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Page 1: 4.files.edl.io  · Web view2018-08-22 · In order to assist band members and parent in understanding areas of responsibility, a statement of band policy is herein set forth. Becoming

Elkhart ISD

Band HandbookUpdated 8/13/18

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Elkhart BIG RED Band Student

HandbookBand Policy and Mission Statement

In order to assist band members and parent in understanding areas of responsibility, a statement of band policy is herein set forth. Becoming familiar with this policy will enable each individual to make the most of this great opportunity to be a member of the Elkhart High School BIG RED Band, becoming a better person and a better musician.

We firmly believe that each student should improve through regular practice. When the student has lost the will to improve him/herself or to make a better contribution to the band, he or she is wasting the time and effort of fellow members. The happiest student is one who improves through regular habits of practice and daily progress. He or she must not only know right from wrong, but must be able to stand for principles and develop a high sense of purpose toward which he or she is willing to work. Responsibility is the focus behind any level of achievement within this program. We intend to conduct ourselves in a manner that will facilitate the learning of all students.

Objectives of the Elkhart BIG RED Band Program

- To teach music through performance- To develop performance skills on the various wind and percussion instruments- To provoke for the musical needs of the school and the community- To develop discrimination with regard to the selection of music- To acquaint the students with music theory/history and how history and musical composition relate to students' lives and musical experience

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- To provide all students with the opportunity for worthy use of their time, a means for self-expression, and a healthy social experience- To develop the ability to function as a responsible member of a group, enhance interaction and develop espirit de corps- To foster leadership skills within each student- To foster a life-long love of music appreciation and music performance

Twelve Benefits of Music Education(by: Carolyn Phillips)

1. Early musical training helps develop brain areas involved in language and reasoning. It is thought that brain development continues for many years after birth. Recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brain's circuits in specific ways. Linking familiar songs to new information can also help imprint information on young minds.

2. There is also a causal link between music and spatial intelligence (the ability to perceive the world accurately and to form mental pictures of things). This kind of intelligence, by which one can visualize various elements that should go together, is critical to the sort of thinking necessary for everything from solving advanced mathematics problems to being able to pack a book-bag with everything that will be needed for the day.

3. Students of the arts learn to think creatively and to solve problems by imagining various solutions, rejecting outdated rules and assumptions. Questions about the arts do not have only one right answer.

4. Recent studies show that students who study the arts are more successful on standardized tests such as the SAT. They also achieve higher grades in high school.

5. A study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. This development of compassion and empathy, as opposed to development of greed and a "me first"

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attitude, provides a bridge across cultural chasms that leads to respect of other races at an early age.

6. Students of music learn craftsmanship as they study how details are put together painstakingly and what constitutes good, as opposed to mediocre, work. These standards, when applied to a student's own work, demand a new level of excellence and require students to stretch their inner resources.

7. In music, a mistake is a mistake; the instrument is in tune or not, the notes are well played or not, the entrance is made or not. It is only by much hard work that a successful performance is possible. Through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work.

8. Music study enhances teamwork skills and discipline. In order for an orchestra to sound good, all players must work together harmoniously towards a single goal, the performance, and must commit to learning music, attending rehearsals, and practicing.

9. Music provides children with a means of self-expression. Now that there is relative security in the basics of existence, the challenge is to make life meaningful and to reach for a higher stage of development. Everyone needs to be in touch at some time in his life with his core, with what he is and what he feels. Self-esteem is a by-product of this self-expression.

10. Music study develops skills that are necessary in the workplace. It focuses on "doing," as opposed to observing, and teaches students how to perform, literally, anywhere in the world. Employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music education helps to create as described above. In the music classroom, students can also learn to better communicate and cooperate with one another.

11. Music performance teaches young people to conquer fear and to take risks. A little anxiety is a good thing, and something that will occur often in life. Dealing with it early and often makes it less of a problem later. Risk-taking is essential if a child is to fully develop his or her potential.

12. An arts education exposes children to the incomparable.Carolyn Phillips is the author of the Twelve Benefits of Music Education.

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She is the Former Executive Director of the Norwalk Youth Symphony, CT.

Research from the University of Toronto showed that children who studied music have higher IQ’s as adults. Music feeds the soul and brightens imaginations. Music is a tremendous vehicle to open up your child’s mind to many new wonders.

Elkhart Band CurriculumElkhart High School

Marching BandMembership in the marching band requires strenuous physical exercise and the ability to play the difficult literature encountered in the activity by memory. All students enrolled in the band program are required to participate in the marching band. The marching band is the primary performance group in the fall semester. Required performances include all Elkhart pep rallies and football games, local parades, invitational style marching contests and the UIL Region 21 Marching Contest. Participation in Elkhart Summer Band Camp is mandatory for this group. Failure to participate in the Summer Band Camp will result in being removed from the marching show and could result in removal from the band program!

Color GuardStudents who are interested in dance, choreography and movement may choose to audition for our marching auxiliary unit: The Elkhart Color Guard. The color guard is an extension of the band program and as such the members are required to attend all full band rehearsals and performances in addition to any color guard specific rehearsals that occur.

There are several prerequisites for auditioning for The Elkhart Color Guard. You must have at least one (1) year in the marching band to gain fundamental marching experience and you must have passed ALL classes during the previous school year.

If there is an instance of ineligibility during the previous school year, it must be cleared with the band directors BEFORE the audition. If a current color guard member becomes ineligible and has to miss ANY performance, they will not be allowed to audition in the following year.

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Members are required to purchase their uniform (the uniform changes every year to suit the theme of the marching show) as well as any accessories that they may need for performance. Auditions usually take place in Late April/Early May and a $100 deposit (to be refunded if the student does NOT get selected for color guard) is due before auditions begin.

Concert BandOnce marching season is done, concert season begins and the concert band becomes the primary performance group at Elkhart ISD. Concert band ends the fall semester and continues through the spring semester. Students should have the performing ability to play grade 1 (easily), grade 2 (slightly challenging), grade 3 (challenging…this is the grade level that we strive to attain) and grade 4 (very challenging) music. Required performances include the Winter and Spring Concert, invitational style concert contests and the UIL Region 21 Concert and Sight Reading Contest.

Marching band and concert band are different functions of the same group. HS Band includes marching band, concert band and all auxiliary performing groups (that is The Elkhart Color Guard and Drum Line). The HS Band meets 1st period (8am-9am) and has additional after-school rehearsals depending on the season.

Applied Music/Music TheoryApplied Music class is a smaller, more individualized music class. Students MUST be currently enrolled in band and must participate in several required individual performances, including auditioning for the ATSSB All-Region Band, and performing at the UIL Solo & Ensemble contest.

Applied Music students will also receive some basic music theory training. More advanced students and potential collegiate music majors will gain the most from Applied Music as it will help them to "dig deeper" and improve musically as well as help to prepare them for college level music theory and/or a music scholarship audition.

While more advanced students will get the most out of Applied Music, struggling students will also find the more individualized and intense rehearsal times very beneficial. Applied Music students make up the bulk of All-Region band students from Elkhart and the class has placed 90% of its membership in the ATSSB All-Region band over the last few years. In other words, Applied Music will greatly increase your chance to become a member of the All-Region band and its primary purpose is to make the students better individual musicians.

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Theory students who qualify for the UIL Texas State Solo & Ensemble Contest on their instrument are also entered into the UIL State Theory competition that happens during TSSEC. This is another opportunity to get a medal at a UIL State event.

All-Region, All-Area, & All-State BandAll Elkhart BIG RED Band students are eligible and highly encouraged to audition for the ATSSB (Association of Texas Small-School Bands) All-State Band. The ATSSB auditions are considered an individual event and not a full band event. Audition material should be prepared by the student outside of normal band rehearsal time. Band directors are here to assist the students with the preparation of All-Region music, but it is on a first come-first served basis and an appointment must be made with a director in advance.

This process begins with All-Region auditions in early December. Students are given a series of musical etudes and will perform these etudes to a panel of 5 judges who will rank their performance alongside their peers from other schools in the region according to their level of performance. Students who place high enough in the All-Region band are certified to the All-Area auditions in early January where the student will be given the opportunity to audition for the ATSSB All-State Band.

Students who make the All-Region band will perform a concert in January while All-State students will do an additional concert in San Antonio in February. Needless to say, membership in the All-Region and All-State Bands are a huge accomplishment. Auditions for ATSSB is not required, but highly encouraged.

Solo and EnsembleAll Elkhart BIG RED Band students are eligible and highly encouraged to prepare and perform either a solo or an ensemble for the UIL Region 21 Solo & Ensemble contest. While this is a UIL event, it is still considered an individual event and music should be prepared by the students outside of normal band rehearsal time. Similar to All-Region music, the directors are available for help.

The entire month of January is dedicated to UIL Solo & Ensemble. Students have ample time during class to prepare their music for this contest. Even though the students have this time for rehearsal available in class, it is no substitute for after-school practice.

Students are given a solo or ensemble chosen by the band directors to rehearse and perform for UIL. Most solos require a piano

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accompaniment for its performance. EISD will hire a piano player to play these accompaniments for the Region contest. Solo students also have access to a music program called SmartMusic that can also act as their accompaniment for UIL. The students will have access to SmartMusic at school before and after school as well as any other time throughout the day when the full band is not in rehearsal. Students in a small ensemble have no need for SmartMusic.

COMMERCIAL ALERT: SmartMusic is a computer program that you can purchase and have access to at home. While SmartMusic is initially an expensive program, parent and students can be added to our existing school account giving you access to SmartMusic for a very reasonable rate. Please contact the band directors for more information. <END COMMERCIAL!>

Even though the school will hire a live accompanist for the UIL Region 21 solos, solos that require accompaniment that qualify for State will have to acquire a piano accompanist on their own. We can arrange for an accompanist, but the student will be required to pay any fees that the accompanists charges.

In addition to the region level of UIL Solo & Ensemble, students who memorize and are awarded a 1st division on a Class 1 solo are then able to perform their solo at the State UIL Solo & Ensemble contest in late May. This contest is much higher profile and the best performing students in the state are awarded the "Outstanding Performer" medal and are considered individual state champions in that event!

Summer CampsThere are many good summer music camps offered by many colleges and universities. We strive to hold our camps in-house so that we can control the curriculum, tailor the instruction to suit our system, as well as keep overall costs down, both for the district and the students. Extra participation in summer music camps is HIGHLY encouraged, but must be funded by the student.

Our main summer camp is the Elkhart Summer Band Camp, and it is required of all Elkhart BIG RED Band members. Generally speaking, starting on the first day of August (first weekday) and lasting until school starts. The camp times are 2pm to 9pm. During this camp, we will review marching fundamentals, learn “The Book” for the upcoming marching season. ("The Book" refers to all of the music that we will play during marching season), and start working on our halftime/UIL performance.

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This is why attendance to Elkhart Summer Band Camp is so important. At this level, even one absence can put a student VERY far behind and it will be very difficult, if not impossible, to catch up. Failure to attend our Full Summer Band Camp will result in removal from the show and could result in removal from the band program.

Other important summer camps include a preliminary Rookie Camp which meets during the first full week of June from 10am-2pm and is mandatory for all incoming freshmen and all leadership team members. This portion of camp is designed to get incoming freshmen up to speed on our marching and musical fundamentals so that our regular summer band camp goes more smoothly.

Also meeting during the summer, usually in late July, are our “Mini Camps”. We will have a Woodwind, Brass, Drumline, Front Ensemble and Color Guard mini camp during the weeks before August 1. Keep an eye on the Calendar of Events on the website for exact dates and times. There is no marching during this camp…just music.

<Please refer to the online HS Band Calendar for a complete rehearsal schedule>

Private LessonsAs one might expect, private lessons on a musical instrument are the best way to improve individual performance skills. The one-on-one approach allows the student to benefit from individual attention as opposed to being one in a class of more than fifty. A recent survey of students in the All-State Band revealed that approximately 80% of the students in band studied privately. Students are generally more inclined to practice diligently for a weekly music assignment, and this discipline increases the student's enjoyment with the instrument. The band directors will be more than happy to assist in the selection of a private teacher.

Elkhart Middle School

Beginner BandThe Elkhart Beginner Band starts in 6th grade. The primary focus of this group is to introduce the students to their respective instruments and teach them the fundamentals of that instrument. While this is not a primary performance group at Elkhart, we will perform at the Winter and Spring concerts as well as participate in the Sandy Lake Amusement Park's FunFest.

There are three (3) classes of beginner band at Elkhart. The woodwind class consists of flute and clarinet, while the brass class

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consists of trumpet and trombone. Percussion is very limited and students are chosen through an audition, interview and the results of the Selmer Music Aptitude Survey that each student will take in their 5th grade music class.

Other instruments such as bass clarinet, saxophone, F horn, euphonium (baritone) and tuba are taught at a later time. Students interested in the bass clarinet or saxophone are encouraged to enter the woodwind class and start on the clarinet while students interested in the F horn, euphonium or tuba are encouraged to enter the brass class and start on the trumpet. Transitioning from clarinet to another woodwind instrument or trumpet to another brass instrument is very smooth and very common.

Middle School BandThe Elkhart Middle School Band consists of 7th and 8th grade student who have completed the Elkhart Beginner band class. The primary focus of this ensemble is to prepare the students for HS Band through performance. As a result, the MS Band has more performance opportunities than the beginner band which include all Middle School pep rallies, the Winter and Spring Concerts as well as the SoundPost Music Festival and UIL Concert & Sight Reading Contests.

In addition to the full band events, MS students have individual performance opportunities that include ATSSB Middle School All-Region Band and an invitational style Solo & Ensemble contest.

Beginner Band and Middle School Band TEKSThe Beginner Band and Middle School Band are subject to TEKS as well. The basic content is the same as the High School Band, but the objectives are modified for that grade level.

General Rules and ProceduresAll school rules laid out in the EISD Student Handbook must be observed within the band program.

Attendance PolicyThe only excusable absences are prearranged school conflicts and those that would be excused by the school for regular attendance records, e.g., illness, a death in the family, or a religious holiday. Individual needs will be addressed as they occur. This system is

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subject to modification by the director.

For all absences, the following procedure must be followed by the student as well as the parent:

- The director must be notified in advance- For illness, a parental note or doctor's note must be submitted- Although cleared by the school office, absences from a band activity that same day must be cleared with the band director as well - please call the band hall- In extreme cases, a phone message may be left on the band hall voice mail with a follow-up personal call- Follow-up is the sole responsibility of the student and/or parent

All performances and rehearsals are mandatory and attendance is of the utmost importance. If a student must miss a performance for ANY REASON, the band director must be notified as far in advance as possible. Please keep in mind that notification of an absence is a professional courtesy and does not insure that the student's grade will not be altered. In extreme cases, skipping a performance may result in being removed from the band program altogether.

Injury, Illness, and the Common ColdThere are situations that happen from time to time that make participating in our rehearsal either very difficult and painful, or downright impossible. In those situations, I will need a note to clarify the situation and justify the student’s participation grade. There are varying degrees of illness and injury. In severe cases, in which students will need to miss several days or more of rehearsal, a doctor’s note will be required.

In the case of very minor issues (a sore throat, a cough, a broken fingernail), I expect the student to participate fully to the best of their ability. “Just try your best” will be my reply to any minor affliction that may present itself. It is not our intention to further injure a student, or to make their affliction worse, but I also feel that it teaches them to rise above their situation in a way that more closely simulate “real life”.

Quitting Band

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Being part of the Elkhart Band is a challenge. Challenge is built into the equation; learning requires patience; problem solving is a key element to fulfillment; obstacles come our way every day.  World leader Winston Churchill gave a speech at his old school in the darkest days of WW2; he’d had a miserable time there and was considered a failure. He walked to the podium and surveyed the crowd of awe-struck students. “This is the lesson,” he said. “Never give in. Never give in. Never, never, never, never – in nothing, great or small – never give in, except to convictions of honor and good sense….”

But we also live in this world of entitlement: “’I deserve this.” “I want mine now!” “Children should have everything they want.” “It’s my responsibility to make my kids happy.” “Satisfy me now!” However, and experience proves this every time, pretty much everything worthwhile comes at the price of investment. It’s not just that the reward is sweeter after the long haul.  It turns out that the process of getting from A to B is intrinsically worthwhile - regardless of the payoff at the end. 

The key to success is perseverance, however, there are times we, and our children should quit something.  We do the math and realize the best option is to do something else.  But what are the guidelines? 

Here are 10 worth thinking about:

“Quitter” is a tough label to shake. Breaking a promise is a big deal; failing to follow through should never be brushed off. Quitting is never small potatoes.

Tenacity is a strong word for life: Thomas Edison famously “failed” 10,000 times on his way to inventing the light bulb. What if he had simply quit along the way?

This is a big life-lesson opportunity. If children don’t learn to follow through now, when they have our support, how will they become equipped to follow through as adults, when they must rely on what we taught them?

Make sure we understand the entire story! It doesn’t matter if we’re talking about network news, witnesses to an accident, or kids - the principle’s the same: one source of information is never enough.

Trust takes a long line of completions to build, but it only takes one broken promise to dismantle.

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Quitting on impulse is never the right choice. Have your child outline the problem and then explain exactly why they believe quitting is their #1 option.

Kids usually quit for the wrong reason.  Try to get at the bottom of why your kids want to quit.  “It’s not fun anymore” may be code for “I don’t want to put in the extra time necessary to succeed.”

Challenging experiences invariably build character; the easy way out typically builds something else.  Want your children to be diamonds?  The only way is to have them take the pressure sometimes.

The more often children quit before completing a task, the less likely they are to finish the next one.  Quitting, like perseverance, can quickly form a habit.  Challenge your children not to give up too easily.

Sometimes your child needs to make a tough choice and walk away. Once in a while, quitting is simply the right thing to do. Maybe your child struggles immensely despite their very best efforts; maybe a pre-existing condition seriously limits your child’s success; maybe your child really is overcommitted; maybe there are principles of character he or she cannot compromise. If this is the case, your child needs your support and your help to make a gracious exit.

In the end, band is not for everyone. We have very high standards and a very strong work ethic and there are students who just can’t (but more often than not, just don’t want to) live up to those standards. In short, it’s hard work…unapologetically.

Please don’t misread that last paragraph. Even if your child is not very musically talented, there is a place for them in the Elkhart BIG RED Band. I feel that the band is a very important piece of their educational puzzle. Not just in potential college scholarships, but in mental, emotional, and psychological development as well.

The fact of the matter is this, if you work very hard…try your best…then not only will you no longer want to quit band, but you’ll love band.

Conflicts With BandResolving conflicts between band and other activities or events is the

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responsibility of the student. Rehearsal and Performance schedules are given out well in advance and are on the band's website for reference. This is done so that students can plan their schedules and arrangements can be made to attend each band rehearsal and performance. Students should have a band calendar and be aware of all band dates well ahead of schedule.

It is the policy of the band director to assist students when conflicts occur within the scope of the band policy. Students are reminded that band is a very demanding activity and that involvement in outside activities should be limited to those compatible with the band schedule. All conflicts with performances must be resolved in favor of band participation. Work is not an excuse for missing any band activity.

When there is a conflict between two school-sponsored events, allow time for the band directors and the conflicting sponsor to work it out. This takes time, so make sure you look ahead to any future conflicts so that the sponsors will be able to plan around it and resolve the scheduling conflict. Plan ahead.

Grading PolicyGrades are assigned for the band class and performances, which are considered co-curricular.

Participation (50%) - If a student attends class punctually, has all of their materials every day (instrument, music, pencil), and is not a disruption in class, they will receive a “100”. Tardiness, lack of effort, lack of preparation and/or missing equipment will result in points taken off.

Rehearsals/Performance (30%) - All after-school rehearsals (Monday night & Thursday morning) are graded rehearsals and as such are considered test grades. Attending and being on time to these rehearsals will result in a “100”. For every minute late to the rehearsal that a student is, points will be taken off of the grade. Not attending the rehearsal will result in a “0” for that rehearsal.

The same basic policy applies to performances. Missing a performance, without prior notification of the band directors, may also result in removing the student from the field show.

Music playoffs and Tuning Charts are also considered within this

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grading category. Both music playoffs and tuning charts are a “100” if you do them on time and a “0” if you don't. If you play your music off late, there are harsh grade penalties, but a “0” can be avoided if you play it off late. Tuning Charts cannot be made up.

There will be times when show music is graded on a performance basis, meaning that your grade will reflect your performance. Those grades will vary depending on proper preparation of the music. Scoring is subjective.

Six Weeks Test (20%) - Usually the Six Weeks test is a big performance within that six weeks grading period. Any UIL band event will be graded as a six weeks test. During a Six Weeks grading period in which there is no UIL band event, the last test of the Six Weeks will be considered the Six Weeks Test.

Semester Tests - The Winter Concert acts as a fall semester test while the Spring Concert acts as a spring semester test. The grade is based on attendance and punctuality. Points are taken off for tardiness and a “0” is given for non-attendance. Students are expected to attend the entire concert for full credit. TEA mandates that the students are taught how to behave as well as critique a live concert environment, and this is our way of fulfilling that specific TEKS for band.

EligibilityAll public performances are subject to eligibility status. UIL has a “no pass/no play” rule that means if you make below a 70 in any class during a 6 weeks grading period, you cannot perform with the group until you regain eligibility either through the progress report at the 3 week mark, or through a passing report card at the end of the next grading period.

Eligibility is a very big deal. Not only are you letting the entire band down by forcing them to perform without you, you are also jeopardizing passing a class for the year which could affect your graduation date.

As a courtesy to band students who become ineligible because of a failing grade(s) on their report card, a “50” is given for every performance that the student must miss because they are ineligible to attend. We do this so that the student will not fail band. Their grade will be significantly lower during the time that we have performances

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while they are ineligible, but that is an accurate reflection of their contributions to the band during that time. Bottom line: Don’t fail a class and become ineligible.

Stay on top of your class work. Go to tutorials. Turn in all of your work. Keep a good attitude in your classes and it will be difficult for you to fail. 9 times out of 10, failing to do one of those things is the reason that you failed a class in the first place. “I’m not good at math…” is not the reason you failed that class. Get some help and do your best at all times.

Ineligibility during marching season may result in a permanent loss of your marching spot.

EquipmentAll students must attend every rehearsal and performance with all of their necessary equipment. Instrument, music and a pencil is mandatory for every rehearsal. Failure to have any of these items will result in disciplinary actions of various degrees ranging from writing sentences (I have a really good sentence!!!) to an office referral. Please make having all of your equipment a top priority!

If a student's personal instrument is in the repair shop and not available to the student, a parent note explaining the nature of the repair and when the instrument will be back in action is mandatory. Without a parent note, the student will be disciplined as if the instrument were merely forgotten and left at home. When it comes to having an instrument repaired, the band director MUST be informed in writing.

Most instances of “forgetting an instrument” happen because the student is not in a habit of taking their instrument home to practice and bringing it home the next day. If home practice is not a consistent part of their day, then the student WILL attend class unprepared whether they have their instrument or not.

Financial ObligationsAll Band Students- Blue Book – “Foundations for Superior Performance” ($8/$12)- Pencil (Probably not real expensive)

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- Metronome/Tuner (~$30…the Korg MA-30 & the Boss TU-80 are good choices)- Basic maintenance items (valve oil, cork/slide grease, slide cream, key oil, polishing cloth, or other instrument specific maintenance supplies)- Reed players (clarinet and saxophone) and double reed players (oboe, bassoon) should have a good supply of reeds…at least 4 working reeds in their case at all times. Reeds break and must be perceived as consumable items that will need to be replaced regularly.

A reed will NOT last a full year…even if it remains unbroken. For marching season, it is recommended to purchase a plastic reed. It can last for the entire marching season, and it is impervious to the weather changes that we see in Texas. Humidity does not affect a plastic reed, so it will be more consistent than a wood reed. It’s a lot more expensive, but it shouldn’t break or give out, while a typical reed player can go through a box or more of reeds during marching season. In short, it is not ideal musically, it is more expensive initially, but it is cheaper in the long run, and a little more practical for marching.

High School Band Members Only- Black Band Shoes (~$35)- Long Black Socks- Themed High School Band T-Shirt (~$12)- Booster Meal Fee ($25)

Color guard members must also provide money for their uniform, gloves, equipment bag, etc. Prices will vary depending on the cost of the uniform and amount of equipment needed.

When it comes to general band membership, it is our policy to NEVER let a child miss out on a music education because of financial difficulties. We can and will do whatever we can to help out financially. Please communicate to us and allow us to help. Communication is key!

Band UniformsHigh School OnlyOur band uniforms are a source of pride of this organization, and as such should be treated with care and respect. The uniform, when not

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in use, should ALWAYS be hung neatly on a quality hanger inside the uniform bag. Uniforms should never be balled up and put in the bottom of the uniform bag. This not only wrinkles the uniform, but also shortens its lifespan…and it shows a complete lack of pride and respect for this organization.

The Band Boosters have assumed the responsibility of cleaning/dry-cleaning of the uniform throughout the school year. As a result, there is no cleaning fee. In lieu of a cleaning fee, join the band boosters.

Students will fit for uniforms during the Elkhart Summer Band Camp. Once a uniform is fitted to the student, he/she will be issued a card with their specific uniform information on it. The uniform will then be joined together in a uniform bag and hung in the uniform room.

UNDER NO CIRCUMSTANCES WILL A BAND UNIFORM GO HOME WITH A STUDENT!!

This means that a student will have to get to the band hall early enough to change into their uniform before we meet/leave for a performance. This also means that the student/parent must budget enough time to change out of their uniform after a performance before they go home.

Students must also keep up with their uniform information as it will not only be used to check-in the uniform, but will also be used to identify the uniform during the year.

If a student is checked out from an event and as a result must take their uniform home with them, the uniform is to be hung neatly on a hanger, placed in the uniform bag as quickly as possible and hung up at home until they can bring it back to school and hang it in the uniform room. The uniform must be brought back to school at the earliest convenience.

Performing In UniformWhen we are in uniform, all parts of the band uniform must be worn correctly. No other pants or shorts are to be worn under the black bibber pants. Current band-themed t-shirts are to be worn under the jacket so that in the event that we remove the uniform jacket, the band continues to look uniform.

No jewelry is allowed when a student is in uniform. This includes, but is not limited to rings, necklaces, bracelets, watches, or earrings. We must take our uniformity seriously.

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Parts Of The Uniform- Black Uniform Pants- Uniform Jacket- Uniform Hat (With a hatbox)- Two (2) Gauntlets- Blue/Black Plume *- Long Black Socks (A pair of long black socks are the responsibility of the student)- Black Marching Shoes (We use Super DrillMasters. The shoes are bought by the student through the school to ensure uniformity and get the best price)- Uniform Bag with correct Hangars (the hangars that came with the uniform must stay with the uniform. Do NOT lose the hangars!)

* Plumes are a part of the uniform that are only worn during performance. Plumes should NEVER be stored in a hatbox and should always be placed back in the plume storage box immediately after each use.

Students will take a plume from the plume storage box prior to a performance and will return the plume to the storage box immediately after the performance. Plumes will not be checked out to a student, as they will likely pull a different plume every time.

Behavior While In UniformIt is critical that you realize that when you are wearing our band uniform, or any part of our band uniform (3rd Quarter break without the jacket, for instance), you are representing the Elkhart BIG RED Band, Elkhart High School and the community of Elkhart itself. It is unacceptable to behave in a way that brings negative views to our organization. This includes your speech as well as your actions.

There is NO PDA of any type while in uniform. Please control your actions. People are watching, and people form opinions of the Elkhart BIG RED Band based on your individual choices. Make the right choice.

On a side note, the same concept applies while in your band shirt, whether at a performance or on your own time.

InstrumentsSchool-Owned InstrumentsSchool-owned instruments will be checked out on a needs-only basis.

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Please understand that the school district has invested a large amount of money to supply quality instruments to our band program. It is our responsibility to treat each instrument with care and respect. This is not only a responsibility issue, but an issue of pride. Please have pride in the instrument that you've been supplied.

The school will pay to have the instrument serviced as well as any normal wear-and-tear maintenance that may be required. Normal wear-and-tear issues include torn or worn pads, broken springs, torn corks, etc. The student is responsible to pay for any repairs to a school-owned instrument that is not considered normal wear-and-tear. Anything that would jar the solder joints loose or dent/scratch a slide, valve casing or any other part of the horn is NOT considered normal wear-and-tear.

Currently, we do not charge students a "rental fee" for the use of school-owned instruments. This is a courtesy and will remain in effect as long as the school instruments continue to get treated with care and respect. A rental fee of an undetermined amount may be added at any time if students do not display pride and care when dealing with their instrument.

All High School marching brass instruments are supplied by the school so that we will have a unified, silver brass horn line on the field. Brass players are expected to keep their instrument clean and shiny throughout the marching year. A polishing cloth is a must. Other instruments (flute, clarinet, and saxophone) are checked out during marching season on a needs only basis. During concert season, all low brass and low woodwind instruments are supplied by the school. Any other instruments will be checked out on a needs only basis.

All percussion equipment, including sticks and mallets, are provided by the school. Our percussion equipment is good, and will be treated with the utmost of respect. Our sticks and mallets should not be used in any way that would render them useless. The stick bag is a privilege and at any time a percussionist may be asked to provide his/her own sticks or mallets if our equipment is continually mistreated.

Student Owned InstrumentsEach student is highly encouraged to purchase his/her own instrument. We believe that a student will take more pride in their music education if they have an instrument of their own. This also reduces the strain on the band budget when it comes to supplying instruments to students.

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If the student is still using the instrument that was purchased for beginner band in 6th grade, it is also recommended that the instrument be upgraded to "Intermediate" or "Advanced/Professional" for the High School level of music. Beginner level instrument quality has inherent mechanical and intonation problems that will start to hold the student back if it is not upgraded. This is not an issue when they are beginning to play, but as they improve, the instrument needs to improve along with them. The band directors can help locate a good instrument and help you find it with the best price. Remember, this is an investment. When that instrument helps pay for 4 years of college, it really starts to look like a smart investment.

Extra TripsThe band takes a "fun trip" every year. This is an extra expense, but this expense can be offset by our annual Cookie Dough fundraiser. Trip cost will vary from ~$25-30 for a group-rate Six Flags over Texas ticket (we do Six Flags every other year), to $500+ for a Disney World Trip to Orlando (every 4 years), and can land anywhere in between depending on location.

Our past trip destinations have been:2003 – Six Flags over Texas2004 – Disney World in Orlando, FL2005 – Six Flags over Texas2006 – Nashville, TN (Country Music Hall-of Fame/Hermitage/Graceland)2007 – Six Flags over Texas2008 – Disney World in Orlando, FL2009 – Six Flags over Texas2010 – San Antonio, TX (Schlitterbahn/Sea World/Alamo)2011 – Six Flags over Texas2012 – Disney World in Orlando, FL2013 – Medieval Times in Dallas2014 – San Antonio, TX (Schlitterbahn/Sea World/Alamo)2015 – Medieval Times in Dallas2016 – Disney World in Orlando, FL2017 – Medieval Times in Dallas2018 – Branson, MO (Performance at Clay Cooper Theatre/Silver Dollar City)

Our future trip destinations are as follows:2019 – Medieval Times in Dallas

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2020 – Disney World in Orlando, FL2021 – Medieval Times in Dallas2022 – San Antonio, TX (Schlitterbahn/Sea World/Alamo)

…on a 4 year rotation…

Duties of the Band Member- Be on time to all rehearsals and performances. Early is on time, on time is late, and late is completely unacceptable!!!- Upon entering the rehearsal setting, get your instrument and other equipment, and go directly to your seat. - Make sure you have all of your materials with you at all times. This includes a pencil.- When the director or staff member steps on the podium or asks for your attention, all talking and playing should immediately cease.- Come to the rehearsal with a good attitude.- There should be no excess playing (e.g., making ugly sounds on your instrument), only good, solid material. Practice the way you perform!- Make a real effort to improve on a daily basis, and establish a good practice routine. Have pride in yourself and your band.- At the end of the rehearsal, put all of your materials in their proper place and completely latch your instrument case.- Maintain a strong academic standing in all of your classes.- Become responsible for and assume responsibility for your own actions. Admit when you are wrong.- Have proper respect for yourself and those in authority.- Read and play music with insight - have musical expectations.- Keep yourself healthy. If you are injured or sick, this basic rule applies: Do the very best that you can. We will never ask you to further injure yourself, but if you are healthy enough to come to school, it stands to reason that you are healthy enough to participate.

The Importance of AttitudeThe greatest single factor that will determine the success of any individual or organization is attitude. The kind of person you are in as individual choice, and how you feel about something is one of the few actual independent choices you have in life. It takes intense dedication to reach goals. Students should learn to discipline themselves to practice fundamentals daily.

The right attitude must be present along with sincerity, concentration,

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and dedication as the basic foundations. Such an attitude makes an artistic performance inevitable and is the difference between a winning organization and a mediocre group. The band can do much for you. Make the most of it in every rehearsal and performance.

Attitude is the only real thing in your life that you have direct control over.

The Importance of DisciplineBecause of the nature of the organization, band discipline must be strict. Band students and parents must believe in the ideals, principles, and philosophy of the organization. Each member must always be aware of good behavior and think for him or herself.

Any and all misconduct casts a bad light on the school, community and the band program. Any member who discredits the organization by his or her conduct or actions in band, in another class, or on a trip shall be subject to dismissal from the band program or may lose a privilege within the program. This may include the chance to go on our spring trip. This decision will be at the director's discretion.

Discipline not only includes making good choices and acting with maturity, but it is also the discipline to practice your craft. You will only be as good as the amount of work that you put into it, and you will only receive back from band what you put into it. The more you work at it, the more you will enjoy it…it doesn’t sound logical, but it’s the truth. All band members are expected to have the self discipline to practice and rehearse on their own.

Students' Responsibility...…to the BandAs members of this organization, you have a great deal of responsibility. These expectations coordinate with the privileges, rewards and duties of the band program.

…to OurselvesYou have the primary responsibility of developing your own abilities. The benefits of a good instrument and private instruction can never be overestimated. What you put into it is what you will get out of it. The director is always available for your guidance and encouragement - just ask!

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…to the SchoolThe school district provides us with the resources for rehearsals, performances, and equipment. The band booster club also provides a support network, both financially and philosophically. We have the responsibility to provide the best possible services to our community.

…to MusicMusic has always been a part of our culture. We must take what we have and use it for the betterment of that culture. No one expects you to be virtuoso musicians, only to do the very best you can. The great composer Gustav Mahler once said that only 10 percent of a piece of music is on the page. If that is the case, we as musicians have the duty of creating and producing the other 90 percent. The joy of music is not in everything that is apparent. It must be discovered and created.

…to Each OtherWe must always do what is best for the welfare of the group. There can be no selfish acts solely for the benefit of the individual. Respect each other. If there are conflicts, find a way to resolve them. Never insult another band member's integrity. The word "band" implies that we are banded together without divisions.

Parents' Responsibility to the BandIt is the responsibility of every parent and guardian to see that the policies outlined in the handbook are followed and that the form in the back is signed and returned. This form states that you understand the policies set within and that any questions or concerns are to be directed to the band director by making an appointment. Each parent is responsible for the attendance of his or her child at all band functions. It is the responsibility of each parent to see that the child practices his or her instrument daily. The hands of the directors are tied without the help of the parents.

How Parents Can HelpWhen a band question arises, it is important that you get factual information before discussing it with others. We do more harm to ourselves, the band family, when we talk about things that contain one or more falsehoods presented as facts. If questions arise, it is important to remember this axiom: If it is a performance issue or

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anything dealing with the band proper, contact the band director directly via a phone call, email or an office visit.

Parents can also help in the following ways:- Show an interest in the musical study of your child- Arrange a regular time for your child to practice- Find a quiet place where he or she can practice without interruption- Listen to performances of practice material when asked to do so- Help the student keep a daily record of practicing- Come up with a reward system for daily practice- Encourage practice (can you tell that practicing is important?)- Keep the instrument in good repair - Make sure your child has at least 4 good reeds at all times (for saxophone and clarinet students...2 good reeds for oboe and bassoon)- Get your child a metronome & tuner- Be extra careful with school-owned instruments. Repair costs are high- Teach your child to be prepared and on time to each rehearsal or lesson- Provide private instruction- Make faithful attendance at all band activities important- Buy your child a personal planner for marking important dates- Keep this handbook in a safe place and refer to it often- Notify the teacher if the student is to be absent for rehearsals or lessons- Double check to make sure students bring their instrument home to practice and that they bring it back to school for the following day's rehearsal- Visit rehearsals occasionally- Make sure all fund-raising money is turned in on time- Attend booster meetings, concerts, games and contests…yes, you are welcome to attend all of our events!

Please do NOT punish your child’s bad behavior, bad attitude or poor decision making by taking away musical privileges. If your child really enjoyed math, you wouldn’t try to discipline your child by not allowing them to do their math homework, would you? It makes just as little sense to take their practice time away from them in order to discipline them. Make them practice more!

In the same way, do NOT keep them out of an after-school band rehearsal because they are “grounded”. Please know that our rehearsals are mandatory and graded. They are a part of our curriculum. Also, our rehearsals are very strenuous, disciplined and focused. It is not what I would consider “fun”. We work VERY hard.

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If your child is having behavioral problems, I can help. Please contact me and allow me to step in and assist you. By removing your child from band activities, you are effectively removing my influence and the discipline that I require of the band members. The band program is steeped in self-discipline and pride. I believe that these traits will inevitably work themselves out in their personal life.

Finally, BECOME A BAND BOOSTER!!! Those folks work so hard to make the HS Band a MUCH better place to be. Please consider joining this organization…

Complaint DepartmentPlease understand that there will be conflict, frustration, misunderstanding, miscommunication and a myriad of other problems that can occur within our very busy schedule. It is not our mission to hurt, embarrass, exclude, or put down any student…as a matter of fact, it is contrary to our “family” atmosphere that we work hard to establish. That said, sometimes feelings get hurt and there is a very high chance of miscommunication or misunderstanding of the situation.

We must, as adults, be willing and able to work out any conflict in a mature manner. If you have any complaint that you would like to voice, please follow proper due process.

Proper due process is: first, schedule an appointment and talk directly to the band director, especially if that is the source of your complaint. If a resolution is not made with the director, then proceed to make an appointment and talk to the campus principal. Again, if there is no resolution, then the next step is to talk to the superintendent and then on to the school board.

Again: 1 - Band Director, 2 - Campus Principal, 3 - Superintendent, 4 - School Board…in that order.

There is no logical reason to go straight to the principal, superintendent or the school board if NO contact has been made with the band director first.

General High School BIG RED Band Calendar of Events

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The dates on the website are as accurate as possible. For a more complete list of up to date and accurate calendar events, please visit the band website at:

www.elkhartisd.org

Remember: Make sure you are accessing the correct calendar of events. The Middle School Band (6-8 Grade) and High School Band pages are different.

A paper copy of the current year’s calendar is available if you do not have internet access. Please contact the band director for that information.

High School TEKS (Texas Essential Knowledge and Skills)

All of the activities of the high school band are utilized to fulfill our state mandated TEKS. The TEKS are online, but for your convenience, the HS version of the TEKS is listed below.

Chapter 117. Texas Essential Knowledge and Skills for Fine ArtsSubchapter C. High School

Statutory Authority: The provisions of this Subchapter C issued under the Texas Education Code, §28.002, unless otherwise noted.

§117.310. Music, Level I (One Credit), Adopted 2013.

(a)  General requirements. Students may fulfill fine arts and elective requirements for graduation by successfully completing one or more of the following music courses: Band I, Choir I, Orchestra I, Jazz Ensemble I, Jazz Improvisation I, Instrumental Ensemble I, Vocal Ensemble I, World Music Ensemble I, Applied Music I, Mariachi I, Piano I, Guitar I, and Harp I (one credit per course).

(b)  Introduction.

(1)  The fine arts incorporate the study of dance, music, theatre, and the visual arts to offer unique experiences and empower students to explore realities, relationships, and ideas. These disciplines engage and motivate all students through active learning, critical thinking, and innovative problem solving. The fine arts develop cognitive

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functioning and increase student academic achievement, higher-order thinking, communication, and collaboration skills, making the fine arts applicable to college readiness, career opportunities, workplace environments, social skills, and everyday life. Students develop aesthetic and cultural awareness through exploration, leading to creative expression. Creativity, encouraged through the study of the fine arts, is essential to nurture and develop the whole child.

(2)  Four basic strands--foundations: music literacy; creative expression; historical and cultural relevance; and critical evaluation and response--provide broad, unifying structures for organizing the knowledge and skills students are expected to acquire. The foundation of music literacy is fostered through reading, writing, reproducing, and creating music, thus developing a student's intellect. Through creative expression, students apply their music literacy and the critical-thinking skills of music to sing, play, read, write, and/or move. By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered. Through critical listening, students analyze, evaluate, and respond to music, developing criteria for making critical judgments and informed choices.

(3)  Statements that contain the word "including" reference content that must be mastered, while those containing the phrase "such as" are intended as possible illustrative examples.

(c)  Knowledge and skills.

(1)  Foundations: music literacy. The student describes and analyzes music and musical sounds. The student develops organizational skills, engages in problem solving, and explores the properties and capabilities of various musical idioms. The student is expected to:

(A)  experience and explore exemplary musical examples using technology and available live performances;

(B)  identify and describe melodic and harmonic parts when listening to and performing music using a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees;

(C)  define concepts of music notation, intervals, and chord structure using appropriate terminology;

(D)  define concepts of rhythm and meter using appropriate terminology and counting system;

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(E)  explore elements of music such as rhythm, meter, melody, harmony, key, expression markings, texture, form, dynamics, and timbre through literature selected for performance; and

(F)  apply health and wellness concepts related to music practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practices.

(2)  Foundations: music literacy. The student reads and writes music notation using an appropriate notation system. The student is expected to:

(A)  read and notate music that incorporates rhythmic patterns in simple, compound, and asymmetric meters; and

(B)  interpret music symbols and expressive terms referring to dynamics, tempo, and articulation.

(3)  Creative expression. The student demonstrates musical artistry by singing or playing an instrument individually and in groups. The student performs music in a variety of genres at an appropriate level of difficulty. The student performs from notation and by memory as appropriate. The student develops cognitive and psychomotor skills. The student is expected to:

(A)  demonstrate mature, characteristic sound appropriate for the genre;

(B)  demonstrate psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques;

(C)  demonstrate rhythmic accuracy using appropriate tempo;

(D)  demonstrate observance of key signature and modalities;

(E)  demonstrate correct intonation, appropriate phrasing, and appropriate dynamics; and

(F)  create and notate or record original musical phrases.

(4)  Creative expression. The student sight reads, individually and in groups, by singing or playing an instrument. The student reads from notation at an appropriate level of difficulty in a variety of styles. The student is expected to:

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(A)  demonstrate mature, characteristic sound appropriate for the genre while sight reading;

(B)  demonstrate psychomotor and kinesthetic skills such as use of appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques while sight reading;

(C)  demonstrate rhythmic accuracy while sight reading using a counting system within an appropriate tempo;

(D)  demonstrate observance of key signature and modalities while sight reading;

(E)  demonstrate use of a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees while sight reading; and

(F)  demonstrate correct intonation, appropriate phrasing, and appropriate dynamics while sight reading.

(5)  Historical and cultural relevance. The student relates music to history, culture, and the world. The student is expected to:

(A)  compare and contrast music by genre, style, culture, and historical period;

(B)  identify music-related vocations and avocations;

(C)  identify and describe the uses of music in societies and cultures;

(D)  identify and explore the relationship between music and other academic disciplines;

(E)  identify and explore the impact of technologies, ethical issues, and economic factors on music, performers, and performances; and

(F)  identify and explore tools for college and career preparation such as social media applications, repertoire lists, auditions, and interview techniques.

(6)  Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performance in both formal and informal settings. The student is expected to:

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(A)  practice informed concert etiquette as a performer and as an audience member during live and recorded performances in a variety of settings;

(B)  design and apply criteria for making informed judgments regarding the quality and effectiveness of musical performances;

(C)  develop processes for self-evaluation and select tools for personal artistic improvement; and

(D)  evaluate musical performances by comparing them to exemplary models.

Source: The provisions of this §117.310 adopted to be effective July 28, 2013, 38 TexReg 4575.

§117.311. Music, Level II (One Credit), Adopted 2013.

(a)  General requirements. Students may fulfill fine arts and elective requirements for graduation by successfully completing one or more of the following music courses: Band II, Choir II, Orchestra II, Jazz Ensemble II, Jazz Improvisation II, Instrumental Ensemble II, Vocal Ensemble II, World Music Ensemble II, Applied Music II, Mariachi II, Piano II, Guitar II, and Harp II (one credit per course). The prerequisite for each Music, Level II course is one credit of Music, Level I in the corresponding discipline.

(b)  Introduction.

(1)  The fine arts incorporate the study of dance, music, theatre, and the visual arts to offer unique experiences and empower students to explore realities, relationships, and ideas. These disciplines engage and motivate all students through active learning, critical thinking, and innovative problem solving. The fine arts develop cognitive functioning and increase student academic achievement, higher-order thinking, communication, and collaboration skills, making the fine arts applicable to college readiness, career opportunities, workplace environments, social skills, and everyday life. Students develop aesthetic and cultural awareness through exploration, leading to creative expression. Creativity, encouraged through the study of the fine arts, is essential to nurture and develop the whole child.

(2)  Four basic strands--foundations: music literacy; creative expression; historical and cultural relevance; and critical evaluation

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and response--provide broad, unifying structures for organizing the knowledge and skills students are expected to acquire. The foundation of music literacy is fostered through reading, writing, reproducing, and creating music, thus developing a student's intellect. Through creative expression, students apply their music literacy and the critical-thinking skills of music to sing, play, read, write, and/or move. By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered. Through critical listening, students analyze, evaluate, and respond to music, developing criteria for making critical judgments and informed choices.

(3)  Statements that contain the word "including" reference content that must be mastered, while those containing the phrase "such as" are intended as possible illustrative examples.

(c)  Knowledge and skills.

(1)  Foundations: music literacy. The student describes and analyzes music and musical sounds. The student develops organizational skills, engages in problem solving, and explores the properties and capabilities of various musical idioms. The student is expected to:

(A)  compare and contrast exemplary musical examples using technology and available live performances;

(B)  compare and contrast melodic and harmonic parts using a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees;

(C)  compare and contrast concepts of music notation, intervals, and chord structure using appropriate terminology;

(D)  compare and contrast concepts of rhythm and meter using appropriate terminology and counting system;

(E)  compare and contrast musical forms such as song, binary, ternary, and rondo selected for performance and listening;

(F)  compare and contrast concepts of balance and blend using appropriate terminology;

(G)  compare and contrast concepts of music such as rhythm, meter, melody, harmony, key, expression markings, dynamics, and timbre; and

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(H)  apply health and wellness concepts related to music practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practices.

(2)  Foundations: music literacy. The student reads and notates music using an appropriate notation system. The student is expected to:

(A)  read and notate music that incorporates rhythmic patterns in simple, compound, and asymmetric meters; and

(B)  interpret music symbols and expressive terms referring to dynamics, tempo, and articulation.

(3)  Creative expression. The student demonstrates musical artistry by singing or playing an instrument individually and in groups. The student performs music in a variety of genres at an increasing level of difficulty. The student performs from notation and by memory as appropriate. The student develops cognitive, affective, and psychomotor skills. The student is expected to:

(A)  demonstrate increasingly mature, characteristic sound appropriate for the genre;

(B)  refine and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques;

(C)  demonstrate rhythmic accuracy using appropriate tempo;

(D)  demonstrate observance of key signatures and modalities;

(E)  demonstrate correct intonation, appropriate phrasing, and appropriate dynamics; and

(F)  create and notate or record original musical phrases at an appropriate level of difficulty.

(4)  Creative expression. The student sight reads, individually and in groups, by singing or playing an instrument. The student reads from notation at an increasing level of difficulty in a variety of styles. The student is expected to:

(A)  exhibit increasingly mature, characteristic sound appropriate for the genre while sight reading;

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(B)  demonstrate, refine, and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques while sight reading;

(C)  demonstrate correct articulation and rhythmic accuracy while sight reading using a counting system within an appropriate tempo;

(D)  demonstrate observance of multiple key signatures and changing modalities while sight reading;

(E)  demonstrate use of a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees while sight reading;

(F)  demonstrate application of dynamics and phrasing while sight reading; and

(G)  demonstrate accurate intonation while sight reading using concepts such as vowel shapes, ensemble blend, and just intonation.

(5)  Historical and cultural relevance. The student relates music to history, culture, and the world. The student is expected to:

(A)  compare and contrast music by genre, style, culture, and historical period;

(B)  define uses of music in societies and cultures;

(C)  identify and explore the relationships between music and other academic disciplines;

(D)  identify music-related vocations and avocations;

(E)  identify and explore the impact of technologies, ethical issues, and economic factors on music, musicians, and performances; and

(F)  identify and explore tools for college and career preparation such as personal performance recordings, social media applications, repertoire lists, auditions, and interview techniques.

(6)  Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performance in formal and informal settings. The student is expected to:

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(A)  exhibit informed concert etiquette as a performer and as an audience member during live and recorded performances in a variety of settings;

(B)  design and apply criteria for making informed judgments regarding the quality and effectiveness of musical performances;

(C)  develop processes for self-evaluation and select tools for personal artistic improvement; and

(D)  evaluate musical performances by comparing them to exemplary models.

Source: The provisions of this §117.311 adopted to be effective July 28, 2013, 38 TexReg 4575.

§117.312. Music, Level III (One Credit), Adopted 2013.

(a)  General requirements. Students may fulfill fine arts and elective requirements for graduation by successfully completing one or more of the following music courses: Band III, Choir III, Orchestra III, Jazz Ensemble III, Jazz Improvisation III, Instrumental Ensemble III, Vocal Ensemble III, World Music Ensemble III, Applied Music III, Mariachi III, Piano III, Guitar III, and Harp III (one credit per course). The prerequisite for all Music, Level III music courses is one credit of Music, Level II in the corresponding discipline.

(b)  Introduction.

(1)  The fine arts incorporate the study of dance, music, theatre, and the visual arts to offer unique experiences and empower students to explore realities, relationships, and ideas. These disciplines engage and motivate all students through active learning, critical thinking, and innovative problem solving. The fine arts develop cognitive functioning and increase student academic achievement, higher-order thinking, communication, and collaboration skills, making the fine arts applicable to college readiness, career opportunities, workplace environments, social skills, and everyday life. Students develop aesthetic and cultural awareness through exploration, leading to creative expression. Creativity, encouraged through the study of the fine arts, is essential to nurture and develop the whole child.

(2)  Four basic strands--foundations: music literacy; creative expression; historical and cultural relevance; and critical evaluation

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and response--provide broad, unifying structures for organizing the knowledge and skills students are expected to acquire. The foundation of music literacy is fostered through reading, writing, reproducing, and creating music, thus developing a student's intellect. Through creative expression, students apply their music literacy and the critical-thinking skills of music to sing, play, read, write, and/or move. By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered. Through critical listening, students analyze, evaluate, and respond to music, developing criteria for making critical judgments and informed choices.

(3)  Statements that contain the word "including" reference content that must be mastered, while those containing the phrase "such as" are intended as possible illustrative examples.

(c)  Knowledge and skills.

(1)  Foundations: music literacy. The student describes and analyzes music and musical sounds. The student develops organizational skills, engages in problem solving, and explores the properties and capabilities of various musical idioms. The student is expected to:

(A)  evaluate exemplary musical examples using technology and available live performances;

(B)  explore musical textures such as monophony, homophony, and polyphony while using a melodic reading system;

(C)  compare and contrast concepts of music notation, intervals, and chord structure using appropriate terminology;

(D)  compare and contrast concepts of rhythm and meter using appropriate terminology and counting system;

(E)  compare and contrast musical forms such as song, binary, ternary, rondo, and sonata-allegro selected for performance and listening;

(F)  compare and contrast concepts of balance and blend using appropriate terminology;

(G)  compare and contrast musical styles and genres such as cantata, opera, zydeco, motet, hip-hop, symphony, anthem, march, beats, musical theatre, gospel jazz, and spirituals;

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(H)  compare and contrast concepts of music such as rhythm, meter, melody, harmony, texture, key, expression markings, dynamics, and timbre using literature selected for performance; and

(I)  apply health and wellness concepts related to music practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practices.

(2)  Foundations: music literacy. The student reads and notates music using an appropriate notation system. The student is expected to:

(A)  read and notate music that incorporates melody and rhythm; and

(B)  interpret music symbols and expressive terms referring to style, dynamics, tempo, and articulation.

(3)  Creative expression. The student demonstrates musical artistry by singing or playing an instrument individually and in groups. The student performs music in a variety of genres at an increasing level of difficulty. The student performs from notation and by memory as appropriate. The student develops cognitive, affective, and psychomotor skills. The student is expected to:

(A)  demonstrate mature, characteristic sound appropriate for the genre;

(B)  refine and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques;

(C)  demonstrate rhythmic accuracy using appropriate tempo;

(D)  demonstrate observance of key signatures and modalities;

(E)  demonstrate correct intonation, appropriate phrasing, and appropriate dynamics; and

(F)  create and notate or record original musical phrases at an appropriate level of difficulty.

(4)  Creative expression. The student sight reads, individually and in groups, by singing or playing an instrument. The student reads from notation at an increasing level of difficulty in a variety of styles. The student is expected to:

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(A)  exhibit mature, characteristic sound appropriate for the genre while sight reading;

(B)  refine and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques while sight reading;

(C)  demonstrate correct articulation and rhythmic accuracy while sight reading using a counting system within an appropriate tempo;

(D)  demonstrate observance of multiple key signatures and changing modalities while sight reading;

(E)  demonstrate use of a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees while sight reading;

(F)  demonstrate application of dynamics and phrasing while sight reading; and

(G)  demonstrate accurate intonation while sight reading using concepts such as vowel shapes, ensemble blend, and just intonation.

(5)  Historical and cultural relevance. The student relates music to history, culture, and the world. The student is expected to:

(A)  classify representative examples of music by genre, style, culture, and historical period;

(B)  explore the relevance of music to societies and cultures;

(C)  define the relationships between music content and concepts and other academic disciplines;

(D)  analyze music-related career options;

(E)  analyze and evaluate the impact of technologies, ethical issues, and economic factors on music, performers, and performances; and

(F)  generate tools for college and career preparation such as electronic portfolios, personal resource lists, performance recordings, social media applications, repertoire lists, auditions, and interview techniques.

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(6)  Critical evaluation and response. The student responds to and evaluates written music and musical performance in formal and informal settings. The student is expected to:

(A)  exhibit informed concert etiquette as a performer and an audience member during live and recorded performances in a variety of settings;

(B)  create and apply specific criteria for evaluating performances of various musical styles;

(C)  create and apply specific criteria for offering constructive feedback using a variety of music performances;

(D)  develop processes for self-evaluation and select tools for personal artistic improvement such as critical listening and individual and group performance recordings; and

(E)  evaluate musical performances by comparing them to similar or exemplary models and offering constructive suggestions for improvement.

Source: The provisions of this §117.312 adopted to be effective July 28, 2013, 38 TexReg 4575.

§117.313. Music, Level IV (One Credit), Adopted 2013.

(a)  General requirements. Students may fulfill fine arts and elective requirements for graduation by successfully completing one or more of the following music courses: Band IV, Choir IV, Orchestra IV, Jazz Ensemble IV, Jazz Improvisation IV, Instrumental Ensemble IV, Vocal Ensemble IV, World Music Ensemble IV, Applied Music IV, Mariachi IV, Piano IV, Guitar IV, and Harp IV (one credit per course). The prerequisite for all Music, Level IV courses is one credit of Music, Level III in the corresponding discipline.

(b)  Introduction.

(1)  The fine arts incorporate the study of dance, music, theatre, and the visual arts to offer unique experiences and empower students to explore realities, relationships, and ideas. These disciplines engage and motivate all students through active learning, critical thinking, and innovative problem solving. The fine arts develop cognitive functioning and increase student academic achievement, higher-order

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thinking, communication, and collaboration skills, making the fine arts applicable to college readiness, career opportunities, workplace environments, social skills, and everyday life. Students develop aesthetic and cultural awareness through exploration, leading to creative expression. Creativity, encouraged through the study of the fine arts, is essential to nurture and develop the whole child.

(2)  Four basic strands--foundations: music literacy; creative expression; historical and cultural relevance; and critical evaluation and response--provide broad, unifying structures for organizing the knowledge and skills students are expected to acquire. The foundation of music literacy is fostered through reading, writing, reproducing, and creating music, thus developing a student's intellect. Through creative expression, students apply their music literacy and the critical-thinking skills of music to sing, play, read, write, and/or move. By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered. Through critical listening, students analyze, evaluate, and respond to music, developing criteria for making critical judgments and informed choices.

(3)  Statements that contain the word "including" reference content that must be mastered, while those containing the phrase "such as" are intended as possible illustrative examples.

(c)  Knowledge and skills.

(1)  Foundations: music literacy. The student describes and analyzes music and musical sounds. The student develops organizational skills, engages in problem solving, and explores the properties and capabilities of various musical idioms. The student is expected to:

(A)  evaluate exemplary musical examples using technology and available live performances;

(B)  analyze advanced musical textures while using a melodic reading system;

(C)  analyze concepts of music notation, intervals, and chord structure using appropriate terminology;

(D)  analyze concepts of rhythm and meter using appropriate terminology and counting system;

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(E)  analyze musical forms in music selected for performance and listening;

(F)  analyze concepts of balance and blend using appropriate terminology;

(G)  analyze musical styles and genres such as cantata, opera, zydeco, motet, hip-hop, symphony, anthem, march, beats, musical theatre, gospel jazz, and spirituals;

(H)  analyze concepts of music such as rhythm, meter, melody, harmony, texture, key, expression markings, dynamics, and timbre using literature selected for performance; and

(I)  analyze and apply health and wellness concepts related to music practice such as body mechanics, repetitive motion injury prevention, first-aid training, hearing protection, vocal health, hydration, and appropriate hygienic practices.

(2)  Foundations: music literacy. The student reads and notates music using an appropriate notation system. The student is expected to:

(A)  read and notate music that incorporates advanced melodies and rhythms; and

(B)  interpret music symbols and expressive terms.

(3)  Creative expression. The student demonstrates musical artistry by singing or playing an instrument individually and in groups. The student performs music in a variety of genres at an increasing level of difficulty. The student performs from notation and by memory as appropriate. The student develops cognitive, affective, and psychomotor skills. The student is expected to:

(A)  demonstrate mature, characteristic sound appropriate for the genre;

(B)  analyze and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques;

(C)  demonstrate rhythmic accuracy using complex patterns at an appropriate tempo;

(D)  demonstrate observance of key signatures and modalities;

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(E)  demonstrate correct intonation, appropriate phrasing, and appropriate dynamics; and

(F)  create and notate or record original musical phrases at an increasing level of difficulty.

(4)  Creative expression. The student sight reads, individually and in groups, by singing or playing an instrument. The student reads from notation at an increasing level of difficulty in a variety of styles. The student is expected to:

(A)  exhibit mature, characteristic sound appropriate for the genre while sight reading;

(B)  refine and apply psychomotor and kinesthetic skills such as appropriate posture, breathing, text, diction, articulation, vibrato, bowings, fingerings, phrasing, independent manual dexterities, and percussion techniques while sight reading;

(C)  demonstrate correct articulation and rhythmic accuracy while sight reading using a counting system within an appropriate tempo;

(D)  demonstrate observance of multiple key signatures and changing modalities while sight reading;

(E)  demonstrate use of a melodic reading system such as solfège, numbers, letter names, note names, or scale degrees while sight reading;

(F)  demonstrate application of dynamics and phrasing while sight reading; and

(G)  demonstrate accurate intonation while sight reading using concepts such as vowel shapes, ensemble blend, and just intonation.

(5)  Historical cultural relevance. The student relates music to history, culture, and the world. The student is expected to:

(A)  discriminate representative examples of music by genre, style, culture, and historical period;

(B)  evaluate the relevance of music to societies and cultures;

(C)  define the relationships between music content and concepts and other academic disciplines;

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(D)  explain a variety of music and music-related career options;

(E)  analyze and evaluate the impact of technologies, ethical issues, and economic factors on music, performers, and performances; and

(F)  generate tools for college and career preparation such as curricula vitae, electronic portfolios, personal resource lists, performance recordings, social media applications, repertoire lists, and audition and interview techniques.

(6)  Critical evaluation and response. The student responds to and evaluates written music and musical performance in formal and informal settings. The student is expected to:

(A)  exhibit informed concert etiquette as a performer and an audience member during live and recorded performances in a variety of settings;

(B)  create and apply specific criteria for evaluating performances of various musical styles;

(C)  create and apply specific criteria for offering constructive feedback using a variety of musical performances;

(D)  develop processes for self-evaluation and select tools for personal artistic improvement; and

(E)  evaluate musical performances and compositions by comparing them to similar or exemplary models and offering constructive suggestions for improvement.

Source: The provisions of this §117.313 adopted to be effective July 28, 2013, 38 TexReg 4575.