. Performance based education has teachers
less focused on composition and more focused on performance. Despite these problems, music
teachers easily address these problems through solutions.
Creativity lacks a firm definition, thus making composition not as prevalent as
performance in schools. Research in creativity started up only in recent years (McPherson &
Welch 319). In the international journal for music education, only 6 percent of articles written
between 1966 and 2010 dealt with creativity, compared to 42 percent focused on curriculum and
learning (Ibid 324). I believe creativity is making something original.
Time constraints cause teachers to focus on only a few aspects of music. Teachers often
believe composition decreases rehearsal time and lower performance standards (Bush, 2007, p.610). Much of music education is performance based, thus teachers need to prepare for concerts.
Solutions to this problem are as followed. Teachers commission local professional composers or
let them sit into the teachers classrooms. Composing activities do not have to be long to be
effective; 10 minutes allow a child to create a short composition (Kaschub & Smith, 2013, p.

150-151). Even in a 45 minute middle school music class, 10 minutes leaves enough time for the
teacher to teach other concepts.
Music often works as a performance based art. Teachers often see music performance and
music composition as separate entities. However, since music performance and music
composition work together to create music, performing music and writing music need to exist in
the music curriculum to produce an effective musical education. Bugos and Jacobs (2012)
quoted, While musical performance is essential in developing and refining musicianship skills,
composition does not take away from this goal, (Bugos & Jacobs, 2012). Without composition
and performance existing together, teachers cannot effectively teach music.
Most undergraduate music majors lack training in compositional activities. College
professors often focus more on the preforming aspect than on composing music. Teachers need
knowledge of composition to teach music composition effectively. To solve this problem,
undergraduate music education students should enroll in composition lessons and create their
own music (Kaschub & Smith, 2013, p. 151). I suggest to undergraduates that they compose on
their own to teach composition to their students.
A large group size with many different levels of players contributes to the problem of
utilizing composition in secondary music classes. Even though large class sizes generate a
problem for teachers wishing to implement music composition, compositional activities can take
place not only individually, but in a large group as well (Kaschub & Smith, 2013, p. 152-153).
Students play songs they compose, such as etudes in a call and response style (Priest, 2002). If
students need to play their composition, the weaker students compose an easier composition than
the more advanced students do.

Assessing composition creates a problem for teachers. The writer of the musical idea
might have different musical intentions than the teacher. Composition serves as an assessment
mechanism because when students compose, a teacher evaluates the composition to figure out
what students know and do not know (Bush, 2007, p.6). A way to solve the problem of
assessment includes emphasis on creativity and few parameters. Teachers make the
compositional limits broad while judging the composition (McPherson and Welch 390-405).
Attached is a rubric I created to assess composition. Bush (2007, p. 6-10) suggested:
Teachers may become frustrated by their students' compositional experiences because
they allow students to do or play anything they want. This yields products that no one
values. Instead of saying Anything you play is okay, it would be better to say: Try
playing some of your musical ideas and, as you play, decide which sounds work best for
you. Teachers need to establish compositional criteria and encourage students to
establish their own criteria. Students should be guided to evaluate their own compositions
according to established criteria. (p. 6)
Teachers need to not hurt a young composers feeling, shutting him or her off to writing
music. Feedback needs to be positive; however, students need to improve in their skills; to solve
this Kaschub and Smith described 3 stages of feedback that teachers need to go through in
guiding students compositions, one stage following the other: generally positive, descriptive and
perspective. Mainly positive feedback allows the student to focus what he or she liked about the
song. The second stage, descriptive feedback, highlights the unique aspects of the song and
shows the student that the song can be analyzed. Perspective feedback provides the composer
with different ways to improve (Kaschub and Smith, 2013, 277-278). Students need to clap after
a performance so the performer feels like his or her composition sounded good.

10

The Charlotte Civic Orchestra started a project where musicians of the Charlotte Civic
Orchestra in Charlotte, North Carolina go into schools to work on composition with middle
school orchestras. The goals of the project, similar to the national standards in music, include:
Goal 2: Students will perform on instruments, alone and with others.
Goal 3: Students will read and notate rhythmic and melodic patterns.
Goal 5: Students will improvise, compose, and arrange music.
Goal 6: Students will evaluate music.
Students began to compose by creating variations on familiar songs than learning how to
organize sounds. The results of this study showed that students responded to composition well
(Franklin, 2007). I think that a program like this would assist in employing composition in
secondary string classrooms.
3) To develop a series of three lesson plans that will expose secondary students to musical
composition.
I created five lesson plans with the acronym BRAVO using the results of my research. I
used my prior knowledge of strings while synthesizing these lesson plans. The lesson plans go in
logical order based on skills that a student ought to master in middle school strings. The
following shows the summary for each lesson plan.
B: Is it flat or natural? Use both B flat and B natural in a four measure composition in 4/4 time so
that students can feel the distance between B flat and B natural. The purpose of this lesson is to
solidify first finger placement.
R: Rhythm exercise. The point of this lesson is to compose a four-measure rhythm exercise. The
purpose of this lesson is to support MIB.15: The student will perform simple rhythmic and
melodic examples in call-and-response styles.

11

A: A composition on one string. Create a four measure composition that includes at least nine
pitches on the A string only. The purpose of this lesson is to introduce shifting to third position.
V: Variation. Create an eight-measure variation based off a melodic phrase from the Star
Spangled Banner. The purpose of this lesson is to highlight phrases and give the students an
opportunity to create a longer composition.
O: Own your composition. Create your own original eight-measure composition. The purpose of
this lesson is to foster creative thinking.
Conclusions
Implications for Music Education
Music composition provides important benefits to middle school string students. This
research influences music education because my research addresses how to solve the lack of
compositional inclusion in middle school string classrooms. Music teachers ought to fit all the
standards in their curriculum, not just preforming and listening. My research allows other string
teachers to use my lesson plans in further implementing composition. This research allows music
educators to teach fully the national and state standards for music.
Why was this project important and how can music educators utilize your study to improve
music pedagogy.
This project was important because teachers need to fulfil all the national standards in
music. Music educators can utilize my study to improve music pedagogy by utilizing my lesson
plans in their own classes.
Additional Research Studies
My research opens several doors to other possible research. One can research
improvisation in schools. Since much of composition uses creativity, the research might be about

12

the assessment of creativity in schools. A music teacher might use my research about
composition at the high school level in orchestra. An individual can use this study to learn about
compositional practices in band or choral classes at the middle or high school level. Finally, a
researcher might study composition at the elementary level.

13

Bibliography
Arnold, D., & Scholes, P. (1983). The new oxford companion to music. (609-610) Oxford;
New York: Oxford University Press, 1983.
Bugos, J., & Jacobs, E. (2012). Composition instruction and cognitive performance:
Results of a pilot study. Research and Issues in Music Education, 10(1),
Bush, J. E. (2007). Composing and arranging in middle school general music. General
Music Today, 21(1), 6-10.
Cole, R. & Schwartz, E. (2012). Virginia Tech Multimedia Music Dictionary. Retrieved
from http://www.music.vt.edu/MUSICDICTIONARY/.
Kaschub, M. & Smith, J.P. (2013). Composing our future: Preparing music educators to
teach composition. (149-157,163-164, 277-278) New York: Oxford University Press.
Franklin, E. (2007). The charlotte civic orchestra's composer-in-the-schools project:
Teaching artistry in the middle school. Teaching Artist Journal, 5(1), 47-55.
McPherson, G. & Welch, G. (2012). The oxford handbook of music education, Volume 2.
(319-324, 390-405) New York: Oxford University Press.
Priest, T. (2002). Creative Thinking in Instrumental Classes. Music Educators Journal,
88(4), 47-51,58.
Sadie, S., & Tyrrell, J. (2000). The new grove dictionary of music and musicians. (186187) New York: Macmillan Publishers Limited.
Slonimsky, N. (1989). Lectionary of music. (116-117) New York: McGraw-Hill.

14

Composition Rubric

Name: ________________________________
Variety of musical

20
Composition is

15
Composition has

10
Composition seems to

elements

thoughtful, using a

some thought put

be just notes on the

variety of rhythms,

in it. Composition

page, no thought put

notes, and stylistic

lacks variety and

into the piece

Meets requirements of

features.
Student meets all

creativity
Student meets

Student ignores the

assignment

requirements for the

some of the

directions given

composition

requirements for

Song has a clear

the composition
Song has a weak

Song lacks a form.

beginning, middle and

beginning or end.

Measures have an

end. There are a correct

A few measure

incorrect number of

amount of beats in

have an incorrect

beats.

every measure

number of beats

Music form

Total:
Comments:

15

Orchestra Skills Test

Name: _______________________________________

Intonation

Posture

Rhythm

Tone

Excellent-4

Good- 3

Fair-2

Unacceptable-1

All notes were

A few wrong

Several wrong

Many wrong notes.

correct.

notes. Student

notes. Student

The piece was

attempted to

did not correct

unrecognizable.

No posture

correct the notes

A few problems

the notes
Several posture

No attention was

problems perfect

with posture with

problems with

made to posture

left and right side

either right or left

both sides

posture
Rhythm was

side
A few wrong

Many wrong

Rhythm was

superior and

rhythms, but did

rhythms.

unrecognizable

contributed to the

not distract from

overall

the performance

performance
Tone quality was

Tone quality was

Student plays

No control of tone

of professional

stable for most of

with some tone

quality

quality

the piece

control

16

Dynamics and

Articulations

Student played

Articulations not

No attention was

Articulations

were correct and

most of the

consistent to the

made to the proper

consistent to the

articulations.

music style.

articulations. No

style of the

Student played

Student played

dynamics, the

music. All

most dynamics.

few dynamics.

student just played

dynamics were

The piece was

the notes.

correct.

rarely expressive

Total:
Comments:

B- Is it Flat or Natural?
Name: Kristen Walker
Grade: 6th
Lesson Date: 11/5/2013

Time/Period: 11:30-12:15/5th

SOL: MIB.3: The student will identify and demonstrate half-step and wholestep patterns.
MIB.8: The student will use music composition as a means of expression by
2. Notating the composition in standard notation, using contemporary
technology
MIB.10: The student will demonstrate proper instrumental techniques,
including
17

1. Finger/slide placement, using finger/slide patterns and

fingerings/positions;
MIB.11: The student will demonstrate proper instrumental techniques,
including
2. Matching pitches and beginning to make adjustments to facilitate correct
intonation;
Content outline: Use both B flat and B natural in a 4-measure composition
in 4/4 time so that students can feel the distance between B flat and B
natural.
Objectives: At the end of this lesson, the student will:
Understand how to place B flat and B natural correctly on the A string.
Rationale: The purpose of this lesson is to solidify first finger placement,
which is necessary for proper string instrument intonation.
Materials/Equipment: Staff Paper, pencils, string instruments, teachers
stringed instrument
Lesson Opening: Welcome, today we will be learning a new note, B flat on
the A string.
Connection: Students prior knowledge of B natural on the A string,
knowledge of B flat on G-string. That applies to violin, viola, cello, and bass.
Instructional strategies/processes:
1: Have students play the note B natural on the A string, making sure the
intonation is correct. Review the note (5 mins)
2. The B flat is nearer to the scroll of the instrument. Show visual
representation. Use modeling (3 mins)
3. Go around and model the correct intonation of B flat using your violin and
ask the students to imitate you(11 mins)
4. After the students make progress on the concept, split students into
groups and assign jobs to the students for the upcoming composition
exercise. (5 mins)
5. Students receive an assignment to create a four-measure composition in
4/4 in F major using the notes B natural and B flat. (5 mins)
18

6. Students put instruments away, except for group representative who

is allowed to have it out. Students move to work areas in different parts of
the room. (3 mins)
7. Students work on group compositions. Teacher walks around to assist the
students. (11 mins)
8: Conclusion (See closure) pack up and collect compositions (3 mins)
Products: Composition using the notes B and B flat, students knowledge of
defining the difference between B flat and B natural
Assessment: Ability to properly place the first finger, successful playing of
exercise, composition. Composition rubric and playing test rubric.
Homework: Practice their composition; they will be playing it next to show
understanding of the notes B flat and B natural
Closure: The first finger placement is crucial to the overall intonation of the
violin.
Differentiation:
Students might have problems with the teachers saying where to place
the finger because they learn visually. Put a visual representation on
the board displaying the difference between B natural and B flat
Show students a visual example of what you want in the composition

Rhythm exercise

19

Name: Kristen Walker

Grade: 6th
Lesson Date: 4/5/2013

Time/Period: 11:30-12:15/5th

SOL: MIB.15: The student will perform simple rhythmic and melodic
examples in call-and-response styles
MIB.8: The student will use music composition as a means of expression
Content outline: The point of this lesson is to compose a four-measure
rhythm exercise.
Objectives: At the end of this lesson, the student will:
Compose a four-measure rhythm exercise
Understand the importance of rhythm
Rationale: The purpose of this lesson is to support MIB.15: The student will
perform simple rhythmic and melodic examples in call-and-response styles
Materials/Equipment: Staff paper, pencils, instruments, metronome
Lesson Opening: Welcome to orchestra! Today we will be learning about
rhythm.
Connection: Students knowledge of rhythmic values, including whole, half,
quarter, eighth and 16th note values and dotted half and quarter notes
Instructional strategies/processes:
1. Play an ascending one octave D major scale using different rhythms. To
help the students stay on the beat, use a metronome while playing with the
students as a model. (5 mins)
2: What do you think the importance of rhythm is? (The definition of rhythm
is division of beat patterns into sections). (3 mins)
3. Students put their instruments away to prepare for the upcoming
composition. (3 mins)
4: Have students create a four measure rhythm exercise using a variety of
note values learned (whole notes, half, quarter, eighth and 16th note values
and dotted half and quarter notes.) (15 mins)

20

5. Have students teach their rhythmic exercise to the class in a call and
response style, first by clapping, than by playing the exercise on the
instrument using open A (15 mins)
6: Conclusion (See Closure) (3 mins) Collect compositions and have students
pack up their instruments.
Products: Rhythm Exercise, greater knowledge of rhythm
Assessment: Knowledge of rhythmic elements through playing through
their exercise alone and quality of rhythmic exercise. Composition rubric and
playing test rubric.
Homework: Look at the pieces you are playing both in and out of orchestra.
Which rhythms cause you trouble in those specific pieces?
Closure: How is rhythm important to your development as a musician?
Differentiation:
Some students will naturally be better at listening and playing the
rhythm by rote. Photocopy the exercises after class so each student
has a copy of the exercise to learn by note, give the students a copy
next class period.
Notice during the playing which rhythms the students have trouble
with.
Show students a visual example of what you want the students to
compose in the composition.

21

A Composition on One String

Name: Kristen Walker
Grade: 7th
Lesson Date: 11/5/2013

Time/Period: 10:40-11:25/4th

SOL: MII.5: The student will read, perform, and notate scales, including
2. For string studentsone-octave C and F major scales and two-octave G
and D major scales (double bass dropping to lower string as needed).
MII.7: The student will use music composition as a means of expression
MII.10: The student will demonstrate proper instrumental techniques,
including
1. Adjusting and perfecting intonation while playing;

Content outline: Create a four-measure composition that includes at least

nine pitches on the A string only.
Objectives: At the end of this lesson, the student will:
Understand the concept of shifting by practicing shifting in order to play the
notes required for the assignment.
Compose a four bar piece on one string by shifting up to third position and
back down to first position at least one time
Rationale: The purpose of this lesson is to introduce shifting to third
position.
Materials/Equipment: Staff paper, pencils, string instruments, teachers
stringed instrument
Lesson Opening: Today we will learn about shifting.

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Connection: Knowledge of C, F, G, and D major scales in first position

Instructional strategies/processes:
1. Play a one octave D major scale with students (3 mins)
2. Ask students what shifting on a stringed instrument is. Reply with, The
violin for instance can shift up to many positions; we will start with playing in
third position. Demonstrate. (5 mins)
3: Show a fingering chart for third position on the white board and discuss.
(3 mins)
4. Have students play the note B on the A string, then move their thumbs
and first fingers up so their first fingers rest on the D of the A string. Then go
down and have students repeat this exercise several times, getting faster
each time so they understand the concept of shifting. Waddy Woody (5
mins)
5. Look at students hands to make sure their fingers and thumbs slide up
together. Go around to each student and demonstrate and then ask students
to imitate me. (11 mins)
6. Students will create a four-measure composition that includes at least
nine different pitches on the A string only, making them have to shift to third
position. They have to shift up and down at least once. The composition is in
A major in 4/4 time. (15 mins)
7: Conclusion (See Closure) have students put instruments away (3 mins)
Products: Composition on one string, knowledge of shifting to third position
Assessment: Knowledge of shifting to third position through playing the
composition for a playing test grade and quality of composition. Composition
rubric and playing test rubric.
Homework: Improve the playing of the composition, the students will play it
for the teacher and class next class
Closure: What are some ways you can use shifting in your playing?
Differentiation:
Show students how to shift by having them watch me play the same
shifting exercise on my violin to give a visual aide.
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Some more advanced students know how to shift to third position,

encourage those students to lead the other students to shift. Have
advanced students verbally explain what they are teaching.
Have students work in separate areas of the room while composing.
Show students a visual example of what you want in the composition

Variation
Name: Kristen Walker
Lesson Date: 11/5/2013

Grade: 8th

Time/Period: 1:10-1:55/6th

SOL: MII.4: The student will incorporate tempo changes and a variety of
rhythms and meters in materials being studied.
MII.17: The student will embellish four to eight measures of a folk song by
creating rhythmic and melodic variations.
Content outline: The purpose of this lesson is to highlight phrases and give
the students an opportunity to create an eight measure composition.
Objectives: At the end of this lesson, the student will:
Play the melody line of The Star Spangled Banner (SSB) with a good tone and
correct pitch
Create an eight-measure variation based off a melodic phrase from the SSB
Rationale: Students cannot fully understand music composition unless they
write music.
Students need to play notes properly to be a decent musician, with proper
bowings, notes and note values

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The purpose of this lesson is to highlight phrases and give the students an
opportunity to create a longer composition.
Materials/Equipment: Mahler symphony 1, movement 3 recording, String
instruments, Star Spangled Banner Sheet music, Blank sheet music and
pencils
Lesson Opening: Hello class, today we are going to learn about
variations.
Connection: Playing of melody line of SSB
Instructional strategies/processes:
1. Play the first 2 minutes and 30 seconds of Mahler 1 movement 3. (3 mins)
2. Ask what the students noticed about the Mahler symphony movement (3
mins)
2b. Explain that Mahler created a variation on Frre Jacques.
https://www.youtube.com/watch?v=RQCHgnpCGf4
3. What is a variation? (5 mins)
3a. According to the Virginia Tech Mutimedia dictionary, a variation is A
deviation from a theme that uses the same bass pattern or harmonic
progression that the theme used, and usually having the same number of
measures as the theme. Generally, a variation is played after a theme with
the variation being slightly more ornate.
4. Have students play The Star Spangled Banner melody line together as
written as review, Students played this piece last class (5 mins)
5. What is a phrase?
6. Explain that you will assign each student an eight-measure phrase of The
Star Spangled Banner to make a variation on. (11 mins)
6b. Make students pick a slip of paper with the measure numbers Introsecond beat of nine, last beat of nine-second beat of sixteen, or last beat of
sixteen-end. Each slip of paper corresponds to a phrase.
6c. Tell each student they get to play their variation at the next class
time, so do not make the variation too hard.
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7. Students begin work on composition. (13 mins)

8. Come back together as a group so the students can share what they did,
they might not have finished their variation (5 mins)
9. Conclusion (See Closure) Pack up instruments (3 mins)
Products: Star Spangled Banner variation, SSB melody line
Assessment: Knowledge of the word variation, composition of SSB
variation, Playing through variation. Composition rubric and playing test
rubric.
Homework: Finish up and practice SSB variation composed.
Closure: Does anyone remember what a variation is?
Differentiation:
Some students might need more help in phase structure than other
students might.
Have the more advanced students write a more difficult composition
than the less advanced students because students are playing their
variation next class period.
Show a visual example of a variation you did
Students work alone on this project; have them work in separate areas
of the room

Own Your Composition!

Name: Kristen Walker
Lesson Date: 5/8/2013

Grade: 8th

Time/Period: 1:10-1:55/6th

SOL: MIAD.7 The student will use music composition as a means of

expression
MIAD.8 The student will define and consistently apply music terminology
found in the music
literature being studied.
MIAD.13 The student will consistently use articulations, dynamic contrasts,
and phrasing as means of
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expression.
Content outline: Create your own original eight measure composition
Objectives: At the end of this lesson, the student will:
Understand what the harmony and the melody of the piece is to understand
voice blending
Create his/her own composition using at least two voices
Rationale: The purpose of this lesson is to foster creative thinking.
The composition combines everything a string student should have learned
by the end of middle school, allowing the student to reflect on what they
learned on their instrument.
Materials/Equipment: Finale music composing software, laptops, paper
and colored pencils
Lesson Opening: Hello, today you will be composing your own piece.
Connection: Students knowledge throughout their entire time playing their
instrument
Instructional strategies/processes:
1. What is harmony? Harmony is notes that go against a tune, the
accompaniment to the melody (the melody is the most important line).
2. Ask students to draw a picture of anything they want. This will be the base
of the composition.
3. Teach students the basics of Finale music composing program, with the
teacher using a projector to give a visual aid to the students.
4: Hand out laptops, students do not need their instruments for this lesson
5: Guidelines for composition
5a: The composition has to be eight bars, and include at least 2
different voices, one which is the students own instrument acting as
the melody
5b: The piece has to be in either 3/4 4/4 2/2 or 6/8 time. The student
can choose any key signature studied.
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5c: Students will play this, so tell students to make sure they can play
it. Put the students in groups so they can play their part with the other
part on a different date. This will be one part of their final exam.
6: Walk around the room to assist students with the technology
7: Conclusion (See Closure) Have students put the laptops away
Products: Composition, greater knowledge of instrument
Assessment: Successful performance of composition, quality of
composition. Composition rubric and playing test rubric.
Homework: Since this is a longer project, have students work on the
composition at home should they not finish it in class. Work on
perfecting the piece with and without the accompaniment so that the
student can play the piece with few errors
Closure: Melody and harmony coexist to create a melodic piece
Differentiation:
The weaker students should have an easier composition for them to
play than the stronger students should
Show an example of a composition you want the students to compose
for a visual aid.

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