Monroe Township Schools. Curriculum Management System

Transcription

1 Monroe Township Schools Percussion Ensemble Grade 9-12 July 2009 * For adoption by all regular education programs Board Approved: September 2009 as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.

2 Table of Contents Monroe Township Schools Administration and Board of Education Members Page 3 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Pages 8-9 Goals//Objectives/al Tools/Activities Pages Benchmarks Page 30 2

3 MONROE TOWNSHIP SCHOOL DISTRICT ADMINISTRATION Dr. Kenneth Hamilton, Superintendent Mr. Jeffrey Gorman, Assistant Superintendent BOARD OF EDUCATION Ms. Amy Antelis, President Ms. Kathy Kolupanowich, Vice President Mr. Marvin Braverman Mr. Ken Chiarella Mr. Lew Kaufman Mr. Mark Klein Mr. John Leary Ms. Kathy Leonard Mr. Ira Tessler JAMESBURG REPRESENTATIVE Ms. Patrice Faraone Student Board Members Ms. Nidhi Bhatt Ms. Reena Dholakia 3

4 Acknowledgments The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Names: Martin Griffin Supervisor Name: Robert Mele, Supervisor of Arts and Careers Technology Technology Staff: Al Pulsinelli Reggie Washington Secretarial Staff: Debby Gialanella Geri Manfre Gail Nemeth 4

5 Monroe Township Schools Mission and Goals Mission The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society. Goals To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodate the community and are utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals. 5

6 INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS Philosophy Our philosophy is to provide students with many opportunities to receive a well-rounded education. Part of this education includes numerous performing ensembles, which includes Percussion Ensemble. Many concepts from this course can be tied into curriculum from other subject areas and students are also able to develop critical thinking and analyzing skills. The course includes performance as part of the Marching Band and as a separate ensemble performing at all instrumental concerts throughout the year. Educational Goals The Percussion Ensemble course is a performance based class for those percussion students who wish to perform in an additional ensemble beyond the concert bands. Students spend the first marking period working on their Marching Band music and the time in class following the spring concert is also devoted to the upcoming Marching Band season. During the remainder of the year, students develop their orchestral percussion skills as well as learning and applying some basic music theory. Time is spent exploring the history of marching percussion instruments from pre World War II to the present. Numerous concert percussion ensemble works are rehearsed and performed over the course of the school year. The students will be able to: read and notate music in treble and bass clefs. write and play all major and minor scales. produce a basic quality sound on all orchestral and marching percussion instruments. read, write and hear simple and compound intervals. to construct diatonic triads and seventh chords. perform exercises/literature with 2/4 mallets on keyboard instruments. perform exercises/literature on timpani. perform exercises/literature on multi-tenors. understand the history of marching percussion instruments. perform in both marching and orchestral percussion ensembles. 6

7 New Jersey State Department of Education Core Curriculum Content Standards A note about Music Standards and. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in The Cumulative Progress Indicators referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: 7

8 Percussion Ensemble Scope and Sequence Quarter I Big Idea: Big Idea: I. Notation II. Scales, Tonality, Keys, Modes a. Clefs - Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence. a. Major Scales/Key Signatures - Identify and construct all major scales using intervals and key signatures. b. Ledger Lines - Notate and identify notes in all clefs using ledger lines above b. Transposition - Rewrite simple melodies in different major keys than the and below the staff. original melodic line. c. Intervals - Recognize and identify the numerical differences between notes c. Natural Minor Scales - Identify and construct natural minor scales using in all clefs. intervals. d. Beat and Tempo - Discuss organization of measures into beat and meter d. Harmonic Minor Scales - Identify and construct natural minor scales using types; recognize meters aurally. intervals. e. Time Signatures - Label time signatures as either simple or compound. e. Melodic Minor Scales - Identify and construct natural minor scales using Discuss the differences and identify examples visually and aurally. intervals. f. Dynamic Markings Indicate volume markings using all appropriate symbols. f. Scale Relationships Identify parallel and relative relationships between keys. Big Idea: III. Instrument Characteristics a. Bass Drum Discuss and demonstrate technique, sound production and articulation methods. b. Crash Cymbals - Discuss and demonstrate technique, sound production and articulation methods. c. Gong/Tam Tam - Discuss and demonstrate technique, sound production and articulation methods. d. Keyboard Percussion - Discuss and demonstrate technique, sound production and articulation methods. e. Orchestra Bells - Discuss and demonstrate technique, sound production and articulation methods. Big Idea: IV. Instrument Characteristics II a. Snare Drum - Discuss and demonstrate technique, sound production and articulation methods. b. Suspended Cymbal - Discuss and demonstrate technique, sound production and articulation methods. c. Tambourine - Discuss and demonstrate technique, sound production and articulation methods d. Timpani - Discuss and demonstrate technique, sound production and articulation methods e. Triangle - Discuss and demonstrate technique, sound production and articulation methods 8

9 Big Idea: V. Performance I a. Rehearsal Skills Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques. b. Practice Skills Discuss practice strategies such as warm up, problem solving and hearing protection. c. Equipment Demonstrate proper maintenance of percussion equipment including moving, storage, cleaning and changing heads. d. Balance/Blend Discuss and demonstrate balance of percussion instruments to the rest of the ensemble. e. Technical Facility Demonstrate the importance of technical facility in performance. Quarter II Big Idea: VI. Performance II a. Expression Demonstrate and discuss dynamics and expression in percussion performance. b. Rhythm Identify note values and rests and discuss ways to count and subdivide rhythms. c. Sight Reading Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble. d. Repertoire Discuss standard percussion literature from various historical periods. e. Performance Skills Demonstrate and discuss appropriate concert behavior. Big Idea: VII. Intervals and Transposition a. Perfect, Major and Minor Intervals - Identify, construct and compare perfect, major and minor intervals. b. Augmented and Diminished Intervals - Identify, construct and compare augmented and diminished intervals. c. Inversion of Intervals - Use interval inversions to show relationships between all types of intervals. d. Simple and Compound Intervals Discuss the use of simple intervals and their compound equivalents. e. Interval Transposition Discuss transposition by moving notes up or down using the necessary interval. f. Clef Transposition Discuss transposition by substituting one clef for another depending on the instruments being used. Big Idea: VIII. Chords a. Root position triads and seventh chords Construct major triads and majorminor seventh chords in root position. Discuss the use of intervals to build chords. b. Inversions of chords Explain how to invert triads and seventh chords with the use of figured bass symbols. c. Diatonic triads in major Construct triads on each scale degree in major keys using the key signature. d. Diatonic triads in minor Construct triads on each scale degree in minor keys using the key signature. e. Diatonic seventh chords in major Construct seventh chords on each scale degree in major keys using the key signature. f. Diatonic seventh chords in minor Construct seventh chords on each scale degree in minor keys using the key signature. 9

10 Big Idea: IX. Intermediate Keyboard Techniques I a. The 4 Mallet Grip Discuss and demonstrate the three major four mallet grips. b. Holding the Mallets - Discuss and demonstrate the positioning of the mallets in each 4 mallet grip. c. Interval Changes - Discuss and demonstrate methods for changing with multiple mallets. d. Stroke Height Discuss and demonstrate various stroke heights with multiple mallets. e. Stroke Efficiency and Accuracy - Discuss and demonstrate useful and wasted motion. f. Shift and Interval Change Efficiency Discuss and demonstrate efficient shifting. Quarter III Big Idea: X. Intermediate Keyboard Techniques II a. Tone, Lift, legato, Staccato Discuss and demonstrate the various methods of articulation. b. The Fundamental Strokes Provide a basic overview on the fundamental strokes of 4 mallet technique. c. Single Independent Strokes Demonstrate the proper method of performing single independent strokes. d. Single Alternating Strokes Demonstrate the proper method of performing single alternating strokes. e. Double Vertical Strokes Demonstrate the proper method of performing single alternating strokes f. Double Lateral Strokes Demonstrate the proper method of performing single alternating strokes Big Idea: XI. Intermediate Keyboard Exercises a. Single Independent Exercises Provide exercises for the single independent strokes. b. Single Alternating Exercises Provide exercises for the single alternating strokes. c. Double Vertical Exercises Provide exercises for the double vertical strokes. d. Double Lateral Exercises Provide exercises for the double lateral strokes. e. Mixed Strokes Exercises Provide exercises for the mixed strokes. Big Idea: XII. Multi-Tenor Techniques a. Grip and Drum Height Discuss and demonstrate the proper grip and drum height for multi-tenors. b. Playing Positions Discuss and demonstrate the proper playing positions for multi-tenors. c. Understanding Groupings Discuss and demonstrate the various two and three drum groupings. d. Fundamental Studies Discuss and demonstrate basic exercises for multi-tenors. e. Scrapes, Crossovers and Sweeps Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors. 10

11 Big Idea: XIII. Timpani Fundamentals a. Positioning of the drums Discuss and demonstrate the proper positioning for playing timpani. b. Pitch Ranges Discuss the range of pitches for each of the different sized drums. c. Grip Demonstrate and provide rationale for the various types of timpani grips. d. Tuning/Ear Training Demonstrate the significance of singing to tune timpani. e. Pedaling Discuss and demonstrate the proper pedaling methods for playing timpani. Quarter IV Big Idea: XIV. Intermediate Timpani Techniques a. Legato Stroke Discuss and demonstrate the use of a legato stroke when playing timpani. b. Staccato Stroke Discuss and demonstrate the use of a staccato stroke when playing timpani. c. Rolls Discuss and demonstrate the proper way to play rolls on timpani. d. Dampening Discuss and demonstrate proper dampening technique on timpani. e. Sticking Discuss and demonstrate sticking patterns which are necessary for playing timpani. Big Idea: XV. Rolls and Diddle Rudiments a. Single Stroke Roll Rudiments Demonstrate and perform single stroke rolls, single stroke fours and sevens. b. Multiple Bounce Roll Rudiments Demonstrate and perform multiple bounce rolls and triple stroke rolls. c. Double Stroke Open Roll Rudiments - Demonstrate and perform five through fifteen stroke open rolls. d. Single Diddle Rudiments - Demonstrate and perform single paradiddles and single paradiddle-diddles. e. Double Diddle Rudiments - Demonstrate and perform double and triple paradiddles. Big Idea: XVI. History of Marching Percussion a. Fife and Drum Corps Discuss the beginnings of marching percussion instruments prior to World War II. b. Rudimental Style Discuss the integration of rudimental drumming into the marching arena. c. Multi-toms Discuss the evolution of the multi-toms from single tenor drums and their impact on the activity. d. Pit Percussion Discuss the evolution of the front ensemble and its impact on the musical arranging for drum and bugle corps. e. Indoor Percussion Discuss and analyze the impact of WGI on the marching percussion activity. 11

12 Clefs - Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence. (1.2 B4, 1.3 B2) Big Idea: Notation Topic: Reading and notating music. Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals. What are the relationships between the treble, bass, alto and tenor clefs? What are the relationships between simple and compound time signatures? How does an understanding of intervals aid in the comprehension of all types of scales? al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests Ledger Lines - Notate and identify notes in all clefs using ledger lines above and below the staff. (1.2 B4, 1.3 B2) 1.3. Intervals - Recognize and identify the numerical differences between notes in all clefs. (1.2 B4, 1.3 B2) Enduring Understandings A basic understanding of musical notation. This includes how to read and write musical notation in multiple clefs and meters. Suggested Activities: Students complete simple rhythmic and melodic notation up to four measures in length. Students will aurally and visually identify basic intervals. Compose a simple melody in a major key and a minor key using a simple quadruple or simple duple time signature. (Synthesis) Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How does knowledge of intervals, scales, key signatures and time signatures assist in the composition process? (Knowledge & Evaluation)

13 Big Idea: Notation Topic: Reading and notating music. Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals. al Tools / Materials / Technology / 1.4. Beat and Tempo - Discuss organization of measures into beat and meter types; recognize meters aurally. (1.2 B4, 1.3 B2) Technology: Time Signatures - Label time signatures as either simple or compound. Discuss the differences and identify examples visually and aurally. (1.2 B4, 1.3 B2) 1.6. Dynamic Markings Indicate volume markings using all appropriate symbols. (1.2 B4, 1.3 B2) 13

14 Major Scales/Key Signatures- Identify and construct all major scales using intervals and key signatures. ( B4, B2) 2.2. Transposition - Rewrite simple melodies in different major keys than the original melodic line. ( B4, B2) 2.3. Natural Minor Scales - Identify and construct natural minor scales using intervals. ( B4, B2) Big Idea: Scales, Tonality, Keys, Modes Topic: Construction and analysis of all scales Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys. What are the relationships between the treble, bass, alto and tenor clefs? What are the relationships between major and minor scales and key signatures? How does an understanding of intervals aid in the comprehension of all types of scales? Enduring Understandings All major and minor scales and key signatures including all three forms of minor scales. Performance of all scales on keyboard instruments. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Suggested Activities: Students identify major and minor key signatures. Students write, identify and perform major and minor scales. Transpose a simple melody in a major key. (Synthesis) 1. Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How are the 3 types of minor scales utilized in composition.(knowledge & Evaluation) 14

15 Big Idea: Scales, Tonality, Keys, Modes Topic: Construction and analysis of all scales Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys. al Tools / Materials / Technology / 2.4. Harmonic Minor Scales - Identify and construct natural minor scales using intervals. ( B4, B2) Technology: Melodic Minor Scales - Identify and construct natural minor scales using intervals. ( B4, B2) 2.6. Scale Relationships Identify parallel and relative relationships between keys. ( B4, B2) 15

16 Bass Drum Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 3.2. Crash Cymbals - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 3.3. Gong/Tam Tam - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) Big Idea: Instrument Characteristics Topic: In depth analysis of percussion instruments. Goal 3: The student will be able to display proper technique and produce a quality sound on each instrument. What are the various techniques needed to produce a quality sound? How are the various methods for producing sound similar from instrument to instrument? How are they different? Enduring Understandings Production of basic sound on each instrument. Each percussion instrument requires specific methods of articulating as well as muting and dampening. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. (comprehension) Begin using exercises from A Fresh Approach To Mallet Playing. (application) Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation) 16

17 Big Idea: Instrument Characteristics Topic: In depth analysis of percussion instruments. Goal 3: The student will be able to display proper technique and produce a quality sound on each instrument. al Tools / Materials / Technology / 3.4. Keyboard Percussion - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) Technology: Orchestra Bells - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 17

18 Snare Drum - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 4.2. Suspended Cymbal - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 4.3. Tambourine - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) Big Idea: Instrument Characteristics II Topic: In depth analysis of percussion instruments. Goal 4: The student will be able to display proper technique and produce a quality sound on each instrument. What are the various techniques needed to produce a quality sound? How are the various methods for producing sound similar from instrument to instrument? How are they different? Enduring Understandings Production of basic sound on each instrument. Each percussion instrument requires specific methods articulating as well as muting and dampening. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. Combine instruments covered in an ensemble to begin percussion ensemble playing. Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation) 18

19 Big Idea: Instrument Characteristics II Topic: In depth analysis of percussion instruments. Goal 4: The student will be able to display proper technique and produce a quality sound on each instrument. al Tools / Materials / Technology / 4.4. Timpani - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) 4.5. Triangle - Discuss and demonstrate technique, sound production and articulation methods. (1.2 B4,1.3 B2) Technology:

20 Rehearsal Skills Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques Practice Skills Discuss practice strategies such as warm up, problem solving and hearing protection Equipment Demonstrate proper maintenance of percussion equipment including moving, storage, cleaning and changing heads. Big Idea: Performance I Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 5: The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. How does and individual s practice skills have an impact on their rehearsal skills? How significant is the maintenance of percussion equipment to its quality of sound? What impact does a lack of ear protection have on percussionists? Enduring Understandings The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing. These skills are transferable to any musical ensemble. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students identify and perform parts within the ensemble, taking into account. (application) a) Understanding of your part being melody or accompaniment. b) Understanding of ensemble balance c) Understand instrument-specific tessitura for written part Perform at appropriate volume to achieve balanced ensemble sound. (application) 1. What are some problem solving strategies for performance? (Knowledge & Analysis) 2. How are proper implements chosen for balance in an ensemble? (Knowledge & Evaluation) 20

21 Big Idea: Performance I Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 5: The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. al Tools / Materials / Technology / 5.4 Balance/Blend Discuss and demonstrate balance of percussion instruments to the rest of the ensemble. 5.5 Technical Facility Demonstrate the importance of technical facility in performance. Technology:

22 Expression Demonstrate and discuss dynamics and expression in percussion performance Rhythm Identify note values and rests and discuss ways to count and subdivide rhythms Sight Reading Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble. Big Idea: Performance II Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 6: The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. How is expression utilized to enhance performance on percussion instruments? How can developing reading skills lead to playing increasingly more sophisticated music? Why is it necessary to be able to perform repertoire from a variety of cultures and historical periods? Enduring Understandings The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing. These skills are transferable to any musical ensemble. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Develop understanding of musical phrases a) variety of ways to perform a given phrase b) artistic choice about phrasing Students perform ensemble sight reading literature one grade level easier than what is being studied in class. (application) Synthesize, apply and exhibit performance skills in a variety of music literature. (Synthesis) Demonstrate performance of six dynamic levels pp,p,mp,mf,f,ff (Knowledge & Synthesis) 2. Demonstrate ability to perform in the following time signatures 4/4,3/4,2/4,2/2,6/8, mixed meters (Knowledge & Synthesis)

23 Big Idea: Performance II Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 6: The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. al Tools / Materials / Technology / 6.4. Repertoire Discuss standard percussion literature from various historical periods. (1.2 B1, 1.5 B1) Technology: Performance Skills - Demonstrate and discuss Appropriate concert Behavior. 23

24 Perfect, Major and Minor Intervals Identify, construct and compare perfect, major and minor intervals. ( B4, B2) 7.2. Augmented and Diminished Intervals - Identify, construct and compare augmented and diminished intervals. ( B4, B2) 7.3. Inversion of Intervals - Use interval inversions to show relationships between all types of intervals. ( B4, B2) Big Idea: Intervals and Transposition Topic: Intervals and their use in the analysis and composition of tonal music. Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs. How does an understanding of intervals aid in the comprehension of all types of scales? What is the purpose of transposition? How does the inversion of intervals make the understanding of complex intervals easier? Enduring Understandings Aural recognition as well as performance of all types of intervals. Transposition from one clef to another in order to simplify performance. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students use the method of inverting intervals by adding the two numbers and always having a total of nine for the two intervals. (application) Students transpose a simple melody into another key and/or clef. (synthesis) Play all major, minor and perfect intervals above and below any given note. (Synthesis) 1. What is the difference between simple and compound intervals? (Knowledge & Analysis) 2. What are the various methods of transposition? (Knowledge) 24

25 Big Idea: Intervals and Transposition Topic: Intervals and their use in the analysis and composition of tonal music. Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs. al Tools / Materials / Technology / 7.4. Simple and Compound Intervals Discuss the use of simple intervals and their compound equivalents. ( B4, B2) Technology: Interval Transposition Discuss transposition by moving notes up or down using the necessary interval. ( B4, B2) 7.6. Clef Transposition Discuss transposition by substituting one clef for another depending on the instruments being used. ( B4, B2) 25

26 Root position triads and seventh chords Construct major triads and majorminor seventh chords in root position. Discuss the use of intervals to build chords. ( B2, B2) 8.2. Inversions of chords Explain how to invert triads and seventh chords with the use of figured bass symbols. ( A1, B2, B2) 8.3. Diatonic triads in major Construct triads on each scale degree in major keys using the key signature. ( B2, B2) Big Idea: Chords Topic: Construction and analysis of chords in root position and inversions. Goal 8: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. How does an understanding of intervals and key signatures aid in the construction of diatonic triads and seventh chords? How does an understanding of intervals aid in the application of figured bass symbols? In what ways were figured bass symbols necessary in eighteenth century composition and performance? Enduring Understandings Recognition of chord quality through aural and visual analysis. Performance of root position and inverted chords on keyboard instruments. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students construct chords given the root and key signature. (Application) Students construct chords given the bass note and inversion symbol. (Application) Create a simple progression of chords utilizing root position and inverted triads and seventh chords. (Synthesis) What are the primary triads in every key and what function do they have in tonal music? (Knowledge & Analysis) 2. How do chord inversions affect the sound of

27 Big Idea: Chords Topic: Construction and analysis of chords in root position and inversions. Goal 8: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. al Tools / Materials / Technology / 8.4. Diatonic triads in minor Construct triads on each scale degree in minor keys using the key signature. ( B2, B2) 8.5. Diatonic seventh chords in major Construct seventh chords on each scale degree in major keys using the key signature. ( B2, B2) triads and seventh chords? (Knowledge & Analysis) Technology: Diatonic seventh chords in minor Construct seventh chords on each scale degree in minor keys using the key signature. ( B2, B2) 27

28 The four Mallet Grip Discuss and demonstrate the three major four mallet grips Holding the Mallets - Discuss and demonstrate the positioning of the mallets in each four mallet grip. Big Idea: Intermediate Keyboard Techniques I Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble. Goal 9: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. What is the purpose of having different categories of four mallet grips? Why is it important for percussionists to be able to utilize all types of grips? How does basic production of sound become incorporated into four mallet playing? Enduring Understandings Basic exercises for playing with 4 mallets, which include simple chord progressions and shifting. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the traditional, Burton and Musser four mallet grips. (Comprehension) 9.3. Interval Changes - Discuss and demonstrate methods for changing with multiple mallets. Students demonstrate accuracy and efficiency by reducing mismanagement of distance and momentum. (Comprehension) Perform basic exercises utilizing the various types of four mallet grips. (Application) 1. What are the relationships between the various 4 mallet grips? (Knowledge & Analysis) 2. How does a theory foundation aid in the development of four mallet playing? (Knowledge & Analysis) 28

29 Big Idea: Intermediate Keyboard Techniques I Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble. Goal 9: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. al Tools / Materials / Technology / 9.4. Stroke Height Discuss and demonstrate various stroke heights with multiple mallets. Technology: Stroke Efficiency and Accuracy - Discuss and demonstrate useful and Wasted motion Shift and Interval Change Efficiency Discuss and Demonstrate efficient Shifting. 29

30 Tone, Lift, legato, Staccato Discuss and demonstrate the various methods of articulation The Fundamental Strokes Provide a basic overview on the fundamental strokes of four mallet technique Single Independent Strokes Demonstrate the proper method of performing single independent strokes. Big Idea: Intermediate Keyboard Techniques II Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument utilizing the various strokes. Why do keyboard players need to know various types of mallet strokes? What is the purpose of utilizing different sticking combinations? How does mallet choice impact the stroke choice? Enduring Understandings Basic keyboard exercises which address fundamental strokes and articulation. Double vertical strokes have become a term used to describe double stops which is a term borrowed from string technique. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in Method Of Movement For Marimba. (Comprehension & Application) Perform basic exercises utilizing the various types of four mallet strokes. (Application) 1. What are the relationships between the various sticking combinations? (Knowledge & Analysis) 2. How do drummers have an advantage when it comes to learning mallet stickings? (Knowledge & Analysis) 30

31 Big Idea: Intermediate Keyboard Techniques II Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument utilizing the various strokes. al Tools / Materials / Technology / Single Alternating Strokes Demonstrate the proper method of performing single alternating strokes. Technology: Double Vertical Strokes Demonstrate the proper method of performing single alternating strokes Double Lateral Strokes Demonstrate the proper method of performing single alternating strokes. 31

32 Single Independent Exercises Provide exercises for the single Independent strokes Single Alternating Exercises Provide exercises for single Alternating strokes Double Vertical Exercises Provide exercises for the Double vertical strokes. Big Idea: Intermediate Keyboard Exercises Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for each of the mallet strokes covered. Why is it necessary to begin warming up with single independent exercises? How are double vertical strokes difficult despite their simple appearance? Why is it necessary to begin performing combination or mixed strokes at slower tempos? Enduring Understandings Basic keyboard exercises, which develop the various stroke combinations utilizing both two and four mallet grips. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in Method Of Movement For Marimba. (Comprehension & Application) Perform basic exercises utilizing vertical and lateral strokes. (Application) 1. Why is it difficult to strike the bar in he correct playing zone when playing lateral strokesi? (Knowledge & Analysis) 2. Why is it necessary to make sure mallet heights are relatively high initially? (Knowledge & Analysis) 32

33 Big Idea: Intermediate Keyboard Exercises Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for each of the mallet strokes covered. al Tools / Materials / Technology / Double Lateral Exercises Provide exercises for the Double lateral strokes. Technology: Mixed Strokes Exercises Provide exercises for Mixed strokes. 33

34 Grip and Drum Height Discuss and demonstrate the proper grip and drum heights for multi-tenors Playing Positions Discuss and demonstrate the proper playing positions for multitenors Understanding Groupings Discuss and demonstrate the various two and three drum groupings. Big Idea: Multi-Tenor Techniques Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors. What is the proper method for tuning multi-tenors? Why is it necessary to play in specific playing zones when playing multi-tenors? How do groupings aid in the development of multi-tenor playing? Enduring Understandings The multi-toms have evolved from a single tenor drum to the current model which features four to six drums. Basic exercises to perform simple marching literature as well an introduction to more complex material. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate playing techniques utilizing fundamental sticking and groupings as described in Modern Multi-Tenor techniques. (Comprehension) Perform basic exercises utilizing single stickings as well as groupings. (Application) 1. Why is it necessary to have perfect spacing between multi-tenors? (Knowledge & Analysis) 2. How does mallet choice impact the performance on multi-tenors? (Knowledge & Analysis) 34

35 Big Idea: Multi-Tenor Techniques Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors. al Tools / Materials / Technology / Fundamental Studies Discuss and demonstrate Basic exercises for Multi-tenors. Technology: Scrapes, Crossovers and Sweeps Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors. 35

36 Positioning of the drums Discuss and demonstrate the proper positioning for playing timpani Pitch Ranges Discuss the range of pitches for each of the different sized drums Grip Demonstrate and provide rationale for the various types of timpani grips. Big Idea: Timpani Fundamentals Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani playing. Why is drum positioning so important to playing timpani? How does ear training play a role in the development of a timpanist? What are the uses for the different timpani grips? Enduring Understandings Basic exercises to demonstrate production of sound and playing zones on the drums. Changing of pitches using tuning gauges as well as ear training. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate an appropriate use of each stroke type. (Comprehension) Students effectively demonstrate the different timpani grips and the necessity for each. (Comprehension) Perform basic exercises utilizing pedaling and simple pitch changes. (Application) 1. Why is it necessary to have perfect pitch ranges on each timpani? (Knowledge & Analysis) 2. How does mallet choice impact the performance on timpani? (Knowledge & Analysis) 36

37 Big Idea: Timpani Fundamentals Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani playing. al Tools / Materials / Technology / Tuning/Ear Training Demonstrate the significance of singing to tune timpani Pedaling Discuss and demonstrate the proper pedaling methods for playing timpani. Technology:

38 Legato Stroke Discuss and demonstrate the use of a legato stroke when playing timpani Staccato Stroke Discuss And demonstrate the use of a staccato stroke when playing timpani. Big Idea: Intermediate Timpani Techniques Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on the instrument utilizing the various strokes. What role does each of the strokes have in timpani playing? What are the similarities/differences in playing timpani as compared to keyboards? Why must various stickings be used when playing timpani? Enduring Understandings Exercises, which encompass the different types of strokes and rolls. Sticking and dampening are a significant component of timpani playing due to the set up and natural sustain. al Tools / Materials / Technology / Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students play major and minor scales on two drums. (Application) Rolls Discuss and demonstrate the proper way to play rolls on timpani. Rotate students onto timpani in percussion ensemble setting in order to apply fundamentals discussed. (Application) Perform basic exercises utilizing rolls, pedaling and pitch changes. (Application) 1. Why is it necessary to utilize dampening techniques? (Knowledge & Analysis) How does mallet placement on the drum impact the performance on timpani? (Knowledge & Analysis)

39 Big Idea: Intermediate Timpani Techniques Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on the instrument utilizing the various strokes. al Tools / Materials / Technology / Dampening Discuss and demonstrate proper dampening technique on timpani Sticking Discuss and demonstrate the use of a staccato stroke when playing timpani. Technology: