Hello and Welcome to the Fine Arts Educator Coaching Clinics podcast, the podcast designed to support dance, music, theatre, and art teachers by sharing instructional practices and expanding perspectives in fine arts education.  I am your host, Eric Sanford.  

I want to encourage you to visit our website, FAECC.org for resources and links to this podcast.  While you are there, be sure to send us an email about your thoughts on the episode, or future topics you’d like to hear.

Have you ever said one of these phrases?  “I know I taught this, why don’t they get it?”  -or maybe- “We’ve been stuck on this for a while. Why can’t I get them past this?”  Maybe you have an administrator asking for student data, or to show how the students are succeeding in your class.  Or maybe you are looking for that key point that bridges the gaps for your students.  

In this session, I’ll spend some time looking at an instructional technique based on a priority lesson structure.  It may resemble some of the ways you already teach, or it may be completely different.  I’ll go through the key components, how to structure the lesson, and how to convert the lesson you have already planned into this format.  

So grab that lesson plan, a cup of coffee, and let’s dig in.  

So what is a priority lesson structure?  It may go by other names, but for this purpose, it’s based on spending almost an entire class period on a new concept, or in some cases, a leveled up concept, then using the following two, three, or more lessons diving deeper into both the concept and applying the skill to our fine art discipline.  

These follow up lessons are meant to reinforce the understanding of the concept and the application through a progression starting very simple and graduating to more complex.  

Some may ask, “Why spend so much time on a basic concept? We have a performance to prepare, a contest looming on the horizon, limited time…” The reasons are endless.  

It can all be summed up in one simple idea - Do you want to teach this concept once, or would you like to spend the next several years teaching the same lesson, over and over to the same students?  

Here’s what makes this structure different.

Number One - Spending time on the actual concept.  So many times we want to rush to the fun parts, the application.  We skim over the idea, but we don’t really give students a chance to let it sink in.  I think many of us tell ourselves, “One day, it will click for them.”

Unfortunately, putting it off to “One day” in the future does not teach the concept or the skill.  

You will probably hate me a little for what I’m about to say, but it does have merit.  

Think about how teachers introduce a new concept, or even level up one learned previously.  Core academic classes write notes, read examples, discuss the concepts, and take an assessment.  

And this is the part that I hope I don’t lose you- That can be an effective way of teaching.  

Define what you are teaching. Write it down. Make notes and draw diagrams.  Let the students talk about the concept. Look and listen to examples of that concept in practice by a professional.  And lastly, assess what they know by the end of class.  

Not everyone learns well by only listening, or watching, or just writing it down.  But if you deny the students that learn through these methods, or a combination of those, then you are essentially setting up your students for failure without even meaning to.  

Think about this logically from an education perspective and not so much the artist perspective.  You know these concepts because you experience them, it’s relevant to you, and now you apply them without even thinking about it.  So where’s the starting line to getting your students to that same point?

That first day, spend the majority of time looking deeper into that concept, observing examples, thinking of how it affects other things within that fine art discipline, and how it appears in other aspects of the world.  

Don’t forget to assess what students learn before the end of class. Just 2 or 3 questions is fine, nothing long.  I’ll mention why in a moment.

So when do we apply the concept to the fine art discipline?  Through informal monitoring, you can tell if your students are getting it or not that first day.  As long as you also include that assessment, you could squeeze it in.  

Here’s where that assessment comes in.  Can each student define the concept or explain it?  I know, they haven’t done it yet, and that does impact how they understand.  But can they give you the definition you want?  And not just the 3 that always answer the questions out loud.  I mean everyone. 

Then you look at their answers, the data, at the end of that first day.  Already, you have a starting point.  You can tell which students will need help right away.  This is that reteach moment.  

If 25% or more of your class missed a question on the 3 question quiz, it’s like saying a fourth of the kids played the wrong notes for the song, or did the wrong dance moves, spoke the wrong lines from the play, or didn’t know the difference between watercolor and colored pencils.  

We would not accept that in a performance, yet we continually turn a blind eye to that exact occurrence in the classroom.  

The solution?  Catch it from the beginning.  Find out who those students are that struggled, then teach the concept another way that works for them.  You may need a second day to clarify, or maybe just 5 minutes of focused instruction.  

The point being - don’t let a second day go by without providing more for the students that need it.  Otherwise, you will continuously hear, “I don’t know why I can’t do it by myself.  I do it just fine when I perform with the group.”

Apologies, Visual Art.  I know yours is slightly different, but they all yield the same results of students not achieving the goal.

Can we get to the fun stuff yet?  Well, let’s look at the data.  More than 85% of your class answered all questions correctly - it’s time to apply the concept.  If you haven’t reached those numbers yet, look at how you taught the introductory material.  It didn’t stick with the students, and needs to be taught differently.  I’ll speak more on that in another episode.

Let’s keep going.  More than likely, this concept is something brand new.  Those poor kids haven’t even mastered the basic concepts, but they are working on it.  So start them off simple.  Repeated patterns, taken out of context, the basic fundamentals needed to show mastery of the concept and skill at the most basic level.  

Heads up, your students will probably get this really quick.  This is where you can model the expectation, then let students have independent practice to hone those skills.  

During that independent practice time, it gives the teacher an opportunity to walk around and assess the progress of the application.  Again, Data.  Don’t let a student continue on until they have met the criteria at each basic level.  Each time they level up, throw in something more complex, a little bit at a time.  Don’t overwhelm them.  Besides, many small victories and accomplishments will really boost your students. Each time they level up to a more complex version, more reason to celebrate.  

If you keep track of student progress in a chart or excel type sheet, you have more data to confirm what you’ve been saying all along.

Continuously alternating between full group model and practice with independent study will also teach your students how to practice that fine art discipline while the teacher offers comments, suggestions, and guidance.  Not everyone teaches students how to practice alone.  This is that opportunity.

And that continues for a few days.  There’s no set limit on this.  The goal is to take the students from knowing nothing about the concept to both knowing the concept and how to apply it to their fine art practice.  

Students having those written notes and engagement opportunities before applying it gives them time to digest and understand what it should look or sound like, promoting that student ownership.

Gone are the days when you hear, “Ms…. Is this right?”  over and over.  It puts the responsibility on the students, and they can evaluate on their own by going back to their notes.

So we’ve spent a day going deep and learning the ins and outs of the concept. We even took an assessment, or maybe one a day, to ensure the teacher knows what the students know.  Then we followed it up with an action plan to reteach those that needed it, and to continue the lesson exploration by sequential and scaffolded application the following days.  

This is starting to sound more like a video game than anything else.  Spend time looking at it, watching videos, talking to friends.  Then we get the game and start at level one, and by the end of the week we’ve conquered the first part. 

And a really creative teacher will gamify this entire process with some type of points, reward system, or payoff that doesn’t even cost anything.  

And now for an example.  

I’m going to use a music scenario, but you could definitely apply this to any fine art discipline.  

Let’s say we’re teaching a very basic and fundamental concept - Half Note rhythms.  They appear all the time in music, regardless of the ability level. Music students need to know these forever and always.

So day 1 - Define a half note rhythm.  Write it all down so everyone gets the same definition every time.  And not only the teacher, the students need to write it too.  Something to reference when they need that info on their own.

You move on to some rhythm diagramming, counting and clapping, tapping feet, watching/listening to examples, and letting the students talk about what they observe.  Discussion and writing should be a normal part of any fine arts class.  

Then you model it for the students, let them get a few un-monitored attempts. That doesn’t mean you step out of the room. It means you give them the opportunity for them to apply it themselves.  No feedback, no suggestions, just let them do it.  You were right in the beginning by saying students need time to get it.  So give them that time without interrupting them.

And we take a really short 2 or 3 question written quiz about the concepts.  

At the end of the day, you go through all the data, notate the students that need some extra help, and devise a plan based on the questions they missed.

Then we move on to Day 2.  

For Day 2 We review the concepts again, and then really apply what it means to play for two entire beats.  Start off on the same pitch, all half notes.  Model for the students a couple times, then set them free for independent practice.  Monitor students as they practice, offer small, simple suggestions, and document when they get correct.

Each student that gets the green light for playing correctly moves on to playing different pitches for several half notes.  

They complete that mini level, get their points, and they are now playing mixed rhythms, all the same pitches.

Level up, mixed rhythms with mixed pitches.  

Level up, students write their own songs with mixed rhythms and mixed pitches.  Trade songs, play those, level up.

Now depending on your group, that could take you through 2 or 3 days of intense, focused practice. 

Looking to take it to the next level?  Have them practice with partners.  One student plays, another listens, gives feedback, they switch, same process, then practice on their own for a few minutes, play for each other again.  This takes some work training students how to give feedback and how to listen critically, but it ultimately results in students being able to teach each other.  

Each day could end in another version of the written assessment to ensure those concepts are being applied and not forgotten.  

When is it appropriate to use this model?  Every class?  Every unit?  Probably not.  

Fine Arts are responsible for performances and showcases, we can’t spend every week doing this in every level class.  Use this structure for new material or leveling up material.  For instance, half note rhythms are fairly basic.  What happens when we need to match pitch, balance the sections, blend with the ensemble, increase the energy so the notes don’t die off, or be aware of all the other parts that may be more interesting?

This shouldn’t be the last time you mention this concept or skill.  Each time you need to level it up, use this same method.  

Should you use it when you have a performance next week?  I hope you would not need it at that point.  That requires a different rehearsal structure.  The priority lesson method is just one option to introduce new concepts and skills and ensure most students get it on the first teach.  

At the end of this priority lesson unit, you will have data that shows student progress, both through the physical skills and understanding the concept.  It should satisfy those administrators asking for data and academic content, but more importantly, your students will progress much further and faster in the long run by establishing a deep understanding in the beginning.

Thanks again for joining me in this session about Priority Lessons.   If you’d like more information about Priority lessons for Fine Arts, visit our website,  faecc.org.  As always, you can contact me via email - faecchost@gmail.com and follow us on Twitter, at faecchost.  Be sure to like or subscribe on your favorite podcasting app to receive updates of our newest episodes. 

I hope you’ve enjoyed this episode and I look forward to your comments, questions and suggestions.  This is your host Eric Sanford with Fine Art Educator Coaching Clinics. 

Until next time, I wish you peace and blessings.