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1 of 13 5/6/2014 8:39 AM Teacher: ElementaryBand, CORE Course: ElementaryBand Year: Units: Basic Skills Proficency 1. What have students retained over the summer? 2. What review materials are necessary to guide students thru the basic reviews? 1.a - sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo 1.e - sing in groups, blending vocal timbres, matching dynamic levels, and 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 3.d - improvise short songs and al pieces, using a variety of sound sources, including traditional sounds, nontraditional sounds available in the classroom, body sounds, and sounds produced by electronic means 4.a - create and arrange music to accompany readings or dramatizations 4.b - create and arrange short songs and al pieces within specified guidelines3 3.c - improvise simple rhythmic variations and simple melodic embellishments on familiar melodies 4.c - use a variety of sound sources when composing 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 6.a - identify simple music *forms when presented aurally 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and Rhythmic studies (quarter notes, eighth notes, half notes, whole notes, syncopations) key signatures & meters (4/4, 3/4, 6/8, 2/4) articulations (staccato, legato, tenuto, marcatto) dynamics (f, ff, mf, mp, p, pp, cresc. decres.), fingering reviews (specific to each ), reading noted music on the treble clef staff & bass clef staff. Maintaining care & cleaning review. be able to play various note rhythmics within lesson book material & concert songs. They will be be able to play in key signatures & time signatures while using different articulations and dynamics within these selctions. Proper placement of fingerings for correct notes will also be accomplished specific to each. All of this will be done while reading noted music on the treble clef staff and/or bass clef staff depending on each student range. Correct assembly of Correct posture/position of Fingerings /note review Articulation and rhythmic review Resources: Elements Book 1, Elements Book 2 (id needed), Essentail Elements practice DVD & CD, Smart Music, Sheet Music, Finale Software Program, flutes, piccolos, Bb clarinets, bass clarinets, alto saxes, tenor saxes, trumpets, trombones, baritones, percussion. September Rhythmic Review (I) Assessment of prior learning 9/1/2012

2 PerformancePLUS - Maps 2 of 13 5/6/2014 8:39 AM from various, as well as children's voices and male and female adult voices 6.e - respond through purposeful movement4 to selected prominent music characteristics5 or to specific music events6 while listening to music 7.b - explain, using appropriate music terminology, their personal preferences for specific musical works 8.b - identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music 9.a - identify by genre or style aural examples of music from various historical periods and 3.b - improvise simple rhythmic and melodic ostinato accompaniments 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts 9.b - describe in simple terms how *elements of music are used in music examples from various of the world9 9.c - identify various uses of music in their daily experiences10 and describe characteristics that make certain music suitable for each use 9.d - identify and describe roles of musicians11 in various music settings and 9.e - demonstrate audience behavior appropriate for the context and style of music performed 1. What have students retained over the summer? 2. What review materials are necessary to guide students thru the basic reviews? 1.a - sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo 1.e - sing in groups, blending vocal timbres, matching dynamic levels, and 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom Rhythmic studies (quarter notes, eighth notes, half notes, whole notes, syncopations) key signatures & meters (4/4, 3/4, 6/8, 2/4) articulations (staccato, legato, tenuto, marcatto) dynamics (f, ff, mf, mp, p, pp, cresc. decres.), fingering reviews (specific to each ), reading noted music on the treble clef staff & bass clef staff. Maintaining care & cleaning review. 3.d - improvise short songs and al pieces, using a variety of sound sources, including traditional sounds, nontraditional sounds available in the classroom, body sounds, and sounds produced by electronic means 4.a - create and arrange music to accompany readings or dramatizations 4.b - create and arrange short songs and al pieces within specified guidelines3

3 PerformancePLUS - Maps 3 of 13 5/6/2014 8:39 AM 3.c - improvise simple rhythmic variations and simple melodic embellishments on familiar melodies 4.c - use a variety of sound sources when composing 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 6.a - identify simple music *forms when presented aurally 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices 6.e - respond through purposeful movement4 to selected prominent music characteristics5 or to specific music events6 while listening to music 7.b - explain, using appropriate music terminology, their personal preferences for specific musical works 8.b - identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music 9.a - identify by genre or style aural examples of music from various historical periods and 3.b - improvise simple rhythmic and melodic ostinato accompaniments 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts 9.b - describe in simple terms how *elements of music are used in music examples from various of the world9 9.c - identify various uses of music in their daily experiences10 and describe characteristics that make certain music suitable for each use 9.d - identify and describe roles of musicians11 in various music settings and 9.e - demonstrate audience behavior appropriate for the context and style of music performed Proficency Review Please note that elementary band units are occuring over an extended period of time (unlike regular classroom s) because we only see our students once a week so a unit that takes 4-8 lessons must occur over a month or two month period of time. Where are the 1.a - sing independently, on students in regards to pitch and in rhythm, with their progress of appropriate timbre, diction, rhythmic review now and posture, and maintain a that they've had a few steady tempo lessons within the 2.b - perform easy rhythmic, school setting to help Rhythmic studies (quarter notes, eighth notes, half notes, whole notes, syncopations) key signatures & be able to play various note rhythmics within lesson book material & concert songs. Correct assembly of Correct posture/position of Fingerings /note review Articulation and rhythmic review Resources: Elements Book 1, Elements Book 2 (id needed), Essentail Elements practice DVD & CD, Smart Music, Sheet Music, Finale Software Program, flutes, piccolos, Bb clarinets, bass clarinets, alto saxes, tenor saxes, trumpets, Rhythmic Instrumental Studies (D) Progress monitoring 10/1/2012

4 PerformancePLUS - Maps 4 of 13 5/6/2014 8:39 AM adjust their playing? How can rhythmic reviews be driven into the future styles of musical performance so that students can begin to grow in a positive way as individual musicians? melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 2.d - echo short rhythms and melodic patterns 2.e - perform in groups, blending al timbres, matching dynamic levels, and 3.a - improvise "answers" in the same style to given rhythmic and melodic phrases meters (4/4, 3/4, 6/8, 2/4) articulations (staccato, legato, tenuto, marcatto) dynamics (f, ff, mf, mp, p, pp, cresc. decres.), fingering reviews (specific to each ), reading noted music on the treble clef staff & bass clef staff. Maintaining care & cleaning review. They will be be able to play in key signatures & time signatures while using different articulations and dynamics within these selctions. Proper placement of fingerings for correct notes will also be accomplished specific to each. All of this will be done while reading noted music on the treble clef staff and/or bass clef staff depending on each student range. trombones, baritones, percussion. 4.b - create and arrange short songs and al pieces within specified guidelines3 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices 7.b - explain, using appropriate music terminology, their personal preferences for specific musical works 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts 9.d - identify and describe roles of musicians11 in various music settings and 9.e - demonstrate audience behavior appropriate for the context and style of music performed Evaluating Instrument Care in Preparation for Performance How do you assemble your? Which parts are put together 1st, 2nd, 3rd and so on? How do you care for your? What items do you use to clean the inside & outside of your? What happens on a and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices be able to learn how to put their together, in the proper order, while handeling each piece correctly & with care. Students will then lean the proper way to clean & care for their on a daily, weekly, or monthly basis, be able to clean out their and care for them correctly depending on the family that they have. Brass players learn to "give their horn a bath" by disassembling their entire be able to clean and assemble/disassemble. Also, they will be able to put on and take reeds for the woodwind. Brass players will be able to oil valves/slides. Resources: DVDs in the Elements Book 1 student book; cleaning swabs, mouthpiece brushes, polish clothes, snake brushes, valve casing brushes, oil, grease, model. Instrument Group Lesson Assembly and Care Assessment - minimum 2 (I) per month Progress Monitoring Progress Monitor Sheet progress monitor sheet progress monitor

5 PerformancePLUS - Maps 5 of 13 5/6/2014 8:39 AM daily, weekly, or monthly basis in regards to how to properly maintain your? 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts depending on what type of they play and what type of family their horn is in. Woodwind must learn daily care of their after each playing session, while brass players need to lean how to "give their a bath" to scrub out the pipes & re-oil their., soaking it in warm soapy water, scrubbing it out, drying it properly, and then re-oiling & re-greasing each piece before reassembling their. Woodwind learn how to swab out their after each use and in necessary cases, scrub out their mouthpiece with the proper brush. They will also learn about applying cork grease, etc. when needed to maintain care of their in this family. Percussionists will learn about the necessity to keep drum heads tuned correctly and how to tune a drum head. Care & maintaince of the snares on the bottom of the drum will also be introduced. Mallet care/ aux. percussion care & instruction will also be learned & established in this until. Swab, polish cloth, snake, bore brush, oil, cork, grease, springs, rods, pads, valve casings, valve caps, drum head, drum springs, snares, cross diagonal tuning. sheet Evaluating Instrument Care in Preparation for Performance (continued) Standards Content Skills Vocabulary How do you assemble your? Which parts are put together 1st, 2nd, 3rd and so on? How do you care for your? What items do you use to clean the inside & outside of your? What happens on a daily, weekly, or monthly basis in regards to how to properly maintain your? terminology in explaining music, music notation, music and voices, and music performances 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices evaluating performances and 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts be able to learn how to put their together, in the proper order, while handeling each piece correctly & with care. then lean the proper way to clean & care for their on a daily, weekly, or monthly basis, depending on what type of they play and what type of family their horn is in. Woodwind must learn daily care of their after each playing session, while brass players need to lean how to "give their a bath" to scrub out the pipes & re-oil their. Students will be able to clean out their and care for them correctly depending on the family that they have. Brass players learn to "give their horn a bath" by disassembling their entire, soaking it in warm soapy water, scrubbing it out, drying it properly, and then re-oiling & re-greasing each piece before reassembling their. Woodwind learn how to swab out their after each use and in necessary cases, scrub out their mouthpiece with the proper brush. They will also learn about applying cork grease, etc. when needed to maintain care of their in this family. Percussionists will learn about the necessity to keep drum heads tuned correctly and how to tune a drum head. Care & maintaince of clef, staff, lines & signature, time ledger line, quarter sixteenth note, half marcatto, legato, piano, forte, mezzo Fine, Coda, bar line, Swab, polish cloth, snake, bore brush, oil, cork, grease, springs, rods, pads, valve casings, valve caps, drum head, drum springs, snares, cross diagonal tuning. be able to clean and assemble/disassemble. Also, they will be able to put on and take reeds for the woodwind. Brass players will be able to oil valves/slides. Resources: DVDs in the Elements Book 1 student book; cleaning swabs, mouthpiece brushes, polish clothes, snake brushes, valve casing brushes, oil, grease, model. Instrument Assembly and Care review (R) Concert Evaluation Group Lesson Assessment - minimum 2 per month Progress Monitoring Progress Monitoring Group Lesson Assessment - minimum 2 per month Group Lesson Assessment - minimum 2 per month Group Lesson Assessment - minimum 2 per month

6 of 13 5/6/2014 8:39 AM the snares on the bottom of the drum will also be introduced. Mallet care/ aux. percussion care & instruction will also be learned & established in this until. Performance Standards Content Skills Vocabulary How do we perform as an ensemble? What does a quality performance look, feel, sound like? What is the process necessary in rehearsal of a piece? How can we prepare music so that we sound our best? 6.a - analyze aural examples of a varied repertoire of music, representing diverse *genres and, by describing the uses of elements of music and expressive devices1 6.b - demonstrate extensive knowledge of the technical vocabulary of music 6.c - identify and explain compositional devices and techniques used to provide unity and variety and tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques 6.d - demonstrate the ability to perceive and remember music events by describing in detail significant events2 occurring in a given aural example 6.e - compare ways in which musical materials are used in a given example relative to ways in which they are used in other works of the same genre or style 6.f - analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive 7.a - evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of performances,, arrangements, and improvisations and apply the criteria in their personal participation in music 7.b - evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models 7.c - evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions Listen to quality recordings Develop a skill set of anaylzing all voices in the ensemble Attend concerts Develop a skill set of the elements of music The studentwill perform music: In groups While blending with other voices Using varied dynamic levels While responding to the cues of the By memory On independent parts while others sing contrasting parts While demonstrating concert etiquette Tone Production/Timbre - diaphragmatic breathing, staggered breathing,posture,vibrato,straighttone,chest/belt voice, head voice, falsetto, vocal strain, soft palate,jaw relaxation, legato, staccato, marcato, accent, sfzorando, decrescendo, tenuto, glissando,phrase slur, vowel formation, dictionpitch/intonation - diaphragmatic breathing, staggered breathing,vibrato, straight-tone, soft palate, jaw relaxation, vowel formation, diction Rhythm - phrases, straight tone, vibrato ornamentation,descant, counter-melody, ornamentation, descant, diction, meter, accelerando,ritardando, syncopation, rubato Harmony/Texture - balance, unison, monophony, homophony, polyphony, imitation, countermelody,antiphony, tenor,baritone, bass, vibrato, straight-tone, a calleppa, chord, chord progression, consonance, dissonance, vowel formation, staggered breathing, diction, root, non-chord tone, chord cluster, Dynamics - Pp,p,mp,f,ff, sforzando, crescendo, descrescendo, accent, phrase Form/Style - Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, Popular Music, Gospel, Jazz, Spiritual, World Music Music Performance: As Participant - Staccato, legato, marcato, accent, sforzando, crescendo, decrescendo, tenuto, glissando, Phrase, slur, vowel formation, diction, modes, meter, syncopation, unison, monophony, polyphony, imitation, countermelody, balance, Antiphony, a cappella, consonance, dissonance, Pp, p, mp, mf, f, ff, accent, phrase, Medieval, Renaissance, Baroque, Classical, Romantic 20th Century, Popular Music Performance: As audience member - Staccato, legato, marcato, accent, sforzando, crescendo, decrescendo, tenuto, glissando, Phrase, slur, vowel formation, diction, modes,meter, syncopation, unison, monophony, polyphony, imitation, countermelody, balance, Antiphony, a cappella,consonance, dissonance, Pp, p, mp, mf, f, ff, accent, phrase, Medieval,Renaissance, Baroque, Classical, Romantic 20th Century, Popular I can perform as an ensemble. I can produce a quality performance through my musical understanding. I can understand what needs to happen in the process of rehearsing a piece of music in class. I can use the music vocabulary to prepare music so that we sound our best. progress monitor sheet 12/31/2012 Concert Evaluation 12/31/2012 Intonation How does breath support effect intonation? Can students adjust intonation on their own? What part of embouchure placement affects intonation & proper 2.d - echo short rhythms and melodic patterns Intonation is a very important part of music education and can be one of the most difficult areas of study for young musicians to learn in a way that they can use on their own. Within this unit students learn first how to be able to use a tuner properly by understanding which side of the needle is sharp or flat & then understand that the goal is for the tuning needle to be straight in the Students can play 2 and 4 measure phrases. Student can play in tune with support. Brass students singing on pitch and understanding harmonic overtones. Resources: Tuner, model,, mouthpieces, reeds, piano. Intonation (I) group lesson assessment 1/1/2013 progress monitoring 1/1/2013

7 of 13 5/6/2014 8:39 AM pitch? How does a young musician use a tuner properly within a small group settion and/or individually? What part of singing can and does help a young musician tune & play in tune on their? Do students understand the harmonic overtone series in relation to tuning? 2.e - perform in groups, blending al timbres, matching dynamic levels, and and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices 1.a - sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo 1.e - sing in groups, blending vocal timbres, matching dynamic levels, and use a tuner properly middle to for individual solo practice. They then learn how posture, breathing and embouchure placement is all critically important when obtaining & maintaining proper intonation on their. Finally, being able to sing the correct pitch in tune to then model that pitch on their. indicate that the note they're playing is in tune. Students should also be able to distinquish whether they're "in tune or not" based on the playing an out of tune pitch along with the child. Even if the student can't tell if they're sharp or flat with this duo playing, the goal at first is for them to at least recgonize that "something doesn't sound right" and then use that as an indication that they need to tune themselves with the tuner. Once students learn how to use the tuner they need to be able to adjust their embouchure accordingly to change their intonation. Other factors that must also be learned include breath support, posture, placement, & position of their. Singing out loud on pitch to match a given pitch will also help students achieve the optimum intonation possible as an elementary band student. Once all of these skills are mastered as an individual player, they can and should then be carried over into group settings & ensemble rehearsals & performances. Tune, tone, intonation, embouchure, pitch, posture, breath support, timbre, genres, blending, pitch recgonition. Intonation (continued) How does breath support effect intonation? Can students adjust intonation on their own? What part of embouchure placement affects intonation & proper pitch? How does a young musician use a tuner properly within a small group settion and/or individually? What part of singing can and does help a young musician tune & play in tune on their? Do students understand the harmonic overtone series in relation to tuning? 1.a - sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo 1.e - sing in groups, blending vocal timbres, matching dynamic levels, and 2.d - echo short rhythms and melodic patterns 2.e - perform in groups, blending al timbres, matching dynamic levels, and Intonation is a very important part of music education and can be one of the most difficult areas of study for young musicians to learn in a way that they can use on their own. Within this unit students learn first how to use a tuner properly for individual solo practice. They then learn how posture, breathing and embouchure placement is all critically important when obtaining & maintaining proper intonation on their. Finally, being able to sing the correct pitch in tune to then model that pitch on their. be able to use a tuner properly by understanding which side of the needle is sharp or flat & then understand that the goal is for the tuning needle to be straight in the middle to indicate that the note they're playing is in tune. Students should also be able to distinquish whether they're "in tune or not" based on the playing an out of tune pitch along with the child. Even if the student can't tell if they're sharp or flat with this duo playing, the goal at first is for them to at least recgonize that "something doesn't sound right" and then use that as an indication that they need to Tune, tone, intonation, embouchure, pitch, posture, breath support, timbre, genres, blending, pitch recgonition. Students can play 2 and 4 measure phrases. Student can play in tune with support. Brass students singing on pitch and understanding harmonic overtones. Resources: Tuner, model,, mouthpieces, reeds, piano. Intonation (R) group lesson assessment 2/1/2013 progress monitoring 2/1/2013

8 of 13 5/6/2014 8:39 AM and voices, and 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices tune themselves with the tuner. Once students learn how to use the tuner they need to be able to adjust their embouchure accordingly to change their intonation. Other factors that must also be learned include breath support, posture, placement, & position of their. Singing out loud on pitch to match a given pitch will also help students achieve the optimum intonation possible as an elementary band student. Once all of these skills are mastered as an individual player, they can and should then be carried over into group settings & ensemble rehearsals & performances. Improvization (Different Genres of Music) What styles of music use improv? Can students perform improv with a structured guideline set forth by the? Do students know what the blues scale & can they play it? Can students improvise a short melody based on chord structure? Do students know the difference between straight eighth notes & jazz swing eighth notes? 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 2.d - echo short rhythms and melodic patterns 2.e - perform in groups, blending al timbres, matching dynamic levels, and 2.f - perform independent al parts1 while other students sing or play contrasting parts 3.a - improvise "answers" in the same style to given rhythmic and melodic phrases 3.b - improvise simple rhythmic and melodic ostinato accompaniments 3.c - improvise simple rhythmic variations and simple melodic embellishments on familiar melodies 3.d - improvise short songs and al pieces, using a variety of sound sources, including traditional sounds, nontraditional sounds available in the classroom, body sounds, and sounds produced by electronic means 4.a - create and arrange music to accompany readings or dramatizations Within this unit students will gain an experience & general overview of various types of different genres of music that they can utilize improvization as a performer. new scales other than the standard major key signatures will be used to help form a basic foundation. Once scales are established students will be introduced to different chord structures such as tonic, dominant, & sub-dominant. An understanding of what the term improvization means will be learned & understood so that the students can perform an improv piece correctly. be able to play music in an improv style within minor key signatures, blues scales, etc. with basic tonic, dominant, & sub-dominant chord progressions. also be able to perform basic jazz rhythms such as swing eighth notes (rather than straight eighth notes) while reading jazz music or other genres of music that require or call for improv. Improvization, styles, blues scales, major key signatures, minor key signatures, tonal chord structures, tonic, dominant, sub-dominant, harmonic, melody, swing rhythms, chord progressions. Students can create and play a short melodic phrase. Identify the difference between standard and swing eighth notes. Resources: Sheet music, jazz scores,, model, CDs & various recordings, YouTube examples. Scales, Chords and Improvising (I) group lesson assessment 3/1/2013 progress monitoring 3/1/2013

9 of 13 5/6/2014 8:39 AM 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse and voices, and 6.a - identify simple music *forms when presented aurally 6.e - respond through purposeful movement4 to selected prominent music characteristics5 or to specific music events6 while listening to music 9.a - identify by genre or style aural examples of music from various historical periods and 9.b - describe in simple terms how *elements of music are used in music examples from various of the world9 9.d - identify and describe roles of musicians11 in various music settings and Jazz Improvization National Jazz Appreciation Month What styles of music use improv? Can students perform improv with a structured guideline set forth by the? Do students know what the blues scale & can they play it? Can students improvise a short melody based on chord structure? Do students know the difference between straight eighth notes & jazz swing eighth notes? 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 2.d - echo short rhythms and melodic patterns 2.e - perform in groups, blending al timbres, matching dynamic levels, and 2.f - perform independent al parts1 while other students sing or play contrasting parts 3.a - improvise "answers" in the same style to given rhythmic and melodic phrases 3.b - improvise simple rhythmic and melodic ostinato accompaniments 3.c - improvise simple rhythmic variations and simple melodic embellishments on familiar melodies 3.d - improvise short songs and al pieces, using a variety of sound sources, including traditional sounds, nontraditional sounds available in the classroom, body sounds, and sounds produced by electronic means 4.a - create and arrange music to accompany readings or dramatizations Within this unit students will gain an experience & general overview of various types of different genres of music that they can utilize imrpovization as a performer. new scales other than the standard major key signatures will be used to help form a basic foundation. Once scales are established students will be introduced to different chord structures such as tonic, dominant, & sub-dominant. An understanding of what the term improvization means will be learned & understood so that the students can perform an improv piece correctly. be able to play music in an improv style within minor key signatures, blues scales, etc. with basic tonic, dominant, & sub-dominant chord progressions. also be able to perform basic jazz rhythms such as swing eighth notes (rather than straight eighth notes) while reading jazz music or other genres of music that require or call for improv. Improvization, styles, blues scales, major key signatures, minor key signatures, tonal chord structures, tonic, dominant, sub-dominant, harmonic, melody, swing rhythms, chord progressions. Students can create and play a short melodic phrase. Identify the difference between standard and swing eighth notes. Resources: Sheet music, jazz scores,, model, CDs & various recordings, YouTube examples. Scales, Chords and Improvising (R) progress monitoring group lesson assessment 4/1/2013 4/1/2013

10 0 of 13 5/6/2014 8:39 AM Sightreading 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 6.a - identify simple music *forms when presented aurally 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse and voices, and 6.e - respond through purposeful movement4 to selected prominent music characteristics5 or to specific music events6 while listening to music 9.a - identify by genre or style aural examples of music from various historical periods and 9.b - describe in simple terms how *elements of music are used in music examples from various of the world9 9.d - identify and describe roles of musicians11 in various music settings and Standards Content Skills Vocabulary Do students know the definition of sightreading? How do you practice sightreading? What steps must a musician go through prior to playing a piece for the first time (STAR)? What is STAR? 2.a - perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 2.c - perform expressively a varied repertoire of music representing diverse genres 2.e - perform in groups, blending al timbres, matching dynamic levels, and responding to the cues of a 2.f - perform independent al parts1 while other students sing or play contrasting parts 5.a - read whole, half, dotted half, quarter, and eighth notes and rests in 24, 34, and 44 5.b - use a system (that is, syllables, numbers, or letters) to read simple pitch notation in the treble clef in major keys Students must understand the definition of sightreading in order to perform such a required skill within band correctly. This can be obtained by using new music within our lesson books and also sightreading music for the next school year. A step by step process will be learned and used by the students to help them better grasp the concept of sightreading. Since sightreadying can only be "practiced" one time for each song perfomed, students need to have a strong understanding of what steps they go thru during the early stages of sightreading (even prior to actually playing the piece for the first time) so that they can truely gain a better understanding & grow musically as a sightreader. The STAR program can be used to help guide students. Sightreading by defination is reading a piece of music for the first time. The goal as a musician when sightreading a piece of music for the first time is to start at the beginning of a song and play through it completely without stopping, so to gain a general overview as to how the song goes. In order for students to do this, they need to use the STAR system. The stands for "Sharps & flats, Time signatures/tempo, Articulation/Accidentals,Rests /Rhythms/Repeats" and is a step by step check off system for the students to use prior to playing a song. This check off system is used as a way to help provide students with as much information as possible prior to playing the new song, so to promote as much success as possible for that student when sightreading their music. Students can play a new piece of music with 90% accuracy. Students can explain the star system and use it in their sightreading. Resources: New music & material that students have never played before, guides,, STAR system reminder papers (if necessary). Sightreading Techniques (I) group lesson assessment 5/1/2013 progress monitoring 5/1/ c - identify symbols and traditional terms

11 1 of 13 5/6/2014 8:39 AM referring to dynamics, tempo, and articulation and interpret them correctly when performing 5.d - use standard symbols to notate meter, rhythm, pitch, and dynamics in simple patterns presented by the terminology in explaining music, music notation, music and voices, and music performances 6.d - identify the sounds of a variety of, including many orchestra and band, and from various, as well as children's voices and male and female adult voices 7.a - devise criteria for evaluating performances and 8.a - identify similarities and differences in the meanings of common terms7 used in the various arts 9.a - identify by genre or style aural examples of music from various historical periods and 9.c - identify various uses of music in their daily experiences10 and describe characteristics that make certain music suitable for each use 9.d - identify and describe roles of musicians11 in various music settings and 9.e - demonstrate audience behavior appropriate for the context and style of music performed Sightreading (continued) Standards Content Skills Vocabulary Do students know the definition of sightreading? How do you practice sightreading? What steps must a musician go through prior to playing a piece for the first time (STAR)? What is STAR? 2.a - perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo 2.b - perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom 2.c - perform expressively a varied repertoire of music representing diverse genres 2.d - echo short rhythms and melodic patterns 2.e - perform in groups, blending al timbres, matching dynamic levels, and responding to the cues of a Students must understand the definition of sightreading in order to perform such a required skill within band correctly. This can be obtained by using new music within our lesson books and also sightreading music for the next school year. A step by step process will be learned and used by the students to help them better grasp the concept of sightreading. Since sightreadying can only be "practiced" one time for each song perfomed, students need to have a strong understanding of what steps they go thru during the early stages of sightreading (even prior to actually playing the piece for the first time) so that Sightreading by defination is reading a piece of music for the first time. The goal as a musician when sightreading a piece of music for the first time is to start at the beginning of a song and play through it completely without stopping, so to gain a general overview as to how the song goes. In order for students to do this, they need to use the STAR system. The stands for "Sharps & flats, Time signatures/tempo, Articulation/Accidentals,Rests /Rhythms/Repeats" and is a step by step check off system for the students to use prior to playing a song. This check off system is used as a way to help provide students with as much information as possible prior to playing the new song, so to promote as much success as possible for that student when sightreading their music. Students can play a new piece of music with 90% accuracy. Students can explain the star system and use it in their sightreading. Resources: New music & material that students have never played before, guides,, STAR system reminder papers (if necessary). Sightreading Techniques (R) group lesson assessment 6/1/2013 progress monitoring 6/1/2013

12 PerformancePLUS - Maps 12 of 13 5/6/2014 8:39 AM 2.f - perform independent al parts1 while other students sing or play contrasting parts 3.a - improvise "answers" in the same style to given rhythmic and melodic phrases 3.b - improvise simple rhythmic and melodic ostinato accompaniments 3.c - improvise simple rhythmic variations and simple melodic embellishments on familiar melodies 3.d - improvise short songs and al pieces, using a variety of sound sources, including traditional sounds, nontraditional sounds available in the classroom, body sounds, and sounds produced by electronic means 4.a - create and arrange music to accompany readings or dramatizations 5.a - read whole, half, dotted half, quarter, and eighth notes and rests in 24, 34, and 44 5.b - use a system (that is, syllables, numbers, or letters) to read simple pitch notation in the treble clef in major keys 5.c - identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them correctly when performing 5.d - use standard symbols to notate meter, rhythm, pitch, and dynamics in simple patterns presented by the 6.a - identify simple music *forms when presented aurally 6.b - demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse terminology in explaining music, music notation, music and voices, and music performances 6.e - respond through purposeful movement4 to selected prominent music characteristics5 or to specific music events6 while listening to music 7.a - devise criteria for evaluating performances and 9.a - identify by genre or style aural examples of music from various historical periods and 9.b - describe in simple terms how *elements of music they can truely gain a better understanding & grow musically as a sightreader. The STAR program can be used to help guide students.

13 PerformancePLUS - Maps 13 of 13 5/6/2014 8:39 AM are used in music examples from various of the world9 9.d - identify and describe roles of musicians11 in various music settings and

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