rockwood school district band curriculum grades 6 grade 6... · rockwood school district band...

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

rhythmic variation on 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

Melody Harmonization

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)

Demonstrate skills through performance in the following:

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

Apply standard symbols, terms, and notation to musical

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

Identify music from various styles and historical periods by

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

Verbal feedback from

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

Students will critique themselves and peers on their

performance of beginning level time signatures,

dynamics, articulations, and tempo markings on

instrument (see CCO II. Elements of Music) through

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

demonstrating awareness

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

consistent with the given

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

frequently coordinated.

Tempo: unsteady

Rhythm: uneven


are correct

Fingerings and

articulations are often

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

Reads and interprets

symbols and terms

correctly in context

Demonstrates knowledge

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

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

musical performances.


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

Modeling Written quiz



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

another artist‘s work or to

explain the goal of a

personal piece of music

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

determine which are most

important in the work

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

Evaluates the composition

on the basis of information

about the composer‘s

intentions

Evaluates the quality of the

performance on musician‘s


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

All steps of critique model in

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

First and/or last name of

artist used throughout

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

specific terminology and

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?

When do you think it was composed?

Where do you think it was composed?

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

Compares and contrasts

characteristics of Folk Music Explains characteristics of

Folk Music Lists characteristics of Folk

Music

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

elements and principles

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: _______________________

rockwood school district band curriculum grades 6 grade 6... · rockwood school district band...

Documents