Mitch 1

Justin Mitch

Talbot

MUS_CLAS 149

22 April 2020

Assignment 7: Accompaniment Unit Plan

Context: 4th Grade General Music

Prior Knowledge: Students have learned to read and write whole, half, quarter, eighth, and
sixteenth-note rhythms standard notation and how to read music written in treble clef.

Description: This unit is designed to facilitate student exploration of accompaniment through

improvisation, arrangement, and composition. Students will explore both rhythmic and
harmonic accompaniment and some of the tools used to compose them. This unit also has
a concentration on Japanese folk music, exposing some students to new, non-western
musical traditions and allowing others with prior knowledge to help lead the class in
exploring this culture.

Essential Question: How are accompaniments formed and what purposes can they serve?
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Unit Outline

Day: Day 1 Day 2 Day 3 Day 4 Day 5 Day 6

Activity: Activity 1 Activities 2,3 Activities 2,3 Activity 4, Activity 5 Activity 6

(opt.5)
Review
Concept(s): Quarter, eighth, Ostinati, Rhythmic Rhythmic & Rhythmic &
and sixteenth- Rhythmic Accompaniment Harmonic Harmonic Composition
note rhythms Accompaniment Accompaniment Accompaniment

New Ostinati, Harmonic Harmonic

Concept(s): Rhythmic Accompaniment Accompaniment Arrangement Composition N/A
Accompaniment

Activity 1 – Ostinati as Accompaniment

Learning Outcomes:

• Students will compose ostinati in 4/4 time using quarter, eighth, and sixteenth note
rhythms.
• Students will perform ostinato rhythms in 4/4 time with quarter, eighth, and sixteenth
note rhythms.
• Students will define ostinato.
• Students will describe how different stylistic elements (tempo, dynamics, accents) of
ostinatos change their interpretation of music.

Standards:

• MU:Cr1.1.4a Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr6.1.4a Perform music, alone or with others, with expression and technical
accuracy, and appropriate interpretation.
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• MU:Re8.1.4a Demonstrate and explain how the expressive qualities (such as dynamics,
tempo, and timbre) are used in performers’ and personal interpretations to reflect
expressive intent.
• MU:Cn10.0.4a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Key Terms & Resources:

• Ostinato: a short, constantly repeated rhythmic pattern.

(Ostinato. 2013, September 20. Encyclopædia Britannica. Retrieved from:
https://www.britannica.com/art/ostinato)
• Holst, Gustav. “Mars.” The Planets, 1914-1916. YouTube,
https://www.youtube.com/watch?v=Jmk5frp6-3Q.
• Leontovych, Mykola. “Carol of the Bells.” 1914. YouTube,
https://www.youtube.com/watch?v=ZvZ0bKBBKVk.

Materials:

• Open space for students and teacher(s) to form a circle

• Chalkboard / Whiteboard
• Chalk / Dry-Erase Markers
• Speakers connected to the internet via computer, phone, etc.
• Blank paper for each student (Extension Only)
• Pencils for each student (Extension Only)

Procedure:

1. Teacher draws a quarter note, a pair of eighth notes beamed together, and four sixteenth
notes beamed together on the board.
2. Students stand in a semicircle facing the board.
3. Teacher begins to stomp a beat, and gestures for the students to join in, and points to the
quarter note.
4. Teacher claps four quarter notes in time with the stomping beat, and gestures for a
student to come up and point to the note value that was clapped.
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5. Teacher claps eighth notes, then sixteenth notes with this same process.
6. Teacher points at 3 students at a time, then to a rhythmic value on the board, and cues
them to perform it (Assessment #1)
7. Teacher improvises two measure rhythmic patterns in 4/4 and gestures for students to
repeat them.
8. Teacher gestures for students, two at a time, to come up to the board and compose a
similar two measure rhythmic pattern in 4/4 time using at least 2 different note values,
each student composing one measure.
9. The students who composed the rhythm will perform it together (Assessment #2), and the
class with perform it after.
10. Teacher will improvise a 1 measure ostinato rhythm in 4/4 and repeat it until the entire
class claps it together with the teacher 4 times.
11. Teacher writes ostinato on the board, and gestures for students to discuss with another
student next to them about what they think it means.
12. Class comes up with a definition for ostinato (Assessment #3).
13. Teacher plays recording of Gustav Holst’s “Mars”
(https://www.youtube.com/watch?v=Jmk5frp6-3Q) and “Carol of the Bells,”
(https://www.youtube.com/watch?v=ZvZ0bKBBKVk) gesturing for students to listen for
the ostinatos.
14. Teacher gestures for students to talk to a different student than they did before and talk
about what the ostinatos were in the recordings.
15. Students share with the class what they thought the ostinati were, and how they filled the
role of musical accompaniment.
16. Students write their answer on a sticky-note and put it on the board (Assessment #4).
17. Students will compose their own ostinato and write it on paper.
18. Students will switch papers with the student next to them.
19. Teacher begins to stomp a steady beat.
20. Teacher cues students one at a time to begin performing the written ostinato on their new
paper until every student is simultaneously performing their written ostinato.
21. Students reflect on their experience of hearing and performing different ostinatos at the
same time.
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Assessments:

1. Teacher will visually and aurally assess students performing quarter-note, eighth-note,
and sixteenth-note rhythms with technical accuracy on a +, - scale. (Procedure Step 6.)
+: Student correctly performed indicated rhythm.
-: Student incorrectly performed the indicated rhythm.
2. Teacher will assess students composing ostinati using quarter-notes, eighth-notes, and
sixteenth-notes on a +, - scale. (Procedure Step 9.)
+: Student composed a one-measure ostinato using at two different rhythmic
values.
-: Student composed an ostinato with a length other than four beats, and/or only
used one rhythmic pattern.
3. Teacher will aurally assess student’s understanding of the term ostinato by listening to
their discussions and from the class’ collective definition of the term (Procedure Step
#12).
4. Teacher will asses student’s understanding of the contribution of ostinati in the
accompaniment role by examining their responses to the question, “How are ostinati used
in the accompaniment role of music?” written on sticky-notes and put on the board
(Procedure Step #16).
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Day 2 – Rhythmic Accompaniment

Learning Outcomes:

• Students will improvise rhythmic accompaniments to a preexisting song.

• Students will explore how a song reflects its compositional purpose.
• Students will perform using body percussion and drums in a stylistically appropriate
manner.
• Students will explore how music is used in daily life of different cultures.

Standards:

• MU:Cr1.1.4a Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr6.1.4a Perform music, alone or with others, with expression and technical
accuracy, and appropriate interpretation.
• MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced
by specific interests, experiences, purposes, or contexts.
• MU:Cn11.0.4a Demonstrate understanding of relationships between music and the other
arts, other disciplines, varied contexts, and daily life.

Key Terms & Resources:

• “Soran Bushi,” traditional. https://www.youtube.com/watch?v=RJTYCrwptt0

https://youtu.be/IAFJLnFlCHo (acapella)

Materials:

• Speakers connected to the internet via computer, phone, etc.

• Blank paper for each student
• Pencils for each student
• Small drums for each student
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Procedure:

1. Have students gather in a circle in the middle of the room.

2. Play “Soran Bushi” (NOT the acapella version) for the students, asking them to pay
special attention to the drums and instrumental accompaniment and the rhythmic patterns
that they play.
3. Ask students to demonstrate some of the patterns they heard in the drums and
instruments.
4. Listen through “Soran Bushi” a second time, and encourage students to use body
percussion (claps, stomps, etc.) to perform with the recording (Assessment #1,2).
~suggested break point~
5. After listening to the song again, the teacher will ask the students what context this song
might be heard in.
6. The teacher will then explain that “Soran Bushi” is a traditional song of fishermen from
Hokkaido, one of the islands of Japan.
7. The teacher will ask students why they think fishermen might sing songs while they work
(Assessment #3).
8. Upon students answering, the teacher will explain that “soran” is an interjectory chant
that doesn’t have a real translation, and ask students why that word might be repeated so
much during the song if it’s just an interjection.
9. Teacher will guide students to reaching the conclusion that the song helps the fishermen
work together by keeping a steady pulse as they (in the case of “Soran Bushi”) moved
fish from large nets into smaller boats.
10. Distribute small drums to each student, and have them play similar rhythmic patterns to
what they had heard in the video before, but now with the acapella recording (Assessment
#1,2).
11. Teacher passes out the exit ticket with the questions: “How / for what purpose did ancient
Hokkaido fishermen use music in their daily lives? How do the prevalent musical
concepts in “Soran Bushi” reflect the purpose of ancient Hokkaido fishermen for singing
this song? (Assessments #4).
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Assessments:

1. Teacher will aurally assess students playing with stylistically appropriate interpretation
with “Soran Bushi” (Procedure Steps #5,11).
2. Teacher will aurally assess students improvising rhythmic accompaniments to “Soran
Bushi” (Procedure Steps #5,11).
3. Teacher will aurally assess students exploring how the work of Hokkaido fishermen
influenced their music (Procedure Step #8).
4. Teacher will assess students’ responses to the question, “How do the prevalent musical
concepts in “Soran Bushi” reflect [the purpose of ancient Hokkaido fishermen songs]?”
written on a half-sheet of paper on a + , - scale. (Procedure Step #12)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.
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Activity 3 – Harmonic Accompaniment

Standards:

• MU:Cr1.1.4b Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr4.2.4b When analyzing selected music, read and perform using iconic and/or
standard notation.
• MU:Re8.1.4a Demonstrate and explain how the expressive qualities (such as dynamics,
tempo, and timbre) are used in performers’ and personal interpretations to reflect
expressive intent.
• MU:Cn10.0.4a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Learning Outcomes:

• Students will improvise a rhythmic and harmonic accompaniment.

• Students will use chord symbols in standard notation to perform a harmonic
accompaniment.
• Students will explain how adding an accompaniment to a preexisting song changed their
interpretation of it.
• Students will explain the inspiration for their improvised accompaniment.

Materials:

• Orff Instruments for each student and teacher

• Half-sheets of paper for each student
• Pencils for each student
• Projector/Smartboard w/ computer
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Key Terms & Resources:

• あめふり/Amefuri (Rainy Day), traditional.

https://www.youtube.com/watch?v=ldtuTqHnZZg

Procedure:

1. Teacher will motion students to make a circle in the middle of the room.
2. Teacher will establish the key of the song by playing and arpeggiating the tonic triad in
two octaves at the piano.
3. Teacher will sing the song “Amefuri” once.
4. The teacher will sing the song through again, snapping on the first beat of the rest
between sections.
5. The teacher will sing the song through a third time without the snaps, this time holding
up one finger for the first section, two for the second, and three for the third.
6. Teacher gestures for the students to sing through the song together with the teacher, and
holds up fingers corresponding to the section of the song as it is sung through.
7. Repeat step 6 to improve student accuracy, now adding the snaps.
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Teacher will sing problem sections in call-and-response, using gestures to cue students to
sing until ~80% of the class is singing the song proficiently.
~suggested break~
8. IF starting at here at Day 2, review “Amefuri” by singing through it once or twice.
9. Teacher will distribute Orff instruments to students (and one for the teacher) and direct
students to return to the circle.
10. Teacher will demonstrate playing an accompanying line to “Amefuri” by playing the note
written above the measure (for measures with no written note, play the same note as the
previous measure) to the rhythm of the song while singing the melody.
11. Teacher will show the sheet music for “Amefuri” (found above in Key Terms &
Resources) and point out the note names written above the measures.
12. Teacher gestures students to play the accompaniment with the teacher (Assessment #1).
13. Once ~80% of the class is playing the accompaniment properly, gesture for the students
to play and sing.
14. Students play and sing “Amefuri.”
15. Teacher passes out pencils and half-sheets of paper to students, asking them to respond to
the question, “how did adding an accompaniment to “Amefuri” changed your
interpretation of the song?” (Assessment #2)
16. Teacher gestures for students to improvise their own accompanying rhythm as they sing,
but playing the same pitches as before. (Assessment #3)
17. Teacher asks students to respond on the other side of their half-sheet of paper to the
question, “what was the inspiration for your improvised accompaniment?” (Assessment
#4)
18. Teacher collects half-sheets from students.

Extension:

1. Assign each student a member of the triad for each chord in “Amefuri.”
2. Using the Orff instruments, play and sing through the song, having the students play their
assigned notes.
3. Introduce major triads by describing them as 3 notes played simultaneously with one note
of the scale in between each.
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Assessments:

1. Teacher will aurally assess students reading chord symbols in standard notation while
playing a harmonic accompaniment to “Amefuri.” (Procedure Step #13)

2. Teacher will assess students’ understanding of how an accompaniment contributes to

the meaning of a piece by examining their response to the question, “how did adding
an accompaniment to “Amefuri” changed your interpretation of the song?” written on
a half-sheet of paper on a + , - scale. (Procedure Step #16)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.

3. Teacher will aurally assess students improvising a rhythmic, harmonic

accompaniment to “Amefuri.” (Procedure Step #17)

4. Teacher will assess students’ understanding of how their interests, knowledge, and
skills contribute to their musical decision-making by examining their response to the
question, “what was the inspiration for your improvised accompaniment?” written on
a half-sheet of paper on a + , - scale. (Procedure Step #18)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.
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Activity 4 – Combining (and Refining) Rhythmic and Harmonic Accompaniment

Standards:

• MU:Cr1.1.4b Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr4.2.4b When analyzing selected music, read and perform using iconic and/or
standard notation.
• MU:Re8.1.4a Demonstrate and explain how the expressive qualities (such as dynamics,
tempo, and timbre) are used in performers’ and personal interpretations to reflect
expressive intent.
• MU:Cn10.0.4a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Learning Outcomes:

• Students will improvise and arrange both rhythmic and harmonic accompaniments to a
preexisting song.
• Students will use chord symbols in standard notation to perform a harmonic
accompaniment.
• Students will explain how adding a new type of accompaniment to a preexisting song
changed their interpretation of it.
• Students will explain their performance preferences and how they reflect their
interpretation of the piece.
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Key Terms & Resources:

• あめふり/Amefuri (Rainy Day), traditional.

https://www.youtube.com/watch?v=ldtuTqHnZZg

Materials:

• Orff Instruments for each group of students

• Half-sheets of paper for each student
• Pencils for each student
• Projector/Smartboard w/ computer

Procedure:

1. Teacher will have students sit together in the middle of the room.
2. Teacher will review the song “Amefuri” which students have learned in the previous
lesson by singing through it (at least) twice, the first time to remind students of how the
song goes, and the second to have them join in.
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3. Have students split into groups of 3 or 4.

4. Teacher will distribute two sets of Orff instruments to each group, reminding them of
how they accompanied the song in their last class by examining the chord symbols above
the melody (displayed on the board) and playing the note corresponding to the letter of
the chord (the root) (Assessment #1).
5. For the accompaniment now, two students will play the Orff instruments at the same
time. For the C chord, they can play either a C or a G. For the G chord, they can play
either a G or a D. For the F chord, they can play either an F or a C.
6. The two students in each group who are not playing the Orff instruments will sing the
melody while using solfege hand signs to show the root of the chord (C is Do, G is Sol, F
is Fa).
7. Once each group has played through the song 2-3 times, have the students switch roles
(singers to Orff, vice versa).
~suggested break~
8. Review step 7, then have all members of the group sing, and the students without Orff
instruments add body percussion accompaniment.
9. Have students switch roles after 2-3 playthroughs.
10. Have all groups come together in the center of the room.
11. Have half the students play Orff instruments and half do body percussion while everyone
sings through the song together.
12. Have students switch roles.
13. Pass out papers and pencils to each student and ask them to respond to the following
questions: “Did you prefer to play an accompaniment on the Orff instruments or using
body percussion? Why? How did adding body percussion change the tone/feel/energy of
the song?” (Assessments 3,4)

Extension:

Teacher will guide class in experimenting with different dynamics, tempi, and timbres in
the melody and accompaniment lines.
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Assessments:

1. Teacher will aurally assess students reading chord symbols in standard notation while
playing a harmonic accompaniment to “Amefuri.” (Procedure Step #4)
2. Teacher will aurally assess students improvising rhythmic and harmonic accompaniments
to “Amefuri” using Orff instruments and body percussion (Procedure Steps #5-9).
3. Teacher will assess students’ interpretation of how different types of accompaniment
contributes to the tone of a piece by examining their response to the question, “How did
adding body percussion change the tone/feel/energy of the song?” written on a half-sheet
of paper on a + , - scale. (Pro cedure Step #13)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.
4. Teacher will assess how students’ interests, knowledge, and skills influence their
personal choices while music-making by examining their response to the question, “Did
you prefer to play an accompaniment on the Orff instruments or using body percussion?
Why?” written on a half-sheet of paper on a + , - scale. (Procedure Step #13)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.
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Activity 5 – Composing an Accompaniment

Standards:

• MU:Cr1.1.4b Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr4.2.4b When analyzing selected music, read and perform using iconic and/or
standard notation.
• MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced
by specific interests, experiences, purposes, or contexts.
• MU:Cn10.0.4a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Learning Outcomes:

• Students compose rhythmic and harmonic accompaniments to a preexisting song.

• Students will read and write standard notation to compose and perform rhythmic and
harmonic accompaniments.
• Students will explain how elements of their composition are stylistically appropriate for
their chosen song.
• Students will explain a cultural inspiration drawn from while composing an
accompaniment.

Key Terms & Resources:

https://bandlab.com

Materials:

• Orff Instruments for each group of students

• Various small percussion instruments students can pick from
• Half-sheets of paper for each student
• Pencils for each student
• Chomebooks for each group
• Headphones for each group
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Procedure:

1. Have students gather and sit in a circle in the middle of the room.
2. Review with students what ostinati are and what the two main types of accompaniment
are (rhythmic and harmonic), and what their differences are by asking students to
volunteer the answers.
3. Once the vocabulary has been reviewed, introduce the composition project:
• Students may work alone or in pairs.
• Each group gets a Chromebook with a school-linked BandLab account and a pair
of headphones.
• Each group must choose a song – either one taught in class or one that they are
interested in (must be approved by the teacher) – to compose a stylistically
appropriate rhythmic accompaniment using ostinati (minimum of two (2)
different ostinati) with either body percussion or instruments in the classroom as
well as a harmonic accompaniment for approximately one (1) minute of their
selected song (for student selected songs, the teacher may need to identify the key
and give the students guidance on what notes to use (i.e. if the song is in G major,
the teacher should tell the students to use (primarily) G, A, C, and D in their
harmonic accompaniment). Students should use standard notation to write out
their ostinati and harmonic accompaniment (Assessments #1,2).
• The student(s) will either sing and record the melody to their song into BandLab
(a click track / metronome may be useful here).
• The student(s) will then record their accompaniment parts while listening to the
melody through BandLab.
• Once all parts are recorded OR at the end of the class, have students share the
BandLab with the teacher to check progress and quality.
4. As students get into their groups, they should gather the instruments they need for their
accompaniments.
5. After students break off into their groups and begin to work, the teacher should check in
on each group periodically and answer questions / provide assistance as needed.
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6. In the last five minutes of class, ask the class to finish up what they’re working on and let
them know that they will have time to finalize their recordings as needed in the next
class.
7. Pass out the exit ticket to students with the questions: “How was one element of your
composition stylistically appropriate for the song you chose?” and “What inspired your
ostinati or harmonic accompaniment?” (Assessment #3,4)

Assessments:

1. Teacher will aurally assess students reading and writing accompaniments for their song in
standard notation (Procedure Step #3)
2. Teacher will visually and aurally assess students composing accompaniments for their
chosen song (Procedure Step #3).
3. Teacher will assess students’ understanding of appropriate style by examining their
response to the question, “How was one element of your composition stylistically
appropriate for the song you chose?” written on a half-sheet of paper on a + , - scale.
(Procedure Step #7)
+: Student submitted an on-topic response to the question demonstrating
understanding of appropriate style.
-: Student did not submit a response or their response was off-topic.
4. Teacher will assess how students’ interests, knowledge, and skills influence their
personal choices while composing by examining their response to the question, “What
inspired your ostinati or harmonic accompaniment?” written on a half-sheet of paper on a
+ , - scale. (Procedure Step #7)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.
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Activity 6 – Finalizing and Presenting Compositions

Standards:

• MU:Cr1.1.4b Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities (such as major and minor) and meters.
• MU:Pr4.2.4b When analyzing selected music, read and perform using iconic and/or
standard notation.
• MU:Re7.1.4a Demonstrate and explain how selected music connects to and is influenced
by specific interests, experiences, purposes, or contexts.
• MU:Cn10.0.4a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Learning Outcomes:

• Students compose rhythmic and harmonic accompaniments to a preexisting song.

• Students will read and write standard notation to compose and perform rhythmic and
harmonic accompaniments.
• Students will explain how elements of their composition are stylistically appropriate for
their chosen song.
• Students will explain a cultural inspiration drawn from while composing an
accompaniment.

Key Terms & Resources:

https://bandlab.com

Materials:

• Orff Instruments for each group of students

• Various small percussion instruments students can pick from
• Half-sheets of paper for each student
• Pencils for each student
• Chomebooks for each group
• Headphones for each group
• Smartboard
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Procedure:

1. Give students approximately ten minutes to finish their compositions from last class and
submit them to the teacher. (Assessments #1,2)
2. Have students gather seated in the center of the classroom facing the front of the room.
3. Teacher will call up groups at random to tell the class what song they picked. The
student(s) would then notate on the board the ostinati they composed, and perform each
of them before playing the recording to teach the class their patterns.
4. As the song plays, the whole class will perform the rhythmic accompaniment comprised
of the composed ostinati (the teacher or one of the leading group members should point
to which ostinato is being performed at any given point) (Assessment #2).
5. Once each group has presented and performed, the teacher will pass out the exit ticket
with the questions: “How did another group’s accompaniment reflect the style of their
chosen song?” and “What was one thing you realized about your own knowledge and
skills that influenced your composition after listening to other groups’?” (Assessments
#3,4)

Assessments:

1. Teacher will aurally assess students reading and writing accompaniments for their song in
standard notation (Procedure Step #1)
2. Teacher will visually and aurally assess students composing accompaniments for their
chosen song (Procedure Step #1).
3. Teacher will assess students’ understanding of appropriate style by examining their
response to the question, “How did another group’s accompaniment reflect the style of
their chosen song?” written on a half-sheet of paper on a + , - scale. (Procedure Step #5)
+: Student submitted an on-topic response to the question demonstrating
understanding of appropriate style.
-: Student did not submit a response or their response was off-topic.
4. Teacher will assess how students’ knowledge and skills influence their personal choices
while composing by examining their response to the question, “What was one thing you
realized about your own knowledge and skills that influenced your composition after
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listening to other groups’?” written on a half-sheet of paper on a + , - scale. (Procedure

Step #5)
+: Student submitted an on-topic response to the question.
-: Student did not submit a response or their response was off-topic.

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.

Justin Mitch