port jefferson school district music scope and … and fine arts/music... · port jefferson school...

Port Jefferson School District

Music Scope and Sequence

PreK-12

Michael Caravello

Director of Music & Fine Arts

Mark Abbonizio

Katie Bernius

Christine Creighton

Meagan Finnerty

Francesca Jourawleff

Christian Neubert (Leave Repl.)

Jessica Pastor

Edward Pisano

Vanessa Salzman

Music Education Specialists

Kenneth R. Bossert, Ed.D.

Superintendent of Schools

TABLE OF CONTENTS

Pre-Kindergarten Music………………………………………………………………...2

Kindergarten Music……………………………………………………………………..3

Grade 1 Music…………………………………………………………………………..4

Grade 2 Music…………………………………………………………………………..5

Grade 3 Music…………………………………………………………………………..6

Grade 4 Music…………………………………………………………………………..7

Grade 5 Music…………………………………………………………………………..8

Grade 6 Chorus………………………………………………………………………….9

Grade 7/8 Chorus………………………………………………………………………..14

HS Choir………………………………………………………………………………...19

Grade 4 Band…………………………………………………………………………….24

Grade 5 Band…………………………………………………………………………….26

Grade 6 Band…………………………………………………………………………….28

Grade 7/8 Band…………………………………………………………………………..30

HS Wind Ensemble……………………………………………………………………...32

Grade 4 Orchestra………………………………………………………………………..35

Grade 5 Orchestra………………………………………………………………………..37

Grade 6 Orchestra………………………………………………………………………..38

Grade 7/8 Orchestra……………………………………………………………………...39

HS Orchestra……………………………………………………………………………..41

Port Jefferson School District’s Academic Standards for Music

Standard 1: Performance: Students will develop growth in singing and playing music by acquiring self-discipline, working collaboratively, utilizing problem-solving skills and applying technique specific to increasingly challenging musical literature. Standard 2: Literacy: Students will learn to understand music notation, which is essential to musical literacy. Standard 3: Analysis: Students will learn to critically listen, describe, analyze, and evaluate music as an expressive art form. Standard 4: Creativity: Students will explore, connect concepts, communicate thoughts and ideas and apply higher level thinking skills through the creative process of composition and improvisation. Standard 5: Making Connections: Students will study music’s relationship to society, the other arts, all curricular areas outside

the arts, history, and culture.

Pre-Kindergarten Music

Standard 1A Standard 1B Standard 2C Standard 3D Standard 3E Standard 4F & G Standard 5H Standard 5I

Experience speaking, shouting, whispering & singing voices

Sing on pitch with correct rhythm and posture.

Reproduce the tonic pitch (i.e., resting tone) in melodies

Experience maintaining steady beat

Sing simple melodies from a varied repertoire in a variety of modes and meters

Sing a melody with accompaniment

Sing simple intervals on neutral syllables

Manipulate pitched and/or non-pitched instruments

Echo simple rhythms and melodic intervals with instruments and/or movement

Reproduce steady beat with instruments and/or movement

Identify low vs. high sounds

Recognize that notation represents music

Demonstrate musical elements while listening to music

Monitor a composition and/or performance using provided criteria

Devise simple criteria for evaluating performances and compositions

Demonstrate audience behavior appropriate for the content and style of the music performed

Explain personal musical preferences using appropriate music terminology

Respond with musical answers to questions asked rhythmically and melodically

Identify ways in which the elements and principles of music are interrelated with other disciplines

Identify ways in which the subject matter of music and other disciplines are interrelated

Identify various uses of music in daily experience

Identify various uses of music for personal expression

Sing songs and play musical games from various cultures

Sing songs from more than one historical period

Listen to music from more than one historical period




Kindergarten Music


Distinguish between speaking, shouting, whispering & singing voices


Sing on pitch with correct rhythm and posture.

Sing while maintaining steady beat

Sing simple melodies from a varied repertoire in a variety of modes and meters

Sing a melody with accompaniment

Sing simple intervals – sol, mi, la, do

Manipulate pitched and/or non-pitched instruments

Echo simple rhythms and melodic intervals with instruments and/or movement

Reproduce steady beat with instruments and/or movement

Demonstrate the general contour of melodies that move up and down or have repeated notes

Recognize that notation represents music

Demonstrate musical elements while listening to music

Distinguish between the timbres of classroom instruments





Respond with musical answers to questions asked rhythmically and melodically











Grade 1 Music

Standard 1A Standard 1B Standard 2C

Standard 3D

Standard 3E

Standard 4F & G

Standard 5H Standard 5I

Sing simple songs in a variety of modes and meters


Sing simple intervals – sol , mi, la, do, re, fa

Sing Call and Response songs

Reproduce patterns on pitched and non-pitched instruments

Perform instrumental ostinati while others sing a melody

Maintain steady beat with instruments and/or movement while singing a melody

Read and perform solfege syllables and rhythmic symbols (quarter notes, 2/3 eighth notes and quarter rest) within a variety of meters

Recognize musical phrases that are the same, similar and different

Relate the sound of an instrument to a feeling, idea or character





Improvise simple rhythmic phrases vocally, instrumentally and/or kinesthetically based on familiar verbal, rhythmic, or melodic material











Grade 2 Music

Standard 1A Standard 1B Standard 2C Standard 3D

Standard 3E Standard 4F & G Standard 5H

Standard 5I

Sing expressively with appropriate dynamics and interpretation

Sing from memory songs representing genres and styles from diverse cultures

Sing ostinato

Sing simple intervals on all syllables

Sing Cumulative Songs

Perform simple melodies

Perform instrumental ostinati while moving and/or singing

Read and perform solfege syllables and rhythmic symbols in standard notation. (add half and whole notes/rests)

Read notes on the treble staff

Recognize the timbre of orchestral instruments that are the same, similar and different

Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music

Monitor a composition and/or performance using provided

criteria

Devise simple criteria for evaluating performances and

compositions

Demonstrate audience behavior appropriate for the content

and style of the music performed

Explain personal musical preferences using appropriate

music terminology

Improvise simple melodic phrases vocally, instrumentally and/or kinesthetically based on familiar verbal, rhythmic, or melodic material











Grade 3 Music

Standard 1A Standard 1B Standard 2C Standard 3D

Standard 3E Standard 4F & G Standard 5H Standard 5I

Sing 2-part rounds

Sing responding to the cues of a conductor

Perform simple melodies on the recorder

Perform rounds on pitched or non-pitched instrument Students may have an opportunity to learn the recorder

Read and perform solfege syllables and rhythmic symbols (add whole notes, whole rests, dotted half notes, dotted half rests) in standard notation

Identify the basic elements of form in songs (i.e. ABA, verse and refrain)

Recognize timbre of specific orchestral instruments and voices

Recognize timbre of a variety of folk instruments

Use appropriate terminology to describe basic elements of music


criteria


compositions




music terminology

Improvise simple melodies vocally or instrumentally











Grade 4 Music

Standard 1A Standard 1B Standard 2C

Standard 3D Standard 3E Standard 4F & G Standard 5H Standard 5I

Sing partner songs

Sing expressively with proper phrasing

Perform simple melodies with correct pitch and rhythm

Perform with appropriate dynamics and timbre while maintaining a steady tempo

Perform in groups, blending instrumental timbres, matching dynamic levels, and responding to the cues of a conductor

Read and perform solfege syllables (add low la and low sol) and rhythmic symbols (add dotted rhythms, eighth rests) in standard notation

Notate meter, rhythm, and pitch using standard notation

Identify symbols and traditional terms referring to dynamics, tempo and articulation

Recognize theme and variation

Recognize major and minor tonalities

Distinguish between melody and harmony


criteria


compositions




music terminology

Improvise and notate simple melodies using standard

notation.





Sing songs, play musical games and perform dances from various Western and non-Western cultures

Listen to and discuss characteristics from more than one historical period and world culture




Grade 5 Music


Sing music in 2-part harmony

Sing 3-part rounds

Sing alone and in small and large ensembles with an emphasis on good breath control and diction

Sing all intervals up to one octave The entire 5

th Grade will perform a selection of songs in a variety

of styles as a chorus in 2 concerts (Winter and Spring) during the day for the student body and in the evening for the parents

Perform independent instrumental parts while other students sing or play contrasting parts

Read and perform all solfege syllables

Read and perform rhythmic symbols (add sixteenth notes)

Read in 6/8 meter

Use standard notation to record their musical ideas and the musical ideas of others

Describe specific music events in a given aural example using appropriate terminology





Compose simple melodies within specified guidelines

Identify a variety of music related careers

Relate significant compositions and composers to historical and cultural events and musical periods


Standard 1: Performance: Students will develop growth in singing and playing music by acquiring self-discipline, working

collaboratively, utilizing problem-solving skills and applying technique specific to increasingly challenging musical literature.

Standard 2: Literacy: Students will learn to understand music notation, which is essential to musical literacy.

Standard 3: Analysis: Students will learn to critically listen, describe, analyze, and evaluate music as an expressive art form.

Standard 4: Creativity: Students will explore, connect concepts, communicate thoughts and ideas and apply higher level

thinking skills through the creative process of composition and improvisation.

Standard 5: Making Connections: Students will study music’s relationship to society, the other arts, all curricular areas outside


Grade 6 Chorus

Skills Assessment Books & Materials

Vocal

Technique/Pedagogy/Production/

Vocal Health

(week 1, 40 weeks)

Breath

Memorize and execute

a variety of beginner

vocal drills (e.g., vowel

placement, posture,

breath placement,

rounds and cannons,

tone production,

facial/body resonators,

volume, sound,

vocalizing consonants,

intonation, and singing

with a natural, as well

as healthy sound

Diction/Vowel Formation

Vowel

placement/formation,


language utilizing a

multiple of languages,

and executing a variety

of vocal drills

Range/Pitch/Intonation

Sing and vocalize on

pitch, place sound in

one or more facial/body

resonators, control

breath, sing tonal

patterns in a variety of

tonalities, sight reading,

sight singing using

tonal solfege, ear

training, sing various

chord progressions

Posture

Facial/body resonators,

sit/stand with good

vocal posture, exhibit

proper

performance/rehearsal

behavior

Vocal Health

Alexander Technique,

vocal anatomy, vocal

rest, and performance

practice

Melody

-Individual/collaborative

Assessment, as well as

Likert-Style Rating Scales

in order to evaluate the

ensembles breath support

-Instructor observation

(e.g., auralvisual

-Peer critique

-Repertoire Assessment

-Demonstration and

knowledge

-Peer Review

-Individual/Group

Modeling

-Individual/Group

Assessment

-Benchmarks


(e.g., visual/and or aural

-Self-Reflection


-Individual/Collaborative

sight singing exam

-Tonal pattern rating scale


(e.g., aural/visual

-Concert Repertoire

Assessment

-Note Accuracy

-In-Class Observation

The Choral-Warm

Up (James Jordan)

The Complete Warm-

Up Book (Jay

Althouse)

American Diction for

Singers (Geoffrey

Forward/Elizabeth

Howard)

Bel Canto: A History

of Vocal Pedagogy

(James A. Stark)

Voice and the

Alexander Technique

(Jane Heirich)

Vocal Health and

Pedagogy: Science

and Assessment

(Robert Thaye

Sataloff)

Melody, Intonation, and Choral

Blend (Weeks 1, 40 Weeks)

Harmony and Harmonic Devices

(Weeks 1, 40 Weeks)

Rehearsal Techniques and

Practices/Lesson Routine

(Weeks 1, 40 Weeks)

Perform melodies

introduced in a variety

of vocal repertoire,

perform melodies with

accurate pitch

intonation, sing

melodies with focus on

two-part and/or unison

blend, chord

progressions, as well as

choral harmony and

texture

Intervallic Relationships

Perform and sustain

vocal parts with

intonation in relation to

other vocal parts

Harmonic Blend

Perform harmonies

created through rounds

and/or partner songs,

perform harmonies

through counterpoint,

perform harmonies

created through choral

alignment

Harmonic Blend

Vocal Warm-Ups


a variety of beginner

vocal drills, as well as

vocal warm-ups

Control the inspiration

and expiration of breath

Vocalize on vowels and

consonants

Place sound in one or

more facial/body

resonators

Accurate

Posture/Diction/Vocal

Flexibility/Vocal

Health/Vocal

Range/Resonators

Music Skills

Group/Individual

compositions

Music Improvisation

Readiness

Music

Notation/Reading

Rhythm Skills (e.g.,

macro/micro beat in

duple and triple meter

Time Signatures

Music Theory/Key

Signatures

Rhythm/Tonal Patterns

-Group Sectional

Assessment/Evaluation


-Note Accuracy

-Peer Critique

-Music Repertoire

Observation

-In-class observation

-Instructional Observation

-Peer Group Assessment

-Likert-Style Rating Scales

-Self-Created Rubrics

-Cooperative Sectionals

Evaluations

-Concert Evaluation


-Individual/Cooperative

Sectional Assessment


-Peer Assessment

-Written-Unit Test

(Scale/Rhythm, etc

assessment)

-Recorded Lesson

Reflection

Singing in Style: A

Guide to Vocal

Performance

Practices (Martha

Elliott)

Tonal Harmony

(Stefan Kostka)

Advanced Measures of

Music Audiation

(Edwin E. Gordon)

Benchmarks in Action

(Carolynn Lindeman)

Concert Repertoire/Performance

Practice

(Weeks 1, 40 Weeks)

Learning Skills Sequence/Music

Audiation (Weeks 1, 40 Weeks)

Sight Singing

Singing Scales

(Multitude of tonalieis)

Sight Reading/Sight

Singing a substantial

amount of music

literature

Concert Repertoire

Individual and group

instruction on a variety

of concert repertoire

Vocal Modeling

Music Audiation

Tonal and Rhythmic

Patterns

Macro/Micro Beat

Music Aptitude

Develop aural skills and

utilize the Audiation

Sequence for Choral

Ensembles

Concert Performance

The students will

participate in a variety

of community

performance, as well as

a Winter/Spring

Concert

Concert Etiquette

Performance practice

and music behavior

Small/Large group

performances

Acculturating students

to professional

performances

Exposure to a large

range of music

literature from a

multitude of music

genres

Adding instruments into

vocal performances

Performer and audience

behavior/music

listening environment

Emotion/Dynamics

Music Audiation

Learning the Audiation

Sequence for Choral

Ensembles

Tonal/Rhythmic

patterns

Discrimination

Learning

Macro/Micro Beats

Coordination Readiness

Activities (Rhythmic

Intenalization)

-Winter/Spring Concert

Evaluation

-Collaborative Self-

Reflection

-Self-Created Concert

Rubric

-Written Reflection


-Singer Feedback

-Record Music During a

Rehearsal

-In-Class Observation (e.g.,

Aural/Visual)

-Cooperative Assessment

(e.g., Improvising)


(Carolynn Lindeman)

Rhythmic Reading:

Elementary through

Advanced Training

(Daniel Kazez)

90 Days to Sight-

Reading Success (Stan

McGill)

Sight Singing/Sight Reading

(Weeks 1, 40 Weeks)

NYSSMA Preparation

(Weeks 1, 40 Weeks)

Multicultural Music/Music

History (Weeks 1, 40 Weeks)

Developing students’

audiation/aural skills

Rhythm Improvisation

Readiness

Measuring students’

music aptitude

Sight Singing

Rhythmic Notation

Synthesizing Syllabic

Recognition and

identifying melodic

intervals

Perform diatonic

solfege syllables (e.g.,

do, re, mi)

Utilize Kodaly’s Hand

Signs through various

sight reading examples

in duple/triple meters,

as well as in a variety of

tonalities from a

multitude of music

genres

NYSSMA

Developing appropriate

vocal technique

Building knowledge of

rhythmic and melodic

notation

Synthesizing music

history and the style of

NYSSMA level

compositions

Self-Reflection based

on a multitude of

NYSSMA pieces

Critiquing a multitude

of vocal performances

Students will perform

for various peers, as

well as understand the

criteria being assessed

by NYSSMA

adjudicators

Cultural Music


to a wide variety of

cultural repertoire in the

classroom


to a multitude of

multicultural music

history literature

examples

Assist students in

understanding the origin

and purpose of

multicultural music


(Aural/Visual)

-Large Group/Small Group

Evaluation

-Self-Created Ensemble

Rubric

-Students will peform for

peers

-Performance of sight-

singing exercises

-NYSSMA Sight Singing

Examples (I-IV)


-Self-Reflection and Self-

Assessment

-Reflective Discussion

-Individual Modeling

-Vocal Performance

Analysis, Synthesis, and

Critique

-Peer Critique and Review

-Written Unit Exams

-Self-Reflection/Journal

Writing

-Discussion

-Concert Repertoire Quiz


33 Two-Part Exercises

(Kodaly/Percy)

Solfege de Solfeges

(Book I-II, A.

Dannhauser)

Solfege, Ear Training,

Rhythm, Dictation,

and Music Theory: A

Complete Course

(Marta Arkossy

Ghezzo)

Building Choral

Excellence: Teaching

Sight-Singing in the

Choral Rehearsal

(Steven M. Demorest)

New York State

NYSSMA Publications

(2009)

A History of Western

Music (Donald Grout)

Accent on Composers

(Jay Althouse)

Team Building/Cooperative

Learning/Groupwork (Weeks 1,

40 Weeks)

Music Scores/Parts/Musicianship (Weeks 1, 40 Weeks)

(e.g., composers,

repertoire, regions,

instruments, vocal

production, etc).

Music Games

Playing cooperative

games in the classroom

by utilizing Smart

Board in order to

improve their overall

musicianship

Working in sectionals

and assessing students

vocal parts by peer

evaluation

Music Scores/Parts

State, identify, and

follow stanzas

State, identify, and sing

parts (e.g., Unison and

Two-Part)

Identifying measures,

dynamics, time

signatures, key

signatures, verses,

refrains, repeats,

endings, tempo

markings, phrasing,

music markings,

emotional expression

markings, form, and

musical parts)

Musicianship

Developing the

knowledge of music

notation, rhythmic

notation, texture,

identifying music

symbols, following the

conductor for dynamics,

differences in time

signatures, intervals,

melodic dictation,

musical forms, and

music audiation skills)


-Smart Board Participation

and Performance

-Unit Quiz/Test


(Aurally and Visually)

-Rating Scales

-Rubrics

-Demonstration of

Knowledge

-Application of Skills

Learned in Rehearsal to

Performance

-Music Reading

-Score Identification

Quizzes

-

Dynamics of the

Singing Voice

(Meribeth Dayme)

Tonal Harmony

(Stefan Kostka)

The Development and

Practical Approach of

Music Learning

Theory (Ed. Maria

Runfola)










Grade 7/8 Chorus


Vocal


Vocal Health

(week 1, 40 weeks)

Breath


a variety of

intermediate vocal drills

(e.g., vowel placement,

posture, breath

placement, rounds and

cannons, tone

production, facial/body

resonators, volume,

sound, vocalizing

consonants, intonation,

and singing with a

natural, as well as

healthy sound


Vowel

placement/formation,


language utilizing a

multiple of languages,

and executing a variety

of vocal drills


Sing and vocalize on

pitch, place sound in

one or more facial/body

resonators, control

breath, sing tonal


tonalities, sight reading,

sight singing using

tonal solfege, ear

training, sing various

chord progressions

Posture


sit/stand with good

vocal posture, exhibit

proper


behavior

Vocal Health

Alexander Technique,

vocal anatomy, vocal

rest, and performance



Likert-Style Rating Scales




(e.g., auralvisual

-Peer critique


-Demonstration and

knowledge

-Peer Review

-Individual/Group

Modeling

-Individual/Group

Assessment

-Benchmarks



-Self-Reflection



sight singing exam

-Tonal pattern rating scale


(e.g., aural/visual

-Concert Repertoire

Assessment

-Note Accuracy


The Choral-Warm

Up (James Jordan)

The Complete Warm-

Up Book (Jay

Althouse)

American Diction for

Singers (Geoffrey

Forward/Elizabeth

Howard)

Bel Canto: A History

of Vocal Pedagogy

(James A. Stark)

Voice and the

Alexander Technique

(Jane Heirich)

Vocal Health and

Pedagogy: Science

and Assessment

(Robert Thaye

Sataloff)




(Weeks 1, 40 Weeks)



(Weeks 1, 40 Weeks)

practice

Melody

Perform melodies

introduced in a variety

of vocal repertoire,

perform melodies with

accurate pitch

intonation, sing

melodies with focus on

two-part and/or unison

blend, chord

progressions, as well as

choral harmony and

texture


Perform and sustain

vocal parts with

intonation in relation to

other vocal parts

Harmonic Blend

Perform harmonies

created through rounds

and/or partner songs,

perform harmonies

through counterpoint,

perform harmonies

created through choral

alignment

Harmonic Blend

Vocal Warm-Ups


a variety of

intermediate vocal

drills, as well as vocal

warm-ups

Control the inspiration

and expiration of breath


consonants

Place sound in one or

more facial/body

resonators

Accurate


Flexibility/Vocal

Health/Vocal

Range/Resonators

Music Skills

Group/Individual

compositions

Music

Notation/Reading


macro/micro beat in

duple and triple meter

Time Signatures

Music Theory/Key

Signatures


-Group Sectional



-Note Accuracy

-Peer Critique

-Music Repertoire

Observation







Evaluations

-Concert Evaluation






-Peer Assessment

-PMMA Music

Aptitude/Music Audiation

Aptitude Assessment

-Written-Unit Test

(Scale/Rhythm, etc

assessment)

-Recorded Lesson

Reflection

-Testing in Trios

Singing in Style: A

Guide to Vocal

Performance

Practices (Martha

Elliott)

Tonal Harmony

(Stefan Kostka)

Advanced Measures of

Music Audiation

(Edwin E. Gordon)


(Carolynn Lindeman)

Learning Sequences in

Music: Skills, Content,

and Pattern: A Music

Learning Theory

(Edwin E. Gordon)


Practice

(Weeks 1, 40 Weeks)



Sight Singing

Singing Scales

(Multitude of tonalities)

Sight Reading/Sight

Singing a substantial

amount of music

Concert Repertoire


instruction on a variety

of concert repertoire

Vocal Modeling

Music Audiation

Tonal and Rhythmic

Patterns

Macro/Micro Beat

Music Aptitude

Develop aural skills

Concert Performance

The students will

participate in a variety

of community

performance, as well as

a Winter/Spring

Concert

Concert Etiquette

Performance practice

and music behavior

Small/Large group

performances


to professional

performances

Exposure to a large

range of music

literature from a

multitude of music

genres


vocal performances


behavior/music

listening environment

Emotion/Dynamics

Music Audiation


Sequence for Choral

Ensembles

Tonal/Rhythmic

patterns

Discrimination

Learning

Macro/Micro Beats




Evaluation


Reflection


Rubric

-Written Reflection


-Audience Feedback

-Singer Feedback


Rehearsal


-Gordon’s PMMA Music

Aptitude Test

-In-Class Observation (e.g.,

Aural/Visual)


(e.g., Improvising)

Jump Right In Series

(Edwin E. Gordon)


(Carolynn Lindeman)

Rhythmic Reading:

Elementary through

Advanced Training

(Daniel Kazez)

90 Days to Sight-

Reading Success (Stan


(Weeks 1, 40 Weeks)

NYSSMA Preparation

(Weeks 1, 40 Weeks)



Intenalization)




Readiness

Measuring students’

music aptitude

Sight Singing

Rhythmic Notation


Recognition and

identifying melodic

intervals

Perform diatonic

solfege syllables (e.g.,

do, re, mi)

Utilize Kodaly’s Hand

Signs through various

sight reading examples

in duple/triple meters,

as well as in a variety of

tonalities from a

multitude of music

genres

NYSSMA

Developing appropriate

vocal technique

Building knowledge of

rhythmic and melodic

notation

Synthesizing music

history and the style of

NYSSMA level

compositions

Self-Reflection based

on a multitude of

NYSSMA pieces

Critiquing a multitude

of vocal performances

Students will perform

for various peers, as

well as understand the

criteria being assessed

by NYSSMA

adjudicators

Cultural Music


to a wide variety of

cultural repertoire in the

classroom


to a multitude of

multicultural music

history literature

examples

Assist students in

understanding the origin

and purpose of


(Aural/Visual)

-Large Group/Small Group

Evaluation


Rubric


peers


singing exercises


Examples (I-IV)


-Self-Reflection and Self-

Assessment



-Vocal Performance


Critique

-Peer Critique and Review


-Written Unit Exams


Writing

-Discussion



McGill)

33 Two-Part Exercises

(Kodaly/Percy)

Solfege de Solfeges

(Book I-II, A.

Dannhauser)

Solfege, Ear Training,

Rhythm, Dictation,

and Music Theory: A

Complete Course

(Marta Arkossy

Ghezzo)

Building Choral

Excellence: Teaching

Sight-Singing in the

Choral Rehearsal

(Steven M. Demorest)

New York State

NYSSMA Publications

(2009)

A History of Western

Music (Donald Grout)

Accent on Composers

(Jay Althouse)



40 Weeks)


multicultural music

(e.g., composers,


instruments, vocal

production, etc).

Music Games

Playing cooperative

games in the classroom

by utilizing Smart

Board in order to


musicianship and

cooperation

Working in sectionals

and assessing students

vocal parts by peer

evaluation

Music Scores/Parts

State, identify, and

follow stanzas

State, identify, and sing

parts (e.g., Unison,Two-

Part, and three part)


dynamics, time

signatures, key

signatures, verses,

refrains, repeats,

endings, tempo

markings, phrasing,

music markings,

emotional expression

markings, form, and

musical parts)

Musicianship

Developing the

knowledge of music

notation, rhythmic

notation, texture,

identifying music

symbols, following the


differences in time

signatures, intervals,

melodic dictation,

musical forms, and



-Smart Board Participation

and Performance

-Unit Quiz/Test



-Rating Scales

-Rubrics

-Demonstration of

Knowledge



Performance

-Music Reading


Quizzes

-

Dynamics of the

Singing Voice

(Meribeth Dayme)

Tonal Harmony

(Stefan Kostka)

The Development and

Practical Approach of

Music Learning

Theory (Ed. Maria

Runfola)










High School Choir


Vocal


Vocal Health

(week 1, 40 weeks)

Breath

Memorize and execute a

variety of advanced vocal

drills (e.g., vowel placement,

posture, breath placement,

rounds and cannons, tone

production, facial/body

resonators, volume, sound,


intonation, and singing with a

natural, as well as healthy

sound


Vowel placement/formation,


language utilizing a multiple

of languages, and executing a

variety of vocal drills


Sing and vocalize on pitch,

place sound in one or more

facial/body resonators,

control breath, sing tonal


tonalities, sight reading, sight

singing using tonal solfege,

ear training, sing various

chord progressions using

solfege

Posture


sit/stand with good vocal

posture, exhibit proper


behavior

Vocal Health

Alexander Technique, vocal

anatomy, vocal rest, and

performance practice



Likert-Style Rating

Scales




(e.g., auralvisual

-Peer critique


-Demonstration and

knowledge

-Peer Review

-Individual/Group

Modeling

-Individual/Group

Assessment

-Benchmarks



-Self-Reflection



sight singing exam

-Tonal pattern rating

scale


(e.g., aural/visual

-Concert Repertoire

Assessment

-Note Accuracy


The Choral-Warm

Up (James Jordan)

The Complete

Warm-Up Book

(Jay Althouse)

American Diction

for Singers

(Geoffrey

Forward/Elizabeth

Howard)

Bel Canto: A

History of Vocal

Pedagogy (James

A. Stark)

Voice and the

Alexander

Technique

(Jane Heirich)

Vocal Health and

Pedagogy: Science

and Assessment

(Robert Thaye

Sataloff)




(Weeks 1, 40 Weeks)



(Weeks 1, 40 Weeks)

Melody

Perform melodies introduced

in a variety of advanced

vocal repertoire, perform

melodies with accurate pitch

intonation, sing melodies

with focus on SATB blend,

chord progressions, as well

as choral harmony and

advanced texture (like fugue)


Perform and sustain vocal

parts with intonation in

relation to other vocal parts

Harmonic Blend

Perform harmonies created

through four part solfege,

perform harmonies through

counterpoint, perform

harmonies created through

choral alignment

Harmonic Blend

Vocal Warm-Ups

Memorize and execute a

variety of vocal drills, as well

as vocal warm-ups

Control the inspiration and

expiration of breath


consonants

Place sound in one or more

facial/body resonators

Accurate


Flexibility/Vocal

Health/Vocal

Range/Resonators

Music Skills

Group/Individual

compositions

Music Improvisation

Readiness

Music Notation/Reading


macro/micro beat in duple

and triple meter

Time Signatures

Music Theory/Key

Signatures


Sight Singing

Singing Scales (Multitude of

tonalities)

Sight Reading/Sight Singing

a substantial amount of

advanced choral literature

-Group Sectional



-Note Accuracy

-Peer Critique

-Music Repertoire

Observation


-Instructional

Observation


-Likert-Style Rating

Scales



Evaluations

-Concert Evaluation






Scales

-Peer Assessment

-PMMA Music

Aptitude/Music

Audiation Aptitude

Assessment

-Written-Unit Test

(Scale/Rhythm, etc

assessment)

-Recorded Lesson

Reflection

-Testing in Trios

Singing in Style: A

Guide to Vocal

Performance

Practices (Martha

Elliott)

Tonal Harmony

(Stefan Kostka)

Advanced

Measures of Music

Audiation (Edwin

E. Gordon)

Benchmarks in

Action (Carolynn

Lindeman)

Learning

Sequences in

Music: Skills,

Content, and

Pattern: A Music

Learning Theory

(Edwin E. Gordon)


Practice

(Weeks 1, 40 Weeks)




(Weeks 1, 40 Weeks)

Concert Repertoire


instruction on a variety of

level IV or above concert

repertoire

Vocal Modeling

Music Audiation

Tonal and Rhythmic Patterns

Music Aptitude

Develop aural skills

Concert Performance

The students will participate

in a variety of community

performance, as well as a

Winter/Spring Concert

Concert Etiquette

Performance practice and

music behavior

Small/Large group

performances

Acculturating students to

professional performances

Exposure to a large range of

music literature from a

multitude of music genres


vocal performances


behavior/music listening

environment

Emotion/Dynamics/style

Music Audiation


Sequence for Choral

Ensembles

Tonal/Rhythmic patterns

Discrimination Learning

Macro/Micro Beats



Intenalization)




Readiness

Measuring students’ music

aptitude

Sight Singing

Rhythmic Notation


Recognition and identifying

large melodic intervals

Perform diatonic solfege

syllables (e.g., do, re, mi)


Evaluation


Reflection


Rubric

-Written Reflection


-Audience Feedback

-Singer Feedback


Rehearsal


Scales

-Gordon’s PMMA Music

Aptitude Test


(e.g., Aural/Visual)


(e.g., Improvising)

-Instructional

Observation

(Aural/Visual)

-Large Group/Small

Group Evaluation


Rubric


peers


singing exercises

Jump Right In

Series (Edwin E.

Gordon)

Benchmarks in

Action (Carolynn

Lindeman)

Advanced

Measures of Music

Audiation (Edwin

E. Gordon)

Rhythmic Reading:

Elementary

through Advanced

Training (Daniel

Kazez)

90 Days to Sight-

Reading Success

(Stan McGill)

33 Two-Part

Exercises

(Kodaly/Percy)

NYSSMA Preparation

(Weeks 1, 40 Weeks)



Utilize Kodaly’s Hand Signs

through various sight reading

examples in duple/triple

meters, as well as in a variety

of tonalities from a multitude

of music genres

NYSSMA

Developing appropriate vocal

technique

Continuing to build

knowledge of rhythmic and

melodic notation

Synthesizing music history

and the style of NYSSMA

level compositions

Self-Reflection based on a

multitude of NYSSMA

pieces

Critiquing a multitude of

vocal performances

Students will perform for

various peers, as well as

understand the criteria being

assessed by NYSSMA

adjudicators

Cultural Music

Acculturating students to a

wide variety of cultural

repertoire in the classroom

Acculturating students to a

multitude of multicultural

music history literature

examples

Assist students in

understanding the origin and

purpose of multicultural

music (e.g., composers,


instruments, vocal

production, etc).


Examples (I-IV)


-Self-Reflection and

Self-Assessment



-Vocal Performance


Critique

-Peer Critique and

Review


Scales

-Written Unit Exams


Writing

-Discussion



Solfege de Solfeges

(Book I-II, A.

Dannhauser)

Solfege, Ear

Training, Rhythm,

Dictation, and

Music Theory: A

Complete Course

(Marta Arkossy

Ghezzo)

Building Choral

Excellence:

Teaching Sight-

Singing in the

Choral Rehearsal

(Steven M.

Demorest)

New York State

NYSSMA

Publications

(2009)

A History of

Western Music

(Donald Grout)

Accent on

Composers (Jay

Althouse)



40 Weeks)


Music Games

Playing cooperative games in

the classroom by utilizing

Smart Board in order to


musicianship

Working in sectionals and

assessing students vocal parts

by peer evaluation

Music Scores/Parts

State, identify, and follow

stanzas

State, identify, and sing parts

(e.g., Unison and Two-Part)


dynamics, time signatures,

key signatures, verses,

refrains, repeats, endings,

tempo markings, phrasing,

music markings, emotional

expression markings, form,

and musical parts)

Musicianship

Developing the knowledge of

music notation, rhythmic

notation, texture, identifying

music symbols, following the


differences in time

signatures, intervals, melodic

dictation, musical forms, and



-Smart Board

Participation and

Performance

-Unit Quiz/Test



-Rating Scales

-Rubrics

-Demonstration of

Knowledge



Performance

-Music Reading


Quizzes

-

Dynamics of the

Singing Voice

(Meribeth Dayme)

Tonal Harmony

(Stefan Kostka)

The Development

and Practical

Approach of Music

Learning Theory

(Ed. Maria

Runfola)

Developing

Musicianship

through

Improvisation

(Edwin E. Gordon)




Grade 4 Band

Content Skills Books & Materials

Rehearsal Routines and Practices Tone Production

Rehearsal Routines Warmup – articulations, dynamics, in the form of a scale. Performance – Playing music in a band or sectional. Follow the conductor. Group etiquette. Instrument Care Parts of the instrument Instrument care and Maintenance of the instrument Tone Production Embouchure formation Breathing Tone/sound production Percussion… stick hold

Rehearsal Routines Play a Bb concert scale short or long, soft or loud. Be able to stop and start and play loud and soft as the conductor prompts. To engage in band and sectionals in a constructive manner. Instrument Care Be able to name the parts of the instrument. Be able to perform the operations to keep the instrument in proper playing condition. Tone Production Demonstrate embouchure formation with lips and teeth in the right place. Breathe and blow air through the instrument while maintaining the embouchure. Hit the drum with the correct bounce.

Accent on Achievement Book 1 and/or Book 2. Various ensemble pieces.

Beginning Musician- ship

Beginning Musicianship Recognition of basic music symbols including; staff, clef, key signature, time signature, bar lines, double bar lines, key signature, repeat sign. Counting rhythms and pitches accurately (whole, half, and quarter note). Play pitches accurately (notes in the Bb concert scale. Scales: Bb concert scale. Dynamics; forte, piano,

Beginning Musicianship Be able name the various symbols including; staff, clef, key signature, time signature, bar lines, double bar lines, key signature, repeat sign. Be able to play accurately whole, half and quarter notes. Be able to play songs that include notes in the Bb concert scale. Be able to play the Bb concert scale. Be able to name and play the dynamics of forte and piano.




Grade 5 Band

Content Skills Books & Materials

Rehearsal Routines and Practices Tone Production

Rehearsal Routines Schedules of lesson days and day of before school band rehearsal. Preparedness Conductor’s rules regarding: Behavior Cut-offs Verbal/Non-verbal instructions Home Practice Minimum: 20 minutes per day 5 times per week. Balance Melody and harmony Primary importance of melody. Tone Production Proper posture and breath support create a good, full tone.

Rehearsal Routines Arrive at lessons and rehearsals on time. Be prepared with music, instrument and equipment needed to play it on the correct day. Quickly and efficiently assemble their instrument and related materials, and be seated in the proper section. Follow the conductor’s rules. Home Practice Perform the appropriate scales, technique exercises, and band music. Balance Actively listen to the band you are playing in. Distinguish between a melody and harmony part and adjust volume accordingly. Tone Production Perform band music and technique exercises using proper posture and breath support.

Accent on Achievement Book 1 and/or Book 2. Various ensemble pieces.

Beginning Musician- ship

Notes and Rhythm Counting quarter notes and rests. Counting eighth notes and rests. Counting dotted quarter notes and rests. Each tap represents one beat Dynamics Meaning of basic dynamic markings.

Notes and Rhythm Put in counting on given piece of music. Say counting and clap rhythm on a given piece of music. Play accurate rhythms on an instrument. Tap foot in time to the beat of a song. Dynamics Demonstrate the proper execution of dynamics on their instrument.




Grade 6 Band


Rehearsal Routine and Practice Tone Production Musicianship

Rehearsal Routine Preparedness Conductor’s Rules

- Behavior - Cut-offs - Verbal/non-verbal

instructions Instrument Care How to clean an instrument Proper care of instruments, such as reed care, oiling of valves, cleaning of mouthpieces, etc. Balance Melody and harmony Primary importance of harmony. Pyramid of Sound Tone Production Begin to actively listen to the tone of an instrument Begin to produce good clear tone Play improved tone during band rehearsals and lessons Intonation Playing in tune with another instrument Tighten or loosen embouchure accordingly. Notes and Rhythms Counting sixteenth, eighth, quarter, half, whole notes and rests.

Close visual and aural observation by instructor during band rehearsals and group lessons

Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band music before winter and spring concerts. Band final given at end of year. Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band

Essential Elements Book 1 and 2 Various Band music and solos that highlight skills needed to be learned.

125 days to exceptional sight reading

Counting dotted half and quarter notes and rests Say counting and clap rhythms on a given piece of music to a steady beat. Play accurate rhythms such as quarter, half, whole, dotted quarter notes in any combination on their instrument with steady beat. Dynamics Understand the meaning of dynamic markings. Demonstrate the proper execution of dynamics on their instrument. Key Signature Know the key of their own instrument and be able to relate it to concert pitch. Identify the location of the key signature in any given piece of music. Play the correct pitches in key signatures up to three flats and three sharps. Time Signature Identify the location of the time signature in any given piece of music. Be able to play in 4/4, ¾, and 2/4 time signatures with confidence. Begin to learn 6/8 and 2/2 time signatures. Note Names and Fingerings Identify note names quickly and accurately for their instrument. Be able to connect note names with fingerings on their instrument. Scales Be able to play scales up to three flats and three sharps. Scales should be played at quarter note = 100

music and other music concepts at the end of every marking period. Band final given at end of year.




Grade 7/8 Band




- Behavior

- Cut-offs

- Verbal/non-verbal

instructions

Instrument Care How to clean an instrument Proper care of instruments, such as reed care, oiling of valves, cleaning of mouthpieces, etc. Balance Melody and harmony Primary importance of harmony. Pyramid of Sound Tone Production Begin to actively listen to the tone of an instrument Begin to produce good clear tone Play improved tone during band rehearsals and lessons Intonation Playing in tune with another instrument Tighten or loosen embouchure accordingly. Notes and Rhythms Counting sixteenth, eighth, quarter, half, whole notes


Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band music before winter and spring concerts. Band final given at end of year. Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band music before winter and spring concerts.

Essential Elements Book 2 Standard of Excellence Book 2 Various Band music and solos that highlight skills needed to be learned. Scale and Arpeggio Workbook Remington Warm – Ups Chorales and Warm –ups for Band by R. Smith

and rests. Counting dotted half and quarter notes and rests. Play and count syncopated rhythms of medium difficulty. Play eighth notes with a “swing feel” when appropriate. Say counting and clap rhythms on a given piece of music to a steady beat. Play accurate rhythms on their instrument with steady beat. Dynamics Understand the meaning of dynamic markings Demonstrate the proper execution of dynamics on their instrument. Key Signature Know the key of their own instrument and be able to relate it to concert pitch. Identify the location of the key signature in any given piece of music. Play the correct pitches in key signatures up to four flats and four sharps. Time Signature Identify the location of the time signature in any given piece of music. Understand and be able to play in 4/4, ¾, 2/4, 2/2, and 6/8 time. Note Names and Fingerings Identify note names quickly and accurately for their instrument. Be able to connect note names with fingerings on their instrument. Scales Be able to play 7 concert scales and 2 octave chromatic scale. Quarter note = 120

Band final given at end of year.




High School Wind Ensemble




- Behavior - Cut-offs - Verbal/non-verbal

instructions Instrument Care How to clean an instrument Proper care of instruments, such as reed care, oiling of valves, cleaning of mouthpieces, etc. Balance Melody and harmony Primary importance of harmony. Pyramid of Sound Tone Production Actively listen to the tone of an instrument Produce good clear tone Play improved tone during band rehearsals and lessons Intonation Playing in tune with another instrument Tighten or loosen embouchure accordingly. Have the ability to fix any intonation problems accordingly.


Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band music before winter and spring concerts. Band final given at end of year. Close aural observation by instructor during band rehearsals and lessons Playing quiz given on band music and basic music concepts at the end of every

Essential Elements Book 3 Supplemental materials for each instrument Various Band music and solos that highlight skills needed to be learned.

Circle of Fourths Sheet 66 Famous & Festive Chorales for Band by Frank Erickson 125 days to exceptional

Notes and Rhythms Counting sixteenth, eighth, quarter, half, whole notes and rests. Counting dotted half and quarter notes and rests. Counting syncopation, jazz rhythms and “odd” rhythm sequences. Say counting and clap rhythms on a given piece of music to a steady beat. Play accurate rhythms on their instrument with steady beat. Dynamics Understand the meaning of dynamic markings Demonstrate the proper execution of dynamics on their instrument. Key Signature Know the key of their own instrument and be able to relate it to concert pitch. Understand and be able to play through the circle of fourths starting on any concert key. Identify the location of the key signature in any given piece of music. Play the correct pitches in all key signatures. Time Signature Identify the location of the time signature in any given piece of music. Understand how to play in any time signature given in any piece. Understand sudden tempo and meter changes and where the steady beat lies.

marking period. Band final given at end of year.

sight reading Supplemental materials appropriate for each instrument, such as NYSSMA solos, duets, trios, etc. Ed Sueta rhythm sheets.

Note Names and Fingerings Identify note names quickly and accurately for their instrument. Be able to connect note names with fingerings on their instrument. Scales Be able to play all 12 Major scales at quarter note = 120 Be able to play the chromatic scale at quarter note = 120 Understand and be able to play all minor scales at quarter note= 120 Understand the concept of chords and intervals and be able to relate it to all learned scales.

Grades 4 – 6 Orchestra


Standard 1: Performance: Students will develop growth in singing and playing music by acquiring self-discipline, working collaboratively, utilizing problem-solving skills and applying technique specific to increasingly challenging musical literature. Standard 2: Literacy: Students will learn to understand music notation, which is essential to musical literacy. Standard 3: Analysis: Students will learn to critically listen, describe, analyze, and evaluate music as an expressive art form. Standard 4: Creativity: Students will explore, connect concepts, communicate thoughts and ideas and apply higher level thinking skills through the creative process of composition and improvisation. Standard 5: Making Connections: Students will study music’s relationship to

society, the other arts, all curricular areas outside the arts, history, and culture.

4th

GRADE

INSTRUMENTAL SKILLS ORCHESTRAL

SKILLS

THEORY

SKILLS

ASSESSMENT

Position:

Violin: I

Viola: I

Cello: I

Bass: I, III, IV (shifting)

Meter: simple Key

Signature: G,

C, D

Individual and Group

Assessment of

performance on select

repertoire, scales, and

technique

Memorization Harmony: unison

violins, mostly

orchestral unison,

simple harmony

Time

Signature:

2/4, ¾, 4/4

Spring Concert

Correct Bow and Instrument Hold

Violin.Viola: Outside Bow Hold

Dynamics: limited

range

Musical

Terminology:

repeat signs,

DC al Coda,

DC al Fine,

fermata, 1st

and 2nd

endings,

ritard,

downbeat, up

bow, down

bow, circle

Self, peer, teacher

assessment/evaluation

Scales: Open string scales, finger

placement on markers

Basic sight-

reading

Dynamic

Terminology:

forte, piano,

crescendo,

decrescendo

“Funny Fingers”:

Violin/Viola: low 2

Cello: 2 instead of 3

Bass: 2 instead of 4

(scales and repertoire to reflect

these fingers.)

Ensemble Playing Note

Reading: I

position

(Bass through

IV position)

Articulation: staccato, martele,

detache, accents, legato

String

Terminology:

pizzicato,

arco

Rhythm: quarter, eighth, half,

whole, sixteenth, triplet, rests,

sense of meter and steady beat

Clap, speak,

identify

simple

rhythmic

patterns

Parts of Instrument Interpreting

Conductor

5th

GRADE

INSTRUMENTAL

SKILLS

ORCHESTRAL

SKILLS

THEORY

SKILLS

ASSESSMENT

“Funny Fingers”:

Violin/Viola: high 3

Cello: Extensions

Bass: ½ position

Harmony: Simple,

Violin I and II

Dynamics:

mp, mf, pp, ff


Assessment of



technique

Introduction to Tuning Key

Signature: A,

E

Winter Concert

Rhythm: dotted rhythmic

figures

“Funny Fingers:”

Violin/Viola: low

2

Cello: 2 instead of

3

Bass: 2 instead of

4

Time

Signature:

Spring Concert

Correct Bow and

Instrument Hold:

Violin/Viola: Inside Bow

Hold

Dynamics:

Greater Range

Accidentals Self, peer, teacher


Bowing Technique: Slurs Basic Sight-

reading

Continuation

of Note

Reading: I

position (Bass

through IV

position)

Basic understanding of Basic Music

Proper Instrument

Care/Maintenance/Storage

Rest Position Tempo

Markings:

Andante,

Allegro,

Moderato

Pizzicato

Correct Bowing Technique

Correct Finger Placement

Production of Tone: correct use of

bow speed, weight, distribution,

placement

Learn independent practice skills

Rest Position

Intonation Awareness

phrase structure understanding of

phrase structure

Terminology:

pick-up

6th

GRADE

INSTRUMENTAL

SKILLS

ORCHESTRAL

SKILLS

THEORY

SKILLS

ASSESSMENT


Violin/Viola: low 1,

low, 4, high 4

Cello: low 1


Violin: high 3, low 1

Viola: high 3, low 1

Cello: extensions

Bass: ½, II, III, IV

(shifting)

Key

Signature: F,

Bb, Eb. A

minor, E

minor


Assessment of



technique

Shifting:

Violin: III pos.

Viola: III pos.

Cello: III pos.

Bass: II pos.

Harmonies: more

complex

Time

Signature:

Winter Concert

Wrist Vibrato:

introduction

Sight-reading Note Reading:

I-III position

(Bass through

IV position)

Spring Concert

Articulation: spiccato Historical/Cultural

Awareness

Self, peer, teacher


Rhythm: syncopation Playing Exam




Grade 7/8 Orchestra

Skills Assessment Books & Materials Technique

Instrument Set-Up

· properly adjusts instrument

· positions instrument at proper

angle

· uses rest position

Left Hand Position

· positions thumb accurately

· makes “C” shape with hand

· positions and balances arm and

wrist

· positions all fingers over

fingerboard

· prepares finger and bow for next

note, then waits to play.

· uses no tension in grip or joints

Bow

·correctly positions middle

fingers and thumb

· has a curved pinky

· bow is parallel to the bridge

· uses no extra tension in grip or

joints

· wrist is slightly arched

· silent string crossings

Posture

· standing/sitting straight

·sitting on edge of chair (cellists)

· straight right arm (bassists)

· holding head up

·Close visual and aural

observation by instructor

during orchestra rehearsals and

group lessons.

· Individual playing examination

at end of first and third

quarter (week 10 and week 30)

· Winter and Spring

concert performances (week

(15 and week 35)

· NYSSMA Solo and Ensemble

Festival (week 30)

·Concert repertoire selected

by instructor

·Solo repertoire selected

from NYSSMA Manual

XXIX

· Select exemplary

recordings and video

performances by

professional ensembles.

Ensemble

Performance

Rhythm

Intonation

Tone Production

Musicianship

Music History

· Engage in proper conduct

during rehearsals.

·Learn to follow conductor

Properly , while at the same

time reading their music.

· Learn to evaluate intonation,

tone quality,

balance and dynamics.

·Learn sight -reading skills using

different key signatures and time

signatures.

· demonstrate a practical

knowledge of sound production

and architectural acoustics.

· evaluate the quality of their own

musical performances and offer

constructive suggestions for

improvement.

Learn to accurately count various

different rhythms such as eighth

notes, quarter notes, dotted

quarter notes, sixteenth notes as

well as rests of the same value.

Demonstrate basic understanding

of different meters.

Students will continue to develop

a good sense of intonation:

-Listen ,evaluate and adjust notes

as needed when playing in a solo

situation

-Listen , evaluate and adjust notes

as needed while playing in an

ensemble situation

Students will actively listen to

their tone production and strive to

produce a clean, warm tone.

-Students learn phrasing

-articulation, dynamics,

expression , style

-artistry at an intermediate level.

Students will learn to perform

using different styles of music

pertaining to different musical

eras such as baroque,classical,

romantic and contemporary.




High School Orchestra

Skills Assessment Books & Materials Technique

(Week 1, 40 Weeks)

Instrument Set-Up

· properly adjusts instrument

· positions instrument at proper

angle

· uses rest position

Left Hand Position

· positions thumb accurately

· makes “C” shape with hand

· positions and balances arm and

wrist

· positions all fingers over

fingerboard

· prepares finger and bow for next

note, then waits to play.

· uses no tension in grip or joints

Bow

·correctly positions middle

fingers and thumb

· has a curved pinky

· bow is parallel to the bridge

· uses no extra tension in grip or

joints

· wrist is slightly arched

· silent string crossings

Posture

· standing/sitting straight

·sitting on edge of chair (cellists)

· straight right arm (bassists)

· holding head up

Shifting

· All string students should shift

comfortably to all positions,

including thumb position for

cello and bass.

Vibrato

· All string students should

continue to develop a controlled

vibrato with a physical and

musical awareness regarding

appropriate wide/ narrow usages.



during orchestra rehearsals and

group lessons.






(15 and week 35)


Festival (week 30)


by instructor


from NYSSMA Manual

XXIX

·Select exemplary recordings

and video performances by


Ensemble

Performance

(Week 1, 40 Weeks)

Rhythm

(Week 1, 40 Weeks)

Tone Production

(Week 1, 40 Weeks)

Musicianship

(Week 1, 40 Weeks)

· Rehearsal etiquette

· Respond to the expressive

cues of a conductor’s

instructions, various beat

patterns and gestures.

· Advanced listening for phrasing,

intonation, tone quality, balance

and dynamics.

· Advanced sight-reading skills in

various key signatures and time

signatures (including mixed

meter).

· Compare and analyze multiple

interpretations of the same piece.

· Demonstrate a practical

knowledge of sound production

and architectural acoustics.

· Evaluate the quality of their own

musical performances and offer

constructive suggestions for

improvement.

· Demonstrate mastery of steady

pulse by performing at varied

tempos with a metronome or

rhythm accompaniment

· Read a wide variety of rhythms

in simple, complex and mixed

meters in the proper style being

performed.

· Demonstrate a consistent,

focused, clear sound throughout

the range of the instrument.

· Perform with consistent,

sensitive phrasing in the style

of music being played.

· All articulation markings

(including staccato, legato, slur,

accents, etc.) are executed

accurately as directed by the

score and/or conductor.

· Dynamics are performed in an

obvious, consistent and accurate

interpretation of the style of

music being performed.

· Music is performed with

expression and style in response

to the score and conductor/

student interpretation.



during orchestra rehearsals



(15 and week 35)

·Close aural observation by

instructor during orchestra

rehearsals and group lessons.






(15 and week 35)


Festival (week 30)

·Close aural observation by

instructor during orchestra

rehearsals and group lessons.






(15 and week 35)


Festival (week 30)


by instructor

· Select exemplary

recordings and video

performances by



by instructor


from NYSSMA Manual

XXIX

· Sight-reading excerpts

provided by instructor.


by instructor


from NYSSMA Manual

XXIX

Music Theory

(Week 1, 40 Weeks)

Music History

(Week 1, 40 Weeks)

· Perform fifteen major scales in

two octaves.

· Analyze and perform an

unfamiliar piece of music and be

able to identify the key signature,

time signature, notes, rhythms,

articulations and dynamics within

an allotted period of time

(approx.. 1-2 minutes).

· Analyze the basics of binary,

ternary, variation and rondo

forms and be able to perform.

· Analyze the basics of binary,

ternary, variation and rondo

forms and be able to perform.

· Be able to improvise a melody

in a given key in a jazz or blues

style.

· Students will perform music

from various musical periods

including baroque, classical,

romantic and contemporary as

well as multicultural, jazz,

Broadway and rock genres.

· Students will study the

significant composers/geographic

origins of each musical genre

listed above as well as its

relationship to society, the other

arts, all curricular areas outside


Individual playing examination

at end of third quarter (week

30)


Festival (week 30)



(15 and week 35)

·Scale sheet provided by

instructor

· Sight-reading excerpts

provided by instructor.


by instructor


from NYSSMA Manual

XXIX

port jefferson school district music scope and … and fine arts/music... · port jefferson school...

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