Erin Dixon

MUED 380

Pattern Movement Experience Design

Rationale
This experience will explore elements of movement as an approach to learning both the
mapping of songs (specifically A B songs) and as an introduction to quarter notes,
quarter rests, and eighth notes. This experience will last 30 minutes and has been
designed for the first grade classroom. Each student will first be given the chance to
demonstrate both leadership and expression in the beginning of class by improvising
with boomwhackers to “Man Gave Name to all the Animals” by Jason Mraz. This will
further develop levels of musicianship by encourage both elements of music literacy and
performance. After the completion of the “warm up” and circle dance, students will
discuss the similarities between the warm up activity and the circle dance in regards to
rhythms explored and improvisation experienced. The circle dance will also further the
student’s understanding of mapping of songs, specifically songs with an A and B
section. Specifically, with this grade level, students have already begun developing
“rhythmic patterns that include sounds and silence” (K.5) and “improvising simple
rhythmic patterns” (K.8) via past experiences. This experience will bring clarity to those
experiences by expanding upon them through a method of coordinated movement using
Weikart’s approach.

Understanding Statements
➔ Students will successfully demonstrate and understand the difference between
quarter notes, quarter rests, and eighth notes.
➔ Students will understand that different songs have different sections (in regards
to song mapping). In this example, students will be able to understand the
difference between an A (the refrain or chorus) and a B section.
➔ Students will understand that each B section could contain different phrasing (via
lyrics of different animals)
➔ Students will understand that the rhythmic creation served as an introduction to
the coordinated movements
➔ Students will understand the connection between quarter notes, quarter rests,
and eighth notes in boomwhacker activity and the circle dance
Erin Dixon
MUED 380

“I can” statements/standards
➔ (1.5) I can demonstrate the difference between quarter notes, eighth notes, and
quarter rests via coordinated movements AND boomwhackers.
➔ (1.8) I can respond to music with movement with a variety of movements by
performing a circle dance.
➔ (1.15) I can engage in the circle dance by demonstrating active engagement that
contributes to the teamwork and classroom environment.

Materials
➔ Boomwhackers (one for each student, approximately 20-30)
➔ Circular rug to help with the structure of the activity (if possible)
➔ Speaker to play song
➔ Computer

Detailed Process
➔ Class will begin with welcoming the students by inviting them to join me sitting in
a circle in the center of the classroom (1 min)
➔ Briefly demonstrate the first activity: (4 min)
◆ “Watch me”: press play on the speaker, hit boomwhackers to the steady
beat 16 times [A section]
◆ “Join me” continue hitting boomwhackers to the steady beat until the A
SECTION is over
◆ Press pause, “during this section of the song, we were hitting our
instruments to steady beat of the song. This tells us that we were tapping
quarter notes”
◆ Press play “watch me” , hit boomwhackers every other steady beat 16
times [B section]
◆ “Join me” continue hitting boomwhackers every other steady beat until the
B section is over, actively pull boomwhacker off the floor on every other
steady beat as well to clearly demonstrate a rest
◆ Press pause, “during this section of the song, who can tell me what we
were tapping by doing so every other steady beat”. Assess answers and
explain (if needed) that this tells us we were still tapping quarter notes, but
resting on every other beat
◆ Press play again, “watch me” hit boomwhacker TWICE for each steady
beat (eighth notes) [A section]
Erin Dixon
MUED 380

◆ Pause, ask “who can tell me what we were just tapping during that
section?” Assess answers and explain (if needed) that we were tapping
eight notes
◆ QUICKLY explain that everyone will create their own combination of
rhythms previously demonstrated by sharing what they did after school the
previous day, demonstrate with the phrase “watch tv” (quarter note,
quarter rest, two eighth notes).
➔ First activity: circular rhythm sharing. (6 min)
◆ This activity will move in a circular motion, giving each student the chance
to improvise with the rhythms and share their “fun facts”.
➔ Transition: “What if we did these same rhythms, except we danced to them?
Everyone stand up!”
➔ Core activity: coordinated movement dance (15 min)
◆ Begin by teaching the A section via Weikart’s process. (2 min)
● Say: step right left, right left, left right left right, point right right right
right, point left left left left, repeat
● Say and do
● Whisper and do
● Think and do
◆ Teach the B section via Weikart’s process (4 min)
● First explain that this section contains different movements each
time based on what the lyrics are. During these sections students
will first remain still, then copy the facilitator
● Say: look right, look left, different (rest), different (rest), spin
around, jump, jump
● Say and do
● Whisper and do
● Think and do
◆ Teach bear section via Weikart’s process (1 min)
◆ Teach cow section via Weikart’s process (1 min)
◆ Teach bull section via Weikart’s process (1 min)
◆ Teach pig section via Weikart’s process (1 min)
◆ Teach sheep section via Weikart’s process (1 min)
◆ Teach snake section via Weikart’s process (1 min)
➔ Perform the circle dance (3 min) do twice if time allows
➔ Discuss similarities between first activity and second by re-joining in a circle in
the center of the room (4 min)
◆ “Which movements were the same as the quarter notes”
◆ “Which movements were the same as the quarter rests”
Erin Dixon
MUED 380

◆ “Which movements were the same as eighth notes”

◆ To review, ask the students to demonstrate each rhythmic figure
◆ Assessment questions (see below)

Assessments

➔ (1.5) Were students able to demonstrate the difference between quarter

notes, quarter rests, and eighth notes?
◆ Observe students during boomwhacker activity and give students a
score from 1-3 based on their improvisations
● 1: Only used one rhythm
● 2: Use of rhythmic patterns only included two of the
rhythmic patterns taught
● 3: Use of all three rhythms taught

Student Quarter Quarter Eighth Total

Notes Rests Notes

Robbie yes x yes 2

Ben yes x x 1

Ashley yes yes yes 3

➔ (1.8) Were students able to respond to music with movement with a

variety of movements by performing the circle dance?
◆ Observe students throughout circle dance teaching and
performance to determine if they were able anticipate the
differences between the A section and B section
● 1: Student did not respond to music via movement
● 2: Student responded to music but did not anticipate the
different sections
● 3: Student both responded to music and anticipated each
section
➔ (1.15) Did students engage in the circle dance by demonstrating active
engagement that contributes to the teamwork and classroom
environment?
Erin Dixon
MUED 380

● 1: Student did not engage in the circle dance

● 2: Student engaged in the circle dance but was often
distracted
● 3: Student engaged in the circle dance actively throughout
the experience

Adaptation

➔ Color:
◆ Use colored boomwhackers as each rhythm or use a different colored
visual via notation (such as green quarter note, red quarter rest).
◆ Map the song via color, for example: the A section is purple, B section is
yellow, and the subsections of B that change after each refrain are blue
(animals)
➔ Shape/Size:
◆ Consider the shapes of boomwhackers and whether or not the smaller,
lower pitches will provide challenge for students. Have other options,
such as larger or smaller instruments, if challenge presents itself.
◆ Consider the size of each movement, create “backup” movements if
challenge presents itself through the larger, locomotive movements
➔ Pacing:
◆ Be mindful of of pacing throughout ESPECIALLY when teaching the
coordinated movements via Weikart process. If necessary, this lesson
could easily be divided up into two different 30 minute lessons.
◆ Be mindful of pacing when introducing each rhythmic pattern. If needed,
certain patterns may be repeated to assist with both pacing and student
understanding.
➔ Modality
◆ Because this activity is very kinesthetic, consider offering both visual and
aural representations of each rhythmic value either before or after the
introduction. This can be done via combination of traditional notation and
ta-ka-di-mi or other neutral syllable.
● quarter note: ta, eighth note: ta-di, etc
● OR clapping
Erin Dixon
MUED 380

◆ Provide a visual representation of movements via grid to combine with

Weikart’s method

Extension

➔ I would further expand on rhythmic improvisation by allowing students to create

their own movements for either B section (dependant on time). For example:
“How would you move to the phrase “​Chewing up so much grass until she was filled.
He saw milk comin' out but he didn't know how.”? Would you respond via quarter notes,
quarter rests, or eighth notes?”
This could be expanded even further through exploration of boomwhackers, body
percussion, or voice (correspondent with standard 1.6) Because the B section is
structured around lyrics rather than music itself, I could also have students choreograph
the A section in small groups by asking “How would you move to the steady beat”, then
compare the differences and similarities between each group.
➔ Another expansion could include providing another song with an A and B section,
or an A, B AND C to discuss different mapping of different songs.
➔ Expansion could also explore the inclusion of eighth rests or half notes and half
rests.