8 TH GRADE BAND COURSE OUTLINE MR. NORMAN Revised 8/14

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1 8 TH GRADE BAND COURSE OUTLINE MR. NORMAN Revised 8/14 Materials Needed: Instrument Students should purchase or rent their instrument from a local music store. Bellingham Music 232 E. Champion St. (Bellingham) Bellingham Windworks 2405 Meridian St Hugo Helmer 1025 Goldenrod Road (Burlington) Mojo Music 2626 Meridian St. (Bellingham) The Music Shoppe 9660 Old Highway 99 North, Suite A (Burlington) or Books Students are asked to purchase Standards of Excellence Book II. Pencils Each student should have their own pencil. This course is designed as a sequential course to a beginning band class. Students should have one year of experience on one of the following instruments: Flute, Oboe*, Clarinet**, Bassoon*, Saxophone**, Trumpet, Horn*, Trombone, Euphonium, Tuba or Percussion***. Students will play music from the standard school band repertoire, as well as pop, jazz and rock arrangements. Music is selected to suit the level of the students, with the goal of improving their facility in sight-reading, general performing musicianship, and their knowledge and appreciation of music. It is preferred that students provide their own instrument; however the school does have a limited supply of brass and woodwind instruments to rent to students for $50. Over the course of the year, students will learn to read and write music, music vocabulary, and instrumental skills specific to their instrument. *It is highly recommended that students choosing to play the oboe, bassoon, or horn take private lessons. **Clarinets and Saxophones should be playing with a Rovner Dark Ligature. Students should start using #3 size reeds. ***Percussionists are required to rent a combination (bell/snare) percussion kit and purchase their own mallets or the Vic Firth EP2 Intermediate Educational Pack. Similar to

2 6 th grade, the bells are for them to practice on at home, there is no need to cart them back and forth to school. Each percussionist should have the following: a stick bag, drum sticks, yarn mallets, hard rubber mallets, and timpani mallets. Beginning 3 rd trimester there will be mandatory after school drum line rehearsals in order to prepare for the upcoming parades. They will most likely run on Thursdays from 2-3:30pm. Other stores and websites that may be helpful: Bellingham Windworks (Instrument Repair) 2405 Meridian St. Bellingham Musicians Friend (Instruments/Accessories) Piper Music (Sheet music/books) 2512 Meridian St. Bellingham Woodwind Brasswind (Instruments/Accessories) Grading: Participation It is important students come prepared to class ready to participate every day. Students are expected to arrive on time. Students are expected to be respectful to everyone at all times. Students are expected to use resources respectfully and clean up their own supplies. Students are expected to bring their instrument, book/music, and pencil to class every day. Students are expected to be on task. Students who do not bring their instrument to class receive an after school detention to be served the same day. Practice/Smartmusic Practicing outside of class is essential to reinforcing a new skill. It is expected students will practice one hour a week. Smartmusic is a computer program (provided) which assists students with their practice time at home or school. Assignments and assessments will be distributed using smart music, study guides and rubrics of the elements of music are on the following page. Performances Students enrolled in band are required to be present and participate in all performances. These typically can take place during the school day in assemblies, in evening concerts, as well as off-campus performances and trips. Concert Attire for Performances Black shoes, black socks, black pants, and a white dress shirt. Girls may wear black tights and a black skirt or a black dress in lieu of black pants. All attire must adhere to the school district policy.

3 ELEMENTS OF MUSIC VERTICAL: Tone/Timbre A good characteristic tone is focused, clear, and centered through the entire range of the instrument. A good characteristic tone is also rich, dark, and warm sounding; making the instrument resonate. How to: To produce a good tone on a wind instrument, the student must sit up, relax their shoulders and neck area, and blow hot air as if trying to fog a mirror. Playing long tones and listening to great musicians on the same instrument will aid in the development of good tone quality. Pitch/Intonation Students must be able to match pitch, slowing down the sound waves until the pitch is beat less. Pitches that are out of tune will create sound waves that clash or have beats sometimes sounding like wah wah s. Playing in tune includes the ability to create a good tone, to listen with purpose, and to constantly adjust the embouchure or use alternate fingerings. Balance/Blend A balanced ensemble creates what is known as the pyramid of sound, all instruments are playing in tune, at a volume and tone characteristic of the lowest voices. How to: Students must merge with another so that one instrument is not clearly distinguishable from another starting with their section and then the ensemble. Students will know if they are blending with the instruments around them when they can barely hear themselves. Students must listen with purpose to tone and pitch first in order to be successful balancing and blending into an ensemble. Dynamics/Expression There are 6 different dynamic or volume levels used to create expression in music. Students should never sacrifice tone or pitch to produce these volumes and should always maintain balance and blend with the ensemble. ff- fortissimo Very strong f forte - Strong mf mezzo forte Medium strong mp mezzo piano Medium soft p piano - Soft pp pianissimo Very soft fp play the note forte for one beat and piano for the rest of the notes duration. Crescendo gradually increasing the volume. Decrescendo gradually decreasing the volume. Harmony The combination of simultaneously sounded musical notes to produce chords and chord progressions having a pleasing effect. How to: Students must listen with purpose in order to provide good harmonic support for the melodic lines. Texture The quality created by the combination of the different elements in a work of music. An example of a thick texture would be lots of instruments playing simultaneously versus a thin texture with a small amount of instruments playing simultaneously. As well as higher voiced instruments versus low voiced instruments and sustained chords versus flowing rhythmic patterns. How to: Students must listen with purpose to textural changes in the music to account for proper dynamics/expression, balance/blend, pitch/intonation, and tone/timbre.

4 HORIZONTAL: Beat/Tempo Students must be able to sustain a steady beat or pulse within any given tempo or speed. It is important for students to be able to subdivide the tempo into smaller components, generally eighth notes, to maintain a more accurate steady beat. Rhythm This applies to the value within time a note or rest receives. The attacks (beginnings) and releases (ends) of notes are important in creating accurate rhythms together. How to: Notes should be started with the tongue using a dah syllable or tu syllable for flutes. The tongue should touch the roof of the mouth behind the upper teeth or tip of the reed and rest on the bottom of the mouth behind the bottom teeth. Notes should never end with the tongue unless otherwise suggested by the conductor. Form Students must be able to recognize the symbols that create form. This refers to: key signature flats and sharps notated after the clef symbol. time signature How many beats per measure are there and what note value receives the beat. Repeats D.C. al Fine da capo al fine [repeat to the beginning (capo) and play to the end (fine)] D.S. al Fine dal segno al fine [repeat to the sign (segno) and play to the end (fine)] da capo al coda [repeat to the beginning (capo) and then play the coda (tail) when notated ] dal segno al coda [repeat to the sign (segno) and then play the coda (tail) when notated ] Articulation/Style Articulation markings on notes create stylistic music. Style is created when there is an audible difference between accented and unaccented notes. How to: All articulations are made with air, not the tongue. Students must listen with purpose in order to create uniform articulations in an ensemble. Staccato Literally detached, the note is played shorter than notated, usually half the value, so as not to touch the note next to it. Accent The note is played with a louder attack or ping and then tapered rather quickly. Marcato The note is played as a combination of a staccato and an accent. Sfz literally suddenly forced denotes an abrupt, fierce accent on a single note. Tenuto Literally sustained, the note is played for its full value. When combined with a staccato it is to have a slight detachment. Slurred or Legato Notes are connected without using the tongue (except trombones who should use a light du syllable when tonguing between slurred notes). Phrasing A group of notes forming a distinct unit within a longer passage. How to: In order to create accurate phrases, wind instruments must not breathe in the middle of these musical sentences or at the very least stagger breathe within their section. Avoid breathing on bar lines. Melody A sequence of single notes that is musically satisfying. How to: If the notes in a melody go up in pitch students should crescendo slightly and decrescendo slightly when the notes go down in pitch. This is also referred to as dynamic shaping.

5 Vertical Elements of Music Assessment Rubric CATEGORY 4 Exceeds Standard Tone Quality Tone is consistently focused, clear, and centered throughout the range of the instrument. Tone has professional quality. 3 Meets Standard Tone is focused, clear and centered through the normal playing range of the instrument. Extremes in range sometimes cause tone to be less controlled. Tone quality typically does not detract from the 2 Progressing Towards Standard Tone is often focused, clear and centered, but sometimes the tone is uncontrolled in the normal playing range. Extremes in range are usually uncontrolled. Occasionally the tone quality detracts from overall 1 Beginning The tone is often not focused, clear or centered regardless of the range being played, significantly detracting from the overall Pitch No errors. Pitch is very accurate. An occasional isolated error, but most of the time pitch is accurate and secure. Some accurate pitches, but there are frequent and/or repeated errors. Very few accurate or secure pitches. Blend Sections display a cohesive tone, while matching the tone of the other sections. There is a strong consistency of tone by individuals and sections, adjustments are made rapidly to correct problems. A good blend, most of the time, individuals are occasionally heard due to a different tone or volume. Individuals are heard much of the time. Balance Appropriate balance between sections, during varying dynamics, textures, ranges, and accompaniments render a perpetual sense of ensemble. Proper balance predominates: minor lapses occur during extended registers and/or extreme dynamic levels; adjustments are rapidly made. Adequate balance, most of the time, problems occasionally occur in extended ranges, at changing dynamic levels, and textures; adjustments are made. Balance problems frequently occur; some adjustments are made; the sense of ensemble is usually lacking. Dynamics Dynamic levels are obvious, consistent, and an accurate interpretation of the style of music being played. Dynamic levels are typically accurate and consistent. Dynamic levels can occasionally be discerned. Attention to dynamic levels is not obvious.

6 Horizontal Elements of Music Assessment Rubric CATEGORY 4 Exceeds Standard 3 Meets Standard Beat/Rhythm The beat is secure and The beat is secure and the rhythms are the rhythms are mostly accurate for the style of accurate. There are a music being played. few duration errors, but these do not detract from the overall 2 Progressing Towards Standard The beat is somewhat erratic, and rhythms are often inaccurate, which detract from the overall 1 Beginning The beat is usually erratic and rhythms are seldom accurate detracting significantly from the overall Form All symbols regarding form and structure were played well and accurately. Most symbols regarding form were followed accurately. There are a few errors, but these did not detract from the overall Does not recognize most of the symbols that make up compositional form and structure. Frequent or repeated structural errors. No attention was given to the symbols that make up compositional form and structure. Articulation/Style Markings All style markings were played well and accurately. Most style markings were played well and accurately. May have missed one or two, but did not distract from overall style. Failed to play several style markings accurately. Style of piece was barely recognizable. No attention was given to style markings. Style of piece was not recognizable. Phrasing Phrasing is always consistent and sensitive to the musical style. Phrasing is usually consistent and sensitive to the musical style. Phrasing is occasionally consistent and sensitive to the musical style. Phrasing is not consistent and not sensitive to the musical style.

7 I have read and understand the expectations for 8 th Grade Band Student Signature Date Parent Signature Date

Marion BANDS STUDENT RESOURCE BOOK

Marion BANDS STUDENT RESOURCE BOOK TABLE OF CONTENTS Staff and Clef Pg. 1 Note Placement on the Staff Pg. 2 Note Relationships Pg. 3 Time Signatures Pg. 3 Ties and Slurs Pg. 4 Dotted Notes Pg. 5 Counting