Appendix B Assessment Strategies and Samples · Identifies and performs accelerando. Identifies and...

Music 7-9 curriculuM guide interiM edition

Appendices

540

Appendix B

Assessment Strategies and Samples


Appendices

541

Assessment Strategies

Assessmentstrategiesmayinclude,butarenotlimitedto:

• Observations

Theteacherobservestheindividualstudentorgroupandassessesthestudent/slearningofvariousoutcomes.Peerassessmentisalsopossible.Checklists,anecdotalcommentsandstudentperformancescanhelpwithassessmentthroughobservation.

• Performances

Theteacherassessesthestudents’achievementofoutcomesthroughindividualandgroupperformancesincludingcompositionandprojects.Inaddition,theteachermayusechecklistsandtestexecrcisesfrommethodbooks.

• Self-Assessment

Studentsreflectonwhattheyhavelearnedandhowtoimprove.Theselfassessmentscanincludejournalwriting,self-reflectionsandchecklists.

• Interviews

Theteacherhasaformalorinformaldiscussionwithanindividualorgroupofstudentsinwhichtheteacherisabletodeterminethestudent/s’attitudesandthinkingprocesses.

• JournalWritingPerformanceReflection:Throughoutthecourse,studentskeepajournalto:reflectontheirstrengths andweaknessess,noteproblemareas,commentonrehearsalsandnoteobservationsaboutindividual/groupplaying.Composition,assignment,audioandvideoreflection(s):Studentsmaywriteaboutprocessinvolvedandevaluateendproduct.

• AudioJournalsandVideoJournals

Thestudentsmakesanaudioorvideorecordingoftheirperformances.Thisisgreatopportunitytorecordtheirmusicallearning.

• Portfolios

Thestudentsmayincludeexampleofaudiorecordings,videorecordings,assignmentsandtheir“best”workintheirmusicportfolio.Thestudentsmayhavebothindividualand/orgroupportfolios.Theseportfoliosshouldofferavarietyofstudentlearning.

• ListeningAssessment(“Whatdoyouhear?”)

Studentslistenstorecordedmusicexamplesandanalyzetheexampleusingstudentanswersheets.Theseassessmentsareanindicatorofmusiclearning.


Appendices

542

• PeerAssessment

Studentscanpairuporgettogetherinsmallsectionals/numbers,andstateastrengthandweaknessabouteachother’splaying.Constructivecriticismhastobestatedinpositiveterms.Itshoulddiscussaspectsofplayingtechnique,tonequalityetc.andoffersuggestionstowardimprovementinweakarea.

• WrittenAssessments

Thewrittenassessmentallowsboththeteacherandthestudentsassessthelearningthathastakenplace.Writtenassessmentcaninclude,quizzes,tests,theorysheetsandactivitysheets.

• Rubrics

Rubricswouldbedevelopedtoassessstudentlearningoftargetedconceptorskill.

NOTE:Assessmentsampletemplatesincludedinthisappendixareintendedassuggestedguidelinesonlyandmaybeadaptedtoalignwithbothdistrictpolicyandlessonfocus.


Appendices

543

Sample Assessment Strategies and Activities

Rhythm/Metre • Moveto,perform,internalizebeat

• Conductmetre

• Interpret/createmovementappropriatetobeatandrhythm

• Echorhythmpatterns

• Read/performfromrhythmicflashcardsutilizingcompoundmixedandasymmetricmetres(reinforcingsimplemetres)

• Notate(dictation)rhythmicpatternsfromlistening(throughavarietyofmediumsincluding:traditionalnotationandmodernnotationthroughtechnologicaldevicesandsoftwareprograms)

• Improviseanswerstorhythmicquestionsthroughperformance

• Createandperformpercussioncompositionsusingavarietyofmediums(bodypercussion,traditionalinstrument,sampledsounds,urbannoises)

• Createrhythmicostinato,phrase(s)

• Userhythmnames(quarter,eighth,sixteenth)andequivalentrests


Appendices

544

Melody/Pitch • Echomelodicpatternsthroughsinging

• Singwithsolfegefromnotation

• Aurallyidentifythefollowingscales:wholetone,blues,Minorscales(natural,harmonic,andmelodic)

• Aurallyidentifypatternsandnotate(melodicdictation)

• Improviseanswersvocallytomelodicquestions

• Createandmaintainamelodicostinato

• Singwithexpression(dynamics,phasing,articulation)

• Identifyabsolutenotenames

• Createmelodiesusingavarietyofmediumsi.e.traditionalnotation,musicsoftware

Harmony • Sing/maintainpartswithbalanceandblend

• Sing/maintainpartswithproperintonation

• Aurallyidentifyintervals(+3,P8,P5,P4,-3,+6,-6,+2,-2,+7,-7tri-tone)

• Aurallyidentifychords(V7,ii,IV)

• Createostinato/accompanimentusingtechnologicalsoftware

• Aurallyidentifyplagal,perfect,andimperfectcadences

Form • Aurallyidentifycontrastingandrepeatingsections

• Aurallyidentify1st/2ndending

• Aurallyidentifyminuetandtrio,themeandvariations,fugue

• Improvisation/computer

• Write/diagramformfromlistening

• Createownformsusingavarietyofmethodsincludingtechnologicalsoftware


Appendices

545

Expression • Perform/createwithappropriatedynamics,tempiand/orarticulation

• Aurallyidentifydynamicstempoandarticulation

• Createmovements/compositionsthatreflectmoodsandfeelings

• Identifymusicaltermsthatdealwithexpression(i.e.rubatoaccelerando,ritardando,etc.)

• Createsoundscapes,electronicsounds,withexpressivedevices(computer)

• Interpretmusicalselections

Contexts • Perform,listentoandcreatevariedmusicalexamplesreflectingtheirownandothertimeperiodscultures,musicians/composers(e.g.NewfoundlandLabradorfolk,rock&roll)

• Performselectionsrepresentingvariedcultures,timeperiodsandmusicians/cultures(EXenvironmentalmusic,soundscapes,iconicnotation,worlddrumming,globalmusic)

• Encouragechildrentocreatepersonalglossariesofmusicalterms,rhythmandmetreterminologyandthenmeetinsmallgroupforanalysis,discussionandreflection.Includeglossariesinportfolios.


Appendices

546

Sample Assessment Strategies and Activities for PercussionArticulation/SoundProduction Snare

• Playwithproperposture

• Maintainarelaxedstick-holdusingeitherthe“traditionalgrip”or“matchedgrip”producingacleartone

• Playsinglestrokeswithdominantandnon-dominanthandsmaintaininganevennessintoneandaccuracyinrhythm,producingacleartone

• Playsinglestrokeswithalternatinghandsmaintaininganevennessintoneandaccuracyinrhythm,producingacleartone

Melody/Pitch Mallets

• Maintainarelaxedstick-holdsimilartothe“matchedgrip”

• Playsinglestrokesalternatingbetweenthedominantandnon-dominanthandsmaintaininganevennessintoneandanaccuracyinrhythm

• PlayconcertB-flatscaleoneoctavealternatingmallets

Rhythm/Metre • Playthefollowingstickingrudimentsatslowandfasttempi.Alternatesticking,singleparadiddle,flam,flamtap,multiplebounce,roll

Harmony • Playmaintainingpart

• Performostinato

• PlayarpeggioofconcertB-flatscalealternatingmallets

• Maintainaharmonylinewhileplayingwiththefullensemble

Expression • Play,creatingabeautifulmusicaltone

• Playwithmusicalphrases

• Playutilizingavarietyofdynamicsadjustingthedistanceofthesticksfromtheinstrument(i.e.p=sticksandmalletsclosetotheinstrument,mf=sticksandmalletsslightlyawayfromtheinstrument,f=sticksandmalletsfurtherawayfromtheinstrument)

• Aurallyidentifytempo,dynamics,articulation

ApplicationtoRepertoire


Appendices

547

Music Portfolio Evaluation – Sample

Name:_________________________________

0 1 2 Score

TheoryWorksheets

Work sheets are not present in the portfolio or are not completed

Some of the work sheets have been completed in class.

All assigned work is present and complete in the portfolio.

Instrumental/VocalActivities

Lesson sheets are not present in the portfolio.

Lesson sheets are not all complete and present in the portfolio.

All lesson sheets are completed and well organized in the portfolio.

CompositionProjects(Group/Individual)

Compositions are not included in the portfolio

Composition projects are partially completed

All composition projects are complete.

ListeningActivities

Assigned listening diaries are not complete and present in the portfolio.

Some of the listening diaries are included.

All listening diaries are complete and present in the portfolio.

OverallOrganization

Portfolio was not passed in, or is in poor condition.

Portfolio could be better organized and taken care of.

Portfolio is well organized and well maintained.

TotalScore:____________


Appendices

548

InstrumentalPerformanceHolisticRubric-Sample

5• Consistently performs with accuracy of rhythm duration, pulse and metre• Consistent performs with accuracy of printed pitches and intonation within the appropriate range• Consistently performs with correct articulation and breath support• Consistently performs with good tone production and playing posture • Consistently performs using appropriate expressive elements and interpretation

4• Often performs with accuracy of rhythm duration, pulse and metre • Often performs with accuracy of printed pitches and intonation within the appropriate range• Often performs with correct articulation and breath support • Often performs with good tone production and playing posture • Often performs using appropriate expressive elements and interpretation

3• Usually performs with accuracy of rhythm duration, pulse and metre • Usually performs with accuracy of printed pitches and intonation within the appropriate range• Usually performs with correct articulation and breath support • Usually performs with good tone production and playing posture • Usually performs using appropriate expressive elements and interpretation

2• Occasionally performs with accuracy of rhythm duration, pulse and metre • Occasionally performs with accuracy of printed pitches and intonation within the appropriate range• Occasionally performs with correct articulation and breath support • Occasionally performs with good tone production and play posture • Occasionally performs using appropriate expressive elements and interpretation

1• Rarely performs with accuracy of rhythm duration, pulse and metre • Rarely performs with accuracy of printed pitches and intonation within the appropriate range• Rarely performs with correct articulation and breath support • Rarely performs with good tone production and playing posture • Rarely performs using appropriate expressive elements and interpretation


Appendices

549

IndividualPerformanceRubric SingingTechnique-Sample

4• Consistently displays proper posture and stage presence • Exceptional understanding of vowel and consonant production • Highly effective use of breathing to support phrasing structure in music • Excellent intonation through accuracy of all pitches

3• Often displays proper posture and stage presence • Some understanding of vowel and consonant production • Some use of effective breathing to support phrasing structure in music • Good intonation through accuracy of some pitches

2• Rarely displays properposture and stage presence • Little understanding of vowel and consonant production • Little use of effective breathing to support phrasing structure in music • Satisfactory intonation through accuracy of few pitches

1• Little to no display of posture and stage presence • Little or no understanding of vowel and consonant production • Little or no use of effective breathing to support phrasing structure in music • Little or no intonation through accuracy of pitches


Appendices

550

• Whatdidyoulearnfromthisgroupproject?

• Didallmembersofthegroupdisplayrespectforeachother?

• Whatdifficulties/challengesdidyourgroupneedtoover come?

• Whatwouldyoudodifferentlyinthenextgroupactivity?

• Didallmembersparticipateequallyintheprocessand completionoftheproject?

• Whatroleswereassignedtoeachmemberofthegroup?

• Whatstrategiesdidyouimplementforthediscussion componentofthisactivity?

• Howdidmemberscontributetheirknowledge,opinionsand skillswiththegroup?

• Wereallmembersofthegroupsupportiveandencouragingof eachother’seffortsandcontributions?

• Didthegroupachievetheprojectgoalsandcriteria?

• Howdidthegroupengageinlistening,questioningand discussions?

JournalWriting SampleReflectionQuestions(group or student Activity)


Appendices

551

StudentSoundscape SampleJournalQuestions

• Listthemusicalelementsincludedinyoursoundscapesuchastexture,tone colour,rhythm,timbre,pitchordynamics?Weretheseelementseasytoidentify?

• Describehowyoursoundscapeaffectedtheaudience.

• Discusstheeffectofsoundinyourenvironment.

• Visuallyrepresentyoursoundscapethroughapicture,maporinventednotation.

• Howdidyoudecideuponyoursoundchoiceforyourcomposition?

• Describehowdifferentinstrumentscreatetheircharacteristicsounds?

• Couldtheaudiencerecognizethevarietyofsoundinyourcomposition?

• Describetheprocessyouusedtocreateyoursoundscape.

• Howdidyouuseforminyoursoundcomposition?

• Describehowfeelingsandthoughtscanbecommunicatedthroughmusicand sound?


Appendices

552

StudentComposition SampleReflectiveQuestions

♪ Whatrhythmswereincludedinyourcomposition?

♪ Wastheelementofmelodyusedeffectivelyinyourpiece?

♪ Whatformsofexpressionwereincludedinyourcomposition?

♪ Wasthechoiceofinstrument(s)effective?

♪ Didyouenjoythecompositionalprocess?

♪ Whatmusicalproblemsdidyouencounterandhowdidyouresolvetheseissues?

♪ Howcouldyouimprovetheuseofdynamicsinyourcomposition?

♪ Wasthechoiceoftempoeffectiveforyourpiece?

♪ Didyouenjoycomposing?

♪ Whatmusicalelementscontributetobeingsuccessfulasacomposer?

♪ Howdidyouuseharmonyeffectively?

♪ Whatarticulationdidyouincorporateinyourcomposition?

♪ Whatmoodwasreflectedinyourpiece?

♪ Howdidtheaudienceinterpretyourpiece?

♪ Whatistheformofyourpiece?

♪ Howcouldyouimproveuponyourwork?

♪ Didyouenjoytheprocessofwritingyourownmusic?

♪ Whatdidyouenjoyaboutyourcompositionalperformance?

♪ Whatareasofyourcompositionneedimprovement?

♪ Wasthereabalancebetweenthevariousinstruments?

♪ Didyouuseeffectivecompositionalstrategies?


Appendices

553

StudentPortfolioReflectionForm

Name:_______________________Date: __________________

WhydidIchoosethisselectionofworkformyportfolio?

_______________________________________________________

_______________________________________________________ _______________________________________________________

_______________________________________________________

_______________________________________________________

WhatdidIlearnaboutmyselfthroughthisprocess?

________________________________________________________

________________________________________________________

________________________________________________________ ________________________________________________________

________________________________________________________

HowcanIimprove?

_________________________________________________________ _________________________________________________________

_________________________________________________________

___________________________________________________________


Appendices

554

ListeningGuide(Sample)

Title/ComposerofWork:______________________________________________

StudentName:______________________________________________

Rhythm/MeterListen for:♪ beats♪ compound/asymmetricalmeters♪ noteduration

MyObservations:

Melody/PitchListen for:♪ major/minor

♪ intervals♪ pentatonicscales♪bluesscales♪ wholetonescales

MyObservations:

HarmonyListen for:♪ polyphonic♪ monophonic♪ intervals♪ balance/blend♪ chordprogressions

MyObservations:

Form Listen for:♪ cadences♪ rondo♪ minuetandtrio♪ themeandvariations♪ fugues♪ improvisation

MyObservations:

ExpressionListen for:♪ style♪ articulation♪ expressivemarkings♪ timbre

MyObservations:

Contexts Listen for:♪ genre♪culture♪ timeperiod♪ folkmusic♪ environmentalmusic♪ globalmusic♪ musicaltheatre♪ rock–n-roll♪ jazz/blues

MyObservations:


Appendices

555

Rhythmic Dictation

Student:___________________Date:___________________Score:___________________/10

Date:___________________ Score:_____________________/10


Appendices

556

Concert Review

Askthestudentstogotoaconcertthroughouttheterm(givealistofcommunityconcertsavailable).Askstudentstocompletethefollowingconcertreview.Ifgoingtoacommunityconcertisnotpossible,studentscouldlistentoaschoolmusicalensmembleperformanceorrehearsal.

ConcertPerformance(nameofgroup)______________________________Date__________________________Place__________________________GuestPerformers(ifany)________________________________________

Question1.(5marks)Whatinstrumentgroupingsdidyouhear?(ieband,combo,solos?)

______________________________________________________________________________

_____________________________________________________________________________

______________________________________________________________________________

_____________________________________________________________________________

Question2.(5marks)Werethereanysoloists?Ifso,whoweretheyandwhatinstrumentdidthesoloistplay?

_____________________________________________________________________________

____________________________________________________________________________

______________________________________________________________________________

Question3.(5marks)Whatstyle(s)ofmusicdidyouhear?Listthepieceselectionwiththerespectivestyle.

_____________________________________________________________________________

_____________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________


Appendices

557

Question4.(5marks)Howdidthemusicmakeyoufeel?

_____________________________________________________________________________

_____________________________________________________________________________

____________________________________________________________________________

______________________________________________________________________________

Question5.(5marks)Whatwasyourfavoritepieceandwhy?

______________________________________________________________________________

______________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

Anyothercommentsorinterestingfacts?

____________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________


Appendices

558

IndividualConferenceForm-Sample

Student Name: _______________________ Date: _____________

Questions AnecdotalNotes

• Whatwouldyouliketoshare?

• Whatkindsofpieceshaveyouselectedforyourportfolio?

• Whatnewlearningdoesyourportfolioshow?

• Whatareyourgoalsformusicmaking?

• Whatcanyoudonowthatyoucouldn’tdobefore?

• Howhaveyourlisteningskillschanged?

•Ifthisisa“bestwork”piece,explaintheprocessyoufollowedtomakeita“bestwork”.

• Howhasyourperformancedoesofworkinthisportfoliocomparetoyourfirstworksamples.

• Whatareyourgoalsforperforming,creating,andlisteningintheareaofmusic?

• Whatobstaclesdidyouovercometomakeyourworkmoremeaningful?

• Whatspecialknowledgeorinterestdidyouusetomakethisprojectmoremeaningful?

• Whatthingsdidyoulearnaboutyourselfindevelopingthisportfolio?

• Inwhatareaofmusicdoyoufeelyouhavethemoststrength?

• Didyouhaveanychallengeswithyourwork?Ifso,whatwerethesechallengesandhowdidyousolvethem?

• Arethereanyquestionsyouwouldliketoaskaboutyourwork?


Appendices

559

Student’sreflectionon:

Criteriathatweremet:

Areasfordevelopment:

Teacher’sreflection:

Areasofgrowth:(eagernesstoshareportfolio;organizationofportfolio;connectionstothecriteriaandinsightintostudentlearning)

Student’sgoals:

Teacher-ConferenceNotes(Portfolio)

StudentName:_______________________________MusicalSetting:_______________________ Date____________________


Appendices

560

TeacherPortfolioConferenceRecord

Student Name Date Comments


Appendices

561

Checklist for Grade Seven/Level I CORE outcomes

Student(s):_____________ Coding:Class:___________________ Skill/Outcome /Material/Task + Introduced X Assessedbutnotsuccessful * OutcomeAttained

Identifiesandperforms6/8rhythms.Identifiesandperformsequivalentrests.Identifiesandperformsthetim-karhythm.Identifiesandperformsincommontime.Identifiesandperformspolyrhythms.Aurallyidentifiesandreads+3interval.AurallyidentifiesandreadsP8interval.AurallyidentifiesandreadsP5interval.AurallyidentifiesandreadsP4interval.Aurallyidentifiesandreadsnaturalminorscale.DistinguishesbetweentheI,IVandVchords.ReadsandperformsinD+.Demonstratesanunderstandingofthechangingvoice.AurallyidentifiesI,IVandVchordsandprogressions.Identifiesandreadsnotesofthetrebleclef.Identifiesandreadsnotesofthebassclef.Identifiesandreadsnotesfromthegrandstaff.Identifiesandreadsledgerlinenotes.Aurallyidentifiesplagalandperfectcadences.Aurallyidentifiesimperfectcadences.Performs,listensandcreatesinrondoform.Demonstratesanunderstandingof1stand2ndendings.Identifiesandperformsritardando.Identifiesandperformsrallentando.Identifiesandperformsaccelerando.Identifiesandperformsatempo.Demonstratesanunderstandingoftempochange.Readsandperformsusingnontraditionalnotation.Performsandcreatesusingbodypercussion.Demonstratesanunderstandingofglobalmusic.Demonstratesanunderstandingofworlddrumming.Improvisesandcreatesusingtechnology.


Appendices

562

Checklist for Grade Eight/Level II CORE outcomes

Students:_____________ Coding:Class:___________________ Skill/Outcome /Material/Task + Introduced X Assessedbutnotsuccessful * OutcomeAttained

Identifiesandperforms6/8triple-tirhythm.Identifiesandperformsequivalentrests.Identifiesandperformstheka-timrhythm.Identifiesandperforms12/8 timesignature.Identifiesandperforms9/8timesignatureIdentifiesandperforms3/8timesignature.Aurallyidentifesandperformsmajorarpeggio.ReadsandaurallyidentifesV7chord.Readsandaurallyidentifes-3rdinterval.Readsandaurallyidentifes+6thinterval.Readsandaurallyidentifes-6thinterval.Aurallyidentifesandperformswhole tone scaleAurallyidentifesandperformspentatonic scaleIdentifiesanddemonstratesminuetandtrioform.Identifiesandunderstandsthemeandvariations.Identifiestenuto.DemonstratesanunderstandingofNLfolkmusic.Demonstratesanunderstandingofrockandrollmusic.Improvisesandcreatesusingcomputertechnology.Improvisesandcreatesusingpercussioninstruments.

Demonstratesanunderstandingofacousticsounds.


Appendices

563

Checklist for Grade Nine/Level III CORE outcomes

Students:_____________ Coding:Class:___________________ Skill/Outcome /Material/Task + Introduced X Assessedbutnotsuccessful * OutcomeAttained

Identifiesandperformsmixed metreIdentifiesandperformsasymmetric metreIdentifiesandperforms5/4timesignatureIdentifiesandperforms7/8timesignatureIdentifiesandperforms2/2timesignatureIdentifiesandperforms4/2timesignatureReadsandaurallyidentifiesiichordReadsandaurallyidentifiesvichordReadsandaurallyidentifies+2ndintervalReadsandaurallyidentifies-2ndintervalReadsandaurallyidentifies+7thintervalReadsandaurallyidentifies-7thintervalReadsandaurallyidentifiestritoneIdentifiesandunderstandsfugue Aurallyidentifiesjazzandblues.Demonstratesanunderstandingofmusictheatre.Aurallyidentifiesanddemonstratesrubato.Performsandcreatesrap.


Appendices

564

Outcome Checklist for Traditional (fiddle) setting Levels II/Grade 8

* Note: These outcomes are specific to the Traditional (fiddle) setting and are intended to be completed in addition to level II/grade 8 core curriculum outcomes.

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Appendices

565

Checklist for BAND Level I - Winds Technique* Note: These outcomes are specific to the Band (winds) setting and are intended to be completed

in addition to level I/grade 7 core curriculum outcomes.

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DE

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Appendices

566

Outcome Checklist for STRINGS setting Levels III/Grade 9

* Note: These outcomes are specific to the String setting and are intended to be completed in addition to level III/grade 9 core curriculum outcomes.

Nameofstudent F

maj

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Appendices

567

Outcome Checklist for CHORAL setting LevelsI-II/Grade 7-8* Note: These outcomes are specific to the Choral setting and are intended to be completed in addition to level

I-II/grade 7-8 core curriculum outcomes.

Nameofstudent

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ein

clud

ing

expa

ndin

gth

ehe

adv

oice

dow

nwar

ds

Rec

ogni

zes

the

elem

ents

oft

hec

hang

ing

voic

ein

clud

ing

wor

king

wit

hth

em

ale

fals

etto

voi

ce.

Des

crib

esa

ndd

emon

stra

tes

tagg

erb

reat

hing

.

Com

pare

san

dco

ntra

sts

the

diff

eren

ceb

etw

een

head

and

che

stv

oice

.

Sing

sw

ith

atte

ntio

nto

sha

pea

ndp

hras

ing

Dis

cuss

esa

ndd

emon

stra

tes

the

appr

opri

ate

pron

unci

atio

nof

dip

htho

ngs

Dem

onst

rate

sbr

eath

con

trol

for

perf

orm

ing

cres

cend

osa

ndd

ecre

scen

dos


Appendices

568

Checklist for Grade Seven/Level I CORE outcomes

StudentName Bas

ic6

/8r

hyth

ms

Tim

-ka

Equ

ival

entr

ests

Com

mon

Tim

e

Dm

ajor

sca

le

Nat

ural

min

or

Cha

ngin

gV

oice

Mel

odic

Int

erva

ls(

+3,P

8,P

5,P

4)

I,I

V,V

cho

rds

and

prog

ress

ions

Har

mon

icin

terv

als

(+3,

P8,

P5,

P4)

Lege

rlin

es

Treb

lea

ndB

ass

Cle

f

Gra

nds

taff

Ron

do

Cad

ence

s(p

erfe

ct,p

laga

l,im

perf

ect)

1st/2

nde

ndin

gs

Rub

ato,

Rit

arda

ndo/

Ral

lent

ando

Acc

eler

ando

,AT

empo

,Ter

mpo

cha

nge

Non

-tra

diti

onal

not

atio

n

Bod

yPe

rcus

sion

Wor

ldD

rum

min

g

Glo

balM

usic


Appendices

569

Outcome Checklist for ACCORDION Level I * Note: These outcomes are specific to the Traditional (accordion) setting and are intended to be

completed in addition to level I/grade 7 core curriculum outcomes.

Nameofstudent Key

sof

G,D

,and

C

Det

erm

inin

gK

ey

Maj

orS

cale

For

m–

Pus

hPu

llor

der

Low

Oct

ave

–A

sc.A

ndD

esc.

Tabl

atur

e/D

iato

nic

Acc

ordi

on

Sing

le2

/4

Jig

6/8

Turn

Acc

ordi

ons

ino

ther

cul

ture

s

Polk

aM

usic

Thu

mb

stra

p/sh

ould

ers

trap

Play

ing

Posi

tion

and

Pos

ture

Soun

dPr

oduc

tion

–P

ush

and

Pull

Bra

ndN

ame

But

ton

/Pia

noA

ccor

dion

Rig

htS

ide

(Key

boar

d/M

elod

y)

1-3

Row

Bel

low

s

Left

Sid

eB

ass

Key

s

Air

But

ton

Fing

erT

echn

ique

–c

ontr

olm

ovem

ent

Dou

blin

g(r

epea

ting

not

es)

-bu

tton

s


Appendices

570

Name Ino

pen

and

2nd

posi

tion

s:C

+/a-

,G+/

e-,D

+/b

-,

A+/

f#,F

+/d

-

Min

orp

enta

toni

csc

ale

Ens

embl

ePl

ayin

g

Bar

red

Cho

rds

Play

pie

ces

that

mod

ulat

efr

omm

ajor

tom

inor

Bro

ken

Cho

rds

AA

BA

The

me

and

Var

iati

ons

Roc

kSh

uffle

,Blu

egra

ss,W

este

rnS

win

g,B

lues

Sh

uffle

,Lat

inS

huffl

e

Can

dem

onst

rate

fing

erp

icki

ng(

p,i,

m,a

)

Can

dem

onst

rate

alte

rnat

ing

bass

Can

dem

onst

rate

har

mon

ics

Can

dem

onst

rate

str

ing

bend

ing

Can

dem

onst

rate

ben

dan

dre

turn

Can

dem

onst

ate

mov

eabl

em

ajor

fing

erin

gs

Can

dem

onst

rate

pal

mm

utin

g

Can

dem

onst

rate

bar

red

chor

ds

Outcome Checklist for Guitar setting Levels III/Grade 9* Note: These outcomes are specific to the guitar setting and are intended to be completed in

addition to level III/grade 9 core curriculum outcomes.

Appendix B Assessment Strategies and Samples · Identifies and performs accelerando. Identifies and...

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Transcript of Appendix B Assessment Strategies and Samples · Identifies and performs accelerando. Identifies and...