1. Assessing Students with Differing Needs in Elementary and Middle School Music Classrooms.

2. How is my child doing in music?
We often provide behavioral or general information to that question.
Individualized feedback through multiple strands of learning is sometimes difficult when we have hundreds of young students to teach.

3. Students who need individualized learning
Some students are months or years behind others in their general music class
Other students are months or years ahead of others in their general music class

4. The benefits of winding instruction
Winding back
Winding forward
Multiple means and access points

5. Adaptations and Accommodations
Size
Color
Pacing
Modality

6. Modifications
Winding forward or backward to find the specific step within a sequence that meets the current need of the student.
Assessing students where they are in the sequence, rather than at the central objective or goal for the majority of the students.

7. Finding the place within the sequence
Sometimes on an incremental level
May be different and dependent upon the specific day or student profile
Sensory
Behavioral
Emotional
Cognitive
Communication
Physical

8. Modifying in the Classroom
Winding back
Winding forward
Keeping all plates spinning 

9. Rhythm Activities Rhythm patterns
My Mother Your Mother (same, same/different, differentiated)
Rhythm Go Round
Rhythm Flash Cards (fly swatter)
Find Your Family
Bee Bee Bumblebee (popsicle differentiation)
Rhythm Rondo

10. Elementary School Rhythm Reading Sequence Chart

11. Melody Activities Doggie Doggie Beach Ball
Melody Flashcards (fly swatter)
Finger Staff
Sol Mi (improvisation circle)
Duke’s Place

12. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will decode quarter eighth patterns from chants that are well-known to them
Student will tap the rhythm with words to chants that are well-known to him
Student will derive quarter eighth patterns using popsicle sticks given as much time as necessary

13. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will apply new rhythm syllables to chants well-known to them
Student will chant rhythms that contain quarter/eighth with other students
Student will chant using rhythm syllables at a tempo of his choosing

14. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will sing sol-mi patterns using neutral syllables
Student will approximate higher and lower pitches following individual prompt by teachers
Student will sing sol-mi patterns using neutral syllables at a tempo of his choosing

15. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will show higher and lower with their hands and with the use of icons
Student will show higher and lower through any modality he prefers
Student will demonstrate higher and lower using icons and/or body motions

16. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will discover the two pitches (sol and mi) and their similarities as noted in several folk songs well-known to them
Students will sing folk songs that contain sol-mi with other students
Student will discover sol-mi in at least one folk song well-known to him

17. First Grade Melodic Sequence
Non-modified or adapted curricular goals
Modified curricular goals
Adapted curricular goals
Students will apply new solfege syllables to chants well-known to them
Student will apply new solfege syllables to at least one chant well-known to him

18. Later melodic sequence ideas
Let us Chase the Squirrel
Great Big House in New Orleans

19. Tracking progress through time
Student name
Sings a variety of do pentatonic songs
Sings a variety of do pentatonic songs in solfege
Reads a variety of do pentatonic songs in solfege, from various staff placements
Decodes solfege of known songs and patterns that include do, re, mi, sol, and la
Uses solfege (do, re, mi, sol, and la) abstractly, in tone ladders and tone sets
Jonathon X
Maribeth
Isaiah
Anibel
Quin
Tanner
Hsui-Hui

20. Activities to prepare various tonal centers
Y Toop D’rom
Now All the Woods are Waking
Ah Poor Bird (bum)

21. Identification of Scale Type
Steps to identifying scale type
Date of mastery
Sing a variety of songs and name them as a known scale type or “other”. Sing the resting tone.
Sing a selected song in the new scale type with text.
Sing the song in solfege.
Sing and identify the resting tone in solfege.
Sing and list all the pitches used in the song as a tone set; the teacher writes the pitches from lowest to highest, leaving a space for any missing solfege. Circle the resting tone in the tone set.
Count the number of different solfege pitches used.
Name the scale, with resting tone first, then the number of different solfege pitches (bi = 2 pitches, tri = 3 pitches, tetra = 4 pitches, penta = 5 pitches, hexa = 6 pitches). Tonic scales do not include fa; chordal scales include fa.

22. Activities to encourage part singing
Skip to my Lou
Now All the Woods are Waking
Ah Poor Bird
Jubilate Deo

23. Part Singing Curricular goal Date of mastery
Student sings the text in a large group while the teacher sings the resting tone as a pulse with text.
Student sings the resting tone as a pulse with text in a large group while the teacher sings the text.
Student sings the text in a small group while the teacher sings the resting tone as a pulse with text.
Student sings the resting tone as a pulse with text in a small group while the teacher sings the text.
Student sings the resting tone as a pulse in solo with text while another student sings the text.
Student sings the text while another student sings the resting tone as a pulse with text.

24. Part work activities Chants My Mother, Your Mother
Bee Bee Bumble Bee/Bate Bate
Songs
Hot Cross Buns/Lucy Locket
Let us Chase the Squirrel/Great Big House

25. Part singing progress through time
Activity (i.e. canon, rhythmic ostinato or partner songs)
Sings song without help
Sings the song while another part occurs
(i.e. ostinato, drone, canon)
Describes and identifies the other part
Performs the other part
Performs the other part while the song occurs
Performs the song and the other part simultaneously (i.e. tapping/playing the ostinato, hand signing in canon)
Jonah
Becca
Simon
Jaidyn

26. Charting Student Learning Objectives
Objective: The students will solfege unfamiliar patterns using only notes in the diatonic major scale (steps-no skips), and rhythms that include quarter, paired eighth, and half notes, and equivalent rests.

27. Pitch Matching Steps Pitch Matching
Sing major scale on neutral syllables, ascending ☐
Sing major scale on neutral syllables, descending
Sing major scale with solfege, ascending
Sing major scale with solfege, descending
Sing pitches on a staff with solfege
Find and sing “do” using a “do key”

28. Reading Steps Reading ☐ Recognize staff
Recognize treble and bass clefs
Understand line and space notes
Name the line in both clefs
Name the space in both clefs
Identify notes on lines and spaces in both clefs
Recognize rhythms: half, quarter, eighth, and equivalent rests
Recognize bar lines and measures
Recognize time signatures 2/4, 3/4 and 4/4

29. Rhythm Readiness Steps
Maintain steady beat ☐
Chant and clap
Perform half notes and rests
Perform quarter notes and rests
Perform paired eighth notes

30. Honoring the Individual
Pacing during class
Time outside of class
Materials and music that fit developmental needs
Placing the students at the center of everything you do at school

31. The Fable

32. Find Me!! Facebook: Alice Hammel
Website: musicandspecialneeds.org