Alicia Jackson

Full Year Curriculum

High School Wind Ensemble
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Table of Contents

Program Goals-------------------------------------------------------------------------------3

Course Goals---------------------------------------------------------------------------------3

Scope and Sequence-------------------------------------------------------------------------4

Course Overview----------------------------------------------------------------------------5

Performance I: Epic----------------------------------------------------------------6

Performance II: Sky’s the Limit-------------------------------------------------9

Performance III: Proud to be American--------------------------------------12

Performance IV: Around the World in 30 Minutes-------------------------15

Assessment----------------------------------------------------------------------------------19

Sources---------------------------------------------------------------------------------------20
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Program Goals
1.   Students will gain perspectives of themselves and others through engaging in a variety of
music.
2.   Students will value music as a part of their lives and continue to have meaningful
participation in music.
3.   Students will demonstrate the development of musical performance skills to
commensurate to their level of experience.

Course Goals
1.   To develop skills in analysis, evaluation and synthesis to be able to experience and
understand the aesthetics of music.
a.   Understand the uses of elements of music and expressive devices in diverse
repertoire
b.   Demonstrate extensive knowledge of the technical vocabulary of music
c.   Create specific criteria for making informed evaluations of the quality and
effectiveness of performances, compositions, arrangements and apply the criteria
in their personal participation in music
2.   Achieve instrumental competency
a.   learn chromatic, major and minor scales
b.   demonstrate good tone quality
c.   understand the inherent intonation problems of their instrument
d.   understand the proper care and maintenance of their instrument
3.   Develop a proficient level of reading music
a.   Practice rhythm reading daily
b.   Understand to interpret nonstandard notation symbols used by some 20th-century
composers
4.   Explore and perform a variety of wind band literature.
a.   learn historical background information about the composition and composer
b.   explore the work as a creative art form
c.   understand stylistic and performance practices of the period that the composition
represents
d.   understand composition techniques used by the composer
5.   Explore performance
a.   understand stylistic and performance practices of the period that the composition
represents
b.   the opportunity to perform a secondary instrument
c.   understand the wide variety of chamber music that is available
d.   the opportunity to perform solo literature
e.   develop student ensembles where students work together toward common goals

 
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Scope and Sequence

This course will prepare students to be functioning members of society through the
development of skills in self-discipline, self-motivation, and collaboration. This course will
enforce the philosophy of life-long learning by discovering new concepts and ideas every concert
block, in every piece they perform and every day in rehearsal. Throughout this course, students
will gain musicianship skills through four performances. This course will prepare students
anticipating to pursue a collegiate career in music to gain entry and to be successful at their
school of choice. Each performance is more difficult than the last to facilitate growth
individually and as an ensemble. Pieces are selected with specific skills and objectives in mind;
each concert either introduces a new concept(s) or develops it. By the end of the course
students will:

•   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 4 Repertoire
•   Demonstrate rhythm counting: eighth and sixteenth combinations, ties on the beat,
sixteenth notes and rests in compound meter
•   Demonstrate scales in the keys: Major: G, D, A, E, B Minor: a, e, b, f#, c#, b flat, g#, d#
Chromatic: full range
•   Use tempo and dynamics to express, interpret, and shape a musical phrase
•   Perform various combinations of simple or compound meter, dynamics, articulations, and
tempo markings on instrument found in Grade 4 Literature
•   Play music in Time Signature: 6/8, 3/4, 3/8, 12/8, 5/4, 6/4, 5/8, 7/8
•   Demonstrate knowledge of articulations: Articulated slurs, sixteenth note slur/tongue
combinations, multiple tonguing
•   Demonstrate knowledge of tempo markings: Grave, Allegretto, Presto, Tempo Primo,
Adagio
•   Demonstrate knowledge of Symbols and Terms: Tacet, segue, con sordino, tremolo,
rubato
•   Create and perform a melody and melodic variation based upon a given harmony
•   Compose or write a melody based upon a given harmony
•   Compare and Contrast the narrative function of literature to the communication of an idea
in Program Music
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Course Overview
Course Description:
This course is designed to give the student an enriching and diverse instrumental music
education. This class provides a number of performance opportunities for the student in a variety
of settings. The daily objective of the course is to foster and promote musical growth through the
playing of an instrument by the student. As a member of the band program, group effort and
cooperation is necessary to a successful program. Band is a skilled effort in which each student is
expected to show technical and musical growth throughout this course.

Course Objectives:
1.   Students will analyze music and musical performances.
2.   Students will be competent in fundamental musical skills.
3.   Students will be proficient in reading music.
4.   Students will discover style, artistic creativeness, and context of music.
5.   Students will perform a variety of wind band literature.

National Standards:
MU:Cr1.E.la Compose and improvise ideas for melodies, rhythmic passages, and arrangements
for specific purposes that reflect characteristic(s) of music from a variety of historical periods
studied in rehearsal.

MU:Cr2.1.E.la Select and develop draft melodies, rhythmic passages, and arrangements for
specific purposes that demonstrate understanding of characteristic(s) of music from a variety of
historical periods studied in rehearsal.

MU:Cr2.1.E.la Preserve draft compositions and improvisations through standard notation and
audio recording.

MU:Cr3.E.la Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address identified
purposes.

MU:Cr4.E.la Share personally-developed melodies, rhythmic passages, and arrangements-

individually or as an ensemble-that address identified purposes.

MU:Pr4.1.E.la Explain the criteria used to select a varied repertoire to study based on an
understanding of theoretical and structural characteristics of the music, the technical skill of the
individual or ensemble, and the purpose or context of the performance.

MU:Pr4.2.E.la Demonstrate, using music reading skills where appropriate, how compositional
devices employed and theoretical and structural aspects of musical works impact and inform
prepared or improvised performances.

MU:Pr4.3.E.la Demonstrate an understanding of context in a varied repertoire of music through

prepared and improvised performances.
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MU:Pr5.3.E.la Develop strategies to address expressive challenges in a varied repertoire of

music, and evaluate their success using feedback from ensemble peers and other sources to refine
performances.

MU:Pr6.1.E.la Demonstrate attention to technical accuracy and expressive qualities in prepared

and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.
MU:Pr6.1.E.lb Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.

MU:Re7.1.E.la Apply criteria to select music for specified purposes, supporting choices by
citing characteristics found in the music and connections to interest, purpose, and context.

MU:Re7.2.E.la Explain how the analysis of passages and understanding the way the elements of
music are manipulated inform the response to music.

MU:Re8.1.E.la Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, (when
appropriate) the setting of the text, and personal research.

MU:Re9.1.E.la Evaluate works and performances based on personally-or-collaboratively-

developed criteria, including analysis of the structure and context.

MU:Cn10.0.H.la Demonstrate how interests, knowledge, and skills relate to personal choices
and intent when creating, performing, and responding to music.

MU:Cn11.0.T.la Demonstrate understanding of relationships between music and other arts,

other disciplines, varied contexts, and daily life.

Performance I: Epic

New Era Fanfare by Randall D. Standridge

Nightsong by Richard L. Saucedo
Kentucky 1800 by Clare Grundman
Novo Lenio by Samuel Hazo
Big Circus March by Robert E. Foster

Rationale:

The theme of this concert is Epic. All of the pieces chosen for this performance are
compositional powerful and “epic”. Mostly at the Grade 2 and 3 level this is a great first concert
full of variety for pre-assessment.

Standridge: New Era Fanfare provides an interesting timbre with the synthesizer in the
unfamiliar key of Ab major. Students will continue to develop their skills of syncopation.
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Saucedo: Nightsong introduces students to a ballad in a minor key and compound meter.

Grundman: Kentucky 1800 is made up of folk songs from the old west and hones students
understanding of homophonic texture.

Hazo: Novo Lenio is inspired by a school’s alma mater and similar to Kentucky 1800 it hones
students understanding of homophonic texture. Novo Lenio is a programmatic piece that provides
a great opportunity for literature integration.

Foster: Big Circus March is a classic march in 2/4 staying true to the classic march form. The
piece provides contrasting articulations allowing students to deepen their skills in articulation.

Sample Lesson Plan:

Objectives:
1.   Students will correctly determine the time signature and key signature of the piece
Nightsong.
2.   Students will analyze the musical term ballad through class discussion.
3.   Students will sight read the piece Nightsong from beginning to end without stopping.
4.   Students will rehearse the piece Nightsong with adequate intonation and sufficient
tone.
5.   Students will rehearse the piece Nightsong with exaggerated dynamics.

Procedure:
Time Activity
Introduction
“For those of you who don’t know me, my name is Ms. Jackson. I’m really excited
for this opportunity to create music with you.”

“So let’s take a look at this piece shall we. This piece is called Nightsong by
Richard L. Saucedo.”

“What time signature is it in?” 6/8 “What key is it in?” G minor

“So this piece is a ballad. What is a ballad? What do you think a ballad is? Take a
minute and tell the person next to you what you think a ballad is.” Step off of the
podium and join the discussion.

Step back on the podium. “Okay now let’s bring it back, who would like to share
what they said?”

This is my answer: When I think of a ballad, one of the things I think of is a story.
A piece of music that tells a story. (If someone says something similar to this I
6 min. won’t say it)
4:46
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“How could we use this information when we sight read this piece?”
Questions to help lead the discussion:
“Remember in high school English when you learned about storylines; what does
every good storyline have? Beginning, building of tension (rising action),
climax, falling action”

“When does the climax usually happen in a storyline?” Right before the end, ¾
of the way through, “Do you think music works the same way?” Yes
“Why would it be helpful to know where the climax is at in a piece?” We can
save our loudest dynamic for the climax.

“With this in mind let’s go ahead and sight read this.”

Lesson
Sight read the piece: about 3 min.

“That was pretty good for your first time playing. However, we can always get
better.”

“So we are going to play this again and this time let’s focus on making the best
possible sound you can on your instruments.”

“First play a concert G and hold it, take a second to think about what note that is
on your instrument…” Play it

“With good posture, air, and tone I want you to sing that note.” Hold it tell it is
balanced, in tune, and has a good tone.

“Okay, now play it like you sang it.” Hold it tell it sounds the way they sang it.

“Okay, now play the piece as written”

Play the piece again: about 3 min.

That was a lot better, how many people think that was better than the first one?”

“Now I would like to hear everybody at 53 and we’ll stop at 61. We are going to
do a little exercise with dynamics. Let’s crescendo for the first four bars and
decrescendo for the last four. And I want crazy, dramatic, over-exaggerated
dynamics, but with reasonable tone. 53.

Play measures 53 to 61.

Can I hear just the melody using the same dynamics? So I need bassoon, clarinet
3, tenor saxophone, trombone, and baritone.”
14 min.
5:00 Play measures 53 to 61 melody only.
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“Now can I hear everyone who didn’t just play?”

Play measures 53 to 61 accompaniment only.

“I want you to use the same dynamics as the melody but the melody still needs to
be heard so what do you need to do to make that happen? Let’s try it again.”

Play measures 53 to 61 accompaniment only.

“All together again 53 to 61.”

Play measures 53 to 61.

“Good Job!”

Conclusion
“Next time we will be working on measures 35 through 72. Continue to work on
everything but I would suggest focusing on these measures for Thursday. Thank
1 min. you for all of your hard work.”
5:01
Assessment:
Assessment will be done informally. Throughout the rehearsal the conductor will be
listening for intonation, balance, tone quality, etc. The conductor will address mistakes
immediately and rehearse them until they are satisfactory. After the rehearsal conductor will
reflect on what went well and what needs improvement.
1.   Students will correctly determine the time signature and key signature of the piece
Nightsong by asking the class to shout out the answer.
2.   Students will analyze the musical term ballad by participating in a guided in-class
discussion.
3.   Students will sight read the piece Nightsong from beginning to end informally assessed
by the teacher.
4.   Students will rehearse the piece Nightsong from beginning to end with adequate
intonation and sufficient tone informally assessed by the teacher.
5.   Students will rehearse the piece Nightsong from measures 51 to 61 with exaggerated
dynamics informally assessed by the teacher.

Performance II: Sky’s the Limit

Into the Clouds! by Richard L. Saucedo

The Red Balloon by Anne McGinty
Lightning Field by John Mackey
Sun Cycles by Brian Balmages
Catalina March by Steve Hodges
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Rationale:

The theme of this concert is Sky’s the Limit. All of the pieces are focused around elements found
in the sky: clouds, balloons, lightning, and the sun. Mostly at the Grade 3 level students will
enjoy the challenges these pieces bring.

Saucedo: Into the clouds! allows students to continue to discover syncopation but now in 3/4.

McGinty: The Red Balloon explores new tonalities with no given key signature. Also in 3/4 with
dotted rhythms. The texture is homophonic a great opportunity to address balance. Intonation
could also be address due to the unfamiliar tonality of the piece.

Mackey: Lightning Field gives students the challenge of reading rhythms with multiple meter
changes. The piece has interesting timbres that provides a different insight of balance within the
ensemble.

Balmages: Sun cycles is program music inspired by the Egyptian Sun God Ra. The piece tells a
specific story of the sun going through its daily cycle. Students will have the opportunity to
explore an unfamiliar culture and musical elements for a contextually accurate performance.

Hodges: Catalina March is a slower march in 4/4. Similar to the Big Circus March the
contrasting articulations develop their skills on staccato and slurred articulations as they relate to
the piece.

Sample Lesson Plan:

Objectives:
1.   Students will play an e minor scale.
2.   Students will determine the form and sections of the piece through class discussion.
3.   Students will rehearse sections A and B with correct notes, good intonation, and a warm
tone.
Procedure:
Time Activity
Introduction
Hand out e minor scale before rehearsal starts.

Have students stand up and stretch/twist on their own.

(use metronome to get the tempo in your head) Start tsking quarter notes, gesture
for the ensemble to join you

Cut them off and gesture for them to sit down.

“can everyone get out their e minor scale I handed out earlier, let’s have bass clef
instruments play dotted half notes, middle instruments play quarter notes, and high
5 min. instruments and percussion play eighth notes.”
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Play e minor scale.

“Now play a different note value.”

Play new arrangement of the scale.

“Today we are going to figure out the form of this piece, let’s figure out where the
different sections begin and end. Where do you think the A section begins? etc.”

“Let’s play from the beginning we won’t finish but think about where the A
section may be.”

Play measures 1 - ?

“Where do you think the A section starts…where do you think the A section
ends…If you want to get out your pencils to write this down, that would be
awesome.” Etc.

“Keep this knowledge in the back of your mind because we will come back to it
later, for now the A section”
Lesson

“We are going to work on this in smaller chucks. Where was the B Section
again?” “can I hear only the A section?”

Play A section.

Make critiques: work on correct notes, Melody needs to come out and
everyone else needs to tone it down. Insert rehearsal considerations.

Technique: Only play if have the melody everyone else finger along with air
patterns. Sing the melody for them.

“Showing me with your hands. one to five, one being the least, five being the
most, how much did you improve on this section?

“where did the B section start?”

Play B section .

Make critiques on A section: work on correct notes (new tonality),

Technique: take melody note by note, take accompaniment note by note

17 min.
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“Showing me with your hands one to five, how much did you improve on this
section?

Play the whole piece.

“Showing me with your hands one to five, how much did you improve overall?
Conclusion
“What sections did we focus on today?” AB “So essentially we played the entire
piece.”
1 min.
Assessment:
Assessment will be done informally. Throughout the rehearsal the conductor will be
listening for intonation, balance, tone quality, etc. The conductor will address mistakes
immediately and rehearse them until they are satisfactory. After the rehearsal conductor will
reflect on what went well and what needs improvement.
1.   With good tone and in time students will play an e minor scale informally assessed by the
conductor.
2.   Students will determine the form and sections of the piece The Red Balloon by writing in
their music the answers found during a guided in-class discussion.
3.   With correct notes, good intonation, and a nice tone, students will rehearse sections A
and B of The Red Balloon informally assessed by the students and the conductor.

Performance III: Proud to be American

Carnegie Anthem by William Owens

Appalachian Morning by Robert Sheldon
…and the antelope play by John Carnahan
Songs of Old Kentucky by Brant Karrick
Alamo March by Karl L. King/ arr. James Swearingen

Rationale:

The name of this concert is Proud to be American. All of the pieces pay tribute to the United
States in some way including …and the antelope play paying tribute to our very own state song.
Strictly all Grade 3 pieces, students will continue to develop their skills.

Owens: Carnegie Anthem provides many opportunities enhance rhythm readings with quarter
note triplets, dotted rhythms, and sixteenth notes. It also provides a great context for the use of
major and chromatic within performed music.

Sheldon: Appalachian Morning is a ballad with beautiful clarinet solos. The simple harmonic
structure allows for an opportunity to improvise. The recognizable and simple melody is a great
introduction to phrasing. This piece also contains quarter note triplets connecting it to Carnegie
Anthem.
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Carnahan: …and the antelope play a tone poem using melodic material from our state song
Home on the Range provides a great opportunity for students to learn about the inspiration of the
song through research. The homophonic texture can be used to cultivate ensemble balance.

Karrick: Songs of Old Kentucky. The beginning theme is a great tool for enhancing students’
phrasing skills. Students will be familiarized with and execute the term canon. The second
moment allows for students to make decision about articulation to create style.

Swearingen: Alamo March is a historical march originally by one of the great march composers,
Karl L. King. Students will be given an opportunity to compare and contrast the original with the
arrangement. Also as the title suggest this piece is inspired by the Alamo creating a connection to
history.

Sample Lesson Plan:

Objectives:
1.   Students will explore musical aspects of the piece through facial expressions.
2.   Students will rehearse the A and B section with good tone by actively listening across
their section and the ensemble.

Procedure:
Time Activity
Introduction
Put this picture on the screen and don’t say anything.

Lesson
Play entire piece.
20 min.
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“Okay, let’s go back and look at the A section.”

Play the A section.

“One of the things I struggle with as a conductor is facial expressions so I thought

maybe you could help me out. What kind of facial expressions would you do for
this section? Go ahead and show me.”

Pick out people who have really good facial expressions and ask if they want to
show the class. “I really like _____’s facial expression, can you show it to the rest
of the ensemble, do you think that’s effective?”

“Let’s play this section again and I’m going to try and copy ______’s facial
expression.”

Play A section again.

“How did I do; did I copy _____’s facial expression okay?”

“Did it make a difference in your playing?” “How?”
“Thank you _________ for your awesome facial expression!”

“Now that we explored the musical aspect of this section let’s fix some technical
things. I want you to focus on fitting within your section and matching your sound
to the person next to you.”

Play A section.

“Let’s move on to the B Section.”

Play B section.

“What facial expressions would you do for this section? This time I want
everybody to make facial expressions while you sing your part on a dah. Make
sure to sing out if you have the melody. Go ahead and play your first note real
quick to get it in your ear.”

Sing B section.

“That was fun! I saw some really good facial expressions. Let’s play and I am
going to use some of the ideas you had.”

Play B section.

“Did it make a difference in your playing?” “How?”

“Let’s go all the way back to the A Section.”

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Play A and B section.

Conclusion
“Good work today! Thank you! Continue to practice. Next time we will be
working on the end.

1 min.
Assessment:
Assessment will be done informally. Throughout the rehearsal the conductor will be
listening for intonation, balance, tone quality, etc. The conductor will address mistakes
immediately and rehearse them until they are satisfactory. After the rehearsal conductor will
reflect on what went well and what needs improvement.
1.   Teacher will informally assess by listening if students play g minor scale exercise without
dragging.
2.   Teacher will informally assess by watching if students participate in exploring musical
aspects of the piece through facial expressions.
3.   Teacher will informally assess by listening if students rehearse the A and B section with
good tone by actively listening across their section and the ensemble.
4.   Students will explore musical aspects of the piece through facial expressions by having
volunteers stand up and share with the class and teacher.
5.   Students will discuss and assess their sound after a facial expression activity by raising
their hand and speaking to the class and teacher.

Performance IV: Around the World in 30 Minutes

Liadov Fanfare by Brian Beck (Russia)

Fantasy on a Japanese Folk Song by Samuel Hazo (Japan)
Sub-Saharan Rhythm by David Gillingham (Africa)
Shalom! by Philip Sparke (Israel)
The Brandenburg Gate by Johnnie Vinson (Germany)

Rationale:

Around the World in 30 Minutes is the title of this concert. Each piece highlights a different
country. This concert will allow students to experience music from cultures other than their own.
Ranging from Grade 3 to Grade 4 this concert will be challenging both technically and
musically.

Beck: Liadov Fanfare a Russian fanfare will have students discovering different articulation
combinations to create contextual accurate style.

Hazo: Fantasy on a Japanese Folk Song a beautiful piece to continue students understanding and
implementation of balance and phrasing. Intonation could also be address due to the unfamiliar
tonality of the piece.
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Gillingham: Sub-Saharan Rhythm inspired from African rhythms provides challenges in

compound meter. The simple and memorable themes can be used to address balance.

Sparke: Shalom! a multi-movement piece based off of three Hebrew/Jewish folk songs contains
many strange and unfamiliar meters such as 3/2. Similar to Liadov Fanfare it will have students
discovering different articulation combinations to create contextual accurate style.

Vinson: The Branden Gate is a European march. Students will be given the opportunity to
compare and contrast the European march style to the American march style. Students will apply
their new found knowledge of European marches to their performance.

Sample Lesson Plan:

Objectives:
1.   Students will participate in a roller coaster activity led by the conductor.
2.   Students will discuss how the roller coaster activity relates to the relationship between the
conductor and the ensemble.
3.   Students will sizzle and play 12/8 section rhythmically correct and with expressive
phrasing.
4.   Students will sing and play beginning rhythmically correct and with expressive phrasing.
5.   Students will apply musical ideas from the rehearsal and the conductor to the entire piece.
6.   Students will self-assess themselves on a scale from one to five on note accuracy, rhythm
accuracy, and tone quality.
7.   Students will self-assess the ensemble on a scale from one to five on intonation,
rhythm/tempo, and blend/tone.

Procedure:
Time Activity
Introduction
Everybody stand up and find a safe place for your instrument. Have any of you
done the roller coaster cheer before?
(https://www.youtube.com/watch?v=Ggl6VG0zUTw)

I probably won’t have to explain the cheer but just in case: So the first thing you
do is put on your seatbelt. Make action of putting seatbelt on. Then you slowly go
up. Chug chug… Then I’m going to throw my hands up in the air and we scream
2 min. and yell and you have to follow me for the turns of the roller coaster.”

Do roller coaster activity. (YELL AND SCREAM)

“Is everybody awake now? Good”

“During the activity we all moved at the same time, why was that?” Because we
were watching you.
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“We are going to start at the 12/8 section and I want you to do your best to look up
more. This is our fifth rehearsal so the music should be more familiar and it will
be easier to look up”

Lesson
Play the 12/8 section.

“Can everybody sizzle their part?”

Sizzle the 12/8 section.

If the ensemble is not lining up tell them to work on vertical alignment: (“Work on
lining up the notes up and down”) then sizzle it again. Could also have them bop
all the notes.

“Play it”

Play the 12/8 section.

“So we just played that vertically, now let’s play it horizontally, what do I mean
by playing horizontally?” Shaping the phrase, moving together, etc. Using
more air to shape the phrase.
“Using that information, I want you to start yourselves again and I’m going to join
20 min. in and try to help you out.”

Play 12/8 section.

“Next we are going to sing the beginning and I want you to focus on lining up the
notes vertically and shaping the notes horizontally at the same time. I know you
are all great musicians and can do this. YOU CAN DO IT!! Play your first note
real fast to get the pitch in your ear.”

Sing the beginning.

If the ensemble is not lining up or singing in style tell them and do it again. Could
do the bopping technique here to.

“Play it and DON’T FORGET TO WATCH ME FOR MUSCIAL IDEAS!”

Play the beginning.

If I hear something strange, address and work on it.

 18

“We are going to go back to the beginning and try to play the whole thing and I
want you to keep in mind everything we worked on today and apply it to the entire
piece not just the sections we worked on.

Play the entire piece.

Conclusion
“For just this run through I want you to rate yourselves on a scale from 1 to 5, on
note accuracy…, rhythm accuracy…, and tone quality.”
3 min.
“Now I want you to rate the ensemble on intonation…, rhythm/tempo…, and
blend/tone”

“Thank you for all the hard work today.”

Assessment:
1.   Students will participate in a roller coaster activity led by the conductor. Teacher will
informally assess by watching.
2.   Students will discuss how the roller coaster activity relates to the relationship between the
conductor and the ensemble through a discussion guided by the conductor. Teacher will
assess by calling on students to share their ideas about the discussion.
3.   Students will sizzle and play measures 12/8 section rhythmically correct and with
expressive phrasing. Teacher will informally assess by listening and watching.
4.   Students will sing and play measures beginning rhythmically correct and with expressive
phrasing. Teacher will informally assess by listening and watching.
5.   Students will apply musical ideas from the rehearsal and the conductor to the entire piece.
Teacher will informally assess by listening and watching.
6.   Students will self-assess themselves on a scale from one to five on note accuracy, rhythm
accuracy, and tone quality. Teacher will assess by asking everyone to show their score.
7.   Students will self-assess the ensemble on a scale from one to five on intonation,
rhythm/tempo, and blend/tone. Teacher will assess by asking everyone to show their
score.
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Assessment
Assessment strategies may include, but are not limited to:
1.   Observations
The teacher observes the individual student or group and assesses the student/s learning of
various outcomes. Peer assessment is also possible. Checklists, anecdotal comments and student
performances can help with assessment through observation.

2.   Performances
The teacher assesses the students’ achievement of outcomes through individual and group
performances including composition and projects. In addition, the teacher may use checklists and
test exercises from method books.

3.   Self-Assessment
Students reflect on what they have learned and how to improve. The self-assessments can
include journal writing, self-reflections and checklists.

4.   Interviews
The teacher has a formal or informal discussion with an individual or group of students in which
the teacher is able to determine the student/s’ attitudes and thinking processes.

5.   Journal Writing
Performance Reflection: Throughout the course, students keep a journal to: reflect on their
strengths and weaknesses, note problem areas, comment on rehearsals and note observations
about individual/ group playing. Composition, assignment, audio and video reflection(s):
Students may write about process involved and evaluate end product.

6.   Listening Assessment
Students listens to recorded music examples and analyze the example using student answer
sheets. These assessments are an indicator of music learning.

7.   Peer Assessment
Students can pair up or get together in small sectionals/numbers, and state a strength and
weakness about each other’s playing. Constructive criticism has to be stated in positive terms. It
should discuss aspects of playing technique, tone quality etc. and offer suggestions toward
improvement in weak area.

8.   Written Assessments
The written assessment allows both the teacher and the students assess the learning that has taken
place. Written assessment can include, quizzes, tests, theory sheets and activity sheets.

NOTE: Refer to Assessment Portfolio for implementation and examples.

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Sources

•   https://www.carrollcc.edu/Programs-and-Courses/Credit-Programs/Areas-Of-
Study/Program-Goals/Music-Program-Goals/

•   http://www.dlshs.org/arts/band/band-goals-and-objectives

•   https://www.norwinsd.org/Page/5010

•   http://www.montpelier.k12.oh.us/userfiles/542/Classes/1492/2011-
12%20HS%20Concert%20Band%20Syllabus.pdf

•   http://www.ed.gov.nl.ca/edu/k12/curriculum/guides/music/intermediate/Intermediate_Mu
sic_Section_Five_Appendices_B.pdf