YOUR VIEW MATTERS–POINT OF VIEW 2-3

YOUR VIEW MATTERS–POINT OF VIEW

YOUR VIEW MATTERS–POINT OF VIEW

Learning Description

This interactive, energetic lesson helps students explore points of view through the lens of games, dialogue, and a story. Students will activate their bodies and minds as they express emotions on their feet while using props and dialogue to immerse themselves in someone else's shoes. They will improvise dialogue from well-known fairytale scenarios from all three points of view. Finally, they will apply their point of view knowledge to the enchanting book, The Tale of Two Beasts.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to tell stories from several perspectives.
  • I can step inside someone else's shoes to learn more about them.
  • I can retell stories using freeze frames in a tableau.
  • I can create dialogue from several characters’ points of view.

Essential Questions

  • How does my point of view help others know my story?
  • What can I learn about others when thinking from their point of view?

 

Georgia Standards

Curriculum Standards

Grade 2:

2.P.ST.2.b Draw from knowledge of author, audience, and context to discern and establish a clear point of view or unique perspective when interpreting and constructing texts.

 

Grade 3:

3.P.ST.2.b Draw from knowledge of author, audience, and context to discern and establish a clear point of view or unique perspective when interpreting and constructing texts.

Arts Standards

TA.CR.1 Organize, design, and refine theatrical work.

TA.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

ELA.AOR.3: Evaluate how an author's choice of point of view or perspective shapes style and meaning within and across literary texts. 

Grade 2:

ELA.2.AOR.3.1 Identify different characters' perspectives in a literary text.

 

Grade 3:

ELA.3.AOR.3.1 Determine and explain the differences between the perspectives of the characters and/or between the characters and the reader.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NL.1 - I can identify basic story elements in simple stories, plays and scripts (e.g. plot, character, setting, theme, etc.).

Indicator T.CR.NL.1.2 - I can identify basic character qualities from a prompt.

Anchor Standard 3: I can act in improvised scenes and written scripts.

Benchmark T.P NL.3: I can use my body and voice to communicate character traits and emotions in a guided drama experience.

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Benchmark T.P NM.3: I can make choices to change body and voice to portray differences between myself and characters in a guided drama experience.

Indicator T.P NM.3.1: I can make choices about using my body, and/or voice to imitate a variety of characters, conditions, and emotions.

Benchmark T.P NL. 3.1: I can experiment with a number of character choices in relation to other characters and conditions.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or creature in a story
  • Story – A tale with a beginning, middle, and end that tells what happens to the characters
  • Problem – Something that goes wrong in a story that the characters need to fix
  • Solution – How the problem in a story gets fixed or solved
  • Point of View – The way a story is told and who is telling it
  • Perspective – How a character feels about what is happening in the story; different characters may see things in different ways
  • 1st person point of view – The story is told by someone in the story using "I" or "we."

Arts Vocabulary

  • Emotions – The feelings you have inside (happy, sad, scared, angry, calm, peaceful, joyful, embarrassed, etc.)
  • Facial expression – Using your face to show emotion
  • Body – Actors use their bodies to become a character through body posture and movement
  • Gestures – An expressive movement of the body or limbs
  • Posture – The position of one part of the body in relation to other parts
  • Gait – The way a person or animal walks or runs
  • Prop – Items that actors use in a performance to depict real-life objects
  • Dialogue – A conversation between two or more persons
  • Tableau - A frozen picture representing a scene or moment in a story that occurs during a theatrical performance
  • Freeze frame – A series of tableaux that tell a story

 

Materials

  • Feeling Wheels/Charts/Faces
  • Various props (for Step In My Shoes Relay–examples listed in Instructional Design)
  • POV sunglasses or headbands (for Whose Story Is it?)--two pairs of sunglasses or headbands needed–each one will have a character’s name taped to it
  • The book A Tale of Two Beasts by Fiona Roberton (A Tale of Two Beasts read aloud)
  • Four pieces of board or large paper (for Step In My Shoes Relay)

 

 

Instructional Design

Opening/Activating Strategy

EMOTION FACES & WALKS

  • Show a Feeling Wheel or a visual of emotions (see Additional Resources).
  • Point to an emotion and ask students to make the facial expression associated with that emotion.
    • Point to an emotion.
    • Say "1, 2, 3….FREEZE".
    • Students show a facial expression.
    • Then, call out the emotion/feeling.
  • Tell students that actors use their facial expressions to help tell the story of how they feel.
  • Ask students how you can use your body to show emotions.
    • Some ways are using gestures, posture, and gait.
  • Have students stand up and fill in spaces around the room.
    • Tell students to:
      • Walk around the room without touching anyone.
      • You will call out an emotion.
      • Students need to walk like that emotion until you call out the next emotion.

 

STEP IN MY SHOES RELAY

  • Divide students into groups.
  • Set up the following four stations around the classroom with props and prompt questions.
    • 1) The teacher station:
      • Prop Suggestions: Oversized glasses, chalkboard pointer, hat, sweater, clipboard, stack of papers
      • Prompt questions written on a board or large paper
        • How do you feel about grading papers?
        • What is your favorite part of the school day?
        • How do you feel when students don't listen in class?
        • What do you wish students would do more of in class?
        • What do you do when a lesson doesn't go as planned?
      • 2) The student station:
        • Prop suggestions (backpack, school supplies, fidget toy or earbuds, textbooks or notebook)
        • Prompt questions written on a board or large paper
          • How do you feel about homework?
          • What's your favorite subject and why?
          • How do you feel when there's a pop quiz?
          • What's the hardest thing about school?
          • How do you feel when you finally finish a big project?
        • 3) The pet station:
          • Prop suggestions (leash or collar, toy bone or ball, stuffed animal (dog or cat), pet bed or blanket
          • Prompt questions written on a board or large paper
            • What do you think when you hear the sound of food being prepared?
            • How do you feel when you're left alone at home?
            • What do you do when your owner comes home?
            • How do you react when someone new enters the house?
            • What's your favorite activity to do with your owner?
          • 4) The parent/caregiver station:
            • Prop suggestions (apron or parental hat, child's drawing, family photo, grocery bag, car keys, phone)
            • Prompt questions written on a board or large paper
              • How do you feel when your kids don't listen to you?
              • What do you think about the way school is run?
              • How do you feel when your child gets a good grade?
              • What do you wish your children would do more at home?
              • What do you find most challenging about being a parent/caregiver?
            • Let each student take turns putting on the "perspective shoes" (props) at each station.
              • Have them pick up the props at each station.
              • Then they will answer the prompt questions from that character's perspective.
            • After each round, students can rotate to the next station and take on a new perspective.
            • After completing all stations, come together to discuss the following questions:
              • How did it feel to be in that character's shoes?
              • How did the perspective change the way you viewed the situation?
              • What did you learn about how people in different roles might feel or think?
            • Relay extensions:
              • Change the setting: Instead of a classroom, set the stations in different environments (e.g., home, park, school bus).
              • Add a time limit: Challenge students to answer the prompts in under a minute, encouraging quick thinking.
              • Make it competitive: Turn the relay into a friendly competition, awarding points for the most creative or thoughtful answers.
            • Relay reflection questions:
              • How did the props help you feel more connected to the perspective?
              • What were the most surprising things you learned while "walking in someone else's shoes"?
              • How can understanding different perspectives help us in real life?

Work Session

  • Imagine you and a friend see the same thing; you might describe it differently because each one of you is looking at the story from your own perspective or "point of view".
    • Point of view is like whose eyes are telling the story.
    • Point of view is like whose thoughts we are reading about.

 

WHOSE STORY IS IT?

  • Choose a simple, well-known fable or fairytale. See suggestions below.
    • The Three Little Pigs (characters – Wolf, Pigs, Narrator)
    • Goldilocks and the Three Bears (characters – Goldilocks, Baby Bear, Narrator)
    • Little Red Riding Hood (characters – Little Red, Wolf, Narrator)
  • Ask students to act out the story in different ways or from different sets of eyes.
    • First, give each person a pair of sunglasses or headband with different characters taped to it, such as Little Red Riding Hood and the Wolf.
      • Each student pretends to be a character and tells the story as "I”.
        • Pronouns - I, me
        • Examples -
          • Little Red Riding Hood:
            • LITTLE RED: “I'm going to Grandmother's house.”
          • After, facilitate a discussion around the following questions:
            • How does the story change depending on who is telling it?

 

POINT OF VIEW BOOK

  • Tell students that you can explore Point of View when reading a book.
  • Read the book, The Tale of Two Beasts, by Fiona Roberton.
  • After reading, discuss the following:
    • Did the Girl and Beast see things the same way or differently? (Differently)
    • When the Girl thought she was rescuing the little Beast, what was the Beast thinking? (That he was being captured)
  • Ask students to make a statue of the two characters: the Girl and the Beast.
    • Tell students to add posture, facial expression, and emotion.
  • Discuss Part 1 - Who is speaking in Part 1 of the book?
    • Whose point of view or eyes are we seeing the story through? (The Girl)
  • Tell students that they will Freeze Frame her side of the story.
    • Define the parts of her story.
    • Ask students to come up and freeze-frame each part.
    • Tap each student playing the Girl.
      • Ask the student to say what the Girl is thinking, speaking in the first person using "I".
    • Discuss Part 2 - Who is speaking in Part 2 of the book?
      • Whose point of view or eyes are we seeing the story through? (The Beast)
    • Tell students that they will Freeze Frame the Beast's side of the story.
      • Define the parts of his story.
      • Ask students to come up and freeze-frame each part.
      • Tap each student playing the Beast.
        • Ask the student to say what the Beast is thinking, speaking in the first person using "I".
        • Ask students to pick their favorite book character and write a sentence from the character's point of view using "I".

 

Closing Reflection

  • Facilitate a discussion around the following questions:
    • How did we bring point of view to life today?
      • We used our bodies to become the characters and the points of view.
      • We also retold the stories using our bodies and faces in tableaux or freeze frames.
    • Is this a way for us to help people understand us?
      • By sharing and showing our emotions
    • Do you think the girl and the creature understood each other better at the end of their stories?
    • Can you “turn and talk" showing your partner what emotion you feel right now?
    • What did the Girl and the Beast feel at the end of their stories?

 

Assessments

Formative

  • The teacher will observe:
    • Are students engaged and on task?
    • Can students speak in the first person from the character’s point of view?
    • Are students engaging their voices and bodies?

Summative

  • Use the following checklist to assess students (can be projected on the board):
    • Did you use your face?
    • Did you use your voice?
    • Did you use your body?
    • Did you speak from the character’s point of view?

Student’s sentence from their favorite character’s point of view

 

 

Differentiation

Accelerated: 

  • Advanced students write a diary entry from a character's perspective.

 

Remedial:

  • Provide sentence stems.
  • The student can draw a picture and write the pronoun instead of writing out a sentence.

 

Additional Resources

 

Credits

Ideas contributed by: Susie Spear Purcell.  Updated by: Katy Betts

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

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YOUR VIEW MATTERS–POINT OF VIEW K-1

YOUR VIEW MATTERS–POINT OF VIEW

YOUR VIEW MATTERS–POINT OF VIEW

Learning Description

This interactive, energetic lesson helps students explore points of view through the lens of games, dialogue, and a story. Students will activate their bodies and minds as they express emotions on their feet while using props and dialogue to immerse themselves in someone else's shoes. They will improvise dialogue from well-known fairytale scenarios from all three points of view. Finally, they will apply their point of view knowledge to the enchanting book, The Tale of Two Beasts.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to tell stories from several perspectives.
  • I can step inside someone else's shoes to learn more about them.
  • I can retell stories using freeze frames in a tableau.
  • I can create dialogue from several characters’ points of view.

Essential Questions

  • How does my point of view help others know my story?
  • What can I learn about others when thinking from their point of view?

 

Georgia Standards

Curriculum Standards

Kindergarten:

K.P.ST.2.b Draw from knowledge of author, audience, and context to discern and establish a clear point of view or unique perspective when interpreting and constructing texts.

 

Grade 1:

1.P.ST.2.b Draw from knowledge of author, audience, and context to discern and establish a clear point of view or unique perspective when interpreting and constructing texts. (I/C)

Arts Standards

TA.CR.1 Organize, design, and refine theatrical work.

TA.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

ELA.AOR.3: Evaluate how an author's choice of point of view or perspective shapes style and meaning within and across literary texts.

Kindergarten:

ELA.K.AOR.3.1 Identify and explain the roles of the author and the illustrator of a story.

 

Grade 1:

ELA.1.AOR.3.1 Identify and explain who is telling the story at various points in the story.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NL.1 - I can identify basic story elements in simple stories, plays and scripts (e.g. plot, character, setting, theme, etc.).

Indicator T.CR.NL.1.2 - I can identify basic character qualities from a prompt.

Anchor Standard 3: I can act in improvised scenes and written scripts.

Benchmark T.P NL.3: I can use my body and voice to communicate character traits and emotions in a guided drama experience.

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Benchmark T.P NM.3: I can make choices to change body and voice to portray differences between myself and characters in a guided drama experience.

Indicator T.P NM.3.1: I can make choices about using my body, and/or voice to imitate a variety of characters, conditions, and emotions.

Benchmark T.P NL. 3.1: I can experiment with a number of character choices in relation to other characters and conditions.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or creature in a story
  • Story – A tale with a beginning, middle, and end that tells what happens to the characters
  • Problem – Something that goes wrong in a story that the characters need to fix
  • Solution – How the problem in a story gets fixed or solved
  • Point of View – The way a story is told and who is telling it
  • Perspective – How a character feels about what is happening in the story; different characters may see things in different ways

Arts Vocabulary

  • Emotions – The feelings you have inside (happy, sad, scared, angry, calm, peaceful, joyful, embarrassed, etc.)
  • Facial expression – Using your face to show emotion
  • Body – Actors use their bodies to become a character through body posture and movement
  • Gestures – An expressive movement of the body or limbs
  • Posture – The position of one part of the body in relation to other parts
  • Gait – The way a person or animal walks or runs
  • Prop – Items that actors use in a performance to depict real-life objects
  • Dialogue – A conversation between two or more persons
  • Tableau - A frozen picture representing a scene or moment in a story that occurs during a theatrical performance
  • Freeze frame – A series of tableaux that tell a story

 

Materials

  • Feeling Wheels/Charts/Faces
  • Various props (for Step In My Shoes Relay–examples listed in Instructional Design)
  • POV sunglasses or headbands (for Whose Story Is it?)--two pairs of sunglasses or headbands needed–each one will have a character’s name taped to it
  • The book A Tale of Two Beasts by Fiona Roberton (A Tale of Two Beasts read aloud)
  • Four pieces of board or large paper (for Step In My Shoes Relay)

 

 

Instructional Design

Opening/Activating Strategy

EMOTION FACES & WALKS

  • Show a Feeling Wheel or a visual of emotions (see Additional Resources).
  • Point to an emotion and ask students to make the facial expression associated with that emotion.
    • Point to an emotion.
    • Say "1, 2, 3….FREEZE".
    • Students show a facial expression.
    • Then, call out the emotion/feeling.
  • Tell students that actors use their facial expressions to help tell the story of how they feel.
  • Ask students how you can use your body to show emotions.
    • Some ways are using gestures, posture, and gait.
  • Have students stand up and fill in spaces around the room.
    • Tell students to:
      • Walk around the room without touching anyone.
      • You will call out an emotion.
      • Students need to walk like that emotion until you call out the next emotion.

 

STEP IN MY SHOES RELAY

  • Set up the following four stations around the classroom with props and prompt questions.
  • Travel to each station as a class.
    • 1) The teacher station:
      • Prop Suggestions: Oversized glasses, chalkboard pointer, hat, sweater, clipboard, stack of papers
      • Prompt questions written on a board or large paper
        • How do you feel about grading papers?
        • What is your favorite part of the school day?
        • How do you feel when students don't listen in class?
        • What do you wish students would do more of in class?
        • What do you do when a lesson doesn't go as planned?
      • 2) The student station:
        • Prop suggestions (backpack, school supplies, fidget toy or earbuds, textbooks or notebook)
        • Prompt questions written on a board or large paper
          • How do you feel about homework?
          • What's your favorite subject and why?
          • How do you feel when there's a pop quiz?
          • What's the hardest thing about school?
          • How do you feel when you finally finish a big project?
        • 3) The pet station:
          • Prop suggestions (leash or collar, toy bone or ball, stuffed animal (dog or cat), pet bed or blanket
          • Prompt questions written on a board or large paper
            • What do you think when you hear the sound of food being prepared?
            • How do you feel when you're left alone at home?
            • What do you do when your owner comes home?
            • How do you react when someone new enters the house?
            • What's your favorite activity to do with your owner?
          • 4) The parent/caregiver station:
            • Prop suggestions (apron or parental hat, child's drawing, family photo, grocery bag, car keys, phone)
            • Prompt questions written on a board or large paper
              • How do you feel when your kids don't listen to you?
              • What do you think about the way school is run?
              • How do you feel when your child gets a good grade?
              • What do you wish your children would do more at home?
              • What do you find most challenging about being a parent/caregiver?
            • Let each student take turns putting on the "perspective shoes" (props) so that each student gets to put on at least one perspective.
              • Have them pick up the props at each station.
              • Then they will answer the prompt questions from that character's perspective.
            • After completing all stations, come together to discuss the following questions:
              • How did it feel to be in that character's shoes?
              • How did the perspective change the way you viewed the situation?
              • What did you learn about how people in different roles might feel or think?
            • Relay extensions:
              • Change the setting: Instead of a classroom, set the stations in different environments (e.g., home, park, school bus).
              • Add a time limit: Challenge students to answer the prompts in under a minute, encouraging quick thinking.
              • Make it competitive: Turn the relay into a friendly competition, awarding points for the most creative or thoughtful answers.
            • Relay reflection questions:
              • How did the props help you feel more connected to the perspective?
              • What were the most surprising things you learned while "walking in someone else's shoes"?
              • How can understanding different perspectives help us in real life?

Work Session

  • Imagine you and a friend see the same thing; you might describe it differently because each one of you is looking at the story from your own perspective or "point of view".
    • Point of view is like whose eyes are telling the story.
    • Point of view is like whose thoughts we are reading about.

 

WHOSE STORY IS IT?

  • Choose a simple, well-known fable or fairytale. See suggestions below.
    • The Three Little Pigs (characters – Wolf, Pigs, Narrator)
    • Goldilocks and the Three Bears (characters – Goldilocks, Baby Bear, Narrator)
    • Little Red Riding Hood (characters – Little Red, Wolf, Narrator)
  • Ask students to act out the story in different ways or from different sets of eyes.
    • First, give each person a pair of sunglasses or headband with different characters taped to it, such as Little Red Riding Hood and the Wolf.
      • Each student pretends to be a character and tells the story as "I”.
        • Pronouns - I, me
        • Examples -
          • Little Red Riding Hood:
            • LITTLE RED: “I'm going to Grandmother's house.”
          • After, facilitate a discussion around the following questions:
            • How does the story change depending on who is telling it?

 

POINT OF VIEW BOOK

  • Tell students that you can explore Point of View when reading a book.
  • Read the book, The Tale of Two Beasts, by Fiona Roberton.
  • After reading, discuss the following:
    • Did the Girl and Beast see things the same way or differently? (Differently)
    • When the Girl thought she was rescuing the little Beast, what was the Beast thinking? (That he was being captured)
  • Ask students to make a statue of the two characters: the Girl and the Beast.
    • Tell students to add posture, facial expression, and emotion.
  • Discuss Part 1 - Who is speaking in Part 1 of the book?
    • Whose point of view or eyes are we seeing the story through? (The Girl)
  • Tell students that they will Freeze Frame her side of the story.
    • Define the parts of her story.
    • Ask students to come up and freeze-frame each part.
    • Tap each student playing the Girl.
      • Ask the student to say what the Girl is thinking, speaking in the first person using "I".
    • Discuss Part 2 - Who is speaking in Part 2 of the book?
      • Whose point of view or eyes are we seeing the story through? (The Beast)
    • Tell students that they will Freeze Frame the Beast's side of the story.
      • Define the parts of his story.
      • Ask students to come up and freeze-frame each part.
      • Tap each student playing the Beast.
      • Ask the student to say what the Beast is thinking, speaking in the first person using "I".

 

Closing Reflection

  • Facilitate a discussion around the following questions:
    • How did we bring point of view to life today?
      • We used our bodies to become the characters and the points of view.
      • We also retold the stories using our bodies and faces in tableaux or freeze frames.
    • Is this a way for us to help people understand us?
      • By sharing and showing our emotions
    • Do you think the girl and the creature understood each other better at the end of their stories?
    • Can you “turn and talk" showing your partner what emotion you feel right now?
    • What did the Girl and the Beast feel at the end of their stories?

 

Assessments

Formative

  • The teacher will observe:
    • Are students engaged and on task?
    • Can students speak in the first person from the character’s point of view?
    • Are students engaging their voices and bodies?

Summative

  • Use the following checklist to assess students (can be projected on the board):
    • Did you use your face?
    • Did you use your voice?
    • Did you use your body?
    • Did you speak from the character’s point of view?

 

 

Differentiation

Accelerated: 

  • Advanced students can write a sentence and draw a picture to show the Beast or the Girl’s point of view.

 

Remedial:

  • Divide the lesson up into multiple days.
  • Model how to speak from a character’s point of view before asking students to.

 

Additional Resources

 

Credits

Ideas contributed by: Susie Spear Purcell.  Updated by: Katy Betts

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE BLUES (OR NOT-SO-BLUE BLUES) 4-5

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 4:

S4L1 Obtain, evaluate, and communicate information about the roles of organisms and the flow of energy within an ecosystem.

 

Grade 5: S5P3 Obtain, evaluate, and communicate information about magnetism and its relationship to electricity.

Arts Standards

ESGM.PR.1 Sing a varied repertoire of music, alone and with others.

ESGM.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM.RE.1 Listen to, analyze, and describe music.

ESGM.RE.2 Evaluate music and music performances.

ESGM.CN.2.c Describe and demonstrate performance etiquette and appropriate audience behavior.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 4:

4-LS1-1. Construct an argument that plants and animals have internal and external structures that function together in a system to support survival, growth, behavior, and reproduction.

 

Grade 5:

5-ESS3-1. Evaluate potential solutions to problems that individual communities face in protecting the Earth’s resources and environment.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions using same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord    I               I                I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   IV              IV             I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing each chord. Then, play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C, E, and G will play 16 beats in the first phrase (bar) since there are four I chords in the first phrase.
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • Divide students into groups and have them write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is 16 beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar!
  • Lyrics content can be aligned with subject matter content. For example, groups could write blues (or not-so-blue blues) about the roles of organisms and the flow of energy within an ecosystem.
  • Have groups share their blues (or not-so-blues) compositions (speaking or singing) while other students play the chord progression. Other students listen and assess the group’s adherence to the prescribed musical and lyrical form.
  • For example, were the lyrics in A A B form? Did A present the problem and B respond to it? Did each bar end with rhyming words? Was the chord progression a twelve-bar blues?

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play two boomwhackers.

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could gently tap the steady beat on the student’s shoulder.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE BLUES (OR NOT-SO-BLUE BLUES) 2-3

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 2:

S2L1 Obtain, evaluate, and communicate information about the life cycles of different living organisms.

 

Grade 3:

S5L3.b Develop a model to identify and label parts of a plant cell (membrane, wall, cytoplasm, nucleus, chloroplasts) and of an animal cell (membrane, cytoplasm, and nucleus).

Arts Standards

ESGM.PR.1 Sing a varied repertoire of music, alone and with others.

ESGM.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM.RE.1 Listen to, analyze, and describe music.

ESGM.RE.2 Evaluate music and music performances.

ESGM.CN.2.c Describe and demonstrate performance etiquette and appropriate audience behavior.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Grade 2:

2-PS1-4. Construct an argument with evidence that some changes caused by heating or cooling can be reversed and some cannot.

 

Grade 3:

3-PS2-1. Plan and conduct an investigation to provide evidence of the effects of balanced and unbalanced forces on the motion of an object.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions using same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord    I               I                I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   IV              IV             I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing each chord. (For second grade students, play only the bottom pitch, the chord root.) Then, play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C, E, and G will play 16 beats in the first phrase (bar) since there are four I chords in the first phrase. (For second grade students, play only the C for the first 16 beats. If playing boomwhackers and changing chords is too challenging for young students, the teacher can play the chord roots on boomwhackers while students say the names of the chords or the chord roots using a steady beat.)
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • Divide students into groups and have them write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is 16 beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar! (For second grade students, write the lyrics as a whole group.)
  • Lyrics content can be aligned with subject matter content. For example, groups could write blues (or not-so-blue blues) about the life cycles of different living organisms.
  • Have groups share their blues (or not-so-blues) compositions (speaking or singing) while other students play the chord progression. Other students listen and assess the group’s adherence to the prescribed musical and lyrical form.
    • For example, were the lyrics in A A B form? Did A present the problem and B respond to it? Did each bar end with rhyming words? Was the chord progression a twelve-bar blues?
    • (This step would be eliminated for second grade classes writing lyrics together.)

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play two boomwhackers.

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could gently tap the steady beat on the student’s shoulder.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons

THE BLUES (OR NOT-SO-BLUE BLUES) K-1

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Kindergarten:

SKP1 Obtain, evaluate, and communicate information to describe objects in terms of the materials they are made of and their physical attributes.

 

Grade 1:

S5E1.a Construct an argument supported by scientific evidence to identify surface features (examples could include deltas, sand dunes, mountains, volcanoes) as being caused by constructive and/or destructive processes (examples could include deposition, weathering, erosion, and impact of organisms).

Arts Standards

ESGM.PR.1 Sing a varied repertoire of music, alone and with others.

ESGM.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM.RE.1 Listen to, analyze, and describe music.

ESGM.RE.2 Evaluate music and music performances.

ESGM.CN.2.c Describe and demonstrate performance etiquette and appropriate audience behavior.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Kindergarten:

K-ESS3-3. Obtain and communicate information to define problems related to human impact on the local environment.

 

Grade 1:

1-LS1-1. Use materials to design a solution to a human problem by mimicking how plants and/or animals use their external parts to help them survive, grow, and meet their needs.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions using same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord    I               I                I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   IV              IV             I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing the bottom pitch of each chord. Then, play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C will play 16 beats in the first phrase (bar) since there are four I chords in the first phrase. (If playing boomwhackers and changing chords is too challenging for students, the teacher can play the chord roots on boomwhackers while students say the names of the chords or the chord roots using a steady beat.)
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • As a class, have students write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is 16 beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar!
  • Lyrics content can be aligned with subject matter content. For example, students could write blues (or not-so-blue blues) about how constructive and destructive forces create deltas, sand dunes, mountains, and volcanoes.
  • Have students perform their blues (or not-so-blues) compositions (speaking or singing) together.

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play all pitches in each chord.

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could gently tap the steady beat on the student’s shoulder.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons