PSII Unit Plan

Alex Hutcheon
Generative Topic. Topics that are interesting to both students and teacher and have the capacity to generate further learning by stimulating questions, thinking,
discussion, activity, curiosity, and creativity and that enable students to make connections with what is important within a topic or domain (i.e. big idea).
Generative Topic: The parallel between the Blues and Popular Music
Unit Title (Based on a Generative Topic): Blues Guitar
Synopsis. Summarizes the unit (i.e. the unit in a nutshell) and lists the
Culminating Activity/Products.
following information:
Briefly describe the culminating activity and products (e.g. a composition,
a. Central focus, theme, topic, big idea, generative topic;
performance, recording) explaining how these are authentic performance
b. Grade, musical program of study (i.e., band, orchestral, guitar, etc.);
tasks and how they bring the unit to an appropriate closure.
c. Time allotment (minutes/hours/periods) for the unit; and
d. Rationale explaining its relevance to achieving the aims and goals of the
provincial music curriculum.
Synopsis:
Culminating Activity/Products:
a. The theme or central focus is the blues.
This unit culminates with a presentation of a specific blues musician or
b. This unit is for senior high guitar class comprised of grade 10, 11, and 12
composer, followed by a performance on the guitar of a single blues
students.
composition written by the researched blues musician. Students can do their
c. This unit spans 10 75 minute classes for a total of 750 minutes or
presentations using PowerPoint, posters, oral presentations, or any other
approximately 12.5 hours.
creative means.
d. The blues are an important form of musical expression throughout the world.
It has served as a model for countless rock and roll, country and western, folk, (Refer to pages X-X and X-X for a more specific explanation of the
and jazz songs, especially sing the early 1950s. By successfully completing
culminating activity in regards to differentiation and assessment.)
this unit, students will become aware of how the North American experience
gave birth to a new and distinct musical art form. Through the study of the
blues, students will develop additional avenues of self-expression and
performance. By critically listening, analyzing, and performing, the students
explore the historical and stylistic components of the blues, with an emphasis
on researching, creating and performing blues music.
Aim/big idea. A concept, theme or issue that gives meaning and connection to facts and skills and leads to deeper understandings and appreciations. Based on a
generative topic.
Aim/big idea: By the end of the unit, students will understand . . . how and why North Americans express themselves using the musical form and style known as
the blues.
Essential questions. (Two to five per unit) Important, overarching, thought-provoking questions that guide the inquiry throughout the unit.

Essential questions:
1. How did specific events in North American history affect the creation of the blues?
2. In what ways have the blues influenced other musical genres?
3. Why are the blues such a powerful avenue for self-expression?
Desired Results/Learning Outcomes (Scope & Sequence)
General & Specific Musical Learner Expectations/Outcomes
Unit Learner Expectations (Goals)
By the end of the course students will . . .

By the end of the unit, students will be able

to . . .

Assessment/Evaluation
(Summative i.e. assessment of
learning at the end of the
unit)

GLE/GLO: 1 Performance/ Listening: develop an understanding of the elements and structures of music as they apply to music making and listening
SLE/SLO: 1.1 describe the structure of, and recognize aurally, the standard
twelve-bar blues form
SLE/SLO: 1.2 Style: recognize aurally the way that different genres such as
pop, Classical and jazz, use the elements of music

SLE/SLO: 1.3 notate a blues scale starting on C, F and G

ULE: 1.1.1 identify the structure of the

standard twelve-bar blues form by using
guided listening
ULE: 1.2.1 compare and contrast musical
forms and styles of blues music with that of
different genres (of the students choosing)
through a brief oral presentation
ULE: 1.3.1 compose a blues scale starting
on C, F and G in treble clef
ULE: 1.3.2 perform a blues scale staring of
C, F and G on the guitar

GLE/GLO: 2 Attitude: appreciate fine arts as a form of personal enrichment, entertainment and self-expression
SLE/SLO: 2.1 explore, develop and refine the sound making capabilities of the ULE: 2.1.1 perform numerous blues pieces
instrument individually and/ or as part of an ensemble
on guitar, both individually and in an
ensemble in order to explore, develop and
refine the sound making capabilities of the
guitar
SLE/SLO: 2.2 analyze the aesthetic and stylistic qualities through the
ULE: 2.2.1 analyze the aesthetic and
performance, of a musical selection
stylistic qualities of the blues after
performances and rehearsals by using
summative assessments and exit slips
GLE/GLO: 3 Researching: develop a knowledge of music history and literature and their relationship to world history
SLE/SLO: 3.1 analyze the fusion of music and cultures that collided to give
ULE: 3.1.1 identify how African-American
birth to the jazz idiom: African music, African-American music in the
music in the past has influenced the creation
historical past to the 1990s, rural blues, pre-jazz brass bands, and ragtime
of the blues through class discussions and

- Guided listening activity sheet

- Orally present musical

similarities

- Quiz on staff paper

- Performance assessment
(playing test)

- Individual and ensemble

performance assessment
(playing tests and
performances)
- Individual performance
assessment (playing test)
- Exit Slips

- Class discussions
- Observe rehearsal of
traditional African-American

observations
Music
ULE: 3.1.2 analyze how music and culture
- Exit slip (reflection)
have influenced the creation of the blues
through a critical reflection
SLE/SLO: 3.2 identify characteristics of the following stylistic categories, and
ULE: 3.2.1 identify which musical selection - Kinesthetic movement activity
identify aurally selected listening examples: early jazz, blues, boogie woogie,
is considered the blues by analyzing the
based on the listening example
swing, bebop, cool school, hard bop, free jazz, fusion
stylistic categories of different listening
examples
SLE/SLO: 3.3 identify the contribution of one artist or group from each of the
ULE: 3.3.1 differentiate between the Classic - Classic Blues Jeopardy
following categories: Classic Blues (Ma Rainey, Bessie Smith, ect.)
Blues artist or group that is being played
using a jeopardy style activity
ULE: 3.3.2 identify the contribution of
- Listening test
different artists or groups that perform
Classic Blues by completing a listening test
Master List of Major Learning Activities and Experiences
1. Practicing/ rehearsing/ performing blues guitar
8. Blues scale composition quiz
2. Composing/ arranging blues guitar music
9. Formative listening activities
3. Guided Listening
10. Listening exams
4. Researching different blues composers
11. Playing tests (from Essential Elements for Guitar)
5. Critically analyze, respond to, and reflect on music, musical information,
12. Exit slips
and musical experiences
13. Culminating Activity
6. Answering questions (musical, technical, artistic, social, cultural, historical,
and geographical)
7. Pre-assessment survey
Master List of Materials, Equipment, and Resources
1. White board
8. Teacher-created listening guides
2. Projector
9. Ultimate guitar website http://www.ultimate-guitar.com
3. Computer
10. Essential Elements for Guitar
4. Guitars, basses, and banjo
11. History of Jazz textbook
5. Standard band equipment
12. A History of Western Music
6. Music Video clips (Youtube)
13. Teaching Instrumental Music in Canadian Schools
7. History of blues video clips (Youtube)
14. The Creative Director
15. Picks, tuners, and strings
Special Considerations
Social context issues. How you will address any relevant social context issues
Modifications and accommodations for learners with special
needs/Adaptive strategies. Strategies used to accommodate the needs of
in your planning. For example,
exceptional learners. For example musically gifted, ADD, ADHD, Asperger,
students unable to dance or perform or listen to patriotic or particular
or Tourette Syndrome. Identify and briefly describe the diagnosed condition
religious music for religious and/or cultural reasons
and the strategies you will use to meet the needs of these student and why.
school is a faith-based institution

Modifications accommodations to be made for learners with special

needs/Adaptive strategies in the teaching of this unit:
Kaynen is a musically gifted student that was diagnosed with high functioning
autism, Aspergers Syndrom, ADHD, and asthma. Kaynen is a passionate
musician who is proficient in numerous instruments such as guitar, percussion,
and other wind instruments. He is obsessed with classic rock and has a vast
knowledge of the history of classic rock musicians. Kaynen interacts and
connects very well with teachers but struggles to establish relationships with
fellow classmates.
Accommodations for Learning:
- Extended time
- Use of computer
Universal Design For Learning:
- Checklist form
- Provide a reader
- Check frequently for understanding
- Give verbal/ non-verbal cues to get started
- Chunk materials
During the culminating activity, provide Kaynen with alternatives for the
presentation portion that will allow him to be most comfortable explaining his
blues musician to the class. The performance portion should not be a problem
because Kaynen is extremely confident playing his guitar.

large number of FNMI students

a large number of ESL students
inner-city issues, etc.
Description of strategies to be used or steps to be taken to address social
context issues in the teaching of this unit:
This school is located in Medicine Hat and contains an ethnically diverse
student population. Due to the large African-American population within this
school, I must be hypersensitive when explaining the origins of the blues. The
history of jazz involves mature material including slavery and minstrel
groups, which if approached incorrectly can deeply offend students. Thus I
must explain the harsh reality of these events but try to focus more on the
music that was produced from this era.
(Refer to pages X-X for strategies taken during social context issues such as
digital connectivity culture, gender, ethnicity, social class, and 21 st century
competencies.)

(Refer to pages X-X for a differentiated instruction plan for this unit.)
Lesson

Topic

Guided Listening

Summary of Lessons
Learning Objectives
Assessment/Evaluation
By the end of this lesson TSWBAT . . .
Formative &/or Summative
(i.e. assessment as, of, for
learning).
1. Identify the structure of the standard
1. Summative assessment of
twelve-bar blues form by completing
students guided listening
guided listening
worksheet
2. Analyze the aesthetic and stylistic
2. Formative observation of
qualities of Mississippi Delta Blues
collective performance
through a group performance
3. Perform Our Song in order to explore, 3. Formative observation of

Learning Activities/ Instructional Strategies

1. What Works for Me Inventory:

- Pre-assessment worksheet that helps me get to
know each individual student
2. Guided Listening:
- A guided listening worksheet that allows students
to better understand the structure of the Blues
3. Mississippi Delta Blues:

Formative
Listening

develop and refine the sound making

capabilities of the instrument individually
and/ or as part of an ensemble
4. Perform Blues Bass on page 46 of the
Essential Elements for Guitar method
book as an individual playing test

collective performance

1. Identify which musical selection is

considered the blues by analyzing the
stylistic categories of different listening
examples
2. Differentiate between the Classic
Blues artist or group that is being played
using a jeopardy style activity

1. Formative observation of
students ability to identify the
blues

3. Perform Good Mornin Blues on page

83 of the Essential Elements of Guitar
method book as an individual playing test

4. Summative assessment of
individual students
performance based on criteria
within the rubric

2. Formative observation of
students ability to identify
and recognize specific blues
musicians
3. Summative assessment of
individual students
performance based on criteria
within the rubric

- Show class the sheet music for Mississippi Delta

Blues via ultimate-guitar.com and project the onto
the projector screen
- Review chords and strumming patterns with the
class and allow for individual practice
- Perform the song as a whole class with a youtube
recording, while following along with the sheet
music
4. Our Song:
- Project sheet music via ultimate-guitar.com and
review chords and strumming patterns with class
- Perform the song as a whole class with a youtube
recording, while following along with the sheet
music
5. Blues Bass:
- Site-read the notation assignment, Blues Bass, as
an ensemble with and without the CD recording
provided in the Essential Elements Guitar method
book.
6. Individual Practice/ Testing Blues Bass:
- Allow for students to individually practice Blues
Bass
- When the students feel confident and comfortable
enough with the tune they can then call me over and
perform the piece; in which I will assess them based
on the playing test rubric
1. Kinesthetic Blues Identification:
- A line will be taped in the center of the room
(separating the room in half)
- Students will listen to a musical selection and
determine if it is a blues composition or not a blues
composition. If it is a blues composition they will
move to the north side of the class and if it is not
they will move to the south side of the class
2. Blues Jeopardy:
- I will randomly select groups of 5 (a total of 6
teams)
- Each team will be given 20 minutes to study and
memorized 15 Blues compositions
- Teams will then be competing against one another

Listening Test

Blues Scales

1. Identify the contribution of different

artists or groups that perform Classic
Blues by completing a listening test
2. Perform Blues in A on page 78 of the
Essential Elements for Guitar method
book as an individual playing test

1. Summative listening exam

1. Compose a blues scale starting on C, F

and G in treble clef

1. Summative assessment of
student ability to write 3
blues scales on notation
paper (C, F, G)
2. Formative observation of

2. Perform a blues scale staring of C, F

2. Summative assessment of
individual students
performance based on criteria
within the rubric

to see you can identify the musical selection (artist

and title) the fastest (much like jeopardy but instead
of buzzers students will simply raise their hands)
- I will not be calculating points because everyone
is a winner during this form of formative
assessment
3. Good Mornin Blues:
- Site-read the chording assignment, Good Mornin
Blues, as an ensemble with and without the CD
recording provided in the Essential Elements Guitar
method book
4. Individual Practice/ Testing of Good Mornin
Blues:
- Allow for students to individually practice Good
Mornin Blues
- When the students feel confident and comfortable
enough with the tune they can then call me over and
perform the piece; in which I will assess them based
on the playing test rubric
1. Listening Exam:
- Students will identify the artist and title of 10
blues compositions (this is from a list of 15 possible
compositions introduce during the previous class)
2. Blues in A:
- Site-read the chording assignment, Blues in A, as
an ensemble with and without the CD recording
provided in the Essential Elements Guitar method
book
3. Individual Practice/ Testing of Blues in A:
- Allow for students to individually practice Blues
in A
- When the students feel confident and comfortable
enough with the tune they can then call me over and
perform the piece; in which I will assess them based
on the playing test rubric
1. Blues Scale Lecture (direct instruction):
- A brief presentation regarding the structure and
characteristics of blues scales
2. Marty Schwartz E minor Blues Scale Tutorial:
- Allow students to play along with Marty

and G on the guitar

3. Perform an E minor scale in three
octaves as an individual playing test

4. Improvise using the notes learned in

the E minor blues scale over a E minor
back track

Traditional
African-American
Music

1. Identify how African-American music

in the past has influenced the creation of
the blues through class discussions and
observations of tradition AfricanAmerican musical genres
2. Analyze how music and culture have
influenced the creation of the blues using
a critical reflection
3. Perform (individually) Worried Man
Blues on page 57 of the Essential
Elements for Guitar method book using
finger picking

individual ability to perform

3. Summative assessment of
individual students
performance based on criteria
within the rubric
4. Formative observation and
feedback of collective wholeclass improvisation

1. Formative observation of
class discussions and
collective performance of
traditional African drumming
2. Formative critical
reflection using exit slips
3. Summative assessment of
individual students
performance based on criteria
within the rubric

Schwartzs E minor blues run youtube video

- Constantly pause the video to explain a practice
sections of the E minor blues run as an ensemble, in
order to scaffold and check for student
understanding
3. Improvisation:
- Play an E minor blued backtrack via youtube over
the stereo system
- Have students practice their E minor blues runs
overtop of this backtrack and allow them to
improvise using the notes provided in within the
scale
4. Blues Scale Written Test:
- Have student notate blues scales starting on C, F,
and G in treble clef
5. Playing Tested Scales:
- Once the tests are complete, have students play
these three scales in order to aurally recognize these
blues scales.
6. Individual Practice/ Testing of E minor Blues
Scale (3 octaves):
- Have students individually practice the E minor
Blues scale
- When the students feel confident and comfortable
enough with the scale they can then call me over
and perform the run; in which I will assess them
based on the playing test rubric
1. Traditional African Music Presentation:
- Present a PowerPoint that gives a brief synopsis of
the Blues history
- Show A Short History of the Blues video clip via
youtube
https://www.youtube.com/watch?v=vnaorRAxhmU
2. Exit Slip:
- Students will critically analyze how music and
culture have influenced the creation of the blues
based on their interpretation of the video and
PowerPoint
3. African Drumming:
- Have students perform a traditional African Drum

Linking the Blues

to Popular Music

1. Compare and contrast musical forms

and styles of blues music with that of
different genres (of the students choosing)
through a brief oral presentation
2. Perform a popular song that resembles
the musical forms and styles of blues
music

1. Formative assessment of
students oral comparisons
between the blues and
popular music
2. Summative assessment of
individual students
performance based on criteria
within the rubric

7 10

Culminating
Activity

1. Perform a piece of music on the guitar

written by a chosen blues musician

1. Summative assessment of
students individual

circle (Refer to Adam Mason for further instruction)

4. Worried Man Blues:
- Site-read the finger style assignment, Worried
Man Blues, as an ensemble with and without the
CD recording provided in the Essential Elements
Guitar method book
5. Individual Practice/ Testing Worried Man Blues:
- Allow for students to individually practice
Worried Man Blues
- When the students feel confident and comfortable
enough with the tune they can then call me over and
perform the piece; in which I will assess them based
on the playing test rubric
1. Research:
- Have students explore different musical selections
using either a computer from the computer lab or
with their devises that contain similarities with the
blues
- Once a student has identified a musical selection
that resembles the blues, they must prepare an
explanation why it resembles the blues and then
they must locate the chords of the song via ultimateguitar.com so they can practice and perform the
piece
2. Oral Presentation:
- Briefly explain the song that you discovered that
has resembles the blues. Present the reasons you
believe that his song has blues influences.
- Students will be seated in a circle were they can
quickly explain their findings to the rest of the class
3. Individual Practice/ Performance of Popular
Song:
- Allow students to individually practice the song
that they discovered
- When the students feel confident and comfortable
enough with the tune they can then call me over and
perform the piece; in which I will assess them based
on the playing test rubric
KWL Chart:
- Complete KWL pre-assessment chart in order to

2. Identify characteristics and historical

backgrounds of these chosen musicians
by giving an oral presentation about the
blues musician

3. Analyze their performance and

presentation by creating a critical
reflective paper

performance using rubric

2. Summative assessment of
presentation
1/2. Pre-assessment using
KWL chart
1/2. Assessment as learning/
of learning (peer-review
checklists)
3. Summative assessment of
students ability to critically
reflect

assess student readiness.

RAFT Activity:
- Choose one of the following composers that is of
most interest to you (Role). [Ma Rainey, Bessie
Smith, BB King, Muddy Waters, and Howlin
Wolf]
- Research this composer and create a synopsis of
their contribution to the blues (Topic). [Recording
of the Blues, Analysis of a piece, Contribution to
blues guitar, Modern Chicago Blues, and Electric
Blues]
- Create a presentation using the following formats
that will explain your synopsis (Format). [Video,
PowerPoint, Poster, Oral Presentation, and
Diorama]
- Choose a blues composition by the artist that you
presented. You will perform this composition after
you have presented
Checklists:
- Students will use checklists in order to assess their
peers and their own presentations and performances
Reflection:
- Using the rubric and checklists, the students will
then write a 1-page reflection as a form of selfassessment.