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ROCKWOOD

SCHOOL

DISTRICT

BAND CURRICULUM

GRADES 6 – 12

“We do whatever it takes to ensure all students realize their potential”

Approved by Rockwood School District Board of Education

May 11, 2006

Revised February, 2008

Revised November 21, 2009

Revised March 10, 2010

1

Index

Rockwood School District Mission Statement ..............................................................4

Rockwood School District Learner Expectations ..........................................................5

Differentiation ................................................................................................................6

Basis and Essential Skills / Equity in Band/ MSIP Codes .............................................7

Data Driven Teaching Learning Model .........................................................................8

Band Rationale ...............................................................................................................9

Band Goals for Graduates ............................................................................................10

Implementation Guidelines .........................................................................................11

Expectations for Band Performance ............................................................................12

Care of Band Instruments .......................…………………………………………….12

Core Conceptual Objectives for Grades 6-12 .........………………………………….13

Band Scope and Sequence ...........................................................................................14

Middle School Band Curriculum .................................................................................26

Middle School Band Course Map ................................................................................27

Middle School Band Course Description Guide ..........................................................28

Grade Six Beginning Band ..........................................................................................29

Grade Seven Cadet Band .............................................................................................57

Grade Eight Concert Band ...........................................................................................78

High School Band ........................................................................................................99

High School Band Course Map .................................................................................100

High School Band Course Description Guide ...........................................................101

High School Concert Band ........................................................................................104

High School Symphonic Band ...................................................................................127

High School Jazz Band ..............................................................................................148

High School Guitar I ..................................................................................................170

High School Guitar II.................................................................................................194

Weighted Grade Advanced Placement Music Theory ...............................................218

Appendix ....................................................................................................................229

Fine Arts Resource Selection Evaluation Checklist ..................................................230

Rockwood Writing Guidelines ..................................................................................232

Missouri Show-Me Standards ....................................................................................235

Integrated Fine Arts Vocabulary ................................................................................243

Graphic Organizers ....................................................................................................252

Attendance Procedure for Secondary Music Programs .............................................264

2

ACKNOWLEDGEMENTS

The writing team gratefully acknowledges those parents, patrons, students, teachers,

and administrators who provided direction and feedback to the document at every stage

of its development.

Arts Curriculum Committee In-depth Study 2005/06

Middle School Writing Committee Band Teachers Lisa Blumhagen, Marvin Medcalf, John Menner

High School Writing Committee Band Teachers John Arata, Traci Bolton, Brad Balog, Matt Frederickson, Stan Minor, Scott Villines

Parent Review Committee

Toni Disano – Marquette High School

Donna Miller – Rockwood Summit High School

Usha Natarajan – Eureka High School

Janice Serati – Rockwood South Middle School

Mary Willis – Rockwood Valley Middle School

Student Review Committee

Luci Disano – Marquette High School

Shyam Natarajan – Eureka High School

Claire Serati – Rockwood South Middle School

Matt Willis – Rockwood Valley Middle School

Department of Curriculum and School Leadership

Dr. Kathy Peckron – Acting Superintendent

Dr. Cheryl Venet – Coordinator of Fine Arts

Support Staff

Mary Hunt – Fine Arts Department Secretary

3

ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT

All students, with support from the community, parents, and staff, will be provided a dynamic

curriculum within a safe and caring environment so they will develop the skills, abilities, and

attitudes to be lifelong learners and citizens of good character who are prepared to contribute to

an ever-changing, global society.

4

ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS

ROCKWOOD STUDENTS

ARE LEARNERS:

•With positive self-worth •Who demonstrate critical

skills. thinking and problem-solving skills

in all areas.

•Who demonstrate verbal, •Who demonstrate the

quantitative, cultural, and adaptability necessary for

technical literacy. life in a changing world.

•Who can utilize community •Who think and express

resources to foster continual themselves creatively and

growth and development. appreciate the creativity of

others.

•With skills and attitudes •Who have a broad

necessary to become self- familiarity with the world

directed, life-long learners. of work to develop and

enhance their career

potentials and opportunities.

•Who understand the value of •Who understand and

effort in realizing their full appreciate the elements

educational, vocational, civic, and principles of the arts

and personal potential. and their influence on all areas

of life.

•Who understand the principles •Who understand and

of physical and emotional demonstrate individual, social,

health and the importance of and civic responsibility, including

maintaining them. a global concern, tolerance, and

respect for others.

•With effective skills in written •Who demonstrate individual

and oral communication. and social ethics.

5

DIFFERENTIATION

The Band Department in the Rockwood School District recognizes that differentiation is an

important process that teachers use to enhance the learning of all students, building on their

individual strengths and level of knowledge. The Band Curriculum was written to facilitate the

incorporation of Differentiation strategies to enhance student learning. The Facilitating

Activities of each course provide flexibility to address the individual learning needs of all

students.

The chart below provides a comparison between the traditional classroom and the Differentiated

Classroom.

Traditional Classroom Differentiated Classroom

Student differences are masked or acted

upon when problematic

Assessment is most common at the end of

learning to see ―who got it‖

A relatively narrow sense of intelligence

prevails

A single definition of excellence exists

Student interest is infrequently tapped

Relatively few learning profile options are

taken into account

Whole-class instruction dominates

Coverage of texts and curriculum guides

are the focus of learning

Mastery of facts and skills out-of-context

are the focus of learning

Single option assignments are the norm

Time is relatively inflexible

A single text prevails

Single interpretations of ideas and events

may be sought

The teacher directs student behavior

The teacher solves problems

The teacher provides whole-class standards

for grading

A single form of assessment is often used

Student differences are studied as a basis

for planning

Assessment is ongoing and diagnostic to

understand how to make instruction more

responsive to learner need

Focus on multiple forms of intelligence is

evident

Excellence is defined in large measure by

individual growth from a starting point

Students are frequently guided in making

interest-based learning choices

Many learning profile options are provided

for students

Many instructional arrangements are used

Student readiness, interest, and learning

profile shape instruction

Use of essential skills to make sense of and

understand key concepts and principles is

the focus of learning

Multi-option assignments are frequently

used

Time is used flexibly in accordance with

student need

Multiple materials are provided

Multiple perspectives on ideas and events

are routinely sought

The teacher facilitates students‘ skills at

becoming more self-reliant learners

Students help other students and the

teacher solve problems

Students work with the teacher to establish

both whole-class and individual learning

goals

Students are assessed in multiple ways

6

BASIC AND ESSENTIAL SKILLS

BASIC SKILLS

Those skills which lay the basis/foundation for all future learning:

Reading

Writing

Math

Problem solving

Working with others

Analytical skills

Effective communication

ESSENTIAL SKILLS

Those skills which are vital to future learning (specific to each content area):

Specific skills listed by grade level/course

Scope/sequence

Critical to mastery of the course

Equity in Teaching Band

Band teachers create a positive classroom environment in which all students are accepted and

taught mutual respect. Teachers model sensitivity to differences in race, gender, ethnicity, and

ability/disability.

Teachers use a variety of teaching styles consistent with the learning styles of the cultural and

ethnic groups represented in their classrooms. This principle is not different from the principle

of accommodating a wide variety of learning styles. Different racial, ethnic, and cultural groups

have different learning styles and competent teachers provide for these learning styles as well as

other special learning needs in multicultural settings.

MSIP CODES

In order to promote equity, the Rockwood Department of Curriculum and School Leadership

uses the following codes to identify equity, use of technology, and research skills in all

curriculum documents:

GE = Gender Equity

RE = Racial/Ethnic Equity

T = Technology Skills

R = Research/Information Processing

All content and skills of a curriculum document are classified as either

BASIC or ESSENTIAL according to the definitions set forth by the Rockwood

Curriculum and Instruction Department.

7

Departm ent of C urriculum and School Leadership

Rockw ood School D istrict 2004

8

ROCKWOOD BAND RATIONALE

The Rockwood band program provides the opportunity for students to develop the

technical performance skills, knowledge, and understanding of music necessary to make

music a part of their lives. Students will develop the critical thinking skills at every level

of band education, which will enable them to appreciate music on an independent level

throughout life. The critical thinking developed through band training will enhance the

development of thinking skills needed in other academic areas.

The band program assists students in developing knowledge of our musical heritage,

which is necessary to become a discerning listener and/or performer. Students learn to

make knowledgeable and discriminating judgments about the music that they hear.

Training received in the Rockwood band program will enable the students to feel

confident in their abilities to be a part of the community as amateur performers. They

will be prepared, should they choose music as a career, to enter a professional training

program in a college or conservatory. Aesthetic education gained throughout all levels of

participation in the program will enhance the individual‘s appreciation of the arts for life.

9

ROCKWOOD BAND GOALS FOR GRADUATES

Graduates of the Rockwood Band Program will:

Recognize through aesthetic awareness that music is a part of all humanity.

Acquire skills necessary for life-long music learning and application.

Prepare and present a musically proficient performance, alone or in an ensemble.

Make knowledgeable and discriminating judgments about music.

Enjoy and appreciate musical performances within their historical and cultural context.

10

IMPLEMENTATION GUIDELINES AND EXPECTATIONS

This document is externally aligned with the Missouri Show-Me Standards. There is

internal alignment between the objectives, facilitating activities, and assessments.

Teachers follow the Rockwood Data-Driven Teaching and Learning Model which is on

page 8 of this curriculum guide.

The band curriculum presents broad, recurring Core Conceptual Objectives (CCOs) along

with the specific, essential content and process skills taught at each grade or course level.

Teachers pre-assess to determine students‘ prior knowledge, and then differentiate

instruction to provide appropriate challenge for each student. The essential content and

skills are presented in student-friendly language as Learning Targets of daily instruction.

Essential Understandings place student learning in the context of life beyond schooling.

Facilitating Activities and Differentiation Suggestions offer teachers various models for

teaching the knowledge and skills. Teachers are expected to give students specific

formative feedback during the learning process. Students and teachers use Scoring

Guides to describe and improve student achievement. Required Application Level

Assessments (ALAs) provide evidence of student learning.

This is a living, changing, document that will be reviewed and revised annually. Teacher

feedback is essential to this process. Therefore, teachers are encouraged to record

observations and comments about the curriculum as well as ideas for additions and

deletions. Throughout the course of the year, teachers should document demonstrations

of each ALA to be used in the refinement of scoring guides and the development of

consistent scoring.

11

Expectations for Band Performance, Grades 6-12

Students will:

Wear appropriate concert attire as prescribed by director

Arrive promptly at designated time

Bring instruments, music and any other required equipment

Demonstrate proper concert etiquette: (HC 1E)

Be seated and ready to play

Listen to others play

Do not chew gum

Do not talk

Follow conductor‘s directions, cues, and baton (PP 2E)

Watch/listen to other players (PP 1, AP 2)

Expectations for Care of Band Instruments, Grades 6-12, GLE PP 2A

Students will handle, clean, and store the instrument by properly:

Cleaning out all condensation from body and mouthpiece of instrument

Keeping all corks, slides, valves, and other moving parts clean and lubricated

Removing from and replacing the instrument in its case

Cleaning and polishing the instrument

Keeping the instrument in good repair and playing condition with all moving parts

in good working order

12

CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 BAND

Core Conceptual Objectives in the band curriculum remain constant for grades 6-12

while content knowledge and techniques spiral to provide continuous refinement of basic

music skills. Components of musical performance can be demonstrated at levels ranging

from novice through professional. The Scope and Sequence Chart illustrates the way in

which knowledge and technical skills build within each CCO. Teachers select music

literature that is matched to levels of proficiency as the vehicle for student growth in

reading skills and performance skills of tone-intonation, technique-articulation, and

expression-musicianship. The level of difficulty is determined by the repertoire chosen at

each grade level. Asterisks indicate alignment with Show-Me Standards for Missouri

Schools.

Core Conceptual Objectives:

I. Students will demonstrate instrumental music performance skills (expression,

technique, repertoire, imitation, group playing, improvisation, and composition) through

a varied repertoire.

GLE: PP 2A-E, PP3, PP4, grades 6-12

A. Performance Skills *FA1, FA2, G2.5, G4.6

II. Students will apply knowledge and skills to read and notate music.

GLE: EM 1A-E, grades 6-12

A. Elements of Music *FA1, FA2, G2.5, G1.5

III. Students will analyze and evaluate music and musical performances.

GLE: AP1 A-B, AP2 A-B, grades 6-12

A. Musical Forms *FA1, FA2, FA3, G1.5, G1.6, G2.5

B. Analysis: *FA2, FA3, G1.5, G1.6, G2.4, G3.1

IV. Students will make connections between music and other subject areas.

GLE: IC1 A-B, grades 6-12

A. Integration: *FA4, G1.9, G3.3

V. Students will demonstrate knowledge of music history.

GLE: HC1 A-E, grades 6-12

A. Music History: *FA5, G1.9, G3.3

13

Scope and Sequence

of

Knowledge and Skills

14

Band Scope and Sequence of Knowledge and Skills for Grades 6-12

Content will be assessed at the grade level where it is indicated on this chart. It may be introduced earlier and reviewed/reinforced in

subsequent courses/grade levels.

Grade

Course

6th

Grade Band 7th

Grade Band 8th

Grade Band High School I

Concert

High School

Symphonic Band

I.A. Performance

Skills

Utilize characteristic

position and posture

Develop characteristic

embouchure for

woodwind and brass

Use characteristic grip

for percussion

Demonstrate singing

skills in an appropriate

range

Utilize breathing skills:

Two measure phrase

without breath at

moderato in 4/4 time

demonstrating

awareness of 4 measure

phrase structure

Perform Grade 1

Literature

Tune instrument to match

a reference pitch

Use steady air speed for

woodwind and brass

Perform consistent

execution of stroke for

percussion

Demonstrate singing

skills and match pitch in

an appropriate range


Four measure phrase at

moderato in 4/4 time

without breath

demonstrating awareness

of a variety of phrase

structures

Perform Grade 1.5

Literature

Perform with steady

tone at various dynamic

levels (piano to forte)

Perform with consistent

execution of stick and

mallet placement for

percussion

Demonstrate singing

skills, match pitch in an

appropriate range with

dynamic control


Six measure phrase at

¾ time without breath

demonstrating

awareness of a variety

of phrase structures

Perform Grade 2

Literature

Manipulate pitch, tone,

and dynamics to match

and balance section on

instrument

Demonstrate proper tone

quality, pitch accuracy

and intonation through

singing in unison and in

harmony with expression

Perform Grade 3

Literature

Manipulate pitch, tone, and

dynamics to match and

balance ensemble on

instrument

Demonstrate proper tone

quality, pitch accuracy,

intonation and dynamic

contrast through singing in

unison and in harmony with

expression

Perform Grade 4 Literature

15

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

(I.A. Performance

Skills Continued)

Play note patterns in

quarter notes MM=100,

scale patterns, thirds,

arpeggio, tonic triad

and dominant 7th

Perform Rhythms:

whole, half, quarter,

eighth, dotted quarter,

dotted half and

corresponding rests

Major Keys: Bb, Eb, F

Minor Keys: g

Chromatic: 1 octave

Echo five-note

combinations of half-

note and quarter-note

rhythmic and melodic

patterns of increasing

complexity on

classroom instruments


eighth notes MM=60,

scale patterns, thirds,

arpeggio, tonic triad and

dominant 7th

Perform Rhythms: Eighth

– quarter - eighth note

combinations, four

sixteenth notes, eighth

note triplets, eighth rest

on the beat, two sixteenth

- eighth note and eighth -

two sixteenth notes

combinations, duple

patterns in simple

syncopation

Major Keys: Ab, C

Minor Keys: c

Chromatic: 1.5 octave for

brasses, 2 octaves for

woodwinds

Echo half-note, quarter-

note, and eighth-note


patterns of increasing

complexity on classroom

instruments from notes of

major tonalities


sixteenth notes MM=

60, extended 6th

grade

and 7th

grade patterns

Perform Rhythms:

Quarter note triplets,

one sixteenth - one

eighth - one sixteenth

note combinations,

three eighth notes,

dotted eighth –

sixteenth and sixteenth

- eighth combinations

Major Keys: Db

Minor Keys: d, f

Chromatic: 2 octave

Echo half-note, quarter-

note, eighth-note, and

sixteenth-note rhythmic

and melodic patterns of

increasing complexity

on classroom

instruments from notes

of major and minor

tonalities


sixteenth notes MM=72

Perform Rhythm

Counting: Eighth and

Sixteenth combinations,

ties on the beat

Major Keys: G, D, A, E

Minor Keys: a, e, b, f#,

c#, b flat.

Chromatic: Full-Range

Play by ear simple

melodies (4-6 pitches) on

a melodic instrument or

simple accompaniments

on a harmonic instrument

Play note patterns in sixteenth

notes MM=88

Perform Rhythm Counting:

Sixteenth notes and rests in

compound meters

Major Keys: B, Gb

Minor Keys: g#, d#

Play by ear simple melodies

(6-8 pitches) on a melodic

instrument or simple

accompaniments on a

harmonic instrument

16

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

(I.A. Performance

Skills Continued)

Create and perform a

rhythm by combining

half notes, quarter

notes, and eighth notes

Improvise simple

rhythmic variations in a

consistent style and

meter

Compose or write a

rhythm by combining

half notes, quarter


Perform beginning level

time signatures,

dynamics, articulations,

and tempo markings on

instrument (see

Elements of Music)

found in Grade 1

Literature


rhythmic variation on a

melody

Improvise simple

rhythmic variations in a

consistent meter with

varying style

Compose or write a


melody

Perform intermediate

level time signatures,


and tempo marking on

instrument (see Elements

of Music) found in Grade

1.5 Literature


two measure melody

Improvise simple


variations in a

consistent style and

meter

Compose or write a two

measure melody within

given guidelines

Express, interpret, and

shape a musical phrase

Perform advanced level

time signatures,



instrument (see

Elements of Music)

found in Grade 2

Literature


melodic variation

Improvise simple


variations in a consistent

meter with varying style

Compose or write a

melodic variation

Use tempo to express,

interpret, shape a musical

phrase

Perform various

combinations of simple or

compound meter,

dynamics, articulations


instrument (see Elements

of Music) found in Grade

3 Literature

Create and perform a melody

and melodic variation based

upon a given harmony

Compose or write a melody

based upon a given harmony

Use note emphasis and note

length to interpret a musical

phrase

Perform various combinations

of simple or compound meter,

dynamics, articulations (at

faster tempos), and tempo

markings on instrument (see

Elements of Music) found in

Grade 4 Literature

17

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

II.A. Elements of

Music

Interpret standard

duration and meter in

4/4, ¾, 2/4 time

signatures

Apply standard

symbols, terms, and

notation to musical

performance:

Dynamics: p, mf, f,

diminuendo/

decrescendo, crescendo

Articulations:

Accent, staccato,

characteristic tonal note

attacks, slurs

Tempo Markings:

Andante, moderato,

allegro, ritardando,

maestoso

Symbols and Terms:

Bar line, bass clef,

breath mark, duet,

double bar line,

fermata, flat, ledger

line, measure repeat,

multiple measure rests,

sharp, staff, tie, treble

clef, solo, soli, trio, tutti

Interpret standard

duration and meter in 6/8

time signature

Apply standard symbols,

terms, and notation to

musical performance:

Dynamics: pp, mp, ff,

subito, fp

Articulations: Legato,

clean note releases, tenuto

Tempo Markings:

Andantino, rallentando,

accelerando, Tempo I, a

tempo

Symbols and Terms:

Divisi, trill, cesura, z2, 2x

only

Interpret standard

duration and meter in

cut time and 2/2 time

signatures

Apply standard

symbols, terms, and

notation to musical

performance:

Dynamics: Sfp

Articulations:

Marcato, sforzando

Tempo Markings:

Lento, Vivace,

Allargando

Symbols and Terms:

Grace notes, 8va

Interpret standard

duration and meter in 3/8,

12/8, and duple time

signatures such as 5/4 and

6/4


terms, and notation to

musical performance:

Articulations:

Articulated slurs,

sixteenth note slur/tongue

combination, multiple

tonguing

Tempo Markings:

Grave, Allegretto, Presto,

Tempo Primo, Adagio

Symbols and Terms:

Tacet, segue, con sordino,

tremolo, rubato

Interpret standard duration and

meter in asymmetrical time

signatures, such as 5/8, 7/8


terms, and notation to musical

performance:

Articulations: All at faster

tempos

Tempo Markings: Largo,

stringendo

Symbols and Terms:

Mordents, turn

18

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

Identify musical forms

used in ensemble

repertoire:

First and second

endings, D.C. al fine,

D.S. al fine, repeat sign,

theme and variations,

AB (binary), ABA

(ternary) form


used in ensemble

repertoire:

Coda, D.S. al coda/Fine


used in ensemble

repertoire:

AABA song form,

fugue


used in ensemble

repertoire:

Sonata, rondo,

symphonic, jazz

Identify musical forms used in

ensemble repertoire:

Opera, ballet, musical theatre,

cantata, canon

III. B. Analysis

Use sixth grade music

terminology and

form/composition

techniques to describe,

analyze, interpret, and

evaluate an excerpt or

piece of music

Differentiate among

unison and octave

Use seventh grade music

terminology and

form/composition




piece of music

Differentiate among

intervals of unison,

perfect fifth, and octave

Use eighth grade music

terminology and

form/composition




piece of music

Differentiate among

intervals of perfect

fourth, minor third and

Major third

Use Concert Band music

terminology and

form/composition



evaluate a recorded

excerpt or piece of music

Differentiate among

diatonic intervals to the

octave

Use Symphonic Band music

terminology and

form/composition techniques

to describe, analyze, interpret,

and evaluate a recorded


Differentiate among chromatic

intervals to the octave

III. A. Musical

Forms

19

Grade

Course

6th

Grade Band 7th

Grade Band 8th


Concert

High School

Symphonic Band

IV. A. Integration Connect note values

and time signatures in

music to fractions in

math

Explain the importance

of group participation,

perseverance, and

commitment in musical

and non-musical

settings within class

Connect music to other

arts and world cultures

Explain the importance of

group participation,

perseverance, and


and non-musical settings

within school

Connect American

March and Jazz music

to other arts and

American History

Explain the importance

of group participation,

perseverance, and


and non-musical

settings outside of

school

Connect music to science

in sound production (air

speed and frequency) and

technology (development

of instruments), and other

arts

List several skills learned

in ensembles and relate

them to those skills

needed in areas such as

the work force, church or

community group, and

other school groups

Connect the narrative function

of art and literature to the

communication of an idea in

Program Music

Explain how the roles of

creators, performers, and

others involved in the

production and presentation of

the arts are similar to and

different from those skills

needed in various vocations

V. A. Music History Identify characteristics

and context of Folk

music examples

Compare and contrast a

variety of music and

music-related vocations

and avocations

Identify characteristics

and context of Choral

Music

Spiritual,

Ritual, and /or

Ceremonial music

from various cultures

Describe the function of

music in various settings

and cultural events


and context of

American cultural

influences on

March

Jazz

Identify genre and style

from various historical

periods through

listening to selected

repertoire


and context of American

and British march styles.

Conclude possible origin

and/or historical period of

an aural example

Cite well-known

performers specific to

student‘s instrument

Identify characteristics of

early wind band literature (ex.

Grainger, Holst, Hindemith,

Persichetti, Reed, Grundman,

Erickson, Milhaud) and

contemporary wind band

literature (ex. Gillingham,

Ticheli, Stamp, Maslanka,

Melillo, Reineke)

Cite well-known composers

specific to student‘s

instrument

20

Weighted Grade Music Theory

CCO CCO I. A. Performance Skills

CCO II. A. Elements of Music

CCO III. A. Musical Forms

CCO III. B. Analysis

CCO V. A. Music History

Knowledge Improvisation

Error Detection

Sight-singing

Figured Bass realization

Melody Harmonization

Dictation

Error Detection

Sight-singing

Dictation

Literature-Based Listening

Score Study

Figured Bass Realization


Score Study

Historical composition techniques

Literature Based Listening

21

Jazz Band Scope and Sequence

Grade

Course

High School

Jazz Band

I.A. Performance

Skills

Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone,

ghost, vibrato, and muted) to match and balance ensemble on instrument

Demonstrate singing skills (proper tone quality, pitch accuracy, intonation) and match

pitch in an appropriate range

Develop technique through performance of Grade 3-4 literature utilizing:

Full range on instruments

All major keys, all melodic minor, and modal

Rhythm counting: Double dotted note, sextuplets, duplets, mixed meter patterns

Multiple tonguing and articulations

Alternate fingerings

Proper technique and idiomatic patterns required for playing auxiliary

percussion instruments

Use note emphasis and note length to interpret a musical phrase

Play by ear simple melodies or phrases of increasing complexity, on a melodic

instrument or simple accompaniments on a harmonic instrument

Create and perform a melody or variation based upon a given harmony

Improvise harmonized accompaniment parts

Compose or write music using notation (whole, half, quarter, eighth and sixteenth notes

along with corresponding rests)

Perform various combinations of simple or compound meter, dynamics, articulations and

(faster) tempo markings on instrument (see Elements of Music)

II.A. Elements of

Music

Apply standard symbols, terms, and notation to musical performance:

Time Signatures: All compound duple and compound triple, and mixed meter

Dynamics: All dynamic levels (see Band 6-12 Elements of Music)

Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills, scoops, ghost,

subtone, muting marks

Tempos: All tempo ranges and styles (see Band 6-12 Elements of Music)

III.A. Musical Forms

Identify musical forms used in ensemble repertoire, such as D.C. al fine, coda, repeat

signs, first and second endings (see Band 6-12 Musical Forms)

III. B. Analysis Use Jazz Band music terminology and form/composition techniques to describe,

analyze, interpret, and evaluate an excerpt or piece of music

IV.A. Integration

Connect Jazz music and other arts to American History and America‘s original musical

heritage

List several skills learned in jazz ensembles and relate them to those skills needed in

areas such as the work force, church or community group, and other school groups

22

Grade

Course

High School

Jazz Band

V.A. Music History Compare and contrast examples of jazz styles and genres: Swing, Latin, Rock, Jazz

Waltz, Funk

Compare and contrast a variety of music and music-related vocations and avocations

Cite well-known jazz performers specific to student‘s instrument

23

Guitar I and Guitar II Scope and Sequence

Grade

Course

High School

Guitar I

High School

Guitar II

I.A. Performance

Skills

Demonstrate skills through performance in the following:

Proper body/hand/finger position

Singing skills and match pitch in an appropriate range in

first position

Standard tuning of the guitar

Demonstrate basic rhythmic notation, music reading skills within

1st position and correct body/hand/finger position through

performance of literature using the following:

Rhythm patterns: Whole note, half note, quarter note,

dotted half note, eighth note and corresponding rests.

Key Signatures: C, G, D Major

1st position Chromatic Scale

Articulations: Upstroke, downstroke

Play by ear simple melodies (4-6 pitches) on a melodic instrument

or simple accompaniments on a harmonic instrument

Create and perform a rhythmic and/or melodic variation on a

melodic phrase of three to five notes

Compose or write music with whole note, half note, quarter note,

dotted quarter note and eighth note, quarter rest, whole rest, half

rest, eighth rest

Perform beginning level time signatures, dynamics, articulations,

and tempo markings on instrument (see Elements of Music)


Proper right hand position for pick style and classical

style of playing

Singing skills and match pitch in an appropriate range

with expression in first and second position

Standard tuning of the guitar

Demonstrate rhythmic notation, music reading skills within 1st

and

2nd

position and correct body/hand/finger position through

performance of literature using the following:

Rhythm patterns: Dotted quarter note, eighth rest on and

off the beat

Key Signatures: A, E Major, and scales with movement

out of 1st position

Articulations: Upstroke, downstroke, rest stroke, free

stroke, hammer on/pull off

Play by ear moderately to advanced melodies (8-12 pitches) on a

melodic instrument or advanced accompaniments on a harmonic

instrument

Create and perform a melodic phrase based on a blues scale using

five to seven notes

Compose or write music based on the pitches of the blues scale

using whole note, half note, quarter note, dotted quarter note and

eighth note, quarter rest, whole rest, half rest, eighth rest

Perform intermediate level time signatures, dynamics,

articulations, and tempo markings on instrument (see Elements of

Music)

24

Grade

Course

High School

Guitar I

High School

Guitar II

II.A. Elements of

Music

Apply standard symbols, terms, and notation to musical

performance:

Time Signatures: 4/4, 3/4, 2/4

Tempo Markings: Andante, moderato, allegro, ritardando

Symbols and terms: Bar line, measure, ledger line, tie, pick-up

note, melodic guitar tablature, treble clef, staff, chords


performance:

Time Signature: 2/2 (cut time)

Tempo Markings: Lento, Largo

Symbols and terms: Slur (Hammer on/Offs)

III.A. Musical Forms

Identify musical forms used in guitar repertoire, such as repeat

signs, first and second endings

Identify musical forms used in guitar repertoire, such as D.C. al

fine, theme and variations, AB (Binary), ABA (ternary), and song

form (AABA)

III.B. Analysis:

Utilize music terminology and form/composition techniques to

describe, analyze, interpret, and evaluate an excerpt or piece of

music in the folk and rock styles

Identify phrases and musical statements

Differentiate sharp and flat intonation with unison pitches

Utilize music terminology and form/composition techniques to

describe, analyze, interpret, and evaluate an excerpt or piece of

music in the folk, rock, 12 Bar Blues, and classical styles

Identify phrases, musical statements and musical forms

Differentiate sharp and flat intonation with two pitches

IV.A. Integration

Describe physical properties involved in producing a tone and

manipulating pitch

Explain the impact of technology on the development of music

instruments

Connect the social influences of the different American cultures

through the evolution of blues, rock ‗n‘ roll, R ‗n‘ B, swing styles,

and Latin music in popular music

Compare characteristics of two or more arts within a particular

historical period or style and cite examples from various cultures

Explain how the roles of creators, performers, and others involved

in the arts resemble and differ from one another in the various arts

disciplines

25

Grade

Course

High School

Guitar I

High School

Guitar II

V. A. Music History Compare characteristics and context of steel string acoustic, nylon

string and electric guitars

Identify music from various styles and historical periods by

comparing and contrasting selected elements of music within

pop/rock music genre

Discuss musical figures and their role as

composers/performers/innovators within pop/rock music genre

Compare characteristics and context of steel string acoustic, nylon

string and electric guitars and popular makers of various guitar

models


comparing and contrasting selected elements of music within the

classical and multicultural styles

Discuss musical figures and their role as

composers/performers/innovators within the pop/rock, classical,

and multicultural styles

26

Middle School MIDDLE SCHOOL BAND

COURSE MAP

Grade 6 Grade 7 Grade 8 Beginning Band Cadet Band Concert Band

27

MIDDLE SCHOOL BAND

COURSE DESCRIPTION GUIDE

SIXTH GRADE BEGINNING BAND (full year elective)

This course is designed for students interested in beginning level instruction on flute,

clarinet, oboe, saxophone, bassoon, trumpet, French horn, trombone, baritone, tuba, and

percussion instruments (orchestra bells, xylophone, snare drum, bass drum, and other

percussion accessory instruments). Students will receive instruction on tone production,

music reading skills, basic music theory, and instrument care. Attendance at all

performances is required according to the Rockwood School District Fine Arts

Attendance Guidelines for Musical Performance.

The student is expected to provide his/her own instrument, book and supplies.

SEVENTH GRADE CADET BAND (full year elective)

Prerequisite: Successful beginning band experience and/or permission of the Band

Instructor.

Cadet Band is designed for the Seventh Grade student who wishes to continue instruction

on his/her instrument. Cadet Band builds on fundamentals taught in beginning

woodwinds, brass and percussion classes. An increased emphasis will be placed on

ensemble performance skills. Attendance at all performances is required according to the

Rockwood School District Fine Arts Attendance Guidelines for Musical Performance.


EIGHTH GRADE CONCERT BAND (full year elective)

Prerequisite: Successful Cadet Band experience and/or recommendation of the Band

Instructor.

This class is designed for the Eighth Grade student who wishes to continue instruction on

his/her instrument. Concert Band builds on fundamentals taught in Cadet Band. Concert

Band is not an isolated class, but rather the commencement of a program, which

continues through Grade 12. Attendance at all performances is required according to the

Rockwood School District Fine Arts Attendance Guidelines for Musical Performance.


28

Grade Six

Beginning Band

29

Grade Six Band CCO I.A. Performance Skills

Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music

performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and

composition) through a varied repertoire.

Essential Understanding Missouri State Standards

Musicians produce characteristic sound, technique and articulation, and

communicate ideas/feelings and/or concepts through the performance of

music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:

By the end of this grade/course students

should know:

By the end of this grade/course students should be able to:

Characteristic position and posture

Development of characteristic

embouchure for woodwind and brass

Characteristic grip for percussion

How to sing in an appropriate range

How to utilize proper breathing skills

How to play Grade 1 literature

How to play note patterns in quarter

notes MM=100, scale patterns, thirds,

arpeggio, tonic triad and dominant 7th

How to perform rhythm patterns:

whole, half, quarter, eighth, dotted

quarter, dotted half and corresponding

rests

How to play scales in the keys:

Major: B flat, E flat, F

Minor: g

General chromatic: One octave

How to echo five-note combinations of

increasing complexity on instruments

How to create and perform a rhythm by

combining half notes, quarter notes, and

eighth notes

How to improvise simple rhythmic

variations

How to compose or write a rhythm using

Demonstrate characteristic position and posture for their specific

instrument

Demonstrate a characteristic embouchure for their specific

instrument

Demonstrate a characteristic matched grip for percussion

Demonstrate singing skills in an appropriate range

Play a 2 measure phrase without breath at moderato in 4/4 time

demonstrating awareness of 4 measure phrase structure

Demonstrate rhythmic, melodic, and harmonic precision while

playing Grade 1 literature

Demonstrate note patterns in quarter notes MM=100, scale

patterns, thirds, arpeggio, tonic triad and dominant 7th

.

Demonstrate rhythm patterns:

whole, half, quarter, eighth, dotted quarter, dotted half and

corresponding rests

Demonstrate scales in the keys:

Major: B flat, E flat, F

Minor: g

General chromatic: One octave

Echo five-note combinations of half-note and quarter-note

rhythmic and melodic patterns of increasing complexity on

instruments

Create and perform a rhythm by combining half notes, quarter


Improvise simple rhythmic variations in a consistent style and

meter

Compose or write a rhythm by combining half notes, quarter

30

half, quarter, eighth note rhythms

How to perform beginning level time

signatures, dynamics, articulations, and

tempo markings on instrument (see CCO

II. Elements of Music)


Perform beginning level time signatures, dynamics,

articulations, and tempo markings on instrument (see CCO II.

Elements of Music) through Grade 1 Literature

Unit Vocabulary: mouthpiece, steady air stream, buzz (brass), breathing, phrase, matched grip,

embouchure, steady foot beat, tonguing syllables (tah, dah, too) and articulations (see CCO II),

improvisation, half notes, quarter notes, eighth notes, phrase, time signatures, moderato, dynamics (see

CCO II.)

Pre-Assessment: Check for student‘s prior instrument instruction.

Perform an etude demonstrating note and rhythm patterns in above keys.

Play a two measure phrase without breath in 4/4 moderato at various dynamics.

Perform an etude demonstrating beginning level time signatures, dynamics, articulations, and

tempo markings (see CCO II).

Facilitating Activities:

Knowledge/Comprehension

Activity Strategy Assessment

Students will produce a sound on their instrument that

mimics the teacher‘s demonstration

Students will play two measure phrase with dynamics

Identify note and rhythm patterns in the above keys

Students will play beginning level time signatures,

dynamics, articulations, and tempo markings on

instrument (see CCO II. Elements of Music) through

Grade 1 Literature

Demonstration

Verbal feedback from

teacher

Application/Analysis

Synthesis/Evaluation


Students will critique themselves and peers on use of

embouchure to create proper tone on their instrument

Cooperative learning,

like-instrument

Scoring guide


Students will use a characteristic embouchure to produce

proper tone quality on their instrument

Students will demonstrate a two measure phrase with

half, quarter, and eighth notes using dynamics

Demonstrate the note and rhythmic patterns in the above

keys

Students will demonstrate beginning level time

signatures, dynamics, articulations, and tempo markings

on instrument (see CCO II. Elements of Music) through

Grade 1 Literature

Teacher and student

demonstration

Teacher/Student

Demonstration

Student

demonstration

Teacher/ Student

demonstration

Scoring Guide,

individual feedback

Teacher individually

listens to students and

provides feedback

using scoring guide


teacher

Scoring Guide, Verbal

feedback

31

Students will critique themselves and peers on their

performance of an improvised musical phrase using

dynamics

Students will critique themselves and peers on the note

and rhythmic patterns in the above keys


performance of beginning level time signatures,



Grade 1 Literature

groups

Student/Teacher

Demonstration &

Cooperative Learning

Scoring Guide &

Teacher Verbal

Feedback

Differentiation Suggestions: Students who are having difficulty receive help from a student mentor.

Students with prior instruction can serve as models to students in their section.

Advanced students will be given supplementary materials.

Application Level Assessment CCO I.A. Performance Skills: Students will demonstrate instrumental

music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and

composition) through varied repertoire.

Student Tasks: Demonstrate characteristic position and posture for a specific instrument

Demonstrate a characteristic embouchure for a specific instrument

Demonstrate a characteristic matched grip for percussion

Demonstrate singing skills in an appropriate range

Play a 2 measure phrase without breath at moderato in 4/4 time demonstrating awareness of 4 measure

phrase structure

Demonstrate rhythmic, melodic, and harmonic precision while playing grade level 1 literature

Demonstrate note patterns in quarter notes MM=100, scale patterns, thirds, arpeggio, tonic triad and

dominant 7th

Demonstrate rhythm patterns: whole, half, quarter, eighth, dotted quarter, dotted half and corresponding

rests

Demonstrate scales in the keys: B flat, E flat, F, one octave chromatic

Echo five-note combinations of half-note and quarter-note rhythmic and melodic patterns of increasing

complexity on instruments

Create and perform a rhythm by combining half notes, quarter notes, and eighth notes

Improvise simple rhythmic variations in a consistent style and meter

Compose or write a rhythm by combining half notes, quarter notes, and eighth notes

Perform beginning level time signatures, dynamics, articulations, and tempo markings on instrument (see

CCO II. Elements of Music) through Grade 1 Literature

32

Scoring Guide for Sixth Grade Band, CCO I. A. - Performance Skills, Part I

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Perform with correct body

posture

Feet flat on floor

Back straight

Shoulders relaxed

Chin level

Sitting at front of chair

Elbows are away from

body

One foot flat on floor;

one tucked underneath

Back leaning forward or

sideways

Shoulders raised in tense

manner

Chin raised

Sitting on front 3/5 of

chair

Elbows are extending

upward

Feet in front, but

unbalanced

Back hunching

Shoulders unbalanced

Chin partially raised or

tucked toward chest

Sitting with back

touching back of chair

One elbow extends

upward or touches side

of body

Feet wrapped around leg

of chair or crossed in

front

Back slouching

Shoulders drooping

Chin tucked into chest

Slouching on back of

chair

Elbows are touching

sides of body

Perform with a

characteristic Brass

embouchure

Corners of lips are firm

anchored in the middle

Relaxed center

Space between the teeth

Jaw as open as possible

for the note

Lips don‘t touch in the

middle

Control airspeed by

raising and lowering the

back of the tongue while

saying different syllables

(Daw)

Chin slightly drawn

back-teeth not directly

aligned

Not enough space

between teeth or too

much space

Wrong vowel

Shifting off-center

Changing pressure

Chin drawn back-teeth

not aligned

Pivoting

Teeth not separated

Corners turned out

without firmness

Puckered lips

Bunched chin

Off ―center‖

Tension in the middle of

the embouchure,

―squeeze‖

Press and smile

Clenched teeth

33

Perform with characteristic

Trumpet position

Left hand holds

instrument with 2nd

or

ring finger in 3rd

valve

ring and left thumb

wrapped on 1st valve

saddle

Right hand C shape with

fingertips on valves and

pressing straight down

with thumb between 1st

and 2nd

valve and

fingertips on valve and

right hand pinkie resting

on top of hook

Trumpet bell angled

straight (90◦)or at slight

downward (85◦) angle

Left hand wrapped

incorrectly around valve

casing with thumb

sticking up out of 1st

valve saddle or wrapping

too far to the right


fingertips on valves

pressing at an angle or

right pinkie pointing up

Trumpet bell angling

slightly up (95◦) or down

(80◦)

Left hand wrapped with

index finger in 3rd

valve

ring

Right pinkie partially in

the hook with right hand

flat and knuckles on

valves with right hand

supporting instrument

Trumpet bell angling

down (75◦)

Left hand gripped around

bell section

Right pinkie wrapped

fully in the hook against

lead pipe and right hand

flat with incorrect angle

and knuckles pressing

valves

Trumpet bell angling at

extreme downward angle

(-70◦)


French horn position

Left hand thumb in

trigger hook (single) and

left hand pinkie in hook

with fingers slightly

curved and evenly

spaced

Right hand is cupped

with fingers together

leaving about 50% of the

bell opening covered

Horn comes up to the player‘s

embouchure and angles

slightly away from the body

with rim of bell resting on

right thigh

Left hand thumb in

trigger hook and left

hand pinkie on top of

hook with fingers

straight or unevenly

spaced

Right hand is cupped

with fingers together, but

is too far out of the bell

opening

Horn comes up to the

player‘s embouchure but

is angled slightly away

from or in toward the

body

Left hand thumb severely

wrapped around trigger

hook with fingers

severely curved and

unevenly spaced

Right hand is cupped, but

placed too far in the bell

opening

Player bends neck

slightly to play horn

Left hand thumb not in

trigger hook and left

pinkie connected to ring

finger with fingers

unevenly spaced or

bunched

Right hand is holding

bell rim leaving the bell

opening uncovered

Player bends neck

severely to play horn;

horn is severely angled

away from or in toward

the player

34


Trombone position

Left thumb around the

brace with index finger

wrapped around the lead

pipe and three other

fingers rest in between

pipe and brace

Right hand first joint of

first two fingers on

brace, thumb opposes;

inside of wrist faces body

Right arm movement

from elbow with bell

angled straight (90◦)or at

slight downward (85◦)

angle


brace with the index

finger wrapped around

the lead pipe, but left

pinkie is pointing

outward

Right hand uses all

fingers on brace, thumb

opposes

Right arm movement


angling slightly up (95◦)

or down (80◦)


brace with the index

finger wrapped around

the lead pipe and three

other fingers severely

wrapped around brace

Right hand fingers

clenched around brace;

inside of wrist faces

upward or downward

Right arm movement


angling down (75◦)

Left hand wrapped

around bell section

Right hand wrapped

around slide

Right arm movement

from shoulder with bell

angling at extreme

downward angle (-70◦)


Euphonium position

Left arm wrapped around

and cradling instrument





and 2nd

valve (or in hook,

if provided) and right

hand pinkie floating


player‘s embouchure and

sits on player‘s lap

Left hand left side of

horn tubing







sits on player‘s lap, but

player is leaning forward

Left hand grabbing top of

horn tubing

Right hand flat and

knuckles on valves

Player bends neck

slightly to play horn;

horn sits chair

Left hand grabbing rim

of bell

Right hand flat with

fingers at incorrect angle


valves

Player bends neck


horn sits on chair and

player leans severely

forward or backward

35


Tuba position

Left arm wrapped around

and cradling instrument





and 2nd

valve (or in hook,

if provided) and right




instrument sits on chair

or stand

Left hand left side of

horn tubing







instrument sits on chair

or stand, but player is

leaning forward

Left hand grabbing top of

horn tubing

Right hand flat and

knuckles on valves

Player bends neck

slightly to play horn

Left hand grabbing rim

of bell

Right hand flat with

fingers at incorrect angle


valves

Player bends neck


player leans severely

forward or backward


Flute embouchure

Tone hole aligned with

center of embouchure;

small, diamond-shape

aperture; corners of

mouth anchored; control

airspeed by raising and

lowering the back of the

tongue while saying the

syllable ―poo‖ or ―too‖

Tone hole slightly

misaligned with center of

embouchure; diamond-

shape aperture

occasionally correct, but

inconsistent; air stream

occasionally correct, but

inconsistent; attempting

to use correct tonguing

syllable

Tone hole misaligned

with center of

embouchure; diamond-

shape aperture is too

wide or round;

uncontrolled air stream;

inconsistent use of

tongue

Tone hole severely

misaligned with center of

embouchure; aperture

extremely spread;

incorrect angle of air

stream; no use of tongue

36


Flute position Left hand fingers curved,

resting along third

knuckle and evenly

spaced; left thumb

positioned directly on

thumb key; left hand

pinkie over Ab/G# key;

fingers close to keys

when playing

Right hand C shaped

fingers on top of keys

and evenly spaced; right

thumb opposes index

finger; fingers close to

keys when playing

Head slightly tilted to the

right with correct

embouchure alignment;

flute angled slightly

downward with right arm

off chair; elbows away

from body

Left hand fingers curved;

extending slightly past

keys or unevenly spaced;

left hand pinkie floating

above Ab/G# key;

fingers floating slightly

above keys when playing

Right hand C shaped

fingers extending slightly

past keys or unevenly

spaced; fingers floating

slightly above keys when

playing

Head slightly tilted to the

right, but embouchure is

misaligned; flute angled

slightly upward with

right arm off chair;

elbows slightly raised or

away from body

Left hand fingers on top

of keys, severely

bunched; right thumb

protruding or thumb is

inverted

Right hand fingers on top

of keys, severely


pointing sideways or

inverted

Head tilted too far to the

right; flute angled to far

downward; right arm on

chair

Left hand fingers resting

incorrectly on flute;

fingers overextend tops

of keys; left hand pinkie

tucked under Ab/G# key;

fingers pointing severely


Right hand fingers flat,

overextending top of

keys; right thumb

severely protruding

forward; fingers pointing

severely above keys

when playing

Head turned to left with

chin/headjoint tucked

into shoulder or head is

raised too far upward;

elbows severely raised or

close to body


Clarinet embouchure

Flat, pointed chin with

firm corners pulled back

and down; bottom lip

spread across teeth

(―shiny‖; half the ―red‖

covering the bottom

teeth; top teeth on

mouthpiece; say ―oh-ah-

ee‖ syllable for different

registers

Flat, pointed chin with

firm corners pulled back

and down at times;

inconsistent covering of

the bottom teeth; some

registers attainable

Lower jaw slightly

tucked back; loose at

corners; too much

mouthpiece in mouth

Bunched, pitted chin;

lower jaw drawn back;

very loose at corners;

lower lip puckered out;

top lip over the teeth; too

little mouthpiece in

mouth; no registers

attainable

37


Clarinet position Left hand fingers C

shaped with pads of

fingers centered over

tone holes; left thumb


thumb key and angled

approximately 30-45

degrees; fingers evenly

spaced and close to keys

when playing; fingers

over appropriate keys

Right hand fingers C

shaped with pads of


tone holes; right

thumbnail correctly

aligned on thumb rest;




Bell angle approximately

45 degrees, centered

between knees; elbows

away from body

Left hand fingers C

shaped with pads of

fingers inconsistently

covering center of tone

holes; fingers evenly

spaced, but tends to pull

away from keys while

playing


shaped with pads of


covering center of tone

holes; fingers evenly

spaced, but tends to pull

away from keys while

playing

Bell angle slightly too

high; elbows slightly

raised


of keys, but flat and

bunched; left thumb


inverted; fingers

inconsistently over

appropriate keys





inverted; fingers

inconsistently over

appropriate keys


low or pulled toward

body; elbows drawn to

sides of body

Left hand fingers flat and

not centered or covering

tone holes; thumb angle

misaligned; fingers

severely bunched close

together and pointing

severely above keys


over wrong keys

Right hand fingers flat

and not centered or

covering tone holes;

thumb angle severely

misaligned; fingers



severely above keys


over wrong keys

Bell angle severely too

high, too low, or on the

outside left or right side

of the knee; elbows

severely raised or close

to body


Saxophone embouchure

Corners are firm

Chin relaxed

Upper teeth on

mouthpiece

Bottom lip on teeth

Oval-shaped embouchure

with 360 degree support

Corners are

inconsistently firm

Chin relaxed at times

Upper teeth not on

mouthpiece

Bottom lip on teeth

Inconsistent embouchure

support

Corners are loose

Chin flat

Upper teeth on

mouthpiece

Bottom lip not on teeth

Weak embouchure

support

Corners are severely

loose

Chin is severely tight and

clenched

Upper lip over teeth

Bottom lip turned out or

rolled over teeth

Severely weak

embouchure support

38


Saxophone position Left hand fingers C

shaped and evenly

spaced; left thumb


octave key; left hand

pinkie over Ab/G# key;


when playing

Right hand C shaped

fingers on top of keys

and evenly spaced; right

thumb under thumb rest;


when playing

Head straight or slightly

tilted with correct

embouchure alignment;

saxophone positioned to

right side of body; neck

strap height adjusted to

allow saxophone to come

to player; adjust

mouthpiece to match

head alignment; elbows

away from body

Left hand fingers C

shaped; extending

slightly past keys or

unevenly spaced; left


above Ab/G# key;

fingers floating slightly


Right hand C shaped

fingers extending slightly

past keys or unevenly

spaced; fingers floating

slightly above keys when

playing

Head position misaligned

with embouchure;

elbows slightly raised or

away from body


of keys, severely



inverted


of keys, severely


―buried‖ under thumb

rest or inverted

Head tilted too far to the

right; left forearm rests

on thigh

Left hand fingers resting

incorrectly on

saxophone; fingers

overextend tops of keys

or hit side keys; left hand

pinkie tucked under

Ab/G# key; fingers

pointing severely above

keys when playing

Right hand fingers flat,

overextending top of

keys or hitting side keys;

fingers pointing severely


Head tilted severely up,

left, or right; neck strap

severely too loose or too

tight causing neck strain;

mouthpiece severely

misaligned on

instrument; elbows


to body


Oboe embouchure

360 degree, even support

around reed

Lips over teeth

Lower lip ―ribbed‖

Reed laid downward

angle

Flat, pointed chin

Corners drawn down


around reed at times

Lips over teeth

Lower lip ―ribbed‖

Flat, pointed chin at

times

Corners inconsistently

drawn back

Uneven support around

reed

Puffed cheeks at times

Angle inconsistent

Lips slightly stretched

Corners too relaxed

Chin bunched

Biting reed

Lips stretched

Angle incorrect

Jaw clenched

Severely puffed cheeks

Air pockets in lower or

upper lip

Corners severely relaxed

39


Oboe position Left hand fingers C

shaped with pads of


keys; left thumb


thumb key and angled

approximately 30-45

degrees; fingers evenly

spaced and close to keys




shaped with pads of


keys; right thumbnail

correctly aligned on

thumb rest; fingers close

to keys when playing;

fingers over appropriate

keys

Bell angle approximately

slightly above 45

degrees, centered

between knees; elbows

away from body

Left hand fingers C

shaped with pads of


covering center of keys;

fingers evenly spaced,

but tends to pull away

from keys while playing


shaped with pads of


covering center of keys;

fingers evenly spaced,

but tends to pull away

from keys while playing


high; elbows slightly

raised



bunched; left thumb


inverted; fingers

inconsistently over

appropriate keys





inverted; fingers

inconsistently over

appropriate keys


low or pulled toward

body; elbows drawn to

sides of body

Left hand fingers flat and

not centered or covering

keys; thumb angle

misaligned; fingers



severely above keys


over wrong keys

Right hand fingers flat

and not centered or

covering keys; thumb

angle severely

misaligned; fingers



severely above keys


over wrong keys

Bell angle severely too

high, too low, or on the

outside left or right side

of the knee; elbows


to body


Bassoon embouchure

Lower jaw drawn back

with overbite

Lips over teeth

Relaxed chin and jaw


around reed

Lower jaw drawn back

inconsistently

Lips unevenly placed

over teeth


around reed at times

Uneven support around

reed

Puffed cheeks at times

Angle inconsistent

Lips slightly stretched

Chin bunched

Biting reed

Lips stretched

Lower lip tucked in

Angle incorrect

Jaw clenched

Severely puffed cheeks

Air pockets in lower or

upper lip

40


Bassoon position Fingers/thumbs above

keys and holds

Knuckles apart

Relaxed wrist

Angle left to right

Angle front to back

approximately 45

degrees

Seat strap situated

properly

Most fingers above keys

and holds

Some knuckles apart

Angle left to right is

instead upright

Angle front to back

approximately 60

degrees

Seat strap situated

properly, but inconsistent

Some fingers above keys

and holds

Knuckles occasionally

clenched

Angle front to back is

upright

Seat strap situated

improperly

Fingers not above keys

and holds

Knuckles clenched

Tense wrist

Angle is right to left

instead of left to right

Angle is back to front

Seat strap is missing


Percussion grip

All fingers cupped

around stick with no gaps

Second knuckle as

fulcrum

Firm, but not tight

Top of hand up, palm

down Backs of hands flat

Hands held

approximately 2/3 back

from tip

Index finger ―dropped‖

Third knuckle as fulcrum

Backs of hands angled

down and out

Hands held ½ back from

tip

Two or three fingers and

thumb tips holding sticks

Grip too loose or

squeezing sticks at times

Hands slightly rotated

One finger and thumb

tips holding sticks

Grip consistently too

loose or squeezing stick

Pinkies out

Thumbs up, hands

rotated

Hands held too far back

or forward from tip


Percussion position Snare drum height 3-4‖

below navel and angle at

elbow is 10-15 degrees

lower than horizontal

Front of drum 4-5‖ from

body

Knees flexed

Feet shoulder width

apart, toes slightly

outward, balanced stance

Snare drum height 1-2‖

below navel and angle at

elbow is slightly too high

Front of drum more than

5‖ from body

Knees flexed at times

Feet usually shoulder

width apart, standing on

balls of feet

Snare drum height 1-2‖

above navel and angle at

elbow is higher than

horizontal

Front of drum less than

4‖ from body

Knees locked at times

Feet shoulder width

apart, standing on heels

of feet

Snare drum height too

high or too low and angle

at elbow is severely

higher or lower than

horizontal

Front of drum is

extremely close or

extremely far away from

body

Knees locked all the time

Feet too close together or

too apart, unbalanced

stance

41

Scoring Guide for Sixth Grade Band, CCO I. A. – Performance Skills, Part 2

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Perform quarter note

patterns MM=100: scales,

thirds, arpeggios, tonic

triads, and dominant 7ths

(T)

Tempo: steady and target

tempo is exceeded

Rhythm: accurate with no

discernible mistakes

Note accuracy: accurate

with no discernible flaws


tempo is met

Rhythm: accurate with few

mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most notes

are correct

Tempo: does not meet

target tempo and tempo is

unsteady

Rhythm: unrecognizable

Note accuracy:

unrecognizable

Perform rhythm patterns:

whole note, half note,

quarter note, eighth note,

dotted quarter note, dotted

half note and corresponding

rests


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven


are correct



unsteady


Note accuracy:

unrecognizable

Perform quarter note

scales: B-flat Major, E-flat

Major, F Major, and g

minor

Perform a one-octave

chromatic scale


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven


are correct



unsteady


Note accuracy:

unrecognizable

Perform beginning level

time signatures, dynamics,

articulations, and tempo

markings on instrument

(see CCO II. Elements of

Music)


tempo is exceeded





Fingerings and

articulations are

coordinated.


tempo is met


mistakes


with few mistakes

Fingerings and

articulations are

frequently coordinated.

Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and

articulations are often

uncoordinated.



unsteady


Note accuracy:

unrecognizable

42

Perform a two-measure

phrase in Grade 1 literature

without breath at moderato

tempo in 4/4 time

demonstrating awareness of

a four-measure phrase

structure

Performs a three- or four-

measure phrase without

breath at moderato tempo

in 4/4 time


of four- measure phrase

structure

Performs a two-measure

phrase without breath at

moderato tempo in 4/4

time demonstrating

awareness of four-

measure phrase structure

Takes one breath in the

middle of the phrase

Tone becomes

unsupported toward the

end of the phrase

Performs with shallow,

random breathing


rhythm by combining half

notes, quarter notes, and

eighth notes

Improvisations are

creative and consistent

with the given material

Improvisations are

somewhat creative and

consistent with the given

material

Improvisations are

effective, but not


material

Improvisations contain

incorrect note values

43

Grade Six Band CCO II. A. Elements of Music

Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read

and notate music.


Musicians utilize reading skills to accurately convey a composer‘s musical

ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:

By the end of this grade/course

students should know:

By the end of this grade/course students should be able to do:

How to interpret standard duration and

meter in 4/4, 3/4, 2/4 time signatures

How to apply standard symbols, terms,

and notation to musical performance,

including dynamics, articulations,

tempo markings, and symbols/terms

Play music in Time Signatures: 4/4, 3/4, 2/4

Demonstrate knowledge of dynamics: p, mf, f,

diminuendo/decrescendo, crescendo

Demonstrate knowledge of articulations: Accent, staccato,

characteristic tonal note, attacks, slurs

Demonstrate knowledge of tempo markings: Andante, moderato,

allegro, ritardando

Demonstrate knowledge of Symbols and Terms: bar line, bass

clef, breath mark, double bar line, duet, fermata, flat, ledger

line, measure repeat, multiple measure rests, sharp, staff, tie,

treble clef, solo, soli, trio, tutti

Unit Vocabulary:

Time Signature: 4/4, 3/4, 2/4

Dynamics: p, mf, f, diminuendo/decrescendo, crescendo

Articulations: Accent, staccato, characteristic tonal note, attacks, slurs

Tempo Markings: Andante, moderato, allegro, ritardando

Symbols and Terms: bar line, bass clef, breath mark, double bar line, duet, fermata, flat, ledger line,

measure repeat, multiple measure rests, sharp, staff, tie, treble clef, solo, soli, trio,

tutti

Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and

symbols/terms.

Student counts and plays music written in 4/4, 3/4, 2/4 time.

Student writes music using half note, quarter note, and eighth note combinations.




Students will identify symbols and terms on their music Demonstrate Verbal & written

feedback



Students will use and apply symbols and terms to their

performance

Student

Demonstration

Verbal & written

feedback

44



Construct an original melody using half, quarter, and

eighth rhythm combinations

Modeling Scoring Guide

Differentiation Suggestions:

Supplemental materials can be provided for accelerated students.

Teachers or peer leaders can provide individual tutoring sessions.

Teachers can rotate part assignments within each section of the ensemble.

Application Level Assessment CCO II A. Elements of Music: Students will apply knowledge and skills

to read and notate music.

Student Tasks:

Play music in Time Signatures: 4/4, 3/4, 2/4

Play repertoire with varying dynamic markings: p, mf, f, diminuendo/decrescendo, crescendo

Perform music with varying articulations: Accent, staccato, characteristic tonal note, attacks, slurs

Demonstrate Tempo Markings: Andante, moderato, allegro, ritardando

Use Symbols and Terms: bar line, bass clef, breath mark, double bar line, duet, fermata, flat, ledger line,

measure repeat, multiple measure rests, sharp, staff, tie, treble clef, solo, soli, trio,

tutti

45

Scoring Guide for Sixth Grade Band, CCO II A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signature:

Perform literature in 4/4,

3/4, and 2/4

Reads and interprets time

signatures correctly in

4/4, 3/4, and 2/4

Reads time signatures

correctly, but misplace or

lack emphasis on strong

beats

Pauses at ends of

measures

Lacks a steady sense of

time

Unable to read and

interpret time signatures

Perform using dynamics to

express piano (p), mezzo-

piano (mp), mezzo-forte

(mf), forte (f), diminuendo,

decrescendo, and crescendo

Demonstrates clear

differences in volume at

dynamic changes

Demonstrates differences

in volume, but not

enough contrast between

dynamic levels

Demonstrates few

changes in volume at

dynamic levels

Does not demonstrate

any change in dynamics

Tempo Markings:

Define and perform

andante, moderato, allegro,

and ritardando

Reads and interprets

tempo markings correctly

and is able to maintain

steady tempo

Demonstrates knowledge

of tempo markings, but is

unable to differentiate

between categories

Unable to maintain a

steady tempo

Unable to differentiate

between tempo markings

Tempo fluctuates

dramatically

Perform articulation

patterns: accent, staccato,

characteristic note attacks,

slurs


tempo is exceeded





Fingerings and

articulations are

coordinated.


tempo is met


mistakes


with few mistakes

Fingerings and

articulations are


Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and


uncoordinated.



unsteady


Note accuracy:

unrecognizable

46

Symbols and Terms:

Define and perform bar

line, bass clef, breath mark,

double bar line, duet,

fermata, flat, ledger line,

measure repeat, multiple

measure rests, sharp, staff,

tie, treble clef, solo, soli,

trio, tutti


symbols and terms

correctly in context


of symbols and terms, but

some terms or symbols

are not performed in

context

Can explain the definitions

of terms, but does not

execute them correctly

while playing

Unable to read and

execute symbols and

terms

47

Grade Six Band CCO III. A. Musical Forms

Core Conceptual Objective III. A: Musical Forms: Students will analyze and evaluate music and

musical performances.


Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,

G1.6, G2.5

Content and Skills:




How to identify and analyze musical

forms

Identify musical forms used in ensemble repertoire:

(first and second endings, D.C. al fine, D. S. al fine, repeat sign,

theme and variations, AB (binary) form, ABA (ternary) form.

Unit Vocabulary: first and second endings, D.C. al fine, D. S. al fine, repeat sign, theme and variations,

AB (binary) form, ABA (ternary) form

Pre-Assessment: Student defines music terminology related to musical forms

Student listens to and describes musical form or structure of short etude




Students will identify first and second endings, D.C. al

fine, D. S. al fine, repeat sign, theme and variations, AB

(binary) form, ABA (ternary) form

Modeling Written quiz



Students will analyze a piece of recorded music and

make inferences on musical form (T)

Cooperative Learning Written Quiz



Students will improvise a short variation on a theme in

class

Modeling Verbal teacher

feedback


Supplemental materials or composition assignments can be provided for accelerated students.


Compare and contrast different variations of the same piece.

Application Level Assessment CCO III A. Musical Forms: Students will demonstrate the ability to

identify and analyze musical forms used in ensemble repertoire.

Student Task: Identify musical forms used in ensemble repertoire: (first and second endings, D.C. al fine, D. S. al fine,

repeat sign, theme and variations, AB (binary) form, ABA (ternary) form

48

Grade Six Band CCO III. B. Analysis




Musicians analyze, evaluate, and respond to the formal, stylistic, and

aesthetic qualities of music.

FA 2, FA 3, G1.5, G1.6,

G2.4, G3.1

Content and Skills:




How to use Grade 6 Band terminology

and form/composition techniques to

describe, analyze, interpret, and

evaluate an excerpt or piece of music

How to differentiate among unison

and octave

Use Grade 6 Band terminology and form/composition techniques

to describe, analyze, interpret and evaluate an excerpt or piece of

music

Listen to and differentiate among unison and octave

Unit Vocabulary: interval, major, octave, unison

Pre-Assessment: Student defines music terminology related to music critique and interval recognition.

Student listens to and describes an excerpt or piece of music.

Student listens to and differentiates between unison and octave.




Identify unison and octave intervals played on an

instrument




Analyze a piece of recorded music by making a listening

diagram (T)

Cooperative Learning Scoring Guide



Evaluate the formal qualities of a given piece of music Cooperative Learning Written Quiz




Compare and contrast a rehearsal recording to a final performance.

Compare and contrast different arrangements of the same piece.

Application Level Assessment CCO III. B. Analysis: The student will respond to and critically analyze

music and musical performances.

Student Task: Use Grade 6 terminology and form/composition techniques to describe, analyze, interpret and evaluate an


Listen to and differentiate among unison and octave intervals

49

Music Criticism Worksheet

Name________________________________ Class_________________ Date:______

Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical

performance. You may take as much space as you need for each paragraph. If you are

completing this with pen/pencil, you may continue answers on the back or on another

page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

50

Music Criticism Scoring Guide

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction

Tells plan to critique. Gives

information about the work:

composer‘s name,

musician‘s name, title of

piece, when and where it

was created, how it was

used, its period, style, or

culture.

Clearly states plan to critique

another artist‘s work or to

explain the goal of a

personal piece of music

All available information

given

States plan to critique




Most available information

given

Artist‘s work or a personal

piece mentioned

Tells artist‘s name and

title

Artist‘s name or

title of work

listed

Description

Sentences that list

everything heard or seen in

the performance, including

names of instruments.

Logical, coherent, complete,

detailed description of what

is seen/heard in the

performance

Logical, coherent, complete

description of what is

seen/heard in the work

Complete description of

what is seen/heard in the

work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis

Describes pitch, melody,

harmony, rhythm, dynamics

Considers each element to

determine which are most

important in the work

Explains, in detail, how and

where each important

element and principle is used

in the work

Considers elements to



Explains how and where

each important element and

principle is used in the work

Lists elements used

Tells how or where some

elements and principles

are used in the work

Partially lists

elements

Interpretation

Explain the artist‘s use of

phrasing, breathing, style,

dynamic contour and

contrast and how he/she

communicates an emotional

mood or attitude toward the

subject, narrative, social

commentary, spiritual

/religious ideas or other

purpose of the work

Clearly infers meaning of

work based upon analysis/

Clearly supports all

statements with detailed,

specific reference to musical

elements

Relates the performer‘s

choices to personal

interpretation of the

composer‘s work

Interprets the meaning of

work based upon analysis.

Supports statements with

reference to musical

elements

Connects most of the

performer‘s choices to a

general interpretation of the

composer‘s work

Suggests a meaning of the

work.

Supports statement with

reference to some musical

elements

Suggests

meaning of

work.

Judgment Evaluates the quality of the

composition

Evaluates the composition

on the basis of information

about the composer‘s life,

times, and intentions

Evaluates the quality of the

performance on musician‘s

tone/intonation, technique

articulation, and

expression/musicianship.

Supports all statements with

specific, detailed reference to

the work



about the composer‘s

intentions




articulation, and


Supports most statements

with reference to the work

Explains information

about the composer‘s life

without connecting it to

the meaning of the

composition

Discusses the musician‘s


articulation, or


Few references to the

work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors

Consistently uses third

person in other artist‘s work

or first person if own piece

Uses sophisticated sentence

variety, precise vocabulary

References last name only

after introductory paragraph

All steps of critique model in

correct order

Few minor errors in spelling or

grammar

Uses third person in other

artist‘s work or first person if

own piece

Some sentence variety,

appropriate vocabulary

References last name only after

introductory paragraph


correct order

Errors in grammar and

spelling without affecting

clarity

Some use of first or

second person

Little sentence variety

First and/or last name of

artist used throughout

essay

All steps of critique model

present but out of order

Multiple grammatical

errors interfere with

content and readability

Uses first, second and/or

third person



essay

Steps of critique model

may be missing or out of

order

51

Scoring Guide for Sixth Grade Band, CCO III. B. - Analysis

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Use sixth grade music

terminology and

form/compositions



evaluate an excerpt or piece

of music

Writes an insightful and

thoroughly supported

critique of an excerpt or

piece of music using

specific terminology and

examples

Writes a somewhat

insightful and somewhat

supported critique of an


using specific

terminology and

examples

Writes a critique of an


that occasionally uses


examples

Writes an unsupported

opinion or preference

Listen to and differentiate

between unisons and

octaves

Identifies intervals with

90% accuracy


80% accuracy


70% accuracy


60% accuracy

52

Grade Six Band CCO IV. A. Integration

Core Conceptual Objective IV. Integration: Students will make connections between music and other

subject areas.


Fractions in math are similar to note values and time signatures in music. FA 4, G1.9, G3.3

Content and Skills:




How to connect note values and time

signatures in music to fractions in

math

How to explain the importance of

group participation, perseverance, and

commitment in musical and non-

musical settings within class

Create a rhythmic pattern using 4/4 time meter then translate the

pattern into fractions

Describe the importance of group participation, perseverance, and

commitment in musical and non-musical settings within class

Unit Vocabulary: fraction, rhythm

Pre-Assessment: Student defines math and music terminology related to a counting system.

Student explains function of group participation within class setting




Define math and music terminology related to a

counting system

Compare role of student participation in band class

verses other classroom settings

Lecture

Verbal

Student/Teacher

Feedback

Written quiz

Written essay



Create a diagram that illustrates the similarities between

fractions and music notation




Compose a rhythmic composition in various meters Class Discussion Teacher Observation




Application Level Assessment CCO IV. A. Integration: The student will make connections between

music and other subject areas.

Student Task: Create a rhythmic pattern using 4/4 time meter then translate the pattern into fractions

Explain characteristic traits necessary for musical and non-musical settings within class

53

Scoring Guide for Sixth Grade Band, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Make connections between

fractions in math to note

values and time signatures

in music:

Convert quarter and half

notes in 4/4 time to

fractions

Convert fractions to time

signatures with note

values in 2/4, 3/4, 4/4

time

Compares, contrasts and

analyzes connections among

fractions in math to note

values and time signatures in

music

Compares and contrasts

connections among fractions

in math to note values and

time signatures in music

Identifies some connections

among fractions in math to

note values and time

signatures in music

Attempts to make

connections among fractions

in math to note values and

time signatures in music

54

Grade Six Band CCO V. A. Music History

Core Conceptual Objective V. Music History: Students will demonstrate knowledge of music history


Musicians identify, understand, and appreciate music from a variety of

time periods, styles, and cultures.

FA 5, G1.9, G3.3

Content and Skills:




How to identify characteristics and

context of Folk music examples

How to compare and contrast a variety

of music and music-related vocations

and avocations

Identify characteristics and context of Folk music examples

Compare and contrast a variety of music and music-related

vocations and avocations

Unit Vocabulary: Folk music, aesthetics, style

Pre-Assessment: Student listens to and describes examples of folk music.




Define music terminology related to folk music

Compare music and music-related work positions

Lecture

Lecture or

Guest Performers and

Speakers

Written quiz

Verbal

Teacher/Student

Feedback



Analyze and rehearse folk music from a diverse

historical and cultural background




Decide upon the approximate time period of a piece of

music that has been rehearsed or studied

Lecture/Reference

Recordings

Written Quiz


Students will independently research folk music or various music vocations/avocations. (R, T)



Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of

music history.

Student Task:

Compare and contrast characteristics and context of Folk music examples

Identify music and music-related vocations and avocations

55

Music History Reflective Writing Worksheet

Name: Class:

Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.

Who do you think composed Work A?

When do you think it was composed?

Where do you think it was composed?

Who do you think composed Work B?



Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A

Work B

Explain how the composer‟s life and times influenced his/her composition

Work A

Work B

On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the

charts you just completed.

56

Scoring Guide for Sixth Grade Band, CCO V. A. - Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Demonstrate knowledge

and understanding of Folk

Music characteristics (T):

folk music emerged as an

expression of national

identity pieces taught through

performance rather than

notation strophic form—music

repeats in short stanzas

with different words folk songs may be

calendric— (music

accompanies rituals that

mark major events in life

or in the year's cycles) folk songs may be work

songs (people sing work

songs as rhythmic

accompaniment to

repetitive labor)

Compares, contrasts, and

analyzes characteristics of

Folk Music


characteristics of Folk Music Explains characteristics of

Folk Music Lists characteristics of Folk

Music

57

Grade Seven

Cadet Band

58

Grade Seven Band CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:


How to tune an instrument to match a

reference pitch (T)

How to use steady air speed for

woodwind and brass

How to perform consistent execution of

stroke for percussion

How to sing in an appropriate range and

match pitch


How to play Grade 1.5 literature

How to play note patterns in eighth notes

MM=60, scale patterns, thirds, arpeggio,

tonic triad and dominant 7th

(T)


Eighth – quarter - eighth note

combinations, four sixteenth notes,

eighth note triplets, eighth rest on the

beat, two sixteenth - eighth note and

eighth - two sixteenth notes

combinations, duple patterns in simple

syncopation


Major: A flat, C

Minor: c

Chromatic: 1.5 octaves for brass, 2

octaves for woodwind

How to echo half-note, quarter-note, and

eighth-note rhythmic and melodic

patterns of increasing complexity on

classroom instruments from notes of

major tonalities

Tune instrument to match a Concert Bb or F reference pitch

Use steady air speed for woodwind and brass to produce a tone.

Demonstrate consistent execution of stroke for percussion

Demonstrate singing skills and matching pitch in an appropriate

range

Play a 4 measure phrase without breath at moderato in 4/4 time

demonstrating awareness of phrase structures


playing grade 1.5 literature

Demonstrate note patterns in eighth notes MM=60, scale

patterns, thirds, arpeggio, tonic triad and dominant 7th

.


Eighth – quarter - eighth note combinations, four sixteenth

notes, eighth note triplets, eighth rest on the beat, two sixteenth -

eighth note and eighth - two sixteenth notes combinations, duple

patterns in simple syncopation


Major: A flat, C

Minor: c

Chromatic: 1.5 octaves for brass, 2 octaves for woodwind

Echo half-note, quarter-note, and eighth-note rhythmic and

melodic patterns of increasing complexity on classroom

instruments from notes of major tonalities

59

How to create and perform a rhythmic

variation on a melody

How to improvise simple rhythmic

variations in a consistent meter with

varying style

How to compose or write a rhythm

variation on a melody

How to perform intermediate level time



II. Elements of Music) through Grade

1.5 Literature

Create and perform a rhythmic variation on a melody

Improvise simple rhythmic variations in a consistent meter with

varying style

Compose or write a rhythm variation on a melody


articulations, and tempo markings on instrument (see CCO II.

Elements of Music) through Grade 1.5 Literature

Unit Vocabulary: correct note fingering, correct bar on mallet percussion, single-stroke roll, multiple-

stroke roll, tuner, pitch control, timbre

Pre-Assessment: Students will match a reference pitch as demonstrated by the teacher or another student.

Perform an etude demonstrating note and rhythm patterns in above keys.

Play a four measure phrase without breath in 4/4 moderato at various dynamics.

Perform an etude demonstrating intermediate level time signatures, dynamics, articulations, and

tempo markings (see CCO II.)




Students will produce a sound on their instrument using

a reference pitch

Students will play a four measure phrase without a

breath in 4/4 moderato time with dynamics


Students will play intermediate level time signatures,



Grade 1.5 Literature

Demonstration


teacher

60





ability to modify their playing to match a reference pitch


performance of an improvised four measure phrase

using dynamics




performance of intermediate level time signatures,




Cooperative learning,

like-instrument

groups

Teacher/Student

Demonstration &


Scoring guide


Feedback




Application Level Assessment CCO I.A. Performance Skills: Students will demonstrate instrumental



Student Tasks: Demonstrate ability to tune instrument to match Concert B flat or F reference pitch

Use steady air speed for woodwind and brass

Demonstrate a consistent execution of stroke for percussion.

Demonstrate singing skills and matching pitch in an appropriate range

Play a 4 measure phrase without breath at moderato in 4/4 time demonstrating awareness of phrase

structures

Demonstrate rhythmic, melodic, and harmonic precision while playing grade 1.5 literature

Demonstrate note patterns in eighth notes MM=60, scale patterns, thirds, arpeggio, tonic triad and

dominant 7th

Demonstrate rhythm patterns: Eighth – quarter - eighth note combinations, four sixteenth notes, eighth note


Students will use a characteristic embouchure to produce

proper tone quality on their instrument

Students will demonstrate a four measure phrase with

rhythmic variation

Demonstrate the note and rhythmic patterns in the above

keys

Students will demonstrate intermediate level time

signatures, dynamics, articulations, and tempo markings

on instrument (see CCO II. Elements of Music) through


Teacher and student

demonstration

Teacher/Student

Demonstration

Student

demonstration

Teacher/ Student

demonstration

Scoring Guide,

individual feedback



provides feedback

using scoring guide


teacher


feedback

61

triplets, eighth rest on the beat, two sixteenth - eighth note and eighth - two sixteenth notes

combinations, duple patterns in simple syncopation

Demonstrate scales in the keys: A flat, C, c, Chromatic: 1.5 octaves for brass, 2 octaves for woodwind

Echo half-note, quarter-note, and eighth-note rhythmic and melodic patterns of increasing complexity on

classroom instruments from notes of major tonalities

Create and perform a rhythmic variation on a melody

Improvise simple rhythmic variations in a consistent meter with varying style

Compose or write a rhythm variation on a melody

Perform intermediate level time signatures, dynamics, articulations, and tempo markings on instrument (see

CCO II. Elements of Music) through Grade 1.5 Literature

62

Scoring Guide for Seventh Grade Band, CCO I. A. - Performance Skills, Part I

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Woodwinds/Brass:

Play tones that are in tune

with a specific reference

pitch (T)

Always matches

reference pitch by

making necessary

adjustments to

embouchure and

instrument

Consistently matches

pitch by making

adjustments to

embouchure and

instrument

Inconsistently matches

pitch by making

adjustments to

embouchure and

instrument

Makes adjustments that

move the instrument

farther from the

reference pitch

Woodwinds/Brass:

Perform a characteristic

sound using steady air

speed

Plays a characteristic


speed to produce a

centered, clear, and

focused sound in

extended registers of the

instrument



speed to produce a


focused tone in a

comfortable register of

the instrument



speed to produce a


focused tone on a limited

number of notes

Air speed is inconsistent

and does not support a

steady tone

Sound is not centered,

not clear, and not

focused on most notes

Percussion:

Performs using precise

execution of stroke

Always plays with

smooth and straight up

and down wrist action

Consistently plays with

smooth and straight up

and down wrist action

Plays with smooth wrist

action, but motion is too

high or too low

Plays with erratic wrist

motion or varied hand

/arm angles that severely

inhibit performance

63

Scoring Guide for Seventh Grade Band, CCO I. A. - Performance Skills, Part II

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Play eighth-note patterns

MM=60: scales, thirds,

arpeggios, tonic triads and

dominant 7th

(T)


tempo is exceeded






tempo is met

Rhythm: accurate with

few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



unsteady


Note accuracy:

unrecognizable


6/8, Eighth – quarter -

eighth note combinations,

four sixteenth notes, eighth

note triplets, eighth rest on

the beat, two sixteenth -

eighth note and eighth - two

sixteenth notes

combinations, duple

patterns in simple

syncopation


tempo is exceeded






tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



unsteady


Note accuracy:

unrecognizable

Perform eighth note scales

in the keys of A-flat Major,

C Major, and c minor

Brass:

Perform a 1.5 octave

chromatic scale

Woodwinds/Percussion:

Perform a two octave

chromatic scales


tempo is exceeded






tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



unsteady


Note accuracy:

unrecognizable

64

Perform intermediate level





Music) through Grade 1.5

Literature


tempo is exceeded





Fingerings and

articulations are

coordinated.


tempo is met


mistakes


with few mistakes

Fingerings and

articulations are


Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and


uncoordinated.



unsteady


Note accuracy:

unrecognizable

Perform a four-measure

phrase in Grade 1.5

literature without breath at

moderato tempo in 4/4 time


a four-measure phrase

structure

Performs a three- or four-



in 4/4 time


of four- measure phrase

structure

Performs a two-measure



time demonstrating

awareness of four-




Tone becomes


end of the phrase


random breathing



melody

Improvisations are



Improvisations are



material

Improvisations are

effective, but not


material

Improvisations contain


65

Grade Six Band CCO II. A. – Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:





meter in 6/8 time signature





Play music in Time Signature: 6/8

Demonstrate knowledge of dynamics: pp, mp, ff, subito, fp

Demonstrate knowledge of articulations: Legato, clean note

releases, tenuto

Demonstrate knowledge of tempo markings: Andantino,

rallentando, accelerando, Tempo I, a tempo

Demonstrate knowledge of Symbols and Terms: Divisi, trill,

cesura, Z2, 2x only

Unit Vocabulary:

Time Signature: 6/8

Dynamics: pp, mp, ff, subito, fp

Articulations: Legato, clean note releases, tenuto

Tempo Markings: Andantino, rallentando, accelerando, Tempo I, a tempo

Symbols and Terms: Divisi, trill, cesura, Z2, 2x only


symbols/terms.

Student counts and plays music written in 6/8 time.

Student writes music using dotted half and eighth note rhythm combinations.





feedback




performance

Student

Demonstration

Verbal & written

feedback



Construct an original melody using dotted and eighth

note rhythm combinations




66





Student Tasks:

Play music in Time Signatures: 6/8

Play repertoire with varying dynamic markings: pp, mp, ff, subito, fp

Perform music with varying articulations: Legato, clean note releases, tenuto

Demonstrate Tempo Markings: Andantino, rallentando, accelerando, Tempo I, a tempo

Use Symbols and Terms: Divisi, trill, cesura, Z2, 2x only

67

Scoring Guide for Seventh Grade Band, CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signatures:

Perform literature in 6/8


signatures correctly 6/8


correctly, but misplaces or

lacks emphasis on strong

beats

Pauses at ends of

measures


time

Unable to read and


Dynamics:

Performs using dynamics to

express pianissimo (pp),

mezzo-piano (mp),

fortissimo (ff), forte-piano

(fp), and subito

Demonstrates clear

differences in volume at

dynamic changes

Demonstrates differences

in volume, but not enough

contrast between dynamic

levels

Demonstrates few

changes in volume at

dynamic levels

Does not demonstrate any

change in dynamics

Tempo Markings:

Define and perform

andantino, rallentando,

accelerando, Tempo I, and

a tempo


tempo markings correctly


steady tempo


of tempo markings, but is


between categories


steady tempo



Tempo fluctuates

dramatically


patterns: Legato, clean

notes releases, tenuto


tempo is exceeded





Fingerings and

articulations are

coordinated.


tempo is met


mistakes


with few mistakes

Fingerings and

articulations are


Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and


uncoordinated.



unsteady


Note accuracy:

unrecognizable

Symbols and Terms:

Define and perform divisi,

trill, cesura, z2, 2x only


symbols and terms






context

Can explain the

definitions of terms, but

does not execute them

correctly while playing

Unable to read and

execute symbols and

terms

68

Grade Seven Band CCO III. A. Musical Forms





G1.6, G2.5

Content and Skills:





forms


Coda, D. S. al coda/Fine

Unit Vocabulary: Coda, D. S. al fine/Fine

Pre-Assessment: Student defines music terminology related to musical forms

Student listens to and describes musical form or structure of short etude




Students will identify Coda, D. S. al coda/Fine Modeling Written quiz









Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms

and composition techniques.

Student Task: Identify musical forms used in ensemble repertoire: Coda, D.S. al coda/Fine

69

Grade Seven Band CCO III. B. Analysis

Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical

performances.




FA 2, FA 3, G1.5, G2.4

Content and Skills:




How to use Grade 7 Band terminology




How to differentiate among intervals

of unison, perfect fifth, and octave



music

Listen to and differentiate among intervals of unison, perfect fifth,

and octave

Unit Vocabulary: perfect fifth, octave, unison



Student listens to and differentiates between perfect fifth, unison and octave.




Identify perfect fifth, unison and octave intervals played

on an instrument





diagram (T)










Application Level Assessment CCO III. B. Analysis: The student will respond to and critically analyze

music and musical performances.

Student Tasks:

Use Grade 7 terminology and form/composition techniques to describe, analyze, interpret and evaluate an


Listen to and differentiate among perfect fifth, unison and octave intervals on an instrument

70


Name________________________________ Class_________________ Date:______




page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

.

71

Music Criticism Scoring Guide Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition


performance








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

72

Scoring Guide for Seventh Grade Band, CCO III. B. - Analysis

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Use seventh grade music

terminology and

form/composition




of music


thoroughly supported

critique of an excerpt or

piece of music using


examples

Writes a somewhat

insightful and somewhat

supported critique of an


using specific

terminology and examples

Writes a critique of


that occasionally uses


examples




among intervals of unison,

perfect fifth, and octave


90% accuracy


80% accuracy


70% accuracy


60% accuracy

73

Grade Seven Band CCO IV. A. Integration


subject areas.


Music is a common language that transcends cultural differences. FA 4, G1.9, G3.3

Content and Skills:




How to connect the characteristics and

function of music in American and

African cultures




musical settings within school

Compare the characteristics and functions of music in American

and African culture


commitment in musical and non-musical settings within school

Unit Vocabulary: ceremonial, ritual, patriotic

Pre-Assessment: List the characteristics and functions of music in America.

Student explains function of group participation within school setting.




Explain and describe the role of music in American and

Africa Cultures

Lecture Written quiz



Compare and contrast American music with African

music


Scoring Guide



Critique a musical selection that relates to various world

cultures

Class Discussion Teacher Observation




Compare American music to Asian cultures or American music to Latin American music.



Student Task: Compare the characteristics and functions of music in American and African culture.

Explain characteristic traits necessary for musical and non-musical settings within school.

74

Scoring Guide for Seventh Grade Band, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Compare the

characteristics,

instrumentation (Western

vs. traditional African), and

functions (ceremonies,

rituals, war) of music in

American and African

culture


analyzes characteristics and

functions of music in

American and African culture


characteristics and functions

of music in American and

African culture

Explains characteristics and



Lists characteristics and



75

Grade Seven Band CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history.


Musicians understand and appreciate music from a variety of time periods,

styles and cultures.

FA 5, G1.9, G 3.3

Content and Skills:




How to identify characteristics and

context of Choral Music

Spiritual,

Ritual, and /or ceremonial music


How to describe the function of music

in various settings and cultural events

Compare and contrast characteristics and context of Choral Music

Spiritual,

Ritual, and /or ceremonial music from various cultures

Describe the function of music in various settings and cultural

events

Unit Vocabulary: Spiritual, Ritual, Ceremonial music

Pre-Assessment: Student listens to and describes examples of Spiritual, Ritual, Ceremonial music.

Discuss functions of music in various settings and cultural events.




Define music terminology related to Choral music

Define functions of music in various settings and

cultures

Lecture

Lecture, Student

Feedback

Written quiz

Written quiz



Analyze and rehearse music from a diverse historical

and cultural background




Decipher an approximate time period of a piece of music

and the cultural setting or event (when present) which

has been rehearsed or studied

Lecture/Reference

Recordings

Written Quiz




Application Level Assessment V. A. Music History: The student will demonstrate knowledge of music history.

Student Tasks

Compare and contrast characteristics and context of Choral Music in various cultures including:

Spiritual functions

Ritual functions

Ceremonial functions

Understand the functions of music in various settings and cultural events.

76


Name: Class:









Work B


Work A

Work B



77

Scoring Guide for Seventh Grade Band, CCO V. A. - Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Demonstrate knowledge

and understanding of

characteristics and contexts

of Sacred or Secular Music

in regards to:

Spiritual: rhythmic

syncopation, vocal

improvisation, and call &

response music is sacred

and is usually performed

with sincerity, dignity,

and passion

Ritual

Ceremonial music from

various cultures

Music‘s role in

weddings, funerals,

patriotic events,

graduation, hunting

(various settings and

cultural events)


analyzes the characteristics

and contexts of Sacred or

Secular Music

Spiritual

Ritual,


various cultures

Compares and contrasts the

characteristics and contexts of

Sacred or Secular Music

Spiritual

Ritual


various cultures

Explains characteristics and

contexts of Sacred or Secular

Music

Spiritual

Ritual


various cultures

Lists characteristics and

contexts of Sacred or Secular

Music

Spiritual

Ritual


various cultures

78

Grade Eight

Concert Band

79

Grade Eight Band CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:


How to perform with steady tone at

various dynamic levels

How to illustrate stick and mallet

placement for percussion

How to demonstrate singing skills,

match pitch in an appropriate range with

dynamic control


How to play Grade 2 literature

How to play note patterns in sixteenth

notes MM=60, extended sixth and

seventh grade patterns


Quarter note triplets, one sixteenth-one

eighth-one sixteenth note combinations,

three eighth notes, dotted eighth –

sixteenth and sixteenth-eighth

combinations


Major: D flat

Minor: d, f

Chromatic: 2 octaves

How to echo half-note, quarter-note, and

eighth-note rhythmic and sixteenth note

rhythmic and melodic patterns of

increasing complexity on classroom

instruments from notes of major and

minor tonalities

How to create and perform a two

measure melody

Perform with steady tone at various dynamic levels executed

over 4 counts

Demonstrate consistent execution of stick and mallet placement

for percussion

Demonstrate singing skills while matching pitch in an

appropriate range with dynamic control

Play a 6 measure phrase at ¾ time without breath demonstrating

awareness of phrase structures


playing grade 2 literature

Demonstrate note patterns in sixteenth note notes MM=60,

extended sixth and seventh grade patterns


Quarter note triplets, one sixteenth-one eighth-one sixteenth

note combinations, three eighth notes, dotted eighth – sixteenth

and sixteenth-eighth combinations


Major: D flat

Minor: d, f

Chromatic: 2 octaves

Echo half-note, quarter-note, and eighth-note rhythmic and

sixteenth note rhythmic and melodic patterns of increasing

complexity on classroom instruments from notes of major and

minor tonalities

Create and perform a two measure melody

80

How to improvise simple rhythmic and

melodic variations in a consistent meter

and style

How to compose or write a two measure

melody within given guidelines

How to express, interpret, and shape a

musical phrase

How to perform advanced level time



II. Elements of Music) through Grade 2

Literature

Improvise simple rhythmic and melodic variations in a

consistent meter and style

Compose or write a two measure melody within given

guidelines

Express, interpret and shape a musical phrase

Perform advanced level time signatures, dynamics, articulations,

and tempo markings on instrument (see CCO II. Elements of

Music) through Grade 2 Literature

Unit Vocabulary: air speed, air volume, phrase shaping, color, texture

Pre-Assessment: Students will play a Concert Bb scale using a steady tone at various dynamic levels.

Students will perform an etude demonstrating note and rhythm patterns in above keys.

Students will play a six measure phrase without breath in 3/4 moderato demonstrating awareness in phrase

structures.

Students will play a musical phrase using dynamics.

Students will perform an etude demonstrating advanced level time signatures, dynamics, articulations, and

tempo markings (see CCO II.) through Grade 2 Literature.




Students will produce a steady tone on the instrument

using various dynamics


Play a musical phrase using dynamics

Demonstration

Demonstration

Scoring Guide

Verbal Teacher

Feedback




Students will create dynamics as dictated by the rise and

fall of the melodic line




performance of an improvised musical phrase

Cooperative learning

Scoring guide


Students will use dynamics as written in the music

Students will create and perform a two measure melody

using dynamics to shape the musical phrase

Demonstration

Teacher/Student

Demonstration

Scoring guide



provides feedback

using scoring guide

81


Students who are having difficulty receive help from a student mentor.



Students have the option of participating in additional music performances outside of school (All-

Suburban, Solo/Ensemble).

Application Level Assessment for CCO I. A. Performance Skills: Students will demonstrate

instrumental music performance skills (expression, technique, repertoire, imitation, group playing,

improvisation, and composition) through varied repertoire.

Student Tasks: Use a steady tone at various dynamic levels

Demonstrate consistent execution of stick and mallet placement for percussion

Demonstrate note patterns in sixteenth notes MM= 60, extended 6th

and 7th

grade patterns

Demonstrate Rhythm Patterns: Quarter note triplets, one sixteenth-one eighth-one sixteenth note

combinations, three eighth notes, dotted eighth – sixteenth and sixteenth-eighth combinations

Demonstrate scales in the keys: Major: D flat, Minor: d, f, Chromatic: 2 octaves

Create and perform a two measure melody

Perform an etude demonstrating advanced level time signatures, dynamics, articulations, and

tempo markings (see CCO II.) through Grade 2 Literature

82

Scoring Guide for Eighth Grade Band, CCO I. A. – Performance Skills, Part I

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Woodwinds/Brass:

Play a characteristic sound

using steady air speed to

produce a centered, clear,

and focused sound at

various dynamic levels



speed to produce a


focused sound in extended

registers of the instrument

at various dynamic levels

ranging from pianissimo

(pp) to fortissimo (ff)



speed to produce a


focused sound in

comfortable registers of

the instrument at various

dynamic levels ranging

from piano (p) to forte (f)



speed to produce a


focused sound in

comfortable registers of

the instrument with slight

variations in dynamics,

but not enough contrast

Air speed is inconsistent

and does not support a

steady tone


change in dynamics

Percussion:

Performs with consistent

execution of stick and

mallet placement at various

dynamic levels

Performs with the sticks

or mallets hitting the

instrument one to three

inches from the node

while using various


from pianissimo (pp) to

fortissimo (ff)




inches from the node

while using various


from piano (p) to forte (f)




inches from the node with

slight variations in

dynamics, but not enough

contrast



instrument too close or far

from the node


change in dynamics

83

Scoring Guide for Eighth Grade Band, CCO I. A. - Performance Skills, Part II

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Play sixteenth-note patterns

MM=60; and extended sixth

and seventh grade patterns

(T)


tempo is exceeded


no discernible mistakes




tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct


target tempo and tempo

is unsteady


Note accuracy:

unrecognizable


Quarter note triplets, one

sixteenth-one eighth-one

sixteenth note

combinations, three eighth

notes, dotted eighth –

sixteenth and sixteenth-

eighth combinations


tempo is exceeded






tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



is unsteady


Note accuracy:

unrecognizable

Perform sixteenth note

scales in D flat Major and d

and f minor

Perform a sixteenth-note

two-octave chromatic scale


tempo is exceeded






tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



is unsteady


Note accuracy:

unrecognizable

Perform Grade 2 literature

using dynamics to express,

interpret, and shape a

musical phrase

Dynamics are effectively

used to shape a musical

phrase and enhance

artistic expression

Dynamics are used to


and elevate musical

expression

Dynamics are

occasionally used to shape

a musical phrase beyond

mere notes

Dynamics are not used to


84

Perform advanced level





Music) through Grade 2

Literature


tempo is exceeded





Fingerings and

articulations are

coordinated.


tempo is met


mistakes


with few mistakes

Fingerings and

articulations are


Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and


uncoordinated.



unsteady


Note accuracy:

unrecognizable

Perform a six measure

phrase in ¾ time without



a phrase structures

Performs a six measure



time demonstrating

awareness of phrase

structure

Performs a four to five-


breath at moderato

tempo in 3/4 time

demonstrating

awareness of phrase

structure



Tone becomes


end of the phrase


random breathing

Create and perform a two

measure melody

Improvisations are



Improvisations are



material

Improvisations are

effective, but not


material

Improvisations are not

effective and not


material

85

Grade Eight Band CCO II. A. Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:





meter in 2/2 and cut time signatures





Play music in Time Signature: 2/2, cut time

Demonstrate knowledge of dynamics: sfp

Demonstrate knowledge of articulations: marcato, sforzando

Demonstrate knowledge of tempo markings: Lento, Vivace,

Allargando

Demonstrate knowledge of Symbols and Terms: grace notes, 8va

Unit Vocabulary:

Time Signature: 2/2, cut time

Dynamics: sfp

Articulations: marcato, sforzando

Tempo Markings: Lento, Vivace, Allargando

Symbols and Terms: grace notes, 8va


symbols/terms.

Student counts and plays music written in 2/2 and cut time signatures.

Student writes music using sixteenth/eighth note rhythm combinations, three eighth notes, and dotted

eighth/sixteenth combinations.





feedback




performance

Student

Demonstration

Verbal & written

feedback



Construct an original melody using sixteenth/eighth note

rhythm combinations, three eighth notes, and dotted

eighth/sixteenth combinations




86



Application Level Assessment CCO II. A. Elements of Music: Students will apply knowledge and skills


Student Tasks:

Play music in Time Signatures: 2/2, cut time

Play repertoire with varying dynamic markings: spf

Perform music with varying articulations: Marcato, sforzando

Demonstrate Tempo Markings: Lento, vivace, allargando

Use Symbols and Terms: grace notes, 8va

87

Scoring Guide for Eighth Grade Band, CCO II. A. - Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signature:

Perform literature in 2/2 or

cut time


signatures correctly 2/2 or

cut time




beats

Pauses at ends of

measures


time

Unable to read and


Dynamics:


using dynamics to express,

interpret, and shape a

musical phrase

Dynamics are effectively

used to shape a musical

phrase and enhance

artistic expression

Dynamics are used to


and elevate musical

expression

Dynamics are

occasionally used to shape

a musical phrase beyond

mere notes

Dynamics are not used to


Tempo Markings:

Define and perform Lento,

Vivace, and Allargando


tempo markings correctly,


steady tempo


of tempo markings, but


between categories


steady tempo



Tempo fluctuates

dramatically


patterns: marcato accent

and sforzando


tempo is exceeded






tempo is met


few mistakes


with few mistakes

Tempo: unsteady

Rhythm: uneven

Note accuracy: most

notes are correct



is unsteady


Note accuracy:

unrecognizable

Symbols and Terms:

Define and perform grace

notes, 8va


symbols and terms






context

Can explain the


does not execute them

correctly while playing

Unable to read and

execute symbols and

terms

Composition:

Create and write a two

measure melody within

given guidelines

Compositions are creative

and consistent with the

given guidelines

Compositions are



material

Compositions are

effective, but not


material

Compositions contain


Does not follow the given

key

88

Grade Eight Band CCO III. A. Musical Forms

Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and




G1.6, G2.5

Content and Skills:





forms


AABA song form, fugue

Unit Vocabulary: AABA song form, fugue

Pre-Assessment: Student defines music terminology related to musical forms.

Student listens to and describes musical form or structure of short etude.




Students will identify AABA song form, fugue Modeling Written quiz











Student Task: Identify musical forms used in ensemble repertoire: AABA song form, fugue

89

Grade Eight Band CCO III. B. Analysis

Core Conceptual Objective II. B. Analysis: Students will analyze and evaluate music and musical

performances.




FA 2, FA 3, G1.5, G2.4

Content and Skills:




How to use Grade eight Band

terminology and form/composition

techniques to describe, analyze,

interpret, and evaluate an excerpt or

piece of music

How to differentiate among intervals

of perfect fourth, minor third and

Major third



music

Listen to and differentiate among intervals of perfect fourth, minor

third and Major third

Unit Vocabulary: perfect fourth, minor third, and Major third



Student listens to and differentiates between perfect fourth, minor third, and Major third.




Identify perfect fourth, minor third, and Major third

intervals played on an instrument




Analyze and diagram a piece of recorded music Cooperative Learning Scoring Guide









Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to

and critically analyze music.

Student Tasks:

Use Grade 8 terminology and form/composition techniques to describe, analyze, interpret and evaluate an


Listen to and differentiate among perfect fourth, minor third, and Major third intervals on an instrument

90


Name________________________________ Class_________________ Date:______




page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

91


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

92

Scoring Guide for Eighth Grade Band, CCO III. B. - Analysis

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Use eighth grade music

terminology and

form/composition




of music


thoroughly supported critique

of an excerpt or piece of

music using specific


Writes a somewhat insightful

and somewhat supported

critique of an excerpt or piece

of music using specific


Writes a critique of an

excerpt or piece of music that

occasionally uses specific




Interval Skills:


among intervals of perfect

fourth, minor third, and

Major third

Identifies intervals with 90%

accuracy


accuracy


accuracy


accuracy

93

Grade Eight Band CCO IV. A. Integration

Core Conceptual Objective IV. A. Integration: Students will make connections between music and

other subject areas.


American March and Jazz Music are influenced by events in American

History.

FA 4, G1.9, G3.3

Content and Skills:




Connect American March and Jazz

music to American History




musical settings outside of school

Relate the development of American Marches and Jazz Music to

events in American History


commitment in musical and non-musical settings outside of school

Unit Vocabulary: March ,Jazz, Blues, Patriotic, Spirituals, Harlem Renaissance

Pre-Assessment: Students relate American Marches and Jazz Music to events in American History.

Student explains functions of group participation outside school setting




Explain and describe the role of American Marches and

Jazz Music in American History




Create a timeline of events in American History that

correspond with the creation of American Marches and

Jazz Music




Recommend an American March or Jazz Composition

for a given time period in American History





Research a composer or musician, then report how he/she was influenced by historical events.

Application Level Assessment CCO IV. A. Integration: The Student will make connections between


Student Task: Relate the development of American Marches and Jazz Music to events in American History

Explain characteristic traits necessary for musical and non-musical settings outside of school

94

Scoring Guide for Eighth Grade Band, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Relate the development of

the American March music

to events in American

history:

Revolutionary War (music

used to rally troops, create

a sense of patriotism –

Yankee Doodle, Star

Spangled Banner)

Civil War (Battle Hymn of

the Republic, When Johnny

Comes Marching Home)

Turn of the 20th

Century

(John Philip Sousa)


analyzes connections between

the American March music

and American History


connections between

American March music and

American History

Explains some connections

between American March

music and American History

Lists connections between

American March music and

American History

Relate the development of

Jazz music to events in

American history:

Slave work songs

Blues

Mississippi River

Transportation


analyzes connections between

Jazz and American History


connections between Jazz and

American History

Explains some connections

between Jazz and American

History

Lists connections between

Jazz and American History

95

Grade Eight Band CCO V. A. Music History





FA 5, G1.9, G3.3

Content and Skills:




How to compare characteristics and

context of American cultural

influences on

March

Jazz

How to identify genre and style from

various historical periods through

listening to a selected repertoire

Compare and contrast characteristics and context of American

cultural influences on

March

Jazz

Identify genre and style from various historical periods through

listening to a selected repertoire

Unit Vocabulary: March, Jazz

Pre-Assessment: Student listens to and describes examples of American cultural influences on March and Jazz music.

Students will identify historical periods through listening to a selected repertoire.




Define music terminology related to American March

and Jazz music




Analyze and rehearse American March and Jazz music Cooperative Learning Scoring Guide



Decide upon the approximate time period of a piece of

music that has been rehearsed or studied

Lecture/Reference

Recordings

Written Quiz




Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of music

history.

Student Task:

Compare and contrast characteristics and context of American cultural influences on March and Jazz music

Identify genre and style from various historical periods through listening to selected repertoire

96


Name: Class:









Work B


Work A

Work B



97

Scoring Guide for Eighth Grade Band, CCO V. A. - Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Demonstrate knowledge and understanding of

characteristics and contexts of American cultural

influences on:

Marches

grew out of the military musical needs for

drills, troop movement, ceremonies and troop

morale following the civil war, congress

reduced the number and size of military bands

(to pay off war debts and for reconstruction) –

military leaders asked civilian bands to fill the

void

professional touring bands traveled the country

performing the latest marches

growing sense of nationalism and patriotism

(paralleled by the nationalistic movement in

Europe)

Jazz

Conceived in New Orleans and moved up the

Mississippi River to Memphis, St. Louis and

finally Chicago.

New Orleans sounds goes back to tribal African

drum beats and European musical structures.

Jazz spanned many musical forms such as

spirituals, cakewalks, ragtime and the blues.


analyzes the characteristics

and contexts of American


Marches

Jazz


the characteristics and

contexts of American


Marches

Jazz

Explains the

characteristics and



Marches

Jazz

Lists the

characteristics and



Marches

Jazz

99

HIGH SCHOOL

BAND

100

HIGH SCHOOL BAND

COURSE MAP

Grade 9 Grade 10 Grade 11 Grade 12 Concert Band

Symphonic Band

Jazz Band

Beginning Guitar

Advanced Guitar

WG Advanced Placement Music Theory

101

HIGH SCHOOL BAND

COURSE DESCRIPTION GUIDE

CONCERT BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Successful band experience and/or permission of the Band Director.

Concert Band is designed for students who wish to continue their band experience.

Enrollment in Concert Band is based on auditions and director‘s recommendation.

Concert Band provides continued instruction of ensemble skills.

Students performing on an extracurricular basis are expected to meet eligibility standards

as specified by the Missouri State High School Activities Association. Attendance at all

performances is required according to the Fine Arts Musical Performance Attendance

Guideline form. Attendance at all performances is required according to the Rockwood

School District Fine Arts Attendance Guidelines for Musical Performance.

Students are expected to provide their own instruments and supplies.

SYMPHONIC BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Successful band experience and/or permission of the Band Director.

Demonstrate skills necessary for Musical Performances. Enrollment in Symphonic Band

is based on auditions and director‘s recommendation. Symphonic Band builds on

fundamentals taught in Concert Band by providing instruction in advanced ensemble

techniques. Marching Band is integrated into the band experience as a co-curricular or

extra-curricular activity.







102

JAZZ BAND (Grades 9, 10, 11, 12) 1 Unit, All Year

Prerequisite: Permission of the director based upon audition. If a performance based

music course IS offered during zero hour, then students enrolling in either Jazz Band or

Chamber Choir are required to enroll concurrently in another performance based music

course. If a performance based music course IS NOT offered during zero hour, then it is

recommended that students enrolling in Jazz Band or Chamber Choir should concurrently

enroll in another performance based music course. Note that if a student has a

scheduling conflict and cannot enroll in two of these courses, the student‟s class

principal will waive this requirement.

This course is designed to further develop the instrumental music student‘s interest and

ability in the area of jazz studies. Students will examine the various styles of jazz, the

harmonic structures associated with jazz, and jazz improvisation. Instrumentation for the

class will be confined to saxophones, trumpets, trombones, drums, guitar, bass guitar, and

piano.







BEGINNING GUITAR (Grades 9, 10, 11, 12) ½ Unit

Prerequisite: None

This class is designed for the student with no previous experience in playing guitar. Basic

guitar fundamentals such as chording, picking, strumming and note reading will be

covered. Music fundamentals will be introduced to aid the student in reading music.

ADVANCED GUITAR (Grades 9, 10, 11, 12) ½ Unit

Prerequisite: None

This class is designed for students who wish to further their guitar skills. Instruction will

include various styles of guitar playing. Music reading skills will continue to be

developed.

103

WG Advanced Placement MUSIC THEORY I (Grades 10, 11, 12) 1 Unit

Prerequisite: Passing grades in Symphonic Band, Symphonic Orchestra, Chamber, or

Concert Choir with recommendation of ensemble director. Ability to fluently read large

group festival literature. Permission of AP instructor.

Note: A grade of A or B is recommended in previous music courses.

The Advanced Placement Music Theory course enables highly motivated students to do

college entry-level work. Course content emphasizes aural and visual understanding of

musical structure and compositional procedures, part writing, composition, melodic and

harmonic dictation and sight-singing. Students are encouraged to take the AP Music

Theory Exam in May. This course will benefit students who plan to study music at the

college level or who want to enhance their performance skills through knowledge of

music theory.

104

High School

Concert Band

105

Concert Band, CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:


How to manipulate pitch, tone, and

dynamics to match and balance section

How to demonstrate proper tone quality,

pitch accuracy, and intonation through

singing in unison and in harmony with

expression

How to play Grade 3 Literature


notes, MM=72

How to perform rhythm counting: eighth

and sixteenth combinations, ties on the

beat


Major: G, D, A, E

Minor: a, e, b, f#, c#, b flat

Chromatic: full range

How to play by ear simple melodies (4-6

pitches) on a melodic instrument or

simple accompaniments on a harmonic

instrument

How to create and perform a melodic

variation

How to improvise simple and melodic

variations in a consistent meter with

varying style

How to compose or write a melodic

variation

How to use tempo to express, interpret,

and shape a musical phrase

How to perform various combinations of

simple or compound meter, dynamics,

articulations and tempo markings on

instrument (see CCO II) found in Grade

Manipulate pitch, tone, and dynamics to match and balance

section on instrument

Demonstrate proper tone quality, pitch accuracy, and intonation

through singing in unison and in harmony with expression

Perform Grade 3 Repertoire

Play note patterns in sixteenth notes, MM=72

Demonstrate rhythm counting: eighth and sixteenth

combinations, ties on the beat


Major: G, D, A, E

Minor: a, e, b, f#, c#, b flat


Play by ear simple melodies (4-6 pitches) on a melodic


Create and perform a melodic variation

Improvise simple and melodic variations in a consistent meter

with varying style

Compose or write a melodic variation

Use tempo to express, interpret, and shape a musical phrase

Perform various combinations of simple or compound meter,

dynamics, articulations, and tempo markings on instrument (see

CCO II) found in Grade 3 Literature

106

3 Literature

Unit Vocabulary: balance, blend, intonation, sharp, flat, chord, chord tone, interval, double tonguing,

triple tonguing, sixteenth note subdivision, expression, interpret

Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,

melody, harmony, articulation, phrasing, expression.

Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the

ensemble.

Student plays an excerpt from Grade 3 Literature, demonstrating various combinations of simple and

compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision, with

appropriate phrasing and shaping in the above keys.

Student creates and performs a variation based upon a given melody.




Identify a characteristic sound on band instruments

Identify major and minor key signatures

Identify the phrase structure in a recorded piece of music

Give example

reference recordings

Lecture


Written quiz

Written quiz

Written quiz




Evaluate tone quality of individual band instrument

performances of self and peers tuner

Incorporate double tonguing on a repeated sixteenth note

exercise

Perform two different interpretations of the same

excerpt; compare and contrast the expressive qualities of

the interpretations


Modeling

Modeling

Scoring guide

Playing test

Scoring Guide

Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.

Teachers of peer leaders can provide individual tutoring sessions.

Teachers can rotate part assignments within the section of the ensemble.


Suburban, solo/ensemble festival).

Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental



Student Tasks:


Perform a characteristic sound on individual instrument

tuner

Perform Grade 3 level music with sixteenth note

subdivision

Perform a musical excerpt using an original

interpretation

Modeling


Modeling

Playing test

Playing test

Playing test

107

Manipulate pitch, tone, and dynamics to match and balance section on instrument

Demonstrate proper tone quality, pitch accuracy, and intonation through singing in unison and in harmony

with expression

Perform Grade 3 Literature

Play note patterns in sixteenth notes MM=72

Perform rhythm counting: Eighth and sixteenth rhythm combinations, ties on the beat

Demonstrate scales in the keys: Major: G, D, A, E, Minor: a, e, b, f#, c# and b flat, and full range chromatic

Play by ear, simple melodies (4-6 pitches) on a melodic instrument or simple accompaniments on a

harmonic instrument

Create and perform a melodic variation

Improvise simple and melodic variations in a consistent meter with varying style

Compose or write a melodic variation

Use tempo to express, interpret, and shape a musical phrase

Perform various combinations of simple or compound meter, dynamics, articulations, and tempo markings

on instrument (see CCO II) found in Grade 3 Literature

108

Scoring Guide for Concert Band, CCO I A. - Performance Skills, Part I

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing



balance section on

instrument

Student plays with a

characteristic sound

throughout the entire

range of the instrument:

centered, clear and

focused

Always matches reference

pitch and adjusts

individual intonation by

comparing it to entire

section

Student plays the

indicated dynamic level

and always adjusts to

match the section volume


characteristic sound in the

middle register of the

instrument: centered, clear

and focused


reference pitch and

adjusts individual

intonation by comparing it

to entire section

Student plays the


and consistently adjusts to


Student meets two of the

three expectations for a


middle register of the

instrument: centered, clear

and focused


reference pitch and

adjusts individual


to entire section

Student plays the


but does not adjust to


Student does not play

with a characteristic

sound in the middle

register of the instrument:

not centered, not clear and

not focused

Does not match reference

pitch or adjust individual


to entire section

Student plays the opposite

of the indicated dynamic

level and does not adjust

to match the section

volume

Perform Sixteenth note

patterns, MM=72


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: irregular


are correct



unsteady

Rhythm: unrecognizable.

Note accuracy:

unrecognizable

Rhythm counting with

eighth and sixteenth rhythm

combinations, ties on the

beat


tempo is exceeded



Counting accuracy:

accurate with no

discernible flaws


tempo is met


mistakes

Counting accuracy: accurate

with few mistakes

Tempo: unsteady

Rhythm: irregular

Counting accuracy: most

counts are correct



unsteady


Counting accuracy:

unrecognizable


scales in the keys:


tempo is exceeded



tempo is met


Tempo: unsteady

Rhythm: irregular




unsteady

109

Major: G, D, A, E

Minor: a, e, b, f#, b flat


discernible mistakes.



mistakes


with few mistakes

are correct Rhythm: unrecognizable.

Note accuracy:

unrecognizable

Execute articulated slurs,



tonguing


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: irregular


are correct



unsteady


Note accuracy:

unrecognizable


using tempo, articulations,

and dynamic variation, to

express, interpret, and

shape musical phrases

Student demonstrates

clear, accurate differences

in speed at tempo

changes, interprets

melodic line using

articulations and dynamic

variation where

appropriate


differences in speed, but

not enough contrast

between tempo changes

and uses some


variation

Student demonstrates few

or slight changes in speed

at tempo changes,

dynamic variation, and

little variation of

articulations within

melodic content

Dynamics do not change,

little or no interpretation

of tempo fluctuations, no

variation of articulations

within melodic content


melodic variation

Improvisations are



Improvisations are



material

Improvisations are

effective, but not


material

Improvisation is not

effective and is not


material

Compose or write a melodic

variation

Composition adheres to

properties of melodic line

in relation to rhythm,

tonality, cadence and

form as well as aesthetic

considerations





form



in relation to rhythm

Composition contains

incorrect note values and

does not follow the given

tonality

110

Concert Band CCO II. A. Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:





meter in 3/8, 12/8,and duple time

signatures such as 5/4 and 6/4





Play music in Time Signature: 3/8, 12/8, 5/4, 6/4

Demonstrate knowledge of articulations: Articulated slurs,

sixteenth note slur/tongue combinations, multiple tonguring

Demonstrate knowledge of tempo markings: Grave, Allegretto,

Presto, Tempo Primo, Adagio

Demonstrate knowledge of Symbols and Terms: Tacet, segue, con

sordino, tremolo, rubato

Unit Vocabulary:

Time Signature: 3/8, 12/8, 5/4, 6/4

Articulations: Articulated slurs, sixteenth note slur/tongue combinations, multiple tonguring

Tempo Markings: Grave, Allegretto, Presto, Tempo Primo, Adagio

Symbols and Terms: Tacet, segue, con sordino, tremolo, rubato


symbols/terms.

Student counts and plays music written in 3/8, 12/8, 5/4, 6/4.

Student writes music using sixteenth/eighth note rhythm combinations and ties on the beat.




Students will identify symbols and terms on their music

Students will define vocabulary in a worksheet

Demonstrate

Lecture

Verbal & written

feedback

Written Quiz




performance

Student

Demonstration

Verbal & written

feedback



Construct an original melody using sixteenth/eighth note

rhythm combinations and ties on the beat




111





Student Tasks:

Play music in Time Signatures: 3/8, 12/8, 5/4, 6/4

Perform music with varying articulations: Articulated slurs, sixteenth note slur/tongue combinations,

multiple tonguing

Demonstrate Tempo Markings: Grave, Allegretto, Presto, Tempo Primo, Adagio

Use Symbols and Terms: Tacet, segue, con sordino, tremolo, rubato

112

Scoring Guide for Concert Band CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signatures: 3/8, 12/8,

and less common duple time

signatures such as 5/4 and

6/4



3/8, 12/8 and 5/4




beats

Reads some rhythms

correctly within the meter,

but time is unstable with

frequent pauses


time, unable to read and


Tempo markings: Grave,

Allegretto, Presto, Tempo

Primo, Adagio




steady tempo




between categories

Student is unable to

maintain a steady tempo


tempo marking


differentiate between

tempo markings, tempo

fluctuates dramatically

Execute articulated slurs,



tonguing


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: irregular


are correct



unsteady


Note accuracy:

unrecognizable

Symbols and terms: tacet,

segue, con sordino, rubato


symbols and terms






context

Student defines terms, but

does not interpret them

correctly in playing

Student is unable to read

and interpret symbols and

terms

Compose or write a melodic

variation





form as well as aesthetic

considerations





form






does not follow the given

tonality

113

Concert Band CCO III. A. Musical Forms





G1.6, G2.5

Content and Skills:





forms


Sonata, rondo, symphonic, jazz

Unit Vocabulary: Sonata, rondo, symphonic, jazz






Students will identify sonata, rondo, symphonic, jazz

forms












Student Task: Identify musical forms used in ensemble repertoire: sonata, rondo, symphonic, jazz

114

Concert Band CCO III. B. Analysis


performances.




FA 2, FA 3, G 1.4, G 2.4

Content and Skills:




How to use Concert Band terminology




How to differentiate among diatonic


Use Concert Band terminology and form/composition techniques

to describe, analyze, interpret and evaluate a recorded excerpt or

piece of music

Listen to and differentiate among diatonic intervals to the octave

Unit Vocabulary: aesthetics, style, interpretation, chromatic, diatonic, interval, minor, major, perfect,

augmented, diminished, octave, unison, natural/harmonic/ melodic minor


Student listens to and describes, analyzes, interprets, and evaluates an excerpt or piece of music.

Student listens to and differentiates between diatonic intervals to the octave.




Identify diatonic intervals played on a keyboard (T) Modeling Written quiz




diagram (T)




Listen to and rehearsal and performance recordings of

the same piece of music; describe, analyze, interpret, and

evaluate the differences between the two recordings (T)





Application Level Assessment for Core Conceptual Objective III. B. Analysis: Students will

demonstrate the ability to respond to and critically analyze music.

Student Tasks:

Use Concert Band terminology and form/composition techniques to describe, analyze, interpret and


Listen to and differentiate among diatonic intervals to the octave

115


Name________________________________ Class_________________ Date:______

Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical performance. You

may take as much space as you need for each paragraph. If you are completing this with pen/pencil, you

may continue answers on the back or on another page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

116


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

117

Concert Band CCO III. B. - Analysis

Interval Recognition Scoring Guide

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing


among diatonic intervals

within the octave

Aurally identifies

examples of diatonic

intervals within the octave

at 95% to 100%

proficiency

Aurally identifies



at 85% to 95%

proficiency

Aurally identifies



at 70% to 85%

proficiency

Aurally identifies



at 0% to 70% proficiency

118

Concert Band CCO IV. A. Integration

Core Conceptual Objective IV. A. Integration: Students will make connections between music and other subject

areas.


Music and science are closely connected because of the physical properties

involved in producing sound.

FA 4, G1.9, G3.3

Content and Skills:




How to explain the physical properties

involved in producing a tone and

manipulating pitch

How to describe the impact of

technology on the development of

music instruments

How to list several skills learned in

ensembles and relate them to those

skills needed in areas such as the work

force, church or community group,

and other school groups

Connect music to science in sound production (air speed and

frequency)

Connect music to science in technology (development of

instruments)

Describe several skills learned in ensembles and relate them to

those skills needed in areas such as the work force, church or

community group, and other school groups

Unit Vocabulary: frequency, amplitude, wave length, beats, air column, cycles per second, intonation, tuner, air

speed, volume

Pre-Assessment: Student defines science and music terminology related to sound production.

Student writes a short description of the physical properties involved in producing sound on one‘s instrument.

Student demonstrates how their instrument works in producing sound and manipulating pitch.

Student lists several skills learned in ensemble performance and participation.




Define science and music terminology related to sound

production and properties (T)




Create a timeline that shows major advancements or

changes in the construction of instruments (T)




Suggest ways for improving student intonation based on

knowledge of wave interference (T)





119

Application Level Assessment for IV. A. Integration: The student will make connections between music and


Student Task:

Connect music to science in sound production (air speed and frequency) and technology (development of

instruments)

Describe several skills learned in ensembles and relate them to those skills needed in areas such as the work force,

church or community group, and other school groups

120

Scoring Guide for Concert Band CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Connections between music and

science in sound production:

Wavelength – horizontal length of

one cycle of a wave.

Period – time required for one

wavelength to pass a certain point.

Longer period, lower pitch. Shorter

period, higher pitch.

Amplitude – maximum value of the

wave function. The higher the

amplitude, the louder the sound.

Beat – when condensation meets a

rarefaction or vice versa to create a

variation in loudness.

Two sources of the same pitch

increase the amplitude.

Two sources of slightly different

pitch create wave interference or

beats (known as being out of tune in

band)

Sound moves at different speeds

through different mediums (cold air

= lowered pitch)

Analyzes,

compares and

contrasts

connections among

music and science

in sound

production


connections among music

and science in sound

production

Identifies some



production

Attempts to make



production

121

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Connect music to science in

technology (development of

instruments):

Improvement of construction

materials and design leads to

instruments with more consistent

tone and intonation (ex. valved brass

instruments, Boehm clarinet key

system)

Improvement in manufacturing

technique allows for mass

production of instruments

Electronic tuners

Analyzes,

compares and

contrasts

connections among

music and science

in technology



and science in technology

Identifies some


and science in technology

Attempts to make


and science in tech

122

Concert Band CCO V. A. Music History





FA 5, G1.9, G3.3

Content and Skills:





context of American and British march

styles

How to conclude possible origin

and/or historical period of aural

example

How to cite well-known performers

specific to student‘s instrument

Compare and contrast American, British, and Passadoble march

styles

Conclude possible origin and/or historical period of aural example

Cite well-known performers specific to student‘s instrument

Unit Vocabulary: aesthetics, style, interpretation, form, British March, American quick-step March, 6/8

march, military march, concert march

Pre-Assessment: Student defines music terminology related to music history.

Student listens to and differentiates between marches of different styles and function.

Student gathers information and deduces differences between historical periods of music.




Define music terminology related to American and

British march styles (T)

Identify current artists/performers specific to student‘s

instrument

Lecture

Lecture/Student

Research

Written quiz

Paper



Analyze and rehearse marches from a diverse historical

and cultural background




Decide upon the style and/or approximate time period of

a piece of music that has been rehearsed or studied

Lecture/Reference

Recordings

Written Quiz




Application Level Assessment for Core Conceptual Objective V. A. Music History: Students will

demonstrate knowledge of music history.

123

Student Task:

Compare and contrast American and British marches

Deduce origins and/or historical periods of aural examples

124


Name: Class:









Work B


Work A

Work B



125

Scoring Guide for Concert Band, CCO V. A. – Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Characteristics of American March

Music:

follows a relatively strict form with

Introduction, 1st

and 2nd

Strains, Trio (new

key), Break Strain, and a Finale or Grandioso

(often an embellishment or variation on the

trio melody)

break strain and Finale/Grandioso are

repeated to ending, usually with a stinger as

the last note

brisk and lively tempo, usually around

120+ bpm

stronger note beginnings with decay into

release that creates space between notes

phrases are generally short and not as

lyrical as other styles

Characteristics of British March Music:

follows a relatively strict form with

Introduction, 1st

and 2nd

Strains, Trio (new

key), Break Strain, and a Finale or Grandioso

(often an embellishment or variation on the

trio melody

more moderate tempo, around 100 bpm

moderate strength attacks with slightly

more sustain than American marches.

generally lighter in articulation and style

phrases are generally longer, more lyrical

and developed


evaluates American and

British marches in the

context of the ―golden

age of bands‖ (circa

1875-1930)

Compares and

contrasts American

and British marches

in the context of the

―golden age of

bands‖ (circa 1875-

1930)

Explains American

and British marches


―golden age of


1930)

Lists characteristics of

American and British

marches in the context

of the ―golden age of


1930)

126

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Context of American March Music:

grew out of the military musical needs for drills,

troop movement, ceremonies and troop morale

following the civil war, congress reduced the

number and size of military bands (to pay off war

debts and for reconstruction) – military leaders

asked civilian bands to fill the void

professional touring bands traveled the country

performing the latest marches

instrumentation grows to include orchestral

woodwinds, valved brass instruments, and

saxophones

abundance of left-over instruments from Civil

War military bands resulting in easy access to

instruments and increased numbers of people

learning to play band instruments (led to increased

demand for band music and a larger audience)

growing sense of nationalism and patriotism

(paralleled by the nationalistic movement in

Europe)

Context of British March Music:

grew out of military musical needs and out of the

brass band movement of the 19th

century

increasing popularity of American marches

during the same period

each regiment had its own performing group and

its own march

a very important part of ceremonies involving

royalty and military leaders

Compares,

contrasts, and

evaluates

American and

British marches in

the context of the

―golden age of

bands‖ (circa

1875-1930)

Compares and

contrasts American

and British marches


―golden age of


1930)

Explains American

and British marches


―golden age of


1930)


American and British

marches in the context

of the ―golden age of


1930)

127

High School

Symphonic Band

128

Symphonic Band CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:


How to manipulate pitch, tone, and

dynamics to match and balance

ensemble

How to demonstrate proper tone quality,

pitch accuracy, intonation, and dynamic

contrast through singing in unison and in

harmony with expression

How to play Grade 4 Literature


notes, MM=88

How to perform rhythm counting:

sixteenth notes and rests in compound

meter


Major: B, G flat

Minor: g#, d#


pitches) on a melodic instrument or

simple accompaniments on a harmonic

instrument

How to create and perform a melody and

melodic variation based upon a given

harmony

How to compose or write a melody

based upon a given harmony

How to use note emphasis and note

length to interpret a musical phrase



articulations and tempo markings on

instrument (see CCO II) found in Grade

4 Literature

Manipulate pitch, tone, and dynamics to match and balance

ensemble on instrument

Demonstrate proper tone quality, pitch accuracy, intonation,

dynamic contrast through singing in unison and in harmony with

expression



Demonstrate rhythm counting: sixteenth notes and rests in

compound meter


Major: B, G flat

Minor: g#, d#

Play by ear simple melodies (6-8 pitches) on a melodic


Create and perform a melody and melodic variation based upon

a given harmony

Compose or write a melody based upon a given harmony



dynamics, articulations (at faster tempos), and tempo markings

on instrument (see CCO II) found in Grade 4 Literature

129

Unit Vocabulary: leading tone, mode

Pre-Assessment: Student defines music terminology related to Grade 4 Literature.

Student plays an individual part in a chorale or individual part utilizing dynamics to match overall balance

and blend of the ensemble.

Student plays an excerpt from Grade 4 Literature, demonstrating various combinations of simple or

compound meter, dynamics, articulations (at faster tempos), tempo markings, rhythmic and

melodic precision, with appropriate phrasing and shaping in the above keys.

Student creates and performs a melody and melodic variation based upon a given harmony.





Identify the musical mode of a recorded piece of music

(T)

Lecture

Listening Lecture

Written quiz

Written quiz




Incorporate multiple tonguing on a running sixteenth

note or triplet exercise

Cooperative learning Scoring guide

Differentiation Suggestions: Supplemental materials can be provided for accelerated students.





Application Level Assessment for CCO I.A. Performance Skills: Students will demonstrate

instrumental music performance skills (expression, technique, repertoire, imitation, group playing,

improvisation, and composition) through varied repertoire.

Student Tasks: Manipulate pitch, tone, and dynamics to match and balance ensemble on instrument

Demonstrate proper tone quality, pitch accuracy, intonation, dynamic contrast through singing in unison

and in harmony with expression



Demonstrate rhythm counting: sixteenth notes and rests in compound meter

Demonstrate scales in the keys: Major: B, G flat, Minor: g#, d#

Play by ear simple melodies (6-8 pitches) on a melodic instrument or simple accompaniments on a

harmonic instrument

Create and perform a melody and melodic variation based upon a given harmony

Compose or write a melody based upon a given harmony


Perform various combinations of simple or compound meter, dynamics, articulations (at faster tempos), and

tempo markings on instrument (see CCO II) found in Grade 4 Literature


Perform Grade 4 level excerpt with precision Modeling Playing test/Scoring

Guide

130

Scoring Guide for Symphonic Band, CCO I. A. – Performance Skills

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing



balance ensemble on

instrument



throughout the entire range

of the instrument:


focused.


pitch and adjusts



ensemble.

Student plays the



match the section volume.


characteristic sound in

the middle register of the

instrument: centered,

clear, and focused.


reference pitch and

consistently adjusts



ensemble.

Student plays the


and consistently adjusts

to match the ensemble

volume.



characteristic sound in

the middle register of the

instrument: centered,

clear, and focused.


reference pitch and

adjusts individual

intonation by comparing

it to entire ensemble.

Student plays the



match the section

volume.


with a characteristic

sound in the middle

register of the

instrument: not centered,

not clear, and unfocused.

Rarely matches reference

pitch and adjusts



ensemble.

Student plays the

opposite of the indicated

dynamic level and does

not match the ensemble

volume.


patterns, MM=88. Tempo: Steady and

target tempo is exceeded

Rhythm: Accurate with


Note Accuracy: accurate

with no discernible

mistakes

Tempo: Steady and

target tempo is met


few mistake


with few mistakes

Tempo: Unsteady

Rhythm: Irregular

Note Accuracy: most

notes are correct

Tempo: Does not meet


is unsteady

Rhythm: Unrecognizable

Note Accuracy:

unrecognizable

Rhythm counting with

sixteenth notes and rests in

compound meter

Tempo: Steady and




Counting Accuracy:

accurate with no


Tempo: Steady and

target tempo is met


few mistake

Counting Accuracy:

accurate with few

mistakes

Tempo: Unsteady

Rhythm: Irregular

Counting Accuracy:

most rhythms are correct



is unsteady


Counting Accuracy:

unrecognizable

131


scales:

Major: B, G flat

Minor: g#, d#

Tempo: Steady and





with no discernible

mistakes

Tempo: Steady and

target tempo is me


few mistake


with few mistakes

Tempo: Unsteady

Rhythm: Irregular

Note Accuracy: most

notes are correct



is unsteady


Note Accuracy:

unrecognizable


using note emphasis and

note length to interpret

musical phrases

Note emphasis and note

length are effectively used

to enhance artistic

expression within a

musical phrase


length are frequently used

to elevate the musical

expression of the musical

phrase


length are occasionally

used to elevate the phrase

beyond mere notes


length are not used to

interpret a musical phrase


melody based upon a given

harmony

Improvisation is creative

and follows the given

harmonic structure

Improvisation is effective


harmonic structure

Improvisation fills the

length of the assignment,

but is not consistent with

the harmonic structure

Improvisation contains


does not follow the

harmonic structure

Compose or write a melody

based on a given harmony Composition adheres to



tonality, cadence and form

as well as aesthetic

considerations











tonality


using tempo, articulations

(at fast tempos), and

dynamic variation, to




clear, accurate differences

in speed at tempo

changes, interprets

melodic line using


variation where

appropriate



not enough contrast


and uses some


variation

Student demonstrates few

or slight changes in speed

at tempo changes,


little variation of


melodic content

Dynamics do not change,

little or no interpretation

of tempo fluctuations, no



132

Symphonic Band CCO II. A. Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:





meter in asymmetrical time signatures,

such as 5/8, 7/8





Play music in Time Signature: Asymmetrical time signatures, like

5/8 and 7/8

Demonstrate knowledge of articulations: All at faster tempos

Demonstrate knowledge of tempo markings: Largo, stringendo

Demonstrate knowledge of Symbols and Terms: Mordents, turn

Unit Vocabulary:

Time Signature: Asymmetrical, such as 5/8 and 7/8

Articulations: All at faster tempos

Tempo Markings: Largo, stringendo

Symbols and Terms: Mordent, turn


symbols/terms.

Student counts and plays music written in asymmetrical time signatures, such as 5/8 and 7/8

Student writes music using sixteenth notes and rests in compound meter.




Students will identify symbols and terms on their music

Students will define vocabulary in a worksheet

Demonstrate

Lecture

Verbal & written

feedback

Written Quiz




performance

Small ensembles select and perform different musical

excerpts to demonstrate dynamic changes over 1 count

Student

Demonstration


Verbal & written

feedback

Playing Test



Construct an original melody using sixteenth notes/rests

in compound meter


133







Student Tasks:

Play music in Time Signatures: Asymmetrical time signatures, such as 5/8 and 7/8

Perform music with varying articulations: All at faster tempos

Demonstrate Tempo Markings: Largo, stringendo

Use Symbols and Terms: Mordent, turn

134

Scoring Guide for Symphonic Band CCO II. A. Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signatures: Perform

Grade 4 literature using

asymmetrical time

signatures, 5/8 and 7/8


asymmetrical time

signatures correctly in 5/8

and 7/8




beats

Student reads some

rhythms correctly within

the meter, but time is

unstable with frequent

pauses

Student lacks a steady

sense of time, unable to

read and interpret time

signatures

Tempo Markings: Define

and perform Largo and

stringendo tempos




steady tempo




between categories




tempo marking





Symbols and Terms: Define

and perform mordents and

turns

Student reads and

interprets mordents



of mordents, but some are

not performed in context

Student can tell the

definitions of a mordent,

but does not interpret it



and interpret mordents

Execute all articulations at

faster tempos


tempo is exceeded






tempo is met


mistakes


with few mistakes

Tempo: unsteady

Rhythm: irregular


are correct



unsteady


Note accuracy:

unrecognizable

Compose or write music

using sixteenth notes and

rests in compound meters





as well as aesthetic

considerations











tonality

135

Symphonic Band CCO III. A. Musical Forms





G1.6, G2.5

Content and Skills:





forms


Opera, ballet, musical theatre, cantata, canon

Unit Vocabulary: Opera, ballet, musical theatre, cantata, canon






Students will identify opera, ballet, musical theatre,

cantata, canon












Student Task: Identify musical forms used in ensemble repertoire: opera, ballet, musical theatre, cantata, canon

136

Symphonic Band CCO III. B. Analysis


performances.




FA 1, FA 2, G 2.5

Content and Skills:




How to use Symphonic Band music

terminology and form/composition

techniques to describe, analyze,

interpret, and evaluate an excerpt or

piece of music

How to differentiate among chromatic


Use Symphonic Band terminology and form/composition

techniques to describe, analyze, interpret, and evaluate a recorded


Listen to and differentiate among chromatic intervals to the octave

Unit Vocabulary: scale degrees, whole-tone and pentatonic scales/modes, consonance, dissonance


Student listens to and describes, analyzes, interprets, and evaluates a recorded excerpt or piece of music.

Student listens to and differentiates chromatic intervals to the octave.




Identify chromatic intervals played on a keyboard (T) Modeling Written quiz




diagram (T)

Cooperative learning Scoring learning



Listen to a rehearsal recording and the performance

recording of the same piece of music; describe, analyze,

interpret, and evaluate the differences between the two

recordings (T)

Cooperative learning Written quiz



Teachers and peer leaders can provide individual tutoring sessions.

Application Level Assessment for CCO III. B. Analysis: Students will demonstrate the ability to

respond to and critically analyze music.

Student Tasks:

Use Symphonic Band terminology and form/composition techniques to describe, analyze, interpret, and

evaluate a recorded excerpt or piece of music.

Listen to and differentiate among chromatic intervals to the octave.

137


Name________________________________ Class_________________ Date:______

Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical performance. You

may take as much space as you need for each paragraph. If you are completing this with pen/pencil, you

may continue answers on the back or on another page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

138


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

139

Symphonic Band CCO III. B. - Analysis

Interval Recognition Scoring Guide

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing


among chromatic intervals

within the octave

Aurally identifies

examples of chromatic


at 95 to 100% proficiency

Aurally identifies




Aurally identifies




Aurally identifies




140

Symphonic Band CCO IV. A. Integration




People communicate ideas and emotions in music, literature, and art. FA4, G1.9, G3.3

Content and Skills:




How to connect the narrative function

of art to the communication of an idea

in Program Music

How to connect the narrative function

of literature to the communication of

an idea in Program Music

Explain how the roles of creators,

performers, and other involved in the

production and presentation of the arts

compare to and from those skills

needed in various vocations

Compare and Contrast the narrative function of art to the

communication of an idea in Program Music

Compare and Contrast the narrative function of literature to the

communication of an idea in Program Music

Explain how the roles of creators, performers, and other involved

in the production and presentation of the arts compare to and from

those skills needed in various vocations

Unit Vocabulary: program music, Romantic, Twentieth Century, narrative art, narration, plot,

characterization, mood, texture, Emotionalism, Imitationalism, Functionalism

Pre-Assessment: Students will explain the narrative or emotional meaning of a work of

music/art/literature and defend their judgment with references to compositional elements.

Students will list various duties of a production or presentation in the arts and define various duties of those

roles.




Define vocabulary related to narrative function of art

and literature




Compose or improvise a melody that communicates a

narrative from literature or the mood of a work of art (T)




Write a short story or create a piece of art that expresses

a similar emotion or idea to a given piece of music (T)

Student Project Scoring Guide




Application Level Assessment CCO IV. A. Integration: Students will make connections between music

and other subject areas.

141

Student Tasks: Compare and Contrast the narrative function of art to the communication of an idea in Program Music.

Compare and Contrast the narrative function of literature to the communication of an idea in Program

Music.

Write essay on the various roles involved in productions and presentations in the arts and define skills

needed in various vocations with real-world application.

142

Scoring Guide for Symphonic Band CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Compare and Contrast the

narrative function of art to

the communication of an

idea in Program Music

Narrative Function of Art:

Associated with a story,

poem, idea, or scene

Uses elements and

principles of art

Format-multiple panels

or a mural

Combines scenes from

different times/places

Communicating a point

of view

Program Music:



Uses elements and

principles of music

(theme, form, leitmotif)

Analyzes, compares and

contrasts connection

between the narrative

function of art to the

communication of an idea

in Program Music.


connections between the



idea in Program Music.

Identifies some





Attempts to make





143

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Compare and Contrast the

narrative function of

literature to the


in Program Music

Narrative Function of

Literature:

Associated with a story

or poem.

Uses elements of

literature (plot,

characterization, mood,

theme)

Program Music:



Uses elements and

principles of music

(theme, form, leitmotif)

Analyzes, compares and

contrasts connection

between the narrative

function of literature to


idea in Program Music

Compare and contrast



literature to the


in Program Music

Identifies some



literature to the


in Program Music

Attempts to make



literature to the


in Program Music

144

Symphonic Band CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history

appropriate to grade level.



styles, and cultures.

FA5, G1.9, G3.3

Content and Skills:




How to cite characteristics of early

wind band literature (ex. Grainger,

Holst, Sousa) and contemporary wind

band literature (ex. Gillingham,

Ticheli, Holsinger)

How to cite well-known composers

specific to student‘s instrument

Compare and contrast examples of early wind band literature to

that of contemporary literature

Cite well-known composers specific to student‘s instrument

Unit Vocabulary: Overture, transcription, ballad, rhapsody, fantasia, program music, aleatoric music,

chromaticism, folk music, wind band


Student listens to and differentiates between examples of early 20th

Century wind band music and

contemporary wind band music.




List prominent composers of wind band music from

1910-1965 (T)

Lecture Written Quiz



Analyze an example of early or contemporary wind band

music

Cooperative learning Scoring Guide



Listen to a recorded selection and justify an opinion as

to the approximate date of composition (T)





Teachers can provide comparisons of additional composers (ex. Arnold, Boysen, Daugherty, Erickson,

Grundman, Hindemith, Jacob, McBeth, Melillo, Nelhybel, Nelson, Persichetti, Smith, van der

Roost, Vaughan Williams, Whitacre, etc.)


music history.

Student Task: Compare and contrast recorded examples of early wind band literature to that of contemporary literature.

145


Name: Class:









Work B


Work A

Work B



146

Scoring Guide for Symphonic Band, CCO V. A. – Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Characteristics of Early Wind Band

Literature: Music as a form of ceremonial

support for both military and civic functions

as well as dance music. First pieces written

not based on transcriptions and meant for a

serious audience were folk song based or

original compositions. Smaller

instrumentations in the beginning, but as

instrument makers improved their craft, more

variety of instruments found in the ensemble.

Context of Early Wind Band Literature:

Band movement in France after the French

Revolution and the French National Guard

Band and its conductor Bernard Serrette

(1765-1858). John Adams signed an Act of

Congress establishing the United States

Marine Band (1798). Others that flourished:

Salem Brigade Band (1806) and the Militia

Band of New York (1810). The English

bands as American models. The Allentown

Band (1828) as America‘s first community

band and the Independent Band of New York

(1825) as first professional band. Patrick

Gilmore (1829-1892) and the influence of the

Frenchman Louis Antoine Jullien (1812-

1860) as band showman becoming the father

of the modern American concert band.

English contributions of composers Gustav

Holst (1874-1934), Ralph Vaughan Williams

(1872-1958), Gordon Jacob (1895-1984), and

Percy Aldridge Grainger (1882-1961).


evaluates early and


literature.


early and contemporary

wind band literature.

Explains early and

contemporary wind

band literature.




147

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Characteristics of Contemporary Wind

Band Literature: A company of woodwind,

brass and percussion instruments. Wind

Band Ensemble concept as compared to the

traditional band. Bands during the mid-20th

century imitated the symphony orchestra

performing transcriptions (clarinets being

assigned the violin parts, etc). The vast

majority of wind band music created in the

last 50 years and treats instrumentalists as

individuals and the genre a unique art form

with original compositions.

Context of Contemporary Wind Band

Literature: Several festivals and bands

commissioned works with the intent to

improve the quality of military band

(Donaueschingen Music Festival Hindemith

1926, Aaron Copland for the Goldman Band

in 1941, Alfred Reed and contest held at

Columbia University in 1947). William

Schuman and Vincent Persichetti (1950)

writing music for the band medium to be

recognized artistic value instead of just

popular entertainment. Fennell creates the

Eastman Wind Ensemble (1952) and

Boudreau the Wind Symphony (1957) and

the promotion of new art music.

Development of professional level university

bands and explosion of music for the high

school band program (Nelhybel (1919-1996),

McBeth , Clifton Williams, and Warren

Benson. 1980‘s and 1990‘s finally accepted

at the university level that the band is a viable

artistic medium…..composers leading the

way such as Gillingham, Ticheli, Jack Stamp


evaluates early and


literature.




Explains early and

contemporary wind

band literature.




148

High School

Jazz Band

149

Jazz Band CCO I. A. Performance Skills





Jazz musicians produce characteristic sound, technique and articulation,

and communicate ideas/feelings and/or concepts through the performance

of music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:


How to manipulate standard pitch, tone,

and dynamics along with altered

qualities (subtone, ghost, vibrato, and

muted) to match and balance ensemble

on instrument

How to demonstrate singing skills

(proper tone quality, pitch accuracy,

intonation) and match pitch in an

appropriate range

How to develop technique through

performance of Grade 3-4 Literature

utilizing:


All major, melodic minor and modal

keys



Proper technique/idiomatic patterns

for playing auxiliary percussion

How to use note emphasis and note

length to interpret a musical phrase

How to play by ear simple melodies or

phrases on increasing complexity, on a

melodic instrument or simple

accompaniments on a harmonic

instrument

How to create and perform a melody or

variation based upon a given harmony

How to improvise harmonized

accompaniment parts

How to compose or write music using

notation



Manipulate standard pitch, tone, and dynamics along with

altered qualities (subtone, ghost, vibrato, and muted) to match

and balance ensemble on instrument

Demonstrate singing skills (proper tone quality, pitch accuracy,

intonation) and match pitch in an appropriate range

Develop technique through performance of Grade 3-4 Literature

utilizing:


All major, melodic minor and modal keys



Proper technique/idiomatic patterns for playing auxiliary

percussion


Play by ear simple melodies or phrases on increasing

complexity, on a melodic instrument or simple accompaniments

on a harmonic instrument

Create and perform a melody or variation based upon a given

harmony

Improvise harmonized accompaniment parts

Compose or write music using notation


dynamics, articulations, and (faster) tempo markings on

150

articulations and (faster) tempo markings

on instrument (see CCO II) found in

Grade 3-4 Jazz Literature

instrument (see CCO II) found in Grade 3-4 Jazz Literature

Unit Vocabulary: subtone, ghost, vibrato, muted, bite, ride, glisses, falls, doits, lip trills, scoops, ghost,

subtone, muting marks, ballad, bar, blues, chorus, distortion, dissonance, consonance, interval, lyrics, off-

beat, progression, semitone, tone color, verse, vibrato

Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,

melody, harmony, articulation, phrasing, expression, and jazz related terms.

Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the

ensemble.

Student plays an excerpt from Grade 3-4 Jazz arrangement, demonstrating various combinations of simple

and compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision,

with appropriate phrasing and shaping in the above keys.

Student plays tones to vary standard pitches and altered qualities.

Student will perform varied style properties and tendencies of jazz music.

Students will create a melody from a given harmony.




Identify a characteristic sound on band instruments


Identify the phrase structure in a recorded piece of music

Give example


Lecture


Written quiz




Evaluate tone quality of individual band instrument

performances of self and peers tuner

Evaluate a peer and give suggestions for improvement to

double tonguing on running sixteenth note exercise

Evaluate expressive styles and qualities on individual

band group performances of self and peers


Share Pair


Scoring guide

Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.

Teachers of peer leaders can provide individual tutoring sessions.

Teachers can rotate part assignments within the section of the ensemble.


Perform a characteristic sound on individual instrument

tuner

Perform Grade 3-4 music with sixteenth note

subdivision

Perform a musical excerpt using an original

interpretation

Modeling


Modeling

Playing test

151



Jazz excerpts of professional recordings show style and interpretation.

Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental



Student Tasks: Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone, ghost, vibrato, and

muted) to match and balance ensemble on instrument

Develop technique through performance of Grade 3-4 Literature utilizing:


All major, melodic minor and modal keys



Proper technique/idiomatic patterns for playing auxiliary percussion


Improvise and perform a melody based on a given harmony.

Perform various combinations of simple or compound meter, dynamics, articulations, and (faster) tempo

markings on instrument (see CCO II) found in Grade 3-4 Jazz Literature

152

Scoring Guide for Jazz Band, CCO I. A. – Performance Skills

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing



balance section and

ensemble on instrument



throughout the entire range

of the instrument: centered,

clear, and focused


pitch and adjusts



ensemble

Student plays the






comfortable register of the

instrument: centered, clear,

and focused


reference pitch and

consistently adjusts



ensemble

Student plays the


and consistently adjusts to

match the ensemble

volume




comfortable register of the

instrument: centered, clear,

and focused


reference pitch and adjusts



ensemble

Student plays the





with a characteristic sound

in the comfortable register

of the instrument: not

centered, not clear, and

unfocused

Rarely matches reference

pitch and adjusts



ensemble

Student plays the opposite

of the indicated dynamic

level and does not match

the ensemble volume


patterns and rhythm

counting in compound

meter at MM=88

Tempo: Steady and

target tempo is

exceeded.



Note/Counting

Accuracy: accurate with


Tempo: Steady and

target tempo is met


few mistake

Note/Counting Accuracy:

accurate with few

mistakes

Tempo: Unsteady

Rhythm: Irregular

Note/Counting

Accuracy: most notes are

correct



is unsteady.


Note/Counting

Accuracy:

unrecognizable


scales in all major, melodic

minor, and modal keys,

MM=88

Tempo: Steady and

target tempo is

exceeded.




with no discernible

mistakes

Tempo: Steady and

target tempo is met


few mistake


with few mistakes

Tempo: Unsteady

Rhythm: Uneven

Note Accuracy: most

notes are correct



is unsteady.


Note Accuracy:

unrecognizable

153

Perform Grade 3-4

literature using (faster)

tempo, articulations, and

dynamic variation to



Tempo: Steady and

target tempo is

exceeded.




with no discernible

mistakes


clear, accurate

differences in speed at

tempo changes,

interprets melodic line

using articulations and

dynamic variation where

appropriate

Tempo: Steady and

target tempo is met


few mistake


with few mistakes



not enough contrast


and uses some


variation

Tempo: Unsteady

Rhythm: Uneven

Note Accuracy: most

notes are correct

Students demonstrates

few or slight changes in

speed at tempo changes,


little variations of


melodic content



is unsteady.


Note Accuracy:

unrecognizable

Dynamics do not

change, little or no

interpretation or tempo

fluctuations, no



Adjust tempos for various

style properties and

tendencies of music

performed

Tempos at maximum

emphasis for style

properties and tendencies

of music performed.

Tempos are at effective

speed for style properties,

vary within the section of

music performed.

Tempos fluctuate, but

style properties are not

affected in the music

performed.

Tempos at incorrect and

negatively affect style

properties and tendencies

of the music performed.

Improvise and perform a

melody based on a given

harmony

Improvisations are

creative and follows the

given harmonic structure.

Improvisations are

effective and somewhat

consistent with the

harmonic structure.

Improvisations fill length

of assignment, but not

consistent with the

harmonic structure.

Contains incorrect note

values and does not follow

the harmonic structure.

Compose jazz music using

written musical notation Compositions are creative


given harmonic structure

Compositions are



harmonic structure

Compositions are

effective, but not


harmonic structure


values


harmonic structure

154

Jazz Band CCO II. A. Elements of Music

Core Conceptual Objective II A. Elements of Music: Students will apply knowledge and skills to read

and notate music.


Jazz musicians incorporate reading music to express the composer‘s

intentions.

FA 1, FA 2, G2.5

Content and Skills:


should know:



and notation to musical performance:

Time Signatures: All compound duple

and compound triple, and mixed meter

Dynamics: All dynamic levels (see 6-12

CCO II.)

Jazz Articulations: Bite, ride, glisses,

falls, doits, lip trills, scoops, ghost,

subtone, muting marks

Tempos: All tempo ranging and styles

(see 6-12 CCO II.)

Apply and perform using standard symbols, terms, and notation:

Time Signatures: All compound duple and compound triple, and

mixed meter

Dynamics: All dynamic levels (see 6-12 CCO II.)

Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills,

scoops, ghost, subtone, muting marks

Tempos: All tempo ranging and styles (see 6-12 CCO II.)

Unit Vocabulary:

Compound duple, compound triple, mixed meter, notation, dotted notes sextuplets, duplets, counterpoint,

blues, lineup, mute, orchestration, refrain, riff

Pre-Assessment: Student defines musical rhythms and meters related to compound, duple, and mixed rhythms.

Student performs advanced dynamic levels in jazz literature.

Student plays an individual part of jazz arrangement utilizing identified symbols of staccato, legato,

marcato, and accent staccato.




Identify characteristic expressive styles and qualities on

band instruments (T)

Present examples:


Written quiz




Evaluate expressive styles and qualities on individual

band group performances of self and peers (T)




Perform characteristic expressive styles and qualities on

individual instrument

Modeling Playing tests

155

Supplemental materials will be provided for varied tempos for advanced students.



Application Level Assessment for II. A. Elements of Music: Students will apply knowledge and skills to

read and notate music.

Student Tasks: Play music in various time signatures, including compound duple and compound triple, and mixed meter

Define and perform Fast Swing, Slow Ballad tempos

Demonstrate through performances, musical rhythms using various articulations (staccato, legato, marcato,

accent staccato. bite, ride, glisses, falls, doits, lip trills, scoops, ghost, subtone, muting marks) and

music terminology related to jazz.

Compose jazz music using written musical notation.

156

Scoring Guide for Jazz Band, CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signatures: Play

music in various time

signatures, including

compound duple and

compound triple, and mixed

meter


meters correctly with

proper emphasis on strong

beats




beats

Pauses at ends of

measures




signatures

Tempo Markings:

Define and perform

Fast Swing, Slow Ballad

tempos




steady tempo




between categories







Demonstrate through

performances, musical

rhythms using staccato,

legato, marcato, and accent

staccato

Student plays rhythms and

articulations correctly in

context

Rhythms are played but

some articulations are not

performed in context

Student can state the

explain the definitions of

articulations, but does not

perform correctly

Student does not know the

differences in articulations

and cannot perform

correctly

157

Jazz Band CCO III. A. Musical Forms




Jazz musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,

G1.6, G2.5

Content and Skills:





forms

Identify musical forms used in ensemble repertoire, such as D.C al

Fine, coda, repeat signs, first and second endings (see Band 6-8

CCO III. A.)

Unit Vocabulary: (see prerequisite progressive vocabulary from Band 6-8 CCO. III. A. Musical

Forms)






Students will identify musical forms within repertoire Modeling Written quiz











Student Task: Identify musical forms used in ensemble repertoire, such as D.C al Fine, coda, repeat signs, first and second

endings (see Band 6-12 CCO III. A.)

158

Jazz Band, CCO III. B. Analysis


performances.


Jazz musicians analyze, evaluate, and respond to the formal, stylistic, and


FA 2, FA 3, G1.4, G2.4

Content and Skills:

By the end of this course students should

know:

By the end of this course students should be able to do:

How to use jazz band terminology and

form/composition techniques to analyze,

interpret and evaluate the formal,

stylistic, and aesthetic qualities of music

Introduction

Tells plan to critique. Gives information about the work: composer‘s

name, musician‘s name, title of piece, when and where it was created,

what media was used, its period, style, or culture. Description

Sentences that list everything heard or seen in the performance,

including names of instruments. Analysis

Describes pitch, melody, harmony, rhythm, dynamics

Interpretation

Explain the artist‘s use of phrasing, breathing, style, dynamic contour

and contrast and how he/she communicates an emotional mood or

attitude toward the subject, narrative, social commentary, spiritual

/religious ideas or other purpose of the work

Judgment Evaluates the quality of the composition

Evaluates the quality of the performance

Grammar, Style, Form

Unit Vocabulary: introduction, description, analysis, interpretation, judgment, grammar/style/form

(As it pertains to critique guide of performances or recordings)

Pre-Assessment: Student defines music terminology to describe, analyze, interpret, and evaluate jazz forms, styles and





Identify styles and forms played in jazz literature (T) Present examples:


Written quiz




Evaluate the individual performance of a recorded jazz

piece in relation to the rest of the ensemble (T)


Differentiation Suggestions: Supplemental materials will be provided for students at varied levels of achievement.


Analyze a piece of recorded jazz literature and make a

listening diagram (T)

Modeling Playing tests

159

Jazz excerpts of professional recordings show style and interpretation.

Application Level Assessment, CCO III. B. Analysis: Students will demonstrate the ability to respond to


Student Task: Student will use jazz terminology and form/composition techniques to analyze, interpret, and evaluate the

formal, stylistic, and aesthetic qualities of a given excerpt or piece of music

160


Name________________________________ Class_________________ Date:______




page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

161


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

162

Jazz Band CCO IV. A. Integration




Jazz music influenced and was influenced by American history and

cultures.

FA 4, FA 5, G1.9, G3.3

Content and Skills:


should know:


How to connect the social influences of

the different American cultures through

the evolution of blues, rock ‗n‘ roll, R

‗n‘ B, swing styles, and Latin music in

jazz

Cite several skills learned in jazz

ensembles and relate them to those skills

needed in areas such as the work force,

church or community group, and other

school groups

Analyze influences and cultural groups that led to the

development of jazz music genres/styles

Analyze how the artist communicates an emotional mood,

attitude toward the subject, narrative, social commentary,

spiritual /religious idea or other purpose of the work through the

use of phrasing, breathing, style, dynamic contour and contrast

Compare the communication skills used in jazz band to those

skills needed in real-world scenarios for work, community

groups or school groups

Unit Vocabulary: rock ‗n roll, R ‗n B

Pre-Assessment: Explain the development of jazz music and its influences on contemporary pop music and justify with

references to cultural sentiment and diversities.

Student lists several skills learned in ensemble performance and participation




Define vocabulary of culture and geographical areas

related to blues and jazz idiom (T)

Classroom discussion Teacher observation




Write a short essay that might depict a cultural or

geographical as related to a jazz piece of music (T)

Essay Scoring guide

Differentiation Suggestions: Supplemental material will be provided for accelerated students.

Strong students model for other students.


Compose a melody and lyrics that illustrate a cultural or

geographical influence (T)

Modeling Scoring guide

163

Application Level Assessment for CCO IV. A. Integration: Students will relate jazz music to social/

cultural history in the United States.

Student Tasks:

Analyze influences and cultural groups that led to the development of jazz music genres/styles.

Analyze how the artist communicates an emotional mood, attitude toward the subject, narrative, social

commentary, spiritual /religious idea or other purpose of the work through the

164

Scoring Guide for Jazz Band, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Analyze how the artist communicates an

emotional mood, attitude toward the

subject, narrative, social commentary,

spiritual /religious idea or other purpose

of the work through the use of phrasing,

breathing, style, dynamic contour and

contrast.

Clearly infers meaning of work

based upon analysis/

Clearly supports all statements

with detailed, specific reference to

musical elements

Relates the performer‘s choices to

personal interpretation of the

composer‘s work

Interprets the meaning of work

based upon analysis.


reference to musical elements




composer‘s work

Suggests a meaning of

the work.

Supports statement

with reference to some

musical elements

Suggests

meaning of

work without

supporting

evidence

Analyze influences and cultural groups that led to

the development of jazz music genres/styles:

Analyzes and defends

statements about the

social and cultural

influences on music

of each of five

genres/styles with

specific reference to

artists and works

Analyzes and

defends statements

about the social

and cultural

influences on

music of four

genres/styles with

specific reference

to artists and works

Explains the social

and cultural

influences on music

of each of three

genres/styles

Lists the social

and cultural

influences on

music of each

of two

genres/styles

Social Influence/Culture->Blues

Memphis as the home of the blues and as the urban

center of the Delta region, place where blues

performers first brought their music to national

attention in the early decades of the 20th century.

Students should recognize that the blues is a highly

sophisticated art form rooted in folk traditions.

Students should consider how the role of the musician

and the social purpose of music might differ in rural

and urban settings. That the blues draws its strength

from hardship and pain, expressing a spirit of

affirmation in the face of adversity, often utilizing the

call and response or question and answer structure

coming from the work song (AABA form and its use

of iambic pentameter).

Social Influence/Culture->Rock „ n‟ Roll

Relate to social revolution at the time, emergence

from the blues and gospel, electrified guitar as pivotal.

165

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Analyze influences and cultural groups that led to

the development of jazz music genres/styles:

Analyzes and defends

statements about the

social and cultural

influences on music

of each of five

genres/styles with

specific reference to

artists and works

Analyzes and

defends statements

about the social

and cultural

influences on

music of four

genres/styles with

specific reference

to artists and works

Explains the social

and cultural

influences on music

of each of three

genres/styles

Lists the social

and cultural

influences on

music of each

of two

genres/styles

Social Influence/Culture->R „n‟ B

Encompasses such styles as jump blues, club blues,

black rock and roll, doo wop, soul, Motown, etc

originating from the massive social, industrial, and

technological change that took place in the United

States just prior to and during World War II.

Social Influence/Culture->Swing

Swing as America‘s mainstream popular music of the

30‘s and 40‘s derived from Dixieland music of the

black culture, now as crossover to popular culture as

dance music.

Social Influence/Culture->Latin

Musical traditions from the Caribbean and the United

States migrated and mixed giving percussionist a new

role in jazz with this new sound. Hybrid form of

integrated music as a result of movement of

individuals through several areas accelerating musical

innovation.

166

Jazz Band CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of jazz music history.


Jazz musicians understand and appreciate jazz music through various styles and

genres.

FA5, G1.9, G3.3

Content and Skills:


should know:


How to cite characteristics of the various

styles and genres of the jazz idiom

(swing, Latin, rock, jazz waltz, funk)

Compare a variety of jazz music and

music-related vocations and avocations

Cite well-known jazz performers specific

to student‘s instrument

Specify and demonstrate the 8th

note feel (even or uneven), in context

with the following genres of the jazz idiom (swing, blues, Latin, rock,

jazz waltz, funk, bebop) and pulse emphasis (strong or weak beat)

Compare and contrast characteristics of various styles (listed above)

Cite and reference specific jobs related to jazz performance

List well-known recording artists

Unit Vocabulary: Latin, jazz waltz, funk, ballad, bebop, blues

Pre-Assessment: Student defines music terminology related to jazz music history.

Student listens to and differentiates the various styles and genres of Jazz Music.




Define terminology related to genres of jazz idiom (T) Lecture Written Test




Support the following statement: Rock ‗ n‘ Roll, Modern

Country, and Jazz have been influenced greatly by the

foundations of the blues (T)

Constructed response

essay

Scoring guide

Differentiation Suggestions: Students independently research music history and jazz vocations/avocations based upon their interests.

Application Level Assessment for CCO V. A. Music History: Students will demonstrate knowledge of jazz

music history.

Student Tasks: Specify and demonstrate the 8

th note feel (even or uneven), in context with the following genres of the jazz idiom

(swing, Latin, rock, jazz waltz, blues, bebop, funk) and pulse emphasis (strong or weak beat).

Compare and contrast characteristics of various jazz styles (listed above).


Analyze examples of jazz styles (T) Cooperative learning Scoring guide

167


Name: Class:









Work B


Work A

Work B



168

Scoring Guide for Jazz Band, CCO V. A. - Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Specify and demonstrate the 8

th note feel

(even or uneven), in context with the

following genres of the jazz idiom

(swing, Latin, rock, jazz waltz, funk)

and pulse emphasis (strong or weak

beat)

Explains and performs

correct 8th

note style

(even or uneven) and

pulse emphasis (strong

beat or weak beat)

Explains and performs

correct 8th note

subdivision with slight

fluctuation of style and

pulse emphasis

8th

note subdivision

is inconsistent and

switches between

even and uneven;

pulse emphasis is not

easy to distinguish.

Does not explain or

perform correct 8th

note

style subdivision, pulse

emphasis is on wrong

beat

Compare and contrast characteristics of swing, Latin,

rock, jazz waltz, and funk.

Swing Characteristics

Swing is defined as a sensation of momentum in which a

melody is alternately heard together with, then slightly at

variance with, the regular beat, or marked by syncopation

and a triplet subdivision of the beat. Count Basie, Nat King

Cole, Benny Goodman, Billie Holiday, Ella Fitzgerald, and

Duke Ellington are all commonly used examples.

Latin Characteristics

Latin Jazz is mainly an instrumental hybrid music defined by

more progressive harmonies used in its corresponding

rhythmic structural arrangement, combined with an

exuberant amount of improvisation, and fused with African

based rhythms that continue to develop from the entire Latin

American Diaspora. Various characteristics describe Latin

Jazz ranging from the avant garde (Emiliano Salvador,

Hermeto Pascual, etc.) to more popular forms (Poncho

Sanchez, Tito Puente, etc.).

Compares,

contrasts, and

evaluates

characteristics of

jazz genres and

styles

Compares and

contrasts

characteristics of

jazz genres and

styles

Explains

characteristics of

jazz genres and

styles

Lists characteristics

of \ jazz genres and

styles

169

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Rock Characteristics

Jazz Rock adds rhythmic complexities to the rock style (not

only individual melodic lines, but in terms of mixed and odd

meters….numerators of 5, 7, etc.), harmonic complexities

(many "extended-harmony" chords, such as 9th, 11th and

13th chords…more than the plain triads and 7th chords of

traditional rock), and melodic blues lines to the rock style.

Some examples include artists: Blood, Sweat & Tears;

Chicago; (Bill) Chase; Paul Butterfield Blues Band, Blues

Project, etc

Jazz Waltz Characteristics

The basic jazz waltz or 3/4 swing feel consists of "one, two,

and-of-two, three" or "ding ding-a ding" on the ride cymbal,

with the hi-hat on count "two". Other variations include

using the hi hat on "two" and "three", or on all three beats;

adding the snare on the "and-of-two" or on the "and-of-one"

and on "three". Some examples are: Someday My Prince

Will Come, Ju-Ju, Emily, Tenderly, Bluesette, Favorite

Things, etc.

Funk Characteristics

The term "Funky Jazz" in the 1950s should not be confused

with "Funk‖, a style of popular music pioneered in the 1970s.

Funky Jazz is characterized by its earthy, "low down,"

soulful, bluesy, and gospel flavored qualities, e.g., Moanin',

Art Blakey and the Jazz Messengers. While Funk also

combines elements of jazz, blues, and soul, it is characterized

by syncopated rock rhythms and a heavy, repetitive bass line,

e.g., Chameleon, Herbie Hancock

Compares,

contrasts, and

evaluates

characteristics of

jazz genres and

styles

Compares and

contrasts

characteristics of

jazz genres and

styles

Explains

characteristics of

jazz genres and

styles


of \ jazz genres and

styles

170

High School

Guitar I

171

Guitar I CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:

By the end of this grade/course students should be able to

do:

How to demonstrate skills through

performance in the following:

-Proper body/hand/finger position

-Singing skills and match pitch in an

appropriate range

-Standard tuning of the guitar

How to demonstrate basic rhythm notation,

music reading skills within first position and

correct body/hand/finger position through

performance in literature using the following:

-Rhythm patterns: Whole, half quarter, dotted

half, eighth notes and corresponding rests

-Key Signatures: C, G, D Major

-First position Chromatic scale

-Articulations: Upstroke, downstroke


pitches) on a melodic instrument or simple

accompaniments on a harmonic instrument

How to create and perform a rhythmic and/or

melodic variation on a melodic phrase of

three to five notes

How to compose or write music with whole

note, half note, quarter note, dotted quarter

note and eighth note, quarter rest, whole rest,

half rest, eighth rest

How to perform beginning level time


tempo markings on instrument (see Elements

of Music)


-Use proper body/hand/finger position

-Use singing skills and match pitch in an appropriate range

-Tune guitar by both standard tuning and electronic tuner

Demonstrate basic rhythm notation, music reading skills

within first position and correct body/hand/finger position

through performance in literature using the following:

-Rhythm patterns: Whole, half quarter, dotted

half, eighth notes and corresponding rests

-Key Signatures: C, G, D Major

-First position Chromatic scale

-Articulations: Upstroke, downstroke

Play by ear simple melodies or accompaniments on guitar

Create and perform a rhythmic or melodic variation on a

melodic phrase (3-5 notes)

Compose or write music with learned rhythms

Perform beginning level time signatures, dynamics,

articulation, and tempo markings on guitar (see Elements of

Music)

Unit Vocabulary: tuning peg/post, body, nut, bridge, fret, fingerboard, headstock, neck, sound hole, bridge

pin, pick, fret position, finger position, interval, pitch recognition, sharp, flat, upstroke, downstroke, first

position, whole/half/quarter note/eighth notes and corresponding rests, phrase, improvisation, variation,

tuner

Pre-Assessment: Examine students for pitch recognition.

172

Perform a 4 measure excerpt that demonstrates upstrokes and downstrokes, correct body/hand/finger

position, rhythmic (whole, half quarter, dotted half, eighth notes and corresponding rests),

melodic, and harmonic precision.

Student plays scales and exercises in the key of C Major, G Major, D Major.

Students will perform an excerpt of music and identify phrases.




Students will produce a sound on the guitar that mimics

the teacher demonstration

Students will produce a sound on the guitar that matches

the unison pitch produced on the coordinating string (T)

Students will identify, in music, upstroke and

downstroke notation

Students will identify a basic melodic, rhythmic passage

in 1st position

Students will identify musical phrase within a larger

piece of music

Demonstration

Self-observation

Teacher

demonstration

Teacher

demonstration

Demonstration

Verbal feedback


teacher and peers

Written quiz


teacher

Written quiz




Students will critique themselves and peers on proper

playing position to create proper tone on the guitar

Students will critique themselves and peers on

performance of upstrokes and downstrokes


performance of a basic melodic, rhythmic passage in 1st

position (T)


performance of an improvised musical phrase (T)


Scoring guide


Students with prior instruction can serve as models to other students.


Students will use proper body/hand/finger position to

produce a proper tone quality on the guitar

Students will perform an upstroke and downstroke that

mimics the teacher‘s demonstration

Students will perform a basic melodic, rhythmic passage

in 1st position (T)

Students will play a musical phrase

Modeling, Student

demonstration

Student

demonstration

Teacher/Student

Demonstration

Teacher checks

position using scoring

guide


teacher

Scoring Guide

173


Application Level Assessment for I.A. Performance Skills: Students will demonstrate instrumental



Student Tasks: Tune the guitar by both standard tuning and an electronic tuner

Demonstrate characteristic position and posture for a specific instrument

Demonstrate upstrokes and downstrokes on the guitar

Demonstrate the ability to perform basic melodic, rhythmic passage on the guitar, utilizing: Rhythm

patterns (whole, half quarter, dotted half, eighth notes and corresponding rests), key Signatures

(C, G, D), first position chromatic scale, and articulations (upstroke, downstroke)

Play a musical phrase

Play by ear simple melodies or accompaniments on guitar

Create and perform a rhythmic or melodic variation on a melodic phrase (3-5 notes)

Compose or write music with learned rhythms

Perform beginning level time signatures, dynamics, articulation, and tempo markings on guitar (see

Elements of Music)

174

Scoring Guide for Guitar I, CCO I. A. - Performance Skills, Part I

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Posture:

Sitting position

Back straight

Shoulders relaxed

Right leg slightly elevated.

Waist of guitar resting on right

thigh.

Guitar body parallel to body

vertically and resting on the

right side of the chest

Guitar pivoted forward 35º

with left hand

Neck of guitar with a slight

upward slant (10%)

Posture:

Sitting position:

Shoulders relaxed

Right leg slightly

elevated.

Waist of guitar resting on

right thigh

Guitar body parallel to

body vertically and

resting on the right side of

the chest.

Guitar pivoted forward

35º with left hand.

Neck of guitar with a

slight upward slant (10%)

Posture:

Sitting position:

Shoulders tensed.

Guitar body slanted

slightly back towards

the body vertically.

Guitar pivoted

forward more than

35º with left hand.

Neck of guitar

parallel to the ground

Posture:

Sitting position:

Both feet flat on the

floor


slight downward

slant (10%)

Posture:

Sitting position:

Back slumped

Upper bout of guitar

resting on right thigh

Guitar body slanted

almost perpendicular to

body on the vertical

plane

Guitar pivoted forward

90º with left hand


downward slant

Left elbow resting on the

left knee

175

Posture:

Classical position

Posture:

Classical position:

Back straight

Lean slightly forward

Shoulders relaxed

Foot stand on floor approx. 6

in. in from left front chair leg

Foot stand between 4-8 in.

depending on leg length

Waist of guitar over the left

thigh

Head of guitar pivoted about

15º forward and at approx.

eye level

Neck of guitar at 45º angle to

floor

Left forearm is horizontal to

the floor when in 1st position

Posture:

Classical position:

Body straight up and

down

Shoulders tense

Left leg not elevated

high enough

Upper bout sitting on

left thigh

Head of guitar

pivoted more than

15º forward

Posture:

Classical position:

Back curved.

Lean forward

significantly

Shoulders rounded.

Foot stand more than

6 inches away from

the front of the chair

Head of guitar below

eye level

Neck of guitar less

than a 45º angle to

floor

Posture:

Classical position:

Back curved forward

dramatically

No foot stand or left leg

elevation

Waist of guitar over the

right thigh

Left Hand position:

Left Hand position:

Wrist straight

Thumb on back of neck

aligned between 1st and

2nd

finger

Fingers relaxed and

curved slightly

Fingers evenly spaced

over 4 consecutive frets

Left Hand position:

Thumb on back of

neck aligned in front

of 1st finger

Fingers bunched

together

Left Hand position:

Wrist arched

Thumb over the top

of the neck

Tension in the fingers

Fingers straight and

aimed away from the

fingerboard

Left Hand position:

Wrist at 90º angle

Thumb parallel to neck

Fingers tucked behind

the neck

176

Holding the pick: Pick placed between thumb and 1

st

knuckle of 1st finger of right hand

Point of pick perpendicular to

thumbnail

¼ in. of the tip showing

Holding the pick:

Pick placed between

thumb and 1st

knuckle of

1st finger of right hand

Point of pick

perpendicular to

thumbnail


Holding the pick:

Point of pick at a 45º

angle to thumbnail

Holding the pick:

Pick placed between

thumb and 2nd

finger

of right hand

1/2 in. of the tip

showing

Holding the pick:

Holding the pick with the

fingertips

Point of pick parallel to

thumbnail

More than ½ in. of the tip

showing

Tuning guitar

Match electronic

reference pitch by making

necessary adjustments

with the tuners

Match reference pitch by

fretted guitar note with

open string pitch by

making necessary

adjustments with the

tuners.

Matches electronic or

fretted guitar

reference pitch on the

1st or 2

nd attempt.


fretted guitar

reference pitch on the

3rd

or 4th

attempt

Cannot match reference

pitch within 5 attempts.

177

Scoring Guide for Guitar I, CCO I. A. – Performance Skills, Part II

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Playing Skills

Technique

Plays note patterns in quarter

notes MM=100, scale

patterns, primary and

secondary chords.


notes MM=100, Scale


secondary chords with 1-2

mistakes.


notes MM=100, Scale


secondary chords with 3

mistakes.

Tempo varies with Note

patterns in quarter notes

MM=100, Scale patterns,

primary and secondary

chords.

Playing Skills

Technique

Plays Rhythm patterns:

whole, half, quarter, eighth,

dotted quarter, dotted half and

corresponding rests




corresponding rests with 2 or

fewer mistakes.





fewer mistakes.





more mistakes.

Playing Skills

Technique

Scales in the Major Keys: C,

G, D.

General chromatic: One

octave

Plays correct notes for the

scales in the keys of: C

Major, G Major and D Major

and a chromatic scale in 1st

position.





position with 2 or fewer

mistakes per scale.





position with 3 or fewer

mistakes per scale.





position with 4 or more

mistakes per scale.

Playing Skills

Articulation

Downstroke, upstroke

Correctly plays downstrokes

and upstrkes as notated in the

music.

Plays downstrokes and

upstrokes as notated with 2 or

fewer mistakes.

Plays primarily downstrokes

with few upstrokes or vice

versa.

Plays only downstrokes or

only upstrokes.

Expression and

Musicianship

Identification of 4 measure

phrases

Performs 4 measure phrase

structure within a given piece

of music.

Performs 75% of the 4


within a given piece of music.

Performs 50% of the 4


within a given piece of music.

Unable to perform 4 measure

phrase structure within a

given piece of music.

Composition: Create or write music with

whole, half, quarter, dotted

quarter, and eighth notes, and

corresponding rests

Compositions are creative

and consistent with the given

guidelines

Compositions are creative but

with 1 or 2 inconsistencies

with the given guidelines.

Compositions are effective,

but not consistent with the

given material


values.

Does not follow the given key

178

Guitar I CCO II. A. Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:







Tempo Markings: Andante, moderato,

allegro, ritardando

Symbols and terms: bar line, measure,

ledger line, tie, pick-up note, treble

clef, staff, chords, melodic guitar

tablature


performance:

Play music in 4/4, 3/4, 2/4.

Demonstrate Tempo Markings: Andante, moderato, allegro,

ritardando

Use symbols and terms: barline, measure, ledger line, tie,

pick-up note, treble clef, staff, chords, melodic guitar

tablature

Unit Vocabulary:

Time signature: 4/4, 3/4, 2/4

Tempo marking: Andante, Moderato, allegro, ritardando.

Symbols and terms: barline, measure, ledger line, tie, pick-up note, treble clef, staff, chords, melodic guitar

tablature

Pre-Assessment:

Student defines music terminology related to time signatures, dynamics, articulations, tempo and

symbols/terms.

Student counts and plays music in 4/4, 3/4, 2/4.




Student will identify musical terms and symbols, and

signatures in musical selection

Demonstration Verbal and written

feedback



Students will use musical terms, symbols and signatures

to perform a musical selection

Student

demonstration

Verbal and written

feedback



Students will analyze symbols and terms as presented in

their music

Performance Scoring guide





179



Student Tasks:

Student reads and plays related to time signatures (4/4, 3/4, 2/4), dynamics, articulations (upstroke,

downstroke), tempo (andante, moderato, allegro, ritardando), and symbols/terms (barline,

measure, ledger line, tie, pick-up note, treble clef, staff, chords, melodic guitar tablature)

180

Scoring Guide for Guitar I, CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing



signatures correctly in 4/4,

3/4, 2/4



lack emphasis on strong beats

Pauses at ends of measures Student lacks a steady sense

of time, unable to read and


Tempo Markings:

Andante, moderato, allegro,

ritardando

Reads and interprets tempo

markings correctly, and is

able to maintain steady tempo

Demonstrates knowledge of

tempo markings, but unable

to differentiate between

categories

Student is unable to maintain

a steady tempo


differentiate between tempo

markings, tempo fluctuates

dramatically

Symbols and terms: barline, measure, ledger line,

tie, pick-up note, treble clef,

staff, chords, melodic guitar

tablature

Student reads and interprets

symbols and terms correctly

in context

Demonstrates knowledge of

symbols and terms, but some

terms or symbols are not



definitions of terms, but does

not interpret them correctly in

playing

Student is unable to read and

interpret symbols and terms

181

Guitar I CCO III. A. Musical Forms





G1.6, G2.5

Content and Skills:





forms

Identify musical forms used in guitar repertoire, such as repeat

signs, and first and second endings

Unit Vocabulary: repeat signs, first and second endings, form

















Student Task: Identify musical forms used in guitar repertoire, such as repeat signs and first and second endings

182

Guitar I CCO III. B. Analysis


performances.




FA 2, FA 3, G1.4, G2.4

Content and Skills:




How to use music terminology and

form/composition techniques to



How to differentiate sharp and flat

intonation with unison pitches

How to identify phrases and musical

statements

Use music terminology and form/composition techniques to

describe, analyze, interpret and evaluate an excerpt or piece of

music (in the folk or rock styles)

Listen to and differentiate sharp and flat intonation with unison

pitches

Identify phrases and musical statements

Unit Vocabulary: aesthetics, style, interpretation, intonation, sharp, flat, unison



Student listens to and differentiates between sharp and flat intonation with unison pitches.




Identify sharp and flat pitches played on guitar Modeling Written quiz




diagram (T)







recordings (T)





Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to


Student Tasks:

183

Use music terminology and form/composition techniques to describe, analyze, interpret and evaluate an


Listen to and differentiate among sharp and flat intonation as it applies to tuning the guitar

184


Name________________________________ Class_________________ Date:______



completing this with pen/pencil, you may continue answers on the back or on another page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

185


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

186

Scoring Guide for Guitar I, CCO III. B. Analysis

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Aural Skills:

Differentiate sharp and flat


Student can differentiate

between sharp or flat

intonation with unison

pitches.




75% of the time.




50% of the time.




less than 50% of the time.

187

Guitar I CCO IV. A. Integration

Core Conceptual Objective IV. A. Integration: Student will make connections between music and other

subject areas.


Music and science are closely connected because of the physical properties

involved in producing sound.

FA 4, G1.9, G3.3

Content and Skills:




How to describe the physical

properties involved in producing a

tone and manipulating pitch

The impact of technology on the

development of music instruments

Connect music to science in sound production (sound wave

frequency)

Relate guitar design to advancement in technology

Unit Vocabulary: frequency, amplitude, wave length, beats, air column, cycles per second, air speed,

volume

Pre-Assessment: Student defines science and music terminology related to sound production.

Student writes a short description of the physical properties involved in producing sound on one‘s

instrument.

Student demonstrates how their instrument works in producing sound and manipulating pitch.




Define science and music terminology related to sound

production and properties (T)




Create a timeline that shows major advancements or

changes in the construction of guitars (T)




Suggest ways for improving student intonation based on

knowledge of wave interference (T) tuner







Student Task:

Connect music to science in sound production (air speed and frequency) and technology (development of

instruments).

188

Scoring Guide for Guitar I, CCO IV. A. - Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Connects guitar design with

advancements in technology.

Early guitars dated back to the

16th

century.

Mid 18th

Century,

6 strings became standard.

1910-1920, the flat top steel string

was introduced by Martin and

Gibson.

1930‟s, the electric guitar was

introduced.

1940‟s Les Paul created polarized

pickups.

1957, Seth Lover invented the

Humbucker pickup for electric

guitar, designed to alleviate the

hum created by the single coil

polarized pick-ups.

Student creates a timeline or

essay which includes all the

major technological

developments with the guitar

citing specific examples


essay which includes major

technological developments

but missing specific

examples or failed to clarify

examples


essay which includes only

select technological

developments and examples

Student creates a timeline

missing several major

developments and failed to

include any specific

examples

189

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Connect sound production and

sound wave frequency as it

relates to intonation.

Wavelength – horizontal length

of one cycle of a wave.

Period – time required for one

wavelength to pas a certain point.

Longer period, lower pitch.

Shorter period, higher pitch.

Amplitude – maximum value of

the wave function. The higher the

amplitude, the louder the sound.

Beat – when condensation meets

a rarefaction or vice versa to

create a variation in loudness.

Two sources of the same pitch

increase the amplitude.

Two sources of slightly different

pitch create wave interference or

beats.

Adjusting string tension to

alleviate beats and achieve

intonation on the guitar.

Student can apply

scientific terminology to

an analysis of sound

created by the guitar

strings.

A detailed analysis uses

all scientific terminology

and concepts

Student can apply

scientific terminology

to an analysis of sound

created by the guitar

strings

A detailed analysis uses

most of the scientific

terminology and

concepts

Student can relate a few

scientific terms to

sound created by the

guitar strings.

The explanation is

general and lacks detail

Student identify a few

scientific terms related

to sound created by the

guitar strings.

The relationship

between sound and

science is unclear.

190

Guitar I CCO V. A. Music History

Core Conceptual Objective III. Music History: Students will demonstrate knowledge of music history.




FA 5, G1.9, G3.3

Content and Skills:





context of Steel string acoustic, nylon

string and electric guitars

How to identify music from various

styles and historical periods by

comparing and contrasting selected

elements of music within pop/rock

music genre

How to analyze musical figures and

their role as composers or

performers/innovators within pop/rock

music genre

Compare and contrast steel string acoustic, Classical nylon string

and electric guitar sounds and style


comparing selected elements of music within pop/rock genre

Discuss musical figures and their roles as composers/performers

and or innovators within pop/rock music genre

Unit Vocabulary: steel string acoustic, Classical nylon string, electric


Student listens to and differentiates between steel string acoustic, Classical nylon string, electric.




Define music terminology related to steel string

acoustic, Classical nylon string and electric

Identify artists/musical figures throughout pop/rock

genre and compare elements of music contributed

Lecture

Lecture/Demonstration

Written quiz

Paper



Listen and analyze recordings and live performances of

steel string acoustic, Classical nylon string and electric

guitars (T)

Perform music from a wide range of historical genres


Teacher/student

demonstration

Scoring Guide

Scoring Guide/Verbal

feedback from teacher



Decide upon the style of music and type of guitar

performing based on recording (T)

Lecture/Reference

Recordings

Written Quiz

191





music history.

Student Task:

Compare and contrast steel string acoustic, Classical nylon string, and electric guitars

Identify music from various styles and historical periods by comparing selected elements of music within

pop/rock genre

Discuss musical figures and their roles as composers/performers and or innovators within pop/rock music

genre

192


Name: Class:









Work B


Work A

Work B



193

Scoring Guide for Guitar I, CCO V. A. – Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Flattop Steel String Acoustic:

Uses: tradition folk, blues,

country and contemporary rock

Physical characteristics:

hollow wooden body, round

soundhole, pick guard, steel core

wire strings with the bottom 4

wrapped in metal

Classical Nylon String:

Uses: Classical music, Latin

music, Spanish music


hollow wooden body, lightweight

construction, round sound hole,

no pick guard, nylon core strings

with the bottom 3 strings wrapped

in metal, wide neck and tuning

pegs on headstock

Solid Body Electric:

Uses: rock, blues, jazz

Physical Characteristics:

solid body, steel core strings,

magnetic pickups, six-on-a-side

tuners

Compares, contrasts,

and evaluates sets of

musical works

Addresses the most

significant

characteristics of the

work

Defends statements

with detailed reference

to the work

All information is

correct and specific.



musical works

Addresses important


work

Defends statements

with reference to the

work

All information is

correct


sets of musical works

Addresses less

important


work

Supports some

statements with

reference to the work

Some important

comparisons are

missing.

Some information may

be incorrect


the musical works

Information may be

incomplete

Many pieces of

information may be

incorrect.

194

High School

Guitar II

195

Guitar II CCO I.A. Performance Skills







music.

FA 1, FA 2, G2.5, G4.6

Content and Skills:


should know:

By the end of this grade/course students should be able to

do:

How to demonstrate skills through

performance in the following:

-Proper body/hand/finger position

-Singing skills and match pitch in an

appropriate range


How to demonstrate basic rhythm notation,

music reading skills within first position and

correct body/hand/finger position through

performance in literature using the following:

-Rhythm patterns: Dotted quarter note, eighth

rests on and off the beat

-Key Signatures: A, E Major, and scales with

movement out of 1st position

-Articulations: Upstroke, downstroke, rest

stroke, free stroke, hammer on/pull off

How to play by ear moderately to advanced

melodies (8-12 pitches) on a melodic

instrument or advanced accompaniments on a

harmonic instrument

How to create and perform a melodic phrase

based on a blues scale using five to seven

notes

How to compose or write music based on the

pitches of the blues scale using whole note,

half note, quarter note, dotted quarter note

and eighth note, quarter rest, whole rest, half

rest, eighth rest

How to perform intermediate level time


tempo markings on instrument (see Elements

of Music)


-Perform with proper right hand position for pick style and

classical style of playing

-Use singing skills and match pitch in an appropriate range

with expression in first and second position


Demonstrate rhythmic notation, music reading skills within

first and second position and correct body/hand/finger

position through performance of literature using the

following:

-Rhythm patterns: Dotted quarter note, eighth rests on and

off the beat

-Key Signatures: A, E Major, and scales with movement

out of 1st position

-Articulations: Upstroke, downstroke, rest stroke, free

stroke, hammer on/pull off

Play by ear moderately to advanced melodies (8-12 pitches)

on a melodic instrument or advanced accompaniments on a

harmonic instrument

Create and perform a melodic phrase based on a blues scale

using five to seven notes

Compose or write music based on the pitches of the blues

scale using whole note, half note, quarter note, dotted

quarter note and eighth note, quarter rest, whole rest, half

rest, eighth rest


articulations, and tempo markings on instrument (see

Elements of Music)

Unit Vocabulary: (p)ollex, (i)ndex, (m)edius, (a)nnularis, second position, rest stroke, free stroke, blues

scale

Pre-Assessment: Tune the guitar using standard and electric tuner tuning.

196

Demonstrate proper right hand positions.

Perform a 4 measure excerpt that demonstrates upstrokes, downstrokes, rest strokes and free strokes with

correct body/hand/finger position, rhythmic (dotted quarter and eighth rests on and off beat),

melodic, and harmonic precision.

Student plays scales and exercises in the key of A and E Major.




Students will identify, in music, rest strokes and free

strokes in notation

Students will identify a basic melodic, rhythmic passage

in 1st position and 2

nd position

Teacher

demonstration

Teacher

demonstration

Written quiz


teacher





performance of rest and free strokes


performance of a basic melodic, rhythmic passage in 1st

and 2nd

positions (T)


performance of an improvised musical phrase (T)


Scoring guide


Students with prior instruction can serve as models to other students.


Application Level Assessment for I.A. Performance Skills: Students will demonstrate instrumental



Student Tasks: Demonstrate the ability to perform basic melodic, rhythmic passage on the guitar, utilizing: Rhythm

patterns (dotted quarter note and eighth rests on or off beat), key Signatures

(A, E), moveable scales, and articulations (rest/free strokes)

Play by ear moderate to advanceed melodies or accompaniments on guitar

Create and perform a rhythmic or melodic variation on a melodic phrase (5-7 notes)

Compose or write music based on the pitches of a blues scale, using learned rhythms

Perform intermediate level time signatures, dynamics, articulation, and tempo markings on guitar (see

Elements of Music)


Students will perform an rest strokes and free strokes

that mimics the teacher‘s demonstration

Students will perform a basic melodic, rhythmic passage

in 1st position and 2

nd position (T)

Student

demonstration


teacher

197

Scoring Guide for Guitar II, CCO I. A. – Performance Skills

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Tuning guitar

Match electronic

reference pitch by

making necessary


tuners

Match reference pitch by

fretted guitar note with

open string pitch by

making necessary


tuners.


fretted guitar reference

pitch on the 2nd

attempt.


fretted guitar reference

pitch on the 3rd

attempt.

Cannot match reference

pitch within 4 attempts.

Holding the pick:

Pick placed between

thumb and 1st knuckle of

1st finger of right hand

Point of pick is

perpendicular to

thumbnail (90°)


Holding the pick: All criteria are correctly

displayed

Holding the pick: Point of pick at a 45º angle to

thumbnail

Holding the pick: Pick placed between thumb

and 2nd

finger of right hand.

1/2 in. of the tip showing

Holding the pick: Holding the pick with the

fingertips

Point of pick parallel to

thumbnail

More than ½ in. of the tip

showing

Classical right hand

position:

Forearm horizontal on

the front edge of the

guitar

Wrist relaxed and flat

Thumb relaxed and

resting on a string or

freely above lower

strings

Index, middle, and ring

fingers are relaxed and

curved

All criteria are correctly

displayed

Wrist and/or fingers

tense

Thumb hooked or bent

Wrist bent outward or to

the right

Fingers tense or flat

Thumb hooked or bent

Forearm angled

downward

Student does not

demonstrate knowledge

of any of these

characteristics

198

Scoring Guide for Guitar II, CCO I. A. – Performance Skills

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Demonstrate rhythmic, note

recognition and location

within 1st and 2

nd position,

and harmonic precision

Student correctly

identifies and performs

all notes in first and

second position

Hand shapes for chords

are articulated clearly

and without pauses

Student identifies and

performs notes on the

guitar with 90% accuracy

or better

Hand shapes are

articulated without

pauses, but some notes

may be muted


locates at least 70% of

the notes on the guitar

with 70% accuracy or

better


are correct, but have

pauses in between chords


locates less than 70% of

the notes on the guitar


are incorrect

Pick Style

Demonstrate upstrokes and

downstrokes as they apply

to the literature.

Classical Style

Demonstrate rest strokes and

free strokes as they apply to

the literature

Student uses

downstrokes on beats

and upstrokes on the

―ands‖

Student correctly

executes rest strokes in

scales and melody

passages and free strokes

in unaccented passages

Student uses

downstrokes and

upstrokes in an

alternating fashion, but

not necessarily on the

correct beats

Student executes mostly

reststrokes but switches

to free strokes when

switching strings

Student can distinguish

between a downstroke

and an upstroke but is

unsure where to use in

music

Student fails to follow all

the way through to the

next string on a rest

stroke

Student cannot

distinguish between

downstrokes and

upstrokes

Students cannot use both

rest and free strokes

Expression and

Musicianship

Identification of musical

phrases of varying length

within a piece of music

Performs 2, 4, 6 or 8 measure

phrase structure within a

piece of music.

Performs 3 of the 4 phrase

structures within a piece

of music.

Performs 2 of the 4 phrase

structures within a piece

of music.

Performs 1 or less of the

phrases structures within

a piece of music.

Improvisation:


melodic phrase based on

a blues scale.

Created and performed a

melodic phrase based on

a blues scale.


melodic phrase using 5

of the 7 notes within the

blues scale.


melodic phrase using 3

of the 7 notes within the

blues scale.


melodic phrase using less

than 3 notes of the blues

scale.

199

Composition:

Compose or write music

based on the pitches of

the blues scale using

dotted quarter, eighth

rests on/off beat, or other

learned rhythms

Compositions are

creative and original

All note types were

included

Use of rhythmic patterns.

Use of all 7 pitches of the

blues scale

Compositions are

creative and original

All but 2 note types used.

Use of 5 pitches from the

blues scale

Composition is a

variation of another‘s

work

Use of 3 pitches from the

blues scale

Composition is copy of

another‘s work

Use of only 2 pitches

from the blues scale

200

Guitar II CCO II. A. Elements of Music


and notate music.



ideas and intent.

FA 1, FA 2, G2.5, G1.5

Content and Skills:







Tempo Markings: Lento, largo

Symbols and terms: slur (hammer

on/offs)


performance:

Play music in 2/2, cut time

Demonstrate Tempo Markings: Lento, Largo

Use symbols and terms: slur (hammer on/offs)

Unit Vocabulary:


Tempo Markings: Lento, largo

Symbols and terms: slur (hammer on/offs)

Pre-Assessment:

Student defines music terminology related to time signatures, dynamics, articulations, tempo and

symbols/terms.

Student counts and plays music in 2/2, cut time.




Student will identify musical terms and symbols, and

signatures in musical selection

Demonstration Verbal and written

feedback



Students will use musical terms, symbols and signatures

to perform a musical selection

Student

demonstration

Verbal and written

feedback



Students will analyze symbols and terms as presented in

their music

Performance Scoring guide







Student Tasks:

201

Student reads and plays related to time signatures (2/2, cut time), dynamics, articulations (rest stroke, free

stroke), tempo (lento, largo), and symbols/terms (slur, hammer on/offs)

202

Scoring Guide for Guitar II, CCO II. A. – Elements of Music

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Time Signature: 2/2 (cut time)



2/2 (cut time)


correctly, but misplaces

or lack emphasis on

strong beats

Pauses at ends of

measures




signatures

Tempo Markings:

Largo, Lento


tempo markings

correctly, and is able to

maintain steady tempo




between categories







Symbols and terms: Slur (hammer on/offs)

Student reads and

interprets symbols and

terms correctly in context


of symbols and terms,

but some terms or

symbols are not




does not interpret them



and interpret symbols

and terms

203

Guitar II CCO III. A. Musical Forms

Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and musical

performances.



G1.6, G2.5

Content and Skills:





forms

Identify musical forms used in guitar repertoire, such as D.C. al

fine, theme and variations, AB (binary), ABA (ternary), and song

form (AABA)

Unit Vocabulary: D.C. al fine, theme and variations, AB (binary), ABA (ternary), and song form (AABA)















Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms and

composition techniques.

Student Task: Identify musical forms used in guitar repertoire, such as D.C. al fine, theme and variations, AB (binary), ABA

(ternary), and song form (AABA)

204

Guitar II CCO III. B. Analysis

Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical performances.




FA 2, FA 3. G1.4, G2.4

Content and Skills:




How to use music terminology and

form/composition techniques to



How to identify phrases, musical

statements, and musical forms

How to differentiate sharp and flat

intonation with two pitches

Use music terminology and form/composition techniques to

describe, analyze, interpret and evaluate an excerpt or piece of

music in the folk, rock, 12-bar blues, and classical styles

Identify phrases, musical statements, and musical forms

Listen to and differentiate sharp and flat intonation with two

pitches

Unit Vocabulary: diatonic, major, minor, secondary/primary chords, 12-bar blues, interval



Student listens to and differentiates between sharp and flat intonation with two pitches.




Identify sharp and flat pitches played on guitar Modeling Written quiz




diagram (T)







recordings (T)





Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to and

critically analyze music.

Student Task:

Use music terminology and form/composition techniques to describe, analyze, interpret and evaluate an excerpt or

piece of music in various styles

205

Identify phrases, musical statements, and musical forms

Listen to and differentiate among sharp and flat intonation as it applies to tuning the guitar

206


Name________________________________ Class_________________ Date:______



completing this with pen/pencil, you may continue answers on the back or on another page.

1. Introduction

2. Description

3. Analysis

4. Interpretation

5. Judgment

207


Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Introduction



composer‘s name,





culture.






given






given


piece mentioned


title

Artist‘s name or

title of work

listed

Description

Sentences that list







performance






work but slightly

unorganized

Random

mention of one

or two details

seen/heard in the

work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and







purpose of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay







third person



essay



order

208

Scoring Guide for Guitar II, CCO III. B. - Analysis

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Aural Skills:

Differentiate sharp and flat


Student differentiates


intonation with two pitches.




75% of the time.




50% of the time.




less than 50% of the time.

209

Guitar II CCO IV. A. Integration


subject areas.


Popular music is influenced by American history and cultures FA 4, G1.9, G3.3

Content and Skills:




Connect the social influences of the

different American cultures through

the evolution of blues, rock ‗n‘ roll, R

‗n‘ B, swing styles, and Latin music in

popular music

Compare characteristics of two of

more arts within a particular historical

period or style and cite examples from

various cultures

Explain how the roles of creators,

performers, and others involved in the

arts resemble and differ from one

another in the various arts disciplines

Compare and contrast cultural sentiment to the evolution of music

in America

Compare and contrast the influences of the blues in relation to the

American culture through the rock, R ‗n‘ B, swing styles, and

Latin music eras

Describe other arts within historical period and cite examples from

various cultures

Compare roles of music production to that of other various arts

disciplines

Unit Vocabulary: blues, R ‗n B, rock ‗n roll, Latin, folk, alternative (grunge)

Pre-Assessment: Explain the development of popular music and justify with references to cultural

sentiment and diversities.




Define vocabulary of culture and geographical areas

related to blues and jazz idiom (T)

Cite other arts in various historical periods

Classroom discussion Teacher observation



Compose a melody and lyrics that illustrate a cultural or

geographical influence (T)




Write a short essay that might depict a cultural or

geographical as related to a popular piece of music(T)

Evaluate how the roles of any music production compare

to those in other arts disciplines

Student project

Discussion

Scoring Guide

Essay



210


Application Level Assessment CCO IV. A. Integration: Students will make connections between

popular music and societal and cultural changes in America.

Student Tasks:

Compare and contrast cultural sentiment to the evolution of music in America

Compare and contrast the influences of the blues in relation to the American culture through the rock, R ‗n‘

B, swing styles, and Latin music eras

Compare characteristics of two of more arts within a particular historical period or style and cite examples


Explain how the roles of creators, performers, and others involved in the arts resemble and differ from one

another in the various arts disciplines

211

Scoring Guide for Guitar II, CCO IV. A. Integration

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Compare and contrast cultural sentiment to the

evolution of music in America

Compare and contrast the influences of the blues

in relation to the American culture through the

rock, R „n‟ B, swing styles, and Latin music eras

Compares,

contrasts, and

evaluates sets of

music selections

Addresses the most

significant

characteristics of

the works

Defends statements

with detailed

reference to the

works

All information is

correct and specific

Compares,

contrasts, and

evaluates sets of

music selections

Addresses

important

characteristics of

the works

Defends statements

with reference to

the work

All information is

correct

Compares and

contrasts sets of

music selections.

Addresses less

important

characteristics of

the works

Supports some

statements with

reference to the

works.

Some important

comparisons are

missing

Some information

may be incorrect


of the music

selections

Information may

be incomplete

Many pieces of

information may be

incorrect

Blues: 1920‟s-30‟s

slow sad music from Mississippi

Rooted deeply in the African-American Culture

Players – John Lee, Hooker, Howlin Wolf, Robert

Johnson, Bessie Smith

Rhythm and Blues: 1930‟s

R ‗n B labels in a broad sense, black pop music

Rooted in swing jazz and blues vocals

Rockabilly: 1950‟s

Hybrid of blues and Country.

Players: Elvis Presley, Carl Perkins, Johnny Cash,

Jerry Lee Lewis, Roy Orbison

1st wave of popular music to first generation of

teens with money to spend on music.

212

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Rock „n Roll: 1955- present

1960‟s – electric rock

Electric guitar centered. Electronic effects,

distortion used

Players: Jimmy Hendrix, Eric Clapton

Compares,

contrasts, and

evaluates sets of

music selections

Addresses the most

significant

characteristics of

the works

Defends statements

with detailed

reference to the

works

All information is

correct and specific

Compares,

contrasts, and

evaluates sets of

music selections

Addresses

important

characteristics of

the works

Defends statements

with reference to

the work

All information is

correct

Compares and

contrasts sets of

music selections.

Addresses less

important

characteristics of

the works

Supports some

statements with

reference to the

works.

Some important

comparisons are

missing

Some information

may be incorrect


of the music

selections

Information may

be incomplete

Many pieces of

information may be

incorrect

1960‟s – Rolk rock

Acoustic guitar centered, poetic, political protest

songs against war and for civil rights

Peace and love movement.

Players: Bob Dylan, Joan Baez, Peter, Paul & Mary,

Mama‘s & the Papa‘s, Simon and Garfunkel

1970‟s – Dance

Electric guitar based, effects pedals used on guitar,

music designed for nightclubs.

Players: Bee Gee‘s, Gloria Gaynor, ABBA.

1970‟s – Rock/Heavy

Electric based, Heavy distortion, guitar dominant.

Players: Kiss, Queen, Aerosmith

213

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

1980‟s - Pop

Loss of acoustic instruments, most all sounds

created by electronic keyboards, not much guitar

used

British groups dominate American radio

Players: Tears for Fears, Wang Chung, Howard

Jones, Culture Club



music selections

Addresses the most

significant


works.

Defends statements


to the works.

All information is




music selections.

Addresses important


works

Defends statements


work

All information is

correct


sets of music selections.

Addresses less

important


works.

Supports some

statements with

reference to the works.

Some important

comparisons are

missing.


be incorrect


the music selections.

Information may be

incomplete

Many pieces of

information may be

incorrect.

1990‟s - Alternative

Reintroduction of classic instrumentation (2 guitars,

bass and drums), very distorted electric guitar

music of the angry disgruntled young man revolting

against ―Happy‖ America

Players: Nirvana, Pearl Jam, Soundgarden

214

Guitar II CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music

history.




FA 5, G1.9, G3.3

Content and Skills:





context of steel string acoustic, nylon

string and electric guitars and popular

makers of various guitar models

How to identify music from various

styles and historical periods by

comparing and contrasting selected

elements of music within the classical

and multicultural styles

How to discuss musical figures and

their role as

composers/performers/innovators

within the pop/rock, classical, and

multicultural styles

Compare and contrast steel string acoustic, Classical nylon string

and electric guitar sounds and style throughout music history

Identify music from various historical periods, then compare

elements of music to classical and multicultural styles

Explain musical figures‘ roles within the pop/rock, classical, and

multicultural styles

Unit Vocabulary: world/ethnic music, Western-European history


Student listens to and differentiates between steel string acoustic, Classical nylon string, and electric.




Define music terminology related to steel string

acoustic, Classical nylon string, and electric

Identify artists/musical figures throughout pop/rock

genre and compare elements of music contributed

Lecture

Lecture/Demonstration

Written quiz

Paper



Listen and analyze recordings and live performances of

steel string acoustic, Classical nylon string and electric

guitars (T)

Perform music from variety of historical periods/genres


Demonstration

Scoring Guide

Playing test



215

Evaluates sound of the guitar using recorded steel string

acoustic, classical nylon string and electric guitar

performances (T)

Lecture/Reference

Recordings

Written Quiz




Application Level Assessment CCO V. A. Music History: Student will demonstrate knowledge of music

history.

Student Task:

Compare and contrast steel string acoustic, Classical nylon string, and electric guitar sounds and style

throughout music history

216


Name: Class:









Work B


Work A

Work B



217

Scoring Guide for Guitar II, CCO V. A. – Music History

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Flattop Steel String Acoustic:

Time/Place:1910-present, USA

Uses: tradition folk, blues,

country and contemporary rock

Physical characteristics: hollow wooden body, round

soundhole, pick guard, steel core

wire strings with the bottom 4

wrapped in metal

Classical Nylon String:

Time/Place: 18th

Century, Europe

Uses: Classical music, Latin

music, Spanish music


originally used gut strings

hollow wooden body, lightweight

construction, round sound hole,

no pick guard, nylon core strings

with the bottom 3 strings wrapped

in metal, wide neck and tuning

pegs on headstock.

Solid Body Electric:

Time/Place:1930‘s-present, USA

Uses: rock, blues, jazz

Physical Characteristics:

solid body, steel core strings,

magnetic pickups, six-on-a-side

tuners



musical works

Addresses the most

significant


work

Defends statements


to the work

All information is




musical works

Addresses important


work

Defends statements


work

All information is

correct


sets of musical works

Addresses less

important


work

Supports some

statements with

reference to the work

Some important

comparisons are

missing.


be incorrect


the musical works

Information may be

incomplete

Many pieces of

information may be

incorrect.

218

High School

Weighted Grade

Advanced Placement

Music Theory

219

Music Theory CCO I. A. Performance Skills and CCO. II. A. Elements of Music

Core Conceptual Objective I. A. Performance Skills and CCO. II. A. Elements of Music: Students

will demonstrate instrumental music performance skills (expression, technique, repertoire, imitation, group

playing, improvisation, and composition) through a varied repertoire; and, will apply knowledge and skills



Musicians communicate ideas/feelings and/or concepts through

performance of music; and, utilize reading skills to accurately convey a

composer‘s musical intent.

FA 1, FA 2, G1.5, G2.5, G4.6

Content and Skills:


should know:


Improvisation

Error Detection

Sight-Singing

Figured Bass/Roman Numeral

Realization


Score Study

Improvise melodies and harmonies

Self-evaluate and improve performance

Sight-sing an eight measure diatonic melody

Given a figured bass or Roman numeral analysis, compose a

work in four-part harmony

Given a melody, write a bass line and analyze the implied

harmonies

Given a melody, compose a work in four-part harmony

Analyze the melodies, harmonies, and form of a composition

Unit Vocabulary:

Sight-Singing Vocabulary: Interval, major, minor, diminished, augmented, perfect, melody,

diatonic, chromatic, scale degrees, solfege, step, leap, tonic, supertonic, mediant, subdominant, dominant,

submediant, leading tone

Rhythm Vocabulary: rhythm, duple, triple, quadruple, simple meter, compound meter,

syncopation, augmentation, diminution, hemiola

Harmony Vocabulary: harmony, major, minor, diminished, augmented, dominant seventh, major

seventh, minor seventh, half-diminished seventh, diminished seventh, modulation, pivot chord, secondary

dominant, figured bass, soprano, alto, tenor, bass, inversion, root, third, fifth, seventh, open/close/neutral

structure, doubling, parallel fifths, cross voicing,

Melody Vocabulary: melody, diatonic, chromatic, non-harmonic tones, passing tone, neighboring

tone, appoggiatura, suspension, anticipation, pedal point, escape tone/échappée,

Compositional Vocabulary: texture, orchestration, Alberti bass, monophonic, homophonic,

polyphonic, ostinato,

Musical Forms Vocabulary: contour, similar, parallel, contrary motion, binary, ternary, strophic,

rondo, theme and variations, sonata allegro, exposition, development, recapitulation, coda, codetta, sonata,

concerto, symphony, through composed/tone poem

Pre-Assessment:

Create and then either play or sing an improvisation based upon a line of music.

Self-evaluate a performed excerpt.

Sight-sing a four measure diatonic melody.

Class checklist and discussion of figured bass vocabulary and inversions.

Write an accompanying bass line and Roman numeral analysis for a four-measure melody.

Provide a Roman numeral analysis of a phrase from standard literature.

Compose a phrase in four-part harmony.

220




Identify errors in a musical performance (T)

Name standard doublings of root position and inversion

voicings in four-part harmony(T)

Pair review

Modeling

Worksheet

Written quiz



Sight-sing a variety of excerpts (T)

Analyze the harmonies of a musical phrase using Roman

numerals(T)

Modeling

Modeling

Scoring Guide

Written test



Self-evaluate and improve a sight-singing performance

(T)

Compose a piece of music in four parts (T)

Modeling, formative

feedback with guided

and repetitive

practice

Modeling

Audio taped

performance, scoring

guide

Score guide


Acceleration of rhythmic difficulty through increased variation of beat subdivision and rests.

Acceleration of melodic difficulty through wider variety of intervals, less reliance on tonic and dominant

pitches, and chromaticism.

Differentiation for learning styles by adding written use of solfege, neutral syllables, and/or scale degree

numbers. Students select work to analyze.

Students compose more or less complex works.

Application Level Assessment CCO I. A. Performance Skills and CCO. II. A. Elements of Music:

Students will demonstrate knowledge of instrumental music performance skills (expression, technique,

repertoire, imitation, group playing, improvisation, and composition) through a varied repertoire; and, will

apply knowledge and skills to read and notate music.

Student Tasks:

Improvise melodies and harmonies

Self-evaluate and improve performance

Sight-sing an eight measure diatonic melody

The student will compose a work in four-part harmony using a given figured bass

Write a bass line and analyze the implied harmonies using a given melody

Compose a work in four-part harmony using given a melody

Analyze the melodies, harmonies, and form of a composition

Compose music based upon historical composition techniques

221

Scoring Guide for Music Theory, CCO I. A. (Performance Skills) and CCO II. A. (Elements of Music)

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Improvise melodies and

harmonies.

Melody notes and motives

demonstrate internal

relationships to one another

through parallel or

contrasting antecedent and

consequent, sequence,

modified repetition, melodic

inversion, even and matching

numbers of measures

Imperfect authentic or half

cadence for antecedent,

imperfect or perfect authentic

cadence for consequent.

Scalewise passages do not

exceed 6 tones, and are

approached or left by

contrary motion

High note and low note are

used only once in the period

leaps outline the implied

harmony a majority of the

time

Improvisation represents

all of the criteria

characteristics within the

guidelines of the assignment.


all of the criteria

characteristics within the

guidelines of the assignment

with one or two errors.


omissions of one or two

sections of the criteria

characteristics.


one or none of the sections of

the criteria characteristics.

Self-evaluate and improve

performance.

Student correctly identifies

errors and corrects rhythmic

and note errors to 100% with

correct intonation

Student correctly

identifies errors, but is unable

to correct 1 or more errors.

Student incorrectly

identifies 1 or more errors or

misses 1 or more errors and is

unable to correct.


identify errors.

Sight-sing an eight measure

diatonic melody.

0 or 1 measures with note

or rhythmic errors


or rhythmic errors

4 or 5 measures with

note or rhythmic errors

6 or more measures with


222

Evaluate recorded

performances from a variety

of genres.

Music criteria scoring guide found in CCO IV

Given a figured bass/Roman

numeral analysis, compose a

work in four-part harmony.

Permission granted through

the College Entrance

Examination Board © 2004

Score 24-25 on the AP

Music Theory College Board

scoring guide for figured bass

Score 17-18 points on the

AP Music Theory College

Board scoring guide for

Roman numerals






scoring guide for Roman

numerals







numerals

Score 14 or less than on

the AP Music Theory College


figured bass

Score 11 or less on the AP



numerals

Given a melody, write a bass

line and analyze the implied

harmonies.

Score 8-9 on the AP Music

Theory College Board

scoring guide

Score 6-7 on the AP


scoring guide

Score 4-5 on the AP


scoring guide

Score 0-3 on the AP


scoring guide

Given a melody, compose a

work in four-part harmony. Score 8-9 on the AP Music

Theory College Board

scoring guide

Score 6-7 on the AP


scoring guide

Score 4-5 on the AP


scoring guide

Score 0-3 on the AP


scoring guide

Analyze the melodies,

harmonies, cadences, and

form of a composition.


harmonies, harmonic and

non-harmonic tones,

cadences, and the form

represented by the

composition

Student demonstrates a

thorough knowledge of three

of the four categories of the

criteria.

Elements of analysis are

often mis-labeled or incorrect

in two or more categories of

the criteria.

Analysis demonstrates a

lack of understanding of

musical structure.

223

Music Theory, CCO III. A. Musical Forms and III. B. Analysis

Core Conceptual Objective III. A. Musical Forms and III. B. Analysis: Students will analyze and

evaluate music and musical performances.


Musicians identify and analyze forms and composition techniques, as well

as analyze, evaluate, and respond to the formal, stylistic, and aesthetic

qualities of music.

FA 1, FA 2, FA 3, G1.4,

G1.5, G1.6, G2.4, G2.5

Content and Skills:


should know:


Error Detection

Sight-Singing

Dictation

Literature-Based Listening

Score Study

Figured Bass Realization


Analyze a musical performance to detect errors and then correct

them in written form

Self-evaluate intervals and intonation in a sight-singing

performance

Notate played rhythms, melodies, and harmonies

Evaluate recorded performances from a variety of historical

periods

Evaluate literature (aural and written) on stylistic, formal, and

aesthetic qualities

Interpret and evaluate figured bass and Roman numeral

reductions

Unit Vocabulary: Sight-Singing Vocabulary: Intonation, sharp/flat (relative to intonation), interval

Scale Vocabulary: major, minor, natural minor, harmonic minor, melodic minor, diminished,

augmented, perfect, melody, diatonic, chromatic, scale degrees, solfege, step, leap, church modes, Ionian,

Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, pentatonic, whole-tone scale

Four Part Harmony Vocabulary: soprano, alto, tenor, bass, inversion, root, third, fifth, seventh,

figured bass, open/close/neutral structure, cadence, authentic (perfect and imperfect), Plagal cadence, half

cadence, Phrygian cadence, doubling, contour, similar, parallel, contrary motion, Alberti bass

Compositional Forms Vocabulary: binary, ternary, strophic, rondo, theme and variations, sonata

allegro, sonata, concerto, symphony, through composed/tone poem, fugue, subject, answer, countersubject,

episode

Melody Vocabulary: phrase, motive, period, antecedent, consequent, masculine/feminine phrase

endings, anacrusis

Compositional Techniques Vocabulary: sequence, melodic imitation, melodic inversion,

fragmentation, augmentation, diminution, repetition, retrograde

Pre-Assessment: Identify rhythmic or melodic errors in a four-measure single line melody.

Sing a four measure single line melody.

Analyze and notate a four measure single line melody.

Respond verbally to recorded performances of music.

Class checklist and discussion of figured bass vocabulary and inversions.

Write an accompanying bass line and Roman numeral analysis for a four-measure melody.

Provide a Roman numeral analysis of a phrase from standard literature.

Compose a phrase in four-part harmony.


224



Identify errors in a musical performance (T)

Name standard doublings of root position and inversion

voicings in four-part (T)

Pair review

Modeling, lecture

Worksheet

Written quiz



Analyze and notate the performance of a musical phrase

(T)

Analyze the harmonies of a musical phrase using Roman

numerals (T)

Modeling

Modeling

Scoring Guide

Written test



Evaluate a musical performance (T)

Evaluate a composition on its stylistic, formal, and

aesthetic qualities

Modeling, formative

feedback with guided

and repetitive

practice

Group discussion,

lecture

Audio taped

performance, scoring

guide

Scoring Guide

Differentiation Suggestions: Acceleration of rhythmic difficulty through increased variation of beat subdivision.

Acceleration of melodic difficulty through wider variety of intervals, less reliance on tonic and dominant

pitches, and chromaticism.

Differentiation for learning styles by use of board or worksheet to add visual stimulus.

Students choose works to evaluate and present their analysis to the class.

Application Level Assessment CCO III. A. Musical Forms and CCO III. B. Analysis: Students will

demonstrate the ability to identify and analyze musical forms; and the ability to respond to and critically

analyze music.

Student Tasks:

Analyze a musical performance to detect errors and then correct them in written form

Self-evaluate intervals and intonation in a sight-singing performance

Notate played rhythms, melodies, and harmonies

Evaluate recorded performances from a variety of genres

The student will evaluate literature (aural and written) on stylistic, formal, and aesthetic qualities

Interpret and evaluate figured bass and Roman numeral reductions

Analyze musical works/excerpts on the basis of their formal, stylistic, and aesthetic qualities

225

Scoring Guide for Music Theory, CCO III. A. (Musical Forms) and CCO III. B. (Analysis)

Criteria

4

Advanced

3

Proficient

2

Nearly Proficient

1

Progressing

Analyze a musical

performance to detect errors

and then correct them in

written form



and note errors to one00%.

Student correctly

identifies errors, but is unable

to correct one or more errors.

Student incorrectly

identifies one or more errors

or misses one or more errors

and is unable to correct.


identify errors.

Self-evaluate intervals and

intonation in a sight-singing

performance



and note errors to one00%

with correct intonation

Student correctly

identifies errors in rhythm,

notes, or intonation, but is

unable to correct one or more

errors or demonstrates

incorrect intonation.

Student incorrectly

identifies more than one error

or misses more than one

error.


identify errors.

Notate played rhythms,

melodies, and harmonies 0 or 1 measures with note

or rhythmic errors


or rhythmic errors

4 or 5 measures with


6 or more measures with


Evaluate literature (aural and

written) on stylistic, formal,

and aesthetic qualities

Scoring guide for this

CCO criteria found in CCO I

Interpret and evaluate figured

bass and Roman numeral

reductions




Score 17-18 points on the

AP Music Theory College


Roman numerals







numerals



scoring guide for figured

bass




numerals

Score 14 or less than on

the AP Music Theory

College Board scoring guide

for figured bass

Score 11 or less on the AP



numerals

226


Introduction



composer‘s name, musician‘s

name, title of piece, when and

where it was created, how it was

used, its period, style, or culture.






given






given


piece mentioned


title

Artist‘s

name or title

of work

listed

Description

Sentences that list everything

heard or seen in the

performance, including names of

instruments.




performance






work but slightly

unorganized

Random

mention of

one or two

details

seen/heard

in the work

Analysis









in the work







Lists elements used




Partially lists

elements

Interpretation



dynamic contour and contrast

and how he/she communicates

an emotional mood or attitude

toward the subject, narrative,

social commentary, spiritual

/religious ideas or other purpose

of the work






elements


choices to personal


composer‘s work





elements




composer‘s work


work.



elements

Suggests

meaning of

work.


composition


performance








articulation, and




the work




intentions




articulation, and







the meaning of the

composition



articulation, or



work that support

statements

States

personal

opinion

Grammar, Style

Form

Free of errors









correct order


grammar



own piece






correct order



clarity


second person




essay



Multiple

grammatical errors

interfere with

content and

readability

Uses first, second

and/or third person

First and/or last

name of artist used

throughout essay

Steps of critique

model may be

missing or out of

order

227

Music Theory CCO V. A. Music History

Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music

history.



styles, and cultures.

FA5, G1.9, G3.3

Content and Skills:




Score Study

Historical composition techniques

Literature Based Listening

Evaluate literature (aural and written) on stylistic, formal, and

aesthetic qualities through varied historical examples

Analyze the melodies, harmonies, and form of compositions

throughout Western-European history

Evaluate recorded performances from a variety of historical

periods

Unit Vocabulary: Middle Ages/Medieval music, Renaissance, Baroque, Classical, Romantic,

Impressionism, 20th

century music, 12-tone music, Serialism, Neo-classicism


Student listens to and differentiates between examples of Western-European music through history.




List prominent composers throughout history music

from 400-1950‘s (T)

Lecture Written Quiz



Analyze an example of early or more recent music Cooperative learning Scoring Guide



Listen to a recorded selection and justify an opinion as

to the approximate date of composition (T)





Teachers can provide comparisons of additional composers


music history.

Student Task: Evaluate literature (aural and written) on stylistic, formal, and aesthetic qualities through varied historical

examples

Analyze the melodies, harmonies, and form of compositions throughout Western-European history

Evaluate recorded performances from a variety of historical periods

228


Name: Class:









Work B


Work A

Work B



229

Appendix

230

Fine Arts Resource Selection

Evaluation Checklist

Course:______________________________________________________

Title of Text:__________________________________________________

Publisher:____________________________________________________

Copyright:____________________________________________________

Please use the scoring guidelines to assess the following items:

Student Textbook:

1. ______ Objectives for lessons are clear.

2. ______ Objectives represent various levels of Bloom‘s.

3. ______ Includes historical/cultural information.

4. ______ Emphasizes fine arts process skills and inquiry.

5. ______ Develops problem solving and critical thinking skills.

6. ______ Performance assessments with scoring guides are provided and

match objectives.

7. ______ Makes the connection among fine arts and with core subjects,

technology, and society.

8. ______ Appropriate reading level.

9. ______ Is gender-fair, multicultural and disability aware.

Scoring Guidelines:

+ 3 = Excellent

2 = Good

1 = Poor or Not at All

NA = Not Applicable

231

10. ______ Text meets District CCOs (percent covered______%).

Overall Rating

Teacher Resources:

1. _______ Contains clearly written, easy-to-use plans.

2. _______ Includes enough background information for teacher.

3. _______ Provides extension ideas for differentiating instruction.

4. _______ Integrates writing in lessons.

5. _______ Incorporates technology in lessons (provides lesson examples, web

sites, etc.).

6. _______ Provides quality supplemental materials.

Overall Rating

Check one

_____This textbook would be a great choice.

_____This textbook should be considered.

_____I would not recommend this textbook.

Other Comments:

232

Rockwood

Writing Guidelines

While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,

formal writing is a portion of the class grade. At least one formal writing assignment from any of the listed categories will

be a part of the grade of each course. Below are the minimum standards for formal writing assignments:

Content:

Critiques should be based on specific criteria supported by observations referenced to the artwork.

Expository Writing should include a thesis backed by supporting details.

Form:

Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,

usage, and mechanics rules per Rockwood scoring guide.

Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate grammar,

usage, and mechanics rules per Rockwood scoring guide.

Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary. Writing

will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.

Six-Trait Assessment for Middle School Writers* 1

EXPERIMENTING

2

EMERGING

3

DEVELOPING

4

CAPABLE

5

EXPERIENCED

IDEAS

- Attempts a story or

to make a point

- Meaning of the

general idea is recognizable

- Some ideas clear but

most still fuzzy

IDEAS

- Writing tells a story or

makes a point with some

but loses control at times

- Meaning is recognizable

with close read

- Some ideas clear but

some still fuzzy

IDEAS

- Writing tells a story or

makes a point

- Idea generally stays on

topic

- Details are present but

not completely developed

or are not strong

- Attempts commentary,

where needed

IDEAS

- Writing clearly tells

a story or makes a point

- Idea and focus stay

on topic

- Concrete details are

important and

developed

- Commentary, when

present, is true

commentary

IDEAS

- Topic is narrowed and

focused

- Presents a fresh and original

idea or complex story

- Develops the main idea with

critical concrete details which is

fully developed

- Uses strong commentary

where needed

ORGANIZATION

- Format is attempted

Beginning is attempted but

no ending (possibly “The

End”)

- Attempts at

sequencing and transitions

- Attempts transitions

ORGANIZATION

- Format is correct

some of the time

- Attempts transition

from sentence to

sentence

- Beginning works well

and attempt at ending

- Logical sequencing

- Key ideas begin to

surface

ORGANIZATION

- Format is correct most

of the time

- Transitions work to

connect sentences

- Strong beginning with

clear ending

- Easy to follow most

times

- Commentary is

connected to the concrete

detail

ORGANIZATION

- Format is correct

- Varied transitions

connect sentences

- Strong beginning

- Ending summarizes

the paragraph

- Easy to follow

- In-depth

commentary

ORGANIZATION

- Format is not needed for

organization

- Transitions connect sentence

to sentence, though to thought,

paragraph to paragraph

- Easy to follow

- Important ideas stand out

CONVENTIONS

- Uses phonetic

spelling

- Correctly spells high

frequency words some of

the time

- Uses capitals at the

beginning of sentences

- Usually uses end

punctuation correctly

- Experiments with

other punctuation

- Longer paper is one

long paragraph with run-

ons

- Attempts standard

grade-level grammar;

sometimes must be re-read

CONVENTIONS

- Transitional spelling

on less frequent words

- Correctly spells high

frequency words

- Capitals at sentences

beginnings and variable

use of other capitals

- End punctuation is

correct and other grade-

level punctuation is

attempted

- Paragraphing variable

but present

- Basic noun/pronoun

agreement

- Some run-ons and

fragments

CONVENTIONS

- Spelling is correct on

most words

- Capitals used for proper

nouns and sentence

beginnings most of the time

- Basic grade-level

punctuation, including

commas, is correct

- Indents consistently to

show paragraphs

- Shows control of

standard grammar most of

the time

- Some run-ons but few, if

any, fragments

CONVENTIONS

- Spelling is correct

- Capitals are used

for proper nouns and

sentence beginnings

- Grade-level

punctuation is correct

and complex

punctuation is

attempted

- Paragraphing is

clear

- Shows control of

standard grammar

- Few run-ons but no

fragments

CONVENTIONS

- Spelling is correct

- Capitals are correct

- Grade-level punctuation is

corrected

- Complex punctuation is often

successful

- Sentences are varied in

length, beginning, and complexity

- No run-ons or fragments

*Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon

234

. Six-Trait Assessment for High School Writers

Ideas Organization Conventions Word

Choice

Sentence

Fluency

Voice

4

__Strong controlling idea based

on interesting and meaningful

thesis narrows focus __Clearly addresses topic and

provides specific and relevant concrete details and/or reasons

__Shows complexity and

freshness of thought

__Effective, insightful commentary connects concrete detail to thesis

__Effective beginning, middle, and end;

engaging introduction; strong sense of closure

__A clear, strong thesis statement governs entire essay; the writer skillfully emphasizes

important ideas

__Use paragraphing effectively

__Progresses in a logical order

__Uses effective cohesive devices (transitions,

repetition, pronouns, parallel structure) between and within paragraphs

__Successfully follows assigned format

__Contains few errors in

grammar/usage,

punctuation, capitalization,

and/or spelling

__Intentional or clever use of

atypical sentence structure __Correct pronoun/antecedent

agreement and subject/verb

agreement; consistent verb tense

__Uses precise and

vivid language

__Effective use of

writing techniques

such as imagery and

figurative language if appropriate

__Consistently avoids

redundancy

__Contains sentences

that are clear and

varied in length and

structure __Variety of sentence

beginnings __Natural rhythm,

cadence and flow

__ Shows individual

perspective; personality comes

through

__Clearly shows an

awareness of audience and

purpose

__Writer‘s enthusiasm for the

topic is evident

__Effectively uses writing

techniques (such as humor,

point of view, tone) that evoke

a strong emotional response

3 __Controlling idea based on a

meaningful thesis begins to narrow

focus

__Addresses the topic using

relevant details and/or reasons

__Shows some complexity and/or


__Strong commentary relates

concrete detail to thesis

__Clear beginning, middle and end with an

effective introduction and conclusion

__A clear thesis statement governs the entire essay; important ideas stand out

__Uses paragraphing appropriately

__Generally progresses in a logical order

__Uses cohesive devices between and within

paragraphs __Accurately follows assigned format

__May contain errors in

grammar/usage,


and/or spelling that are not

distracting to the reader

__Fragments or run-ons are rare (unless stylistic)

_Very few errors in

agreement and tense

__Uses precise

language

__Uses writing

techniques such as

imagery and/or


__Avoids redundancy


that are clear and

show some variety in length and structure

__Not all sentences

begin with the same pattern

__Sections of writing

have rhythm and flow

__ Shows some individual

perspective; personality begins

to show

__Shows an awareness of

audience and purpose

__Writer cares about topic __Uses writing techniques

(such as humor, point of

view, tone) that may evoke an emotional response

2 __Contains some sense of

direction, but may lack focus

__Addresses the topic, but relies

on generalities (lists) rather than

specifics (development)

__Limited complexity and/or


__Weak commentary

__Evidence of a beginning, middle and end

__Thesis statement attempted, but may not

govern the entire essay; some important ideas

begin to surface

__Shows evidence of paragraphing

__Inconsistency in logical order

__Inconsistent use of cohesive devices

__Attempts assigned format

__Contains errors in

grammar/usage,


and/or spelling that may be

distracting to the reader

__Some run-ons and/or

sentence fragments __Inconsistent subject/verb

agreement and or verb tense

__May use imprecise

language

__ Attempts to use

some writing

techniques such as

imagery and/or


__ Some obvious

redundancy


that are generally

clear, but lack variety

and complexity

__Some sentences begin

the same

__An occasional section of writing has rhythm

and flow

__May lack individual

perspective

__Shows some awareness of

audience and purpose

__Writer shows limited

connection to the topic

__Attempts to use some

writing techniques (humor,

point of view, tone) to evoke a

response

1 __Is difficult to follow and lacks

focus

__May address the topic, but

lacks details

__Lacks complexity and


__Attempts commentary

unsuccessfully

__Little or no evidence of a beginning,

middle, and/or end __Thesis statement unclear __Little or no evidence of paragraphing

__Does not progress in a logical order and

may digress to unrelated topics

__Lacks cohesion

__No evidence of format

__Contains repeated errors

in grammar/ usage,


and/or spelling that are

distracting

__Numerous run-ons and/or fragments

__Frequent errors with

agreement and/or tense

__Uses imprecise

language

__Shows little or no

evidence of writing

techniques such as

imagery or figurative language

__Obvious and/or

distracting redundancy


that lack variety and

clarity

__Most sentences begin

the same way

__Writing is choppy; needs rereading to

follow the meaning

__Lacks individual

perspective

__Shows little or no

awareness of audience or

purpose

__Treatment of topic is predictable

__Shows little or no evidence

of writing techniques to evoke a response

Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon Bold descriptor s= MAP criteria

Missouri Show-Me Standards

The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define

what students should learn by the time they graduate from high school. These guidelines are titled ―The Show-Me

Standards‖.

The Rockwood School District Band Curriculum is referenced to the Missouri Show-Me Standards. You will find the

references explained below.

Example from Grade Six Beginning Band:

Core Conceptual Objective I.A. Playing Skills: Tone-Intonation: Students will demonstrate knowledge of tone and

intonation through musical performance.


Musicians produce characteristic tone and accurate intonation in order to

perform high quality music.

FA 1, 2.5

FA I refers to the Content Standard for Fine Arts

Students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts

2.5 refers to the Process Standard Two

Students will acquire the knowledge and skills to communicate effectively within and beyond the classroom.

5. perform or produce works in the fine and practical arts

236

Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians who

developed these standards wrestled with that question. In the end, they agreed that ―knowing‖ and ―doing‖ are actually two

sides of the same coin. To perform well in school or on the job, one must have a good foundation of basic knowledge and

skills. Equally important, though, is the ability to use and apply one‘s knowledge in real-life situations.

These standards (73 in all) are intended to define what students should learn by the time they graduate from high

school. There are 33 ―Performance‖ standards, listed under four broad goals. There are also 40 ―knowledge‖ standards,

listed in six subject areas. Taken together, they are intended to establish higher expectations for students throughout the

Show-Me State. These standards do not represent everything a student will or should learn. However, graduates who meet

these standards should be well-prepared for further education, work, and civic responsibilities.

All Missourians are eager to ensure that graduates of Missouri‘s public schools have the knowledge, skills, and

competencies essential to leading productive, fulfilling and successful lives as they continue their education, enter the

workforce and assume their civic responsibilities. Schools need to establish high expectations that will challenge all

students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993 called together master

teachers, parents, and policy-makers from around the state to create Missouri academic standards. These standards are the

work of that group.

The standards are built around the belief that the success of Missouri‘s students depends on both a solid foundation

of knowledge and skills and the ability of students to apply their knowledge and skills to the kinds of problems and

decisions they will likely encounter after they graduate.

The academic standards incorporate and strongly promote the understanding that active, hands-on learning will

benefit students of all ages. By integrating and applying basic knowledge and skills in practical and challenging ways

across all disciplines, students experience learning that is more engaging and motivating. Such learning stays in the mind

long after the tests are over and acts as a springboard to success beyond the classroom.

These standards for students are not a curriculum. Rather, the standards serve as a blueprint from which local

school districts may write challenging curriculum to help all students achieve their maximum potential. Missouri law

assures local control of education. Each school district will determine how its curriculum will be structured and the best

methods to implement that curriculum in the classroom.

Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State

Regulations, 5 CSR 50-375.100.

KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS

237

GOAL 1

Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply information

and ideas.

Students will demonstrate within and integrate across all content areas the ability to

1. develop questions and ideas to initiate and refine research

2. conduct research to answer questions and evaluate information and ideas

3. design and conduct field and laboratory investigations to study nature and society

4. use technological tools and other resources to locate, select, and organize information

5. comprehend and evaluate written, visual, and oral presentations and works

6. discover and evaluate patterns and relationships in information, ideas, and structures

7. evaluate the accuracy of information and the reliability of its sources

8. organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or presentation

9. identify, analyze, and compare the institutions, traditions, and art forms of past and present societies

10. apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and consumers

GOAL 2

Students in Missouri public schools will acquire the knowledge and skills to communicate effectively within and

beyond the classroom.


1. plan and make written, oral, and visual presentations for a variety of purposes and audiences

2. review and revise communications to improve accuracy and clarity

3. exchange information, questions, and ideas while recognizing the perspectives of others

4. present perceptions and ideas regarding works of the arts, humanities, and sciences

5. perform or produce works in the fine and practical arts

6. apply communication techniques to the job search and to the workplace

7. use technological tools to exchange information and ideas

238

GOAL 3

Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.


1. identify problems and define their scope and elements

2. develop and apply strategies based on ways others have prevented or solved problems

3. develop and apply strategies based on one‘s own experience in preventing or solving problems

4. evaluate the processes used in recognizing and solving problems

5. reason inductively from a set of specific facts and deductively from general premises

6. examine problems and proposed solutions from multiple perspectives

7. evaluate the extent to which a strategy addresses the problem

8. assess costs, benefits, and other consequences of proposed solutions

GOAL 4

Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as responsible

members of society.


1. explain reasoning and identify information used to support decisions

2. understand and apply the rights and responsibilities of citizenship in Missouri and the United States

3. analyze the duties and responsibilities of individuals in societies

4. recognize and practice honesty and integrity in academic work and in the workplace

5. develop, monitor, and revise plans of action to meet deadlines and accomplish goals

6. identify tasks that require a coordinated effort and work with others to complete those tasks

7. identify and apply practices that preserve and enhance the safety and health of self and others

8. explore, prepare for, and seek educational and job opportunities

239

Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content areas. The

statements listed here represent such a foundation in reading, writing, mathematics, world and American history, forms of

government, geography, science, health/physical education, and the fine arts. This foundation of knowledge and skills

should also be incorporated into courses in vocational education and practical arts. Students should acquire this knowledge

base at various grade levels and through various courses of study. Each grade level and each course sequence should build

on the knowledge base that students have previously acquired.

These concepts and areas of study are indeed significant to success in school and in the workplace. However, they

are neither inclusive nor are they likely to remain the same over the years. We live in an age in which ―knowledge‖ grows

at an ever-increasing rate, and our expectations for students must keep up with that expanding knowledge base.

Combining what students must know and what they must be able to do may require teachers and districts to adapt

their curriculum. To assist districts in this effort, teachers from across the state are developing curriculum frameworks

show how others might balance concepts and abilities for students at the elementary, middle, and secondary levels. These

models, however, are only resources. Missouri law assures local control of education. Each district has the authority to

determine the content of its curriculum, how it will be organized, and how it will be presented.

Communication Arts

In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of

and proficiency in

1. speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)

2. reading and evaluating fiction, poetry, and drama

3. reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)

4. writing formally (such as reports, narratives, essays)

5. comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,

debates, lectures, multi-media productions)

6. participating in formal and informal presentations and discussions of issues and ideas

7. identifying and evaluating relationships between language and culture

240

Mathematics

In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. addition, subtraction, multiplication, and division; other number sense, including numeration and estimation; and the

application of these operations and concepts in the workplace and other situations

2. geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and

transformations of shapes

3. data analysis, probability, and statistics

4. patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts

5. mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory

(including primes, factors, multiples)

6. discrete mathematics (such as graph theory, counting techniques, matrices)

Science

In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. properties and principles of matter and energy

2. properties and principles of force and motion

3. characteristics and interactions of living organisms

4. changes in ecosystems and interactions of organisms with their environments

5. processes (such as plate movement, water cycle, air flow) and interactions of earth‘s biosphere, atmosphere,

lithosphere, and hydrosphere

6. composition and structure of the universe and the motions of the objects within it

7. processes of scientific inquiry (such as formulating and testing hypotheses)

8. impact of science, technology, and human activity on resources and the environment

241

Social Studies

In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. principles expressed in the documents shaping constitutional democracy in the United States

2. continuity and change in the history of Missouri, the United States, and the world

3. principles and processes of governance systems

4. economic concepts (including productivity and the market system) and principles (including the laws of supply and

demand)

5. the major elements of geographical study and analysis (such as location, place, movement, regions) and their

relationships to changes in society and environment

6. relationships of the individual and groups to institutions and cultural traditions

7. the use of tools of social science inquiry (such as surveys, statistics, maps, documents)

Fine Arts

In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of

1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed

arts

2. the principles and elements of different art forms

3. the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts

4. interrelationships of visual and performing arts and the relationships of the arts to other disciplines

5. visual and performing arts in historical and cultural contexts

242

Health/Physical Education

In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes

knowledge of

1. structures of, functions of, and relationships among human body systems

2. principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)

3. diseases and methods for prevention, treatment, and control

4. principles of movement and physical fitness

5. methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,

and other drug use)

6. consumer health issues (such as the effects of mass media and technologies on safety and health)

7. responses to emergency situations

243

Missouri Department of Elementary & Secondary Education

Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary

HISTORY STRAND

DANCE MUSIC THEATRE VISUAL ARTS

STYLES:

Ballet – European style of dance;

traditionally performed en pointe by

ladies and having a story line

Folk – native dances of different

cultures

Jazz – dance with African-American

roots performed with soft sole shoes

Modern – style of dance

characterized by freedom of form and

performed barefoot

Tap – dance with African-American

roots performed with steel taps on the

dances shoes

Ballroom/Social – form of dance

used in social settings

Recreation – moving with or without

partners for the sheer enjoyment of

moving through space

Exercise – choreographed

movements designed to build up body

and maintain general health and well-

being

STYLES:

Classical Music – in its broadest sense,

refers to a style of ―art‖ music as

distinguished from folk, jazz, or popular

music

(See Historical Periods for further

definition)

Folk Music – music from a specific

culture

Folk Song – uncomplicated music that

speaks directly of everyday matters

Jazz – a style of American music

originated in the South by African-

Americans; it is characterized by strong,

prominent meter, improvisation, and

dotted or syncopated patterns

Long Ago – music from the past

Modern – music that is current;

generally, 20th

century music

Popular Style (Music) – American

music that has wide appeal, is

immediately communicative and

relatively short

STYLES:

Comedy – a funny or amusing play

with a happy ending

Improvisation – short scenes made

up on the spur of the moment

following generated guidelines

Melodrama – a serious play with

an unhappy ending; the major

characters are predictable

Musical – a play with songs

supporting the plot

Tragedy/Drama – a serious play

with an unhappy ending; major

characters are unpredictable

STYLES:

Abstract – art that exaggerates,

simplifies, or distorts reality

Fantasy – art showing imaginary or

unreal people, places or things

Realistic – art showing life as it is

Non-objective – based on elements of

art rather than on recognizable people,

places or things

Modern – 20th

century art with a focus

on abstraction

244


FUNCTIONS:

Education – dance intended to teach

Entertainment – dance intended for

audience enjoyment

Sacred – dance dealing with religious

themes

FUNCTIONS:

Accompaniment – music that adds

texture to a melody or melodies

Ceremonial – an established custom or

formal actions connected with an

occasion

Functional Music – wedding,

graduation, funeral, parade,

entertainment

Lullaby – sleep song

March – music with a steady beat

suitable for a parade or processional.

Popular Style – American music that

has wide appeal, is immediately

communicative and relatively short

Sacred – religious music

Secular –non-religious music

Spiritual – a sacred song that evolved

from the period of slavery in the U. S.

Waltz – dance in triple meter

Work Song – songs in which the text

describes the task of the worker

FUNCTIONS:

Education – theatre intended for

instruction

Entertainment – theatre intended

for audience enjoyment

Sacred – theatre dealing with

religious themes

FUNCTIONS:

Ceremonial – art serving a symbolic

function in a culture, e.g., flag

Commercial/Popular – art used for

business purposes, e.g., advertising,

fashion design, architecture, product

design, cartooning

Expressive – art that conveys

emotion or feeling

Formalism – art for art‘s sake

Functional – decorated objects for

everyday use, e.g., pottery, jewelry,

fibers

Representational – art

showing real life Sacred – art dealing with religious

themes

245


TRADITIONAL CULTURES:

Asian/Chinese – usually ceremonial;

used during theatrical productions;

uses mime and head and eye

movements; generally, tells a story or

depicts activities in everyday life

African – movements generally low

and grounded, using body

contractions, foot stamping,

percussive and swinging head and

arm movements; always rhythmic,

often energetic; ceremonial; religious

and secular events occurring in

everyday life; may use

costumes/masks


Asian – representational, stylized sound

images of people and nature;

identifiable sound characteristics

include artisan-made acoustical bamboo

and string instruments and drums,

pentatonic scales, narrow melodic

range, and a bright and nasal vocal

quality

African – functional music that is

participatory; instruments include a

variety of bells, drums, and rattles;

characterized by percussive and

polyrhythmic sounds that often use

improvisation


Asian – characters wear white and

elaborately patterned makeup along

with colorful embroidered robes to

perform stylized plays with stories

of long ago, or about family life

African – actors wear carved

masks and perform rituals based on

everyday activities


Asian – superior craftsmanship,

representational, stylized images of

people and nature created to match an

ideal; narrative depiction of history

and culture; may emphasize line and

flat areas of color

African – ceremonial and functional

objects; handmade with natural

materials; masks/sculptures show

exaggerated, stylized features of

people and animals, jewelry and

printed cloth use bright, bold,

geometric designs

246


Native American – dances may vary

in movement from tribe to tribe;

generally, dances affecting people in

everyday life use large groups; use

simple, repetitive steps and

music/singing; women dance for

women‘s activities, e.g., birth,

marriage, planting; men dance for

men‘s activities, e.g., coming of age,

war, hunting; dances usually tell

stories and can be narrated

simultaneously; solo work can explain

a tribal myth or tradition or carry on a

history of the tribe; solos are usually

performed with costumes and make-

up

Native American – functional music

that celebrates the cultural heritage of

the Native American; drums and rattles

are the predominant instruments that

accompany the voice; the only pure

instrumental music is for flutes and

whistles; the steady beat of the drum

does not always match the beat of the

song; there is no harmony

Native American – story

tellers/dancers may wear traditional

Regalia while performing for an

audience; Regalia may include

beadwork, feathers, and body

painting depending on region or

tribal affiliation

Native American – functional art

celebrating the cultural heritage of the

Native American; regional

characteristics: southwest (geometric,

Kachina); plains (narrative symbols);

northwest coast (animal totems)

247


HISTORICAL PERIODS:

American/Colonial – dances adapted

from European culture to the new

environment; examples of dances

include gavottes, minuets, marches,

jigs, circle group dances, and folk

dances

American/Western Expansion –

square and reel dance forms evolved;

the Grand March and the Polonaise

were used at ceremonial balls; the

mazurka and polka were danced in

couples

American/Civil War –waltz and

country dances were popular

Classical – tap and soft-shoe dances

were developed during the 1750 to

1820 time period

Modern – 20

th century dance

characterized by freedom of

movement and performed barefoot

HISTORICAL PERIODS:

American/Colonial–folk songs adapted

from European cultures


cowboy songs, work songs and folk

songs

American/Civil War – spirituals and

work songs

Classical – specifically refers to

European music composed from about

1750 to 1820 that borrows from Art

History‘s neoclassical period focusing

on unity, balance and ideas of realism

Modern – 20th

century innovative forms

and combinations of sounds

HISTORICAL PERIODS:

American/Colonial – Began with

British companies touring the

colonies with English-style plays;

developed into plays written by

Americans with typically American

characters


troupes of actors traveled by

wagons and showboats to perform

for people in the expanding

American West

American/Civil War–melodramas

became the predominant theatrical

form; American themes and/or

spectacular plays once again

became popular

Classical – the first formal theatre

came from ancient Greece; Thespis

was the first actor to step from a

chorus of actors to speak individual

lines

Modern – the director emerged as

the dominant force; realism is the

predominant style with most theatre

being very lifelike

HISTORICAL PERIODS:

American/Colonial –Real looking

paintings/sculptures of portraits and

history based on European art.

Architecture: styles brought by

colonists from European villages


Idealized, symbolic landscapes show

images of American wilderness;

architecture: rebellion against English

styles, Roman domes and columns

symbolize democracy

American/Civil War – realistic

painting/ sculpture/ photography

document current history;

architecture: industrial barons base

homes on European castles

Classical – realistic figure sculpture

based on ancient Greek and Roman

art; architecture: Greek and Roman,

elements: columns, arch, and dome

Modern – 20th

century abstract and

non-objective styles; the subject

matter is the elements and principles

of art; architecture: reaction against

historical styles, form follows

function

248

Criticism and Analysis Strand


Composition – a grouping of

movements to form a dance

Composition – an original work or

―opus‖

Book – play manuscript; in musical

productions the libretto without the

music

Manuscript (Script) – written or

typed play, or the book of a musical

(usually used in rehearsal)

Composition – arrangement of


Forms – methods of choreography; 2-

part form (AB), 3-part form (ABA),

Rondo (ABACA), theme and

variations, free sequential forms

Form – overall structure or organization

of a musical composition may

incorporate repetition, contrast, unity

and variety

Call and response – a song style that

follows a simple question and answer

pattern in which a soloist ―calls‖ out the

melody and a group ―responds‖

Canon – composition for two or more

voices in which one voice enters after

another in exact imitation of the first,

similar to a round

Form – structure of a play, e.g.,

scenes and acts

Form – three-dimensional or illusion

of 3D

Geometric – forms with

mathematical names

Organic – living things forms

Balance – ability to remain upright

Balance – sounds adjusted to create

desired effect

Balance – equalization of stage

picture including placement of

characters and set pieces on the

stage

Balance – arrangement with equal

visual weight on both sides of a

position

Asymmetrical/Informal – two sides

of a composition have the same visual

weight but the lines, shapes and

colors are not the same

249


Space – a dancer moves in and

through space

Space –

a) relationship between sound and

silence

b) lines and spaces on a staff

Space – where the actors are

located on the stage

Symmetrical/Formal – 2 sides of a

composition are identical, mirror

images

Proportion – the size relationships of

parts to a whole and to each other

Space – the distance around and

between things; area that can be filled

with an art element

Perspective – a way of making a flat

surface look as if it goes back in

space; illusion of depth

Foreground – area in two-

dimensional artwork that appears

closest to the viewer, usually

positioned at the bottom of the

artwork

Background – the part of a two-

dimensional artwork farthest from the

viewer, usually closest to the horizon

line

Positive space – the object itself; is

there

Negative space – the areas around the

object; is not there

Dynamics – movements determined

by the amount of energy, e.g.,

sustained, percussive, vibratory

Dynamics –the volume of sound; the

loudness or softness of a musical

passage

Dynamics – relationship of loud to

soft in the actor‘s speech, intensity

Color Intensity – brightness or

dullness of hue

Contrast – the use of different

elements of movement, e.g., high

movement versus low levels; fast

versus slow actions

Contrast – referring to extremes in each

element, e.g., pitch, rhythm, dynamics,

timbre

Contrast – variation used to

heighten interest in dramatic

construction and acting

Contrast – a difference between

elements in a work of art

Tempo – speed of the movements Steady beat – a consistent and regular

pulse

Tempo – speed of the underlying beat

Ritardando/Ritard – a gradual slowing

of tempo; abbreviate as rit

Accelerando – to gradually accelerate

Pace – the timing of lines and stage

business (not to be confused with

speed)

250

(get faster) in tempo


Rhythm – the movement with or

against sound in time

Rhythm – combinations of long and

short sounds and silences that convey a

sense of movement

Beat – change of interpretation in a

thought process; the ending of one

thought process and the beginning

of another

Rhythm – visual movement created

by repetition

Line – linear motion, unspoken (sing

the line)

Line – linear motion, speech to

speeches in a play

Line – path of a moving dot

Melody – horizontal, linear aspect of

music; organized succession of pitches

Movement – stage movement;

blocking; moving from one stage

area to another

Movement – path of viewer‘s eye as

it travels around a composition

Pitch – measured and named number of

vibrations per second; heard as a sound

from high to low; wave lengths in sound

Scale – the series of steps from one

pitch to another

Timbre – unique quality of a voice or

instrument

Tone Quality – dark or light quality of

sound

Pitch – raise or lower the voice

according to the musical scale

Inflection – vocal modulation,

variety in pitch

Acoustics – the quality of sound

transmission within a theater

Quality – unique sound of the

actor‘s voice

Voice projection – control of the

voice so that even those in the last

row of the house can hear and

understand every word

Hue - measured and named qualities

of light

Color - reflected quality of asurface

based on pigment or light,

wavelengths in light

Value – steps from white through

gray to black; value scales are regular

intervals of values

Tint – light value of a color, made by

mixing white with the color

Shade – the dark value of a color,

made by mixing black with the color

Color intensity – brightness or

dullness of a hue

Color Wheel – colors of the rainbow

turned into a circle

Cool Colors – colors around blue on

the color wheel; green, blue, violet

Warm colors – colors around orange

on the color wheel; red, orange,

yellow

Primary colors – the first colors from

which others are mixed; red, yellow,

blue

Secondary colors – colors made

when two primary colors are mixed;

orange, violet, green

251


Texture – the density or scarcity of

movement in a dance; it can also be

used to describe movements such as

rough, smooth, etc.

Texture – the character of the different

layers of sound in music

Solo – one person only plays or sings

Duet – two people play or sing

Trio – three people play or sing

Quartet – a combination of four voices

or instruments; also music written for

such an ensemble

Texture – to add depth and tactile

qualities to scenery pieces

Texture – the way a surface feels or

looks like it would feel.

Symbols – signs for parts of the body

used in dance notation

Notation – written symbols used to

identify the musical elements

Symbols – abbreviations for stage

directions, movement and vocal

inflection

Symbol – an image that stands for an

idea

Harmony – the sounding together of

two or more tones

Harmony – two or more pitches

occurring simultaneously; used in

musical theatre

Harmony/Unity – elements work

together in an artwork

Shape – interesting and interrelated

arrangement of body parts of one

dancer; the overall visible appearance

of a group of dancers

Shape – to perform a phrase musically Shape – design of the structure that

is the set for a play

Shape – two-dimensional or flat

Geometric – mathematical

Organic – living things

Pattern – repetition – principle of

choreographic form based upon using

movements or phrases again in a work

Ostinato – a rhythmic or melodic

passage that is repeated continuously

Pattern/Stage Picture – the

arrangement of actors on the stage

Repetition – repeating a word,

phrase, movement or design

Pattern – repetition of line, shape,

and/or color

Accent – an emphasized movement Accent – the emphasis placed on a beat Accent – use of a dialect

Emphasis – a stressed word in a

line

Emphasis/Center of Interest – part

of a composition that gets the most

attention

Product/Performance Strand

Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).

252

Graphic

Organizers

253

Easy Start Herringbone

1. Who is it about? 2. Where did it happen? 3. When did it happen?

MAIN IDEA

4. What happened? 5. How did it happen? 6. Why did it happen?

254

Compare and Contrast

Transition Words: different from, same as, instead of, on the other hand

255

TOPIC: _____________________________________________________________________

MAIN IDEA: ________________________________________________________________

_____________________________________________________________________________

MAJOR SUPPORTING DETAILS

1.

2.

3.

4.

5.

256

Suggested Graphic Organizer for Cause and Effect

Transition Words: because, since, so that, if/then

Cause

Effect

Effect Effect

Effect

257

Chronological/Sequence

Event 1 Event 2 Event 3 Event 4

Transition Words: First, second, then, after, next etc.

258

Problem/Solution

Problem

Transition Words: One answer is, the question is, the problem,

the solution

259

STORY MAP (CHART)

(Isabel Beck) The Character:

The setting:

Statement of the Problem:

Event 1:

Event 2:

Event 3:

Event 4:

Event 5:

Event 6:

Event 7:

Statement of the Solution:

Story Theme: (What is this story REALLY about?)

Values brought out in the story:

260

SEQUENCE CHAIN

261

Essay Organizer - Standard Outline

Thesis Statement:

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Introductory Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

Topic Sentence:

______________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Detail_________________________________________________________________

Support Paragraph

(Emphasize Thesis)

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

______________________________________________________________________

Conclusion

(Note: You are NOT limited to only 3 support paragraphs!)

262

Paragraph Organizer

Topic Sentence:

Concrete Detail

Commentary

Commentary

Concrete Detail

Commentary

Commentary

Concrete Detail

Commentary

Commentary

Concluding sentence:

263

Essay Organizer – Standard Outline

Paragraph 1 – Introduction:

Main Idea/ Thesis:

Paragraph 2 – Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 3– Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 4 – Concrete Detail

commentary: ______________________________________________

commentary: ______________________________________________

commentary: ______________________________________________

Paragraph 5 – Conclusion

264

Rockwood School District

Attendance Procedure for Secondary Music Programs

A performance schedule will be announced in a timely manner, usually during the first two

weeks of a semester. Additional performances to the schedule will be announced as far in

advance as possible.

After the performance schedule is distributed, students will be given 48 hours to indicate any

previous commitments that conflict with scheduled performance dates. To request an excused

absence for a performance, the students must have a written parental request. The parental

request should include student name, performance date, and prior commitment. This request

must be submitted within the 48 hour time frame.

Students may be excused from a performance commitment, without penalty, for an excused

absence from school.

Students may be excused from a performance commitment, without penalty, for emergency

reasons. Emergencies will be dealt with on an individual basis.

Students will not be excused from a performance commitment for work.

Students who receive an unexcused absence for a performance may have their quarter grade

affected by no more than 20% of the total points.

In the event of an unexcused absence from a performance commitment, the future eligibility of

the student in the performance ensemble will be assessed.

In the event of multiple excused absences from a performance commitment, the future eligibility

of the student in the performance ensemble will be assessed.

Student Signature: ______________________________________________________________

Parent Signature: _______________________________________________________________

Date: _______________________

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