District 65 Instrumental Music Curriculum...EVANSTON SCHOOL DISTRICT #65 INSTRUMENTAL MUSIC...

COMMUNITY CONSOLIDATED SCHOOL DISTRICT 65

Evanston, Illinois Skokie, Illinois

INSTRUMENTAL MUSIC CURRICULUM GUIDE

Band and Orchestra, Grades 4-8

COMPILED BY Alsyon Berger

Cary Jacobs Margaret Philbrick, Chairperson

Rob Tejada

Dr. Hardy Ray Murphy, Superintendent Susan Schultz, Assistant Superintendent of Middle School Curriculum Michael Robey, Assistant Superintendent of Elementary Curriculum

August 2010

EVANSTON SCHOOL DISTRICT # 65 INSTRUMENTAL MUSIC CURRICULUM

TABLE OF CONTENTS

1 Mission Statement..................................................................................................................1 2. Band and Orchestra Overview……………………………………………………………………………………….……..2 3. District 65/202 Music Standards…………………………………………………………………………………..……....3 4. Curriculum Introduction and Explanation…………………………………………..……………………….….…4 5. Curriculum – Year 1………………………………………………………………………………..….5-8

Year 2…………………………………………………………………………….…….9-12 Year 3………………………………………………………………………….……….13-17 Year 4……..……………………………………………………………….………….18-22 Year 5………………………………………………………………………………….23-27 6. Difficulty level of Correlation………………………………………………………………………………………….….28 7. Vocabulary – Year 1………………………………………………………………………………… 29-33 Year 2………………………………………………………………………………...34-36 Year 3………………………………………………………………………………...37-39 Year 4 & 5…………………………………………………………………………..40-42 8. Music Notation, Symbols, and Abbreviations…………………………………………………….................43 9. Correlation of Curriculum to District 65/202 Music Standards………………………………………...44 10. Textbook Materials and Resources……………………………………………………….……………………....45-49 11. References…………………………………………………………………………………………………………………….……..50

EVANSTON SCHOOL DISTRICT #65 INSTRUMENTAL MUSIC CURRICULUM

MISSION STATEMENT

Every child has a right to a comprehensive education in music.

We believe that studying the art of music is an essential part of the lives of all peoples and all cultures. Music can embrace, enhance, and support all other subjects and still maintain its own integrity as that special intelligence we call music. We believe that a comprehensive music education develops a depth of understanding and knowledge of the musical process as it relates to performing on an instrument both in individual and in group situations. We believe that studying instrumental music (in childhood) has profound effect on the development of higher levels of thinking, ability to do the complex reasoning required for higher level mathematics, promotes self-discipline and self-esteem and, has a positive effect on children’s lives and futures. Participation in and learning about music teaches critical thinking, problem solving, teamwork, discipline, creativity, and self-esteem. These are skills that transfer to all academics and other aspects of daily life through adulthood. Music is integral to every human culture and opens doors to understanding others through a universal language. We are our own best resource.

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BAND AND ORCHESTRA OVERVIEW Band and Orchestra recruitment takes place in September of each school year. The optimal time to enroll in the program is fourth grade; however, students may enroll in the later years. Grade school lessons are taught during the school day, in homogeneous group (by instrument), one thirty-minute group lesson per week. The ideal class size is between two and seven students. Lessons are designed to build upon each year’s material beginning in the fourth grade year. The grade school band and orchestra programs include an ensemble experience as part of a student’s musical development. Middle school lessons are taught during the school day, in a sectional format, one forty-minute lesson per week. Students are also required to participate in ensemble rehearsals, which typically take place before or after school. Rehearsals are scheduled at a director’s discretion. In addition, students are encouraged to study privately as a supplement to district instruction. Both the band and string orchestra programs focus on technique, musicianship, and theory. Repertoire studied includes a wide variety of musical styles and cultures as part of a student’s ensemble experience. Performances, both on-campus and off-campus, will be scheduled by the director with the school Principal’s approval. Music instruction is differentiated to accommodate a wide range of student needs. In accordance with the district’s standards, students are encouraged to participate in co-curricular events, such solo and ensemble contests, or district and state instrumental festivals which are offered each year. In order to continue a student’s musical development into their high school years, additional activities are coordinated with Evanston Township High School students and staff. Opportunities to attend professional off-campus performances during the school day will be provided to allow for evaluation and observation of higher level performances.

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MUSIC STANDARDS

Elements of Music:

Students will notate and analyze music. Students will compose and improvise music.

Performance: Students will be able to play and/or sing a varied repertoire of music alone and

with others. Evaluations:

Students will evaluate and describe music and music performance.

Technology: Students will utilize technology in the creation and performance of music.

Interdisciplinary:

Students will relate music to the other arts and to disciplines outside the arts.

Culture/History:

Students will, in a historical context, relate music to diverse cultures.

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EXPLANATION History In 1994 the U.S. Congress approved the Goals 2000: Educate America Act. This legislation established the arts, with specific standards for music, as a core subject area in which students should be able to demonstrate competence. The purpose of this curriculum guide is not only to help understand why music should be taught, but also to know what to teach. This guide is designed to provide teachers with a primary model for unifying district goals and objectives with our curriculum. The instrumental music curriculum is organized into five groups: year one, year two, year three, year four and year five. This is not based on grade in school, but rather on years of experience in the program. It is preferable that a student will start the program in fourth grade and continue through their middle school years; this allows a student to complete the entire instrumental music curriculum. Students may start this program at the beginning of any school year (grades 4-8), but regardless of grade, they will begin with the year one curriculum.

Each year’s curriculum is organized into six categories: 1. Basic Skills 2. Tone Production 3. Musical Concepts 4. Performance 5. History and Culture 6. Technology

The objectives from each category are consistent from year to year. Expectations increase with each consecutive year and the number of objectives may increase. Following the curriculum, a Standards Correlation page highlights the relationship between the curriculum and the District 65/202 Music Standards.

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YEAR ONE COURSE DESCRIPTION: Students in this course will transfer skills and concepts learned in K-3 general music as the foundation for beginning instrumental study. Proper techniques and instrument maintenance are introduced to ensure a strong foundation. Repertoire levels range in difficulty from 0.5 to 1.0 on a scale of 1-6. Culminating performances are a meaningful and mandatory component of this full year course.

YEAR ONE - BASIC SKILLS

1. The student will choose an appropriate instrument.

Guidance should be provided to the student and parents in selecting an instrument which is physically and financially appropriate, and which offers opportunity for success and ensemble balance.

2. The student will identify the basic parts of the instrument by name and demonstrate

proper care and assembly techniques. This knowledge will enable the student to follow instructions such as:

A. Strings: bow adjustment and maintaining the instrument in proper playing condition. B. Winds: players should demonstrate knowledge of reed strength and care where

applicable. Students should be able to demonstrate knowledge of mouthpiece cleaning and valve/slide care.

C. Percussion: students should demonstrate proper stick grip and appropriate set up of each percussive instrument.

3. The student will demonstrate proper playing position and playing technique. This will include the aspects of posture, hand and arm position, and the position of the

instrument in relation to the body. Tuning involves pitch discrimination and requires the ability to distinguish when a pitch is high or low with reference to a given standard.

A. Strings: correct finger patterns. B. Winds: correct finger patterns and use of tuning slides. C. Percussion: basic knowledge of alternating and lead hand sticking.

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YEAR ONE - TONE PRODUCTION

1. The student will demonstrate proper tone production techniques in order to produce a

tone that is characteristic of their instrument. Tuning involves pitch discrimination and requires the ability to distinguish when a pitch is high or low in reference to a given standard.

A. Strings: proper bow hold, right hand pizzicato, bow direction, speed, pressure/weight, and contact point of the bow.

B. Winds: embouchure, diaphragmatic breathing, breath support, and air flow. C. Percussion: grip, stick and mallet height, force of impact, and rebound.

2. The student will demonstrate basic articulations. A variety of articulations, attacks, and releases will be demonstrated for all instruments.

A. Strings: down bow, up bow, detache, proper bow speed, bow lifts. B. Winds: tonguing and slurring, accents and staccato playing. C. Percussion: stick accents and volume control.

3. The student will demonstrate knowledge of basic tuning concepts and procedures. Tuning involves pitch discrimination and requires the ability to distinguish when a pitch is high or low in reference to a given standard.

A. Strings: adjust finger position on the fingerboard. B. Winds: embouchure adjustment, proper air support, and appropriate adjustment of their

instrument. C. Percussion: adjust tension of drum pad or drum head.

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YEAR ONE - MUSICAL CONCEPTS

1. The student will identify the notes contained in the study material by letter name and by fingering/position. This includes demonstrating knowledge of both letter name and fingering correlation as well as staff placement.

2. The student will identify and define basic musical terms and symbols encountered in the study material. Terms and symbols found in beginning materials will include time signatures, key signatures, accidentals (sharps, flats and naturals), dynamic markings, fermata, repeat signs, bowings, and articulation marks. Reference pp. 29-33 & 43.

3. The student will perform basic rhythmic patterns in simple meters at various speeds. Patterns should include note values and corresponding rests in meters of 2/4, 3/4, 4/4. Reference pp. 29-33

4. The student will play the following major scales in the concert key signatures.

Suggested keys: A. Strings: Keys of G and D. B. Winds: Concert Keys of Bb, Eb, and F. C. Percussion: Concert Keys of Bb, Eb, and F.

5. Percussion students will play basic drumming rudiments (patterns).

These should include: double tap, single stroke roll, double stroke roll, single paradiddle, flam, and flamadiddle.

6. The student will be able to sight-read a simple musical line. Sight-reading material should be equivalent to the method book being used (0.5 difficulty).

7. The student will imitate simple rhythmic and melodic patterns. This includes playing familiar tunes by ear, which demonstrates technical and musical demands previously introduced.

8. The student will be able to define and recognize forms of compositional organization.

These include theme, melody, harmony, solo/soli, introduction, and round.

9. The student will notate, compose, and improvise examples appropriate to their level. This includes drawing notes, rests, musical symbols, completing a simple melody by filling in missing notes, and improvising a rhythm or melody based on a given set of instructions.

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YEAR ONE - PERFORMANCE

1. The student will perform in a concert setting. This includes participating in a minimum of one performance per year and implies correctly playing notes written for one instrument in coordination with other students playing like or unlike instruments or parts.

2. The student will perform music of various styles. This includes music from the approved method books and repertoire lists with a minimum music difficulty level of 0.5 on a scale of 1-6.

3. The student will demonstrate basic performance skills for a concert setting.

This includes proper attire, preparedness, and concert etiquette.

4. The student will evaluate his/her own performance of an exercise or solo. This includes recognition of rhythmic accuracy and note reading, using aural or technological skills.

YEAR ONE - HISTORY AND CULTURE

1. The student will understand the value of music as it relates to history and culture. This may include identifying the following:

country or origin of the music. historical time period. composer or artist’s correlating time period. cultural background from different musical genres.

YEAR ONE - TECHNOLOGY

1. The student will make use of technology to supplement individual skill development,

through assessment, and analysis. A student should be able to evaluate their own performance by integrating available technology resources (Smart Music). This may include use of CD/DVD, computer software, and recorded musical performances.

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YEAR TWO – COURSE DESCRIPTION: Students in this course will build on skills and concepts learned in year one curriculum. Commencing with year two students begin attending full ensemble rehearsals. Repertoire levels range in difficulty from 0.5 to 1.5 on a scale of 1-6. Culminating performances are a meaningful and mandatory component of this full year course.

YEAR TWO - BASIC SKILLS

1. The student will demonstrate a refined playing position appropriate with experience,

taking into consideration the student’s growth and motor ability. Attention will be given to the following: posture, standing/sitting, embouchure, angle of the instrument to the body, and the positioning of hands, fingers, and arms.

2. The student will demonstrate increased knowledge of instrument cleaning and care appropriate to their level of experience.

This includes polishing the instrument and keeping it free of dirt and debris.

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YEAR TWO - TONE PRODUCTION

1. The student will produce a controlled tone quality at various dynamic levels that is characteristic of their instrument.

A. Strings: use of proper bow weight and tone production on all four strings. B. Winds: The emphasis will be placed on centering and fullness of tone throughout the

dynamic range, as well as an increased range appropriate to a student’s ability level. C. Percussion: will recognize and produce appropriate tone quality for each instrument

studied.

2. The student will be introduced to a greater variety of articulations. A. Strings: two and three note slurs, hooks, double open strings, left hand pizzicato B. Winds: lip slurring exercises and tonguing/slurring patterns. C. Percussion: use of varied mallets and sticks to achieve the desired articulation

throughout the range of percussive instruments.

3. The student will demonstrate expanded knowledge of tuning.

Emphasis will be placed on tuning as it relates to self-awareness in ensemble playing with like or unlike instruments. This should include the use of fine tuners for string players. Students will begin to demonstrate independent tuning through the use of aids such as electronic tuners.

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YEAR TWO – MUSICAL CONCEPTS

1. The student will identify the notes contained in the study material by letter name and by fingering/position. Emphasis will be placed on an expanded knowledge of note range, letter names, and fingering/position appropriate to their experience and ability level.

2. The student will identify and define musical terms and symbols encountered in the

study material. Terms and symbols found in second year materials will include an expanded range of: time signatures, key signatures, accidentals, dynamic markings, tempo markings, repeat signs, bowings, articulation markings, and elements of form. Reference pp. 34-36

3. The student will perform rhythmic patterns in simple and compound meters at various tempos. Patterns should include note values and corresponding rests in meters of 2/4, 3/4, 4/4, 3/8, 6/8, 2/2. Reference p. 29-33

4. The student will play scales in the following key signatures. A. Strings: concert keys of G, D, C major for cello and viola, A major for violin and bass. B. Winds: Concert Keys of Bb, Eb, F, Ab, a one octave Bb chromatic scale, as well as an

introduction to minor keys.

5. Percussion students will play expanded drumming rudiments (patterns). These should include rolls: double tap, single stroke, double bounce, five-stroke roll, nine-stroke roll, multi-bounce as well as, single paradiddle, flam, flamadiddle. These rudiments should be played at a minimum speed of mm = 80.

6. The student will be able to sight-read music of appropriate difficulty (0.5 – 1.5). The difficulty level of the music should be equivalent to that found in the study material for a year two student. The student will begin to play through the chosen works from beginning to end after receiving instructions from the director.

7. The student will imitate simple rhythmic and melodic patterns of increased difficulty

included in second year study material. The student will play familiar tunes by ear which demonstrate technical and musical concepts previously introduced.

8. The student will be able to define and recognize forms of compositional organization. This includes recognizing aspects of form as they occur in repertoire. The student should be able to identify and play a musical phrase, showing an awareness of meter and form.

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9. The student will compose and notate examples of music appropriate to their level.

This includes drawing notes, rests, musical symbols, completing a melody by filling in missing notes, and improvising a rhythm or melody based on a given set of instructions.

YEAR TWO - PERFORMANCE

1. The student will perform in a concert setting. This includes participating in a minimum of two performances per year and implies correctly playing notes written for one instrument in coordination with other students playing like or unlike instruments or parts.

2. The student will perform music of various styles and levels of difficulty. This includes music from the approved method books and repertoire lists with a minimum music difficulty level of 0.5-1.5 on a scale of 1-6.

3. The student will demonstrate basic performance skills in a concert setting. This includes recognition of rhythmic accuracy and note reading, as well as the concepts of tempo and dynamics through the use of technological evaluation.

4. The student will evaluate one’s own performance of an exercise or solo.

This includes proper attire, preparedness, concert etiquette, and stage set-up.

YEAR TWO - HISTORY AND CULTURE

1. The student will expand their understanding of the value of music as it relate to history and culture. This may include identifying the country or origin of the music, identifying the historical time period, placing a composer or artist in the correct musical time period, and demonstrating knowledge of the cultural background from different musical genres.

2. The student will perform music that demonstrates a minimum of two different cultures.

This reinforces the concept that music is universal to all cultures.

YEAR TWO - TECHNOLOGY

1. The student will make use of technology to supplement individual skill development through, assessment, and analysis. This may include use of CD/DVD, computer software, and recorded musical performances. The metronome will be introduced as an aid for both class and individual study.

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YEAR THREE COURSE DESCRIPTION: Students in this course will build on skills and concepts learned in year two of instrumental playing. Commencing in year three, ensemble rehearsals will be extended to include full instrumentation. Repertoire levels range from 1.0 to 2.0 on a scale of 1-6. Students may participate in multiple public performance opportunities, participating in Illinois Grade School Music Association (IGSMA) events, Illinois Music Educators Association (IMEA) events, and attendance at musical events in the community at large. Enrichment opportunities such as Jazz Band and interdisciplinary activities may be offered. Culminating performances are a meaningful and mandatory component of this full year course.

YEAR THREE - BASIC SKILLS

1 The student will demonstrate the proper playing position, taking into consideration the

student’s growth and motor ability in order to perform music in a variety of settings. Attention will be given to the following: posture, standing/sitting, embouchure, angle of the instrument to the body, and the positioning of hands, fingers and arms.

2. The student will demonstrate increased knowledge of cleaning and care of the instrument appropriate to their level of experience.

A. Strings: should include use of humidifying aids and basic string replacement. B. Winds: disassembling, cleaning, and reassembling the instrument. C. Percussion: should include proper use and care of auxiliary instruments.

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YEAR THREE - TONE PRODUCTION

1. The student will produce a controlled tone quality throughout the practical range of the

instrument to allow for fluid performance. The standard for this objective will be based on the commonly accepted ranges as provided in method books being used, and will be adapted to accommodate individual student abilities.

A. Strings: Two octave scale range: violin G major, viola and cello C major, bass D major. B. Winds: will include notes applicable to a concert Bb scale. C. Percussion: will explore a variety of sticks and mallets to create different tone qualities

on any given instrument.

2. The student will demonstrate increased proficiency in the use of articulations at various

tempos. Attention should be given to expanding the techniques of attacks, releases, and bowings.

A. Strings: should string crossings, detache, martele, accents, fingered double stops, and bow placement.

B. Winds: should include muting techniques, expanded lip slurring, tonguing techniques, long tones, arpeggios, and chromatic studies

C. Percussion: should include open and closed rolls, chromatic sticking exercises, and the use of a variety of sticks and mallets to create different articulations on any given instrument.

3. The student will demonstrate an expanded knowledge of tuning.

Emphasis will be placed on tuning their instrument in an ensemble setting. Students should be able to discriminate between flat, sharp and in-tune pitch.

A. Strings: players will be introduced to the use of tuning pegs. B. Winds: should self tune through the use of tuning aids. C. Percussion: should be introduced to tympani tuning.

YEAR THREE - MUSICAL CONCEPTS

1. The student will identify the notes contained in the study material by letter name and by fingering/position.

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Emphasis will be placed on an expanded range of notes, letter names, fingerings/positions, alternate fingerings/positions, and string shifting, that are appropriate to a student’s third year of experience and ability level.

2. The student will identify and define musical terms and symbols encountered in the

study material. Terms and symbols found in third-year materials should include compositional time periods, identification of key signatures, complex time signatures, dynamic markings, tempo markings, bowings, and articulation markings. Reference pp. 37-39 & 43

3. The student will perform more complex rhythmic patterns in simple and compound meters at various tempos. Patterns should include subdivision, changing meters, mixed meters, as well as all note and rest values previously introduced.

4. The student will play scales in the following common key signatures. A. Strings: Major keys of G, D, C, and A, and the natural minor keys of D and G. B. Winds: the concert keys of F, Bb, Eb, Ab, and C major, as well as C and C minor, and a

one-octave chromatic scale. C. Percussion: mallet scales in the concert keys of F, Bb, Eb, Ab, and C major, as well as G

and C minor, and a one-octave Bb chromatic scale.

5. Percussion students will play expanded drumming patterns (rudiments). double tap, single stroke roll, double bounce roll, five-stroke roll, nine-stroke roll, Flam, single paradiddle, Drag (ruff)at mm=100

6. The student will be able to sight-read music of appropriate difficulty.

The difficulty level of the music should be equivalent to that found in the study material with a minimum difficulty of 1.0 to 2.0 on a scale of 1-6.

7. The student will imitate simple rhythmic and melodic patterns included in their third

year study material. The student will improvise a simple rhythmic or melodic variation on a given scale or chord pattern. The student will become familiar with sight reading in an ensemble, rehearsal, or lesson setting.

8. The student will be able to define and recognize forms of compositional organization. This includes recognizing more complex aspects of form as they occur in the repertoire. The student should be able to identify and demonstrate phrasing techniques, as well a show an awareness of meter and form. Reference pp. 37-39

9. The student will compose music appropriate to their ability level, given a set of

instructions. This should include oral, aural, and rhythmic composition.

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10. Students will be introduced to advanced instrumental techniques. This includes instrument specific trills, tremolos, and ornamentation appropriate to the

student’s ability level. YEAR THREE - PERFORMANCE

1. The student will perform in a concert setting. This includes participating in a minimum of three performances per year. The student should have an emerging awareness of performance techniques such as dynamics, blend, balance, styles, and understanding and interpreting conducting patterns.

2. The student will perform music of various compositional techniques, composers and

styles. This includes music from the approved method books and repertoire lists with a minimum music difficulty level of 1.0 to 2.0 on a scale of 1 -6. Students will be introduced to directive listening.

3. The student will demonstrate collaborative performance skills in a concert setting.

This includes the discipline of program order, stage presence, multi-ensemble membership, and overall preparedness.

4. The student will evaluate one’s own performance of an ensemble, exercise, or solo.

The student will discuss basic solutions to musical problems encountered in rehearsals with emphasis on tempo, phrasing, and dynamics.

5. The student will attend at least one off-campus professional quality music performance. This could include both school and non-school sponsored field trips.

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YEAR THREE - HISTORY AND CULTURE

1. The student will expand their understanding of the value of music as it relates to history and culture. This may include identifying the country or origin of the music, identifying the historical time period, placing a composer or artist in the correct musical time period, and demonstrating knowledge of the cultural background from different musical genres.

2. The student will perform music that demonstrates a variety of cultures. This reinforces the concept that music is universal to all cultures.

3. The student will interpret music in a manner consistent with historical perspective and

style. Emphasis will be placed on characteristics of different time periods such as Baroque and Classical.

YEAR THREE - TECHNOLOGY

1. The student will make use of technology to supplement individual skill development through, assessment, and analysis. This may include use of CD/DVD, MP3, computer software, and recorded musical performances. Electronic tuning aids will be used for both class and individual study.

2. The student will be given the opportunity to integrate current technology and

performance skills. Offerings may include: amplification equipment, recording aids, and technology software to aid in evaluation.

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EVANSTON DISTRICT #65 INSTRUMENTAL MUSIC CURRICULUM

YEAR FOUR COURSE DESCRIPTION:

Students in this course will build on skills and concepts learned in year three of instrumental playing. Commencing in year four, rehearsal offerings allow for differentiated student ability level. Repertoire levels range from 2.0 to 3.0 or on a scale of 1-6.

This should focus toward meaningful culminating performance activities which should include: multiple public performance opportunities, participating in Illinois Grade School Music Association (IGSMA), participation in Illinois Music Educators Association(IMEA), events and attendance at musical events in the community at large. Enrichment opportunities such as jazz band, small ensembles, symphony orchestra and interdisciplinary activities may be offered.

YEAR FOUR - BASIC SKILLS

1. The student will demonstrate a refinement of playing posture and position, taking into

consideration growth, experience, and a variety of ensemble settings. Various sitting and standing positions should be included for concert, solo, and jazz performance, as well as the use of instrumental accessories to achieve specific musical effects.

2. The student will demonstrate mastery of cleaning and care of the instrument appropriate to their level of experience and will begin to demonstrate an awareness of basic repair needs.

A. Strings: use of humidifying aids as well as string replacement and cleaning. B. Winds: should include disassembling, cleaning, and reassembling the instrument, asd

well as mouthpiece and key maintenance. C. Percussion: proper use and care of auxiliary instruments as well as maintaining drum

head tension.

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YEAR FOUR - TONE PRODUCTION

1. The student will demonstrate a refined tone quality throughout the practical range of the instrument to allow for a more fluid performance. The standard for this objective will be based on the commonly accepted ranges that are appropriate to the abilities of the individual. Students will develop an awareness of and be introduced to vibrato as applied to their instrument where applicable. Percussionists develop an awareness of variations in snare drum timbre.

2. The student will demonstrate a refinement of articulation skills and be introduced to

advanced techniques. Attention should be given to expanding the techniques of attacks, releases, and bowings.

A. Strings: introduction of concepts will include the application of alternative styles techniques. Additional focus may be placed on spiccato bowing and will include a refined awareness of bow speed, weight, and control.

B. Winds: may include an introduction to multiple tonguing, muting techniques, expanded lip slurring, arpeggio studies, chromatic studies, and instrument specific double tonguing, and an introduction to jazz articulation techniques.

C. Percussion: students should be able to discern the proper stick or mallet choice for a given instrument so as to produce the proper tone quality for a composition.

3. The student will refine their knowledge of tuning.

Emphasis will be placed on tuning one’s own instrument within an ensemble setting. Students should be able to discriminate between flat, sharp, and in-tune pitch, and also utilize alternate fingerings to correct tuning discrepancies. Strings will include tuning with harmonics (cellos and basses). Percussionists should demonstrate proficiency in tympani tuning.

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YEAR FOUR - MUSICAL CONCEPTS

1. The student will demonstrate proficiency in the identification of notes contained in the study material by letter name and fingering/position. Emphasis will be placed on mastering knowledge of note ranges, letter names, fingerings/positions, and alternate fingerings that are appropriate to their experience and ability level. For strings, this will include an introduction to playing in positions I through IV. Reference pp. 40-42

2. The student will expand knowledge of musical terms and symbols encountered in the study material. Terms and symbols found in materials should include expanded compositional time periods, jazz terminology, advanced time signatures, dynamic markings, tempo markings, bowings, and articulation markings. Reference pp. 40-42

3. The student will perform complex meters and rhythmic patterns. Patterns should include mixed meters, changing meters, asymmetrical patterns, free rhythm, and non-traditional notation, as well as all note and rest values previously introduced as applicable to differentiated instruction.

4. The student will play scales in the following common key signatures. Students should be able to read key signatures up to four flats and four sharps, as well as a one or two octave chromatic scale depending on the instrument and the level of proficiency.

5. Percussion students will demonstrate proficiency on the following fourteen drumming

rudiments (patterns). mm =100 Double tap, Single stroke roll, Double stroke roll, Single paradiddle, double paradiddle, drag(ruff), five-stroke roll, seven-stroke roll, nine-stroke roll, flam, flam accent #1, Flam tap, flamadiddle, and flamacue. Percussion students should be able to play these rudiments open or closed and should be able to apply these techniques in a variety of musical styles.

6. The student will be able to sight-read music of appropriate difficulty.

The music should be equivalent in difficulty found in the study material with a minimum difficulty ranging from 1.5 to 2.5 on a scale of 1-6. A student will become familiar with sight-reading new music in an ensemble rehearsal or lesson.

7. The student will imitate simple rhythmic and melodic patterns of increased difficulty based on fourth year concepts. The student will improvise a simple rhythmic or melodic variation on a given scale or chord pattern. Jazz studies will include simple solo improvisation.

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This includes recognizing complex aspects of form as they occur in the repertoire. The student should be able to identify and demonstrate phrasing techniques, show an awareness of meter and form, and develop an understanding of stylistic differences. Reference p28

9. The student will compose music appropriate to their level within a set of guidelines.

This will include oral, aural, and rhythmic composition.

YEAR FOUR - PERFORMANCE

1. The student will perform in a concert setting. This includes participating in a minimum of five performances per year. Emphasis should be placed on balance within the section and between sections, as well as the matching and blending of individual sounds.


styles. This includes music from the approved repertoire lists with a minimum music difficulty level of 1.5 to 3.0 on a scale of 1-6. Students will apply the appropriate articulations within a given musical style. Students will refine directive listening skills.

This will include the introduction of swing eighth notes and chord symbols in jazz studies. Strings will be introduced to double stops, chords, and rapid string crossings with separate bows

3. The student will evaluate one’s own performance. The student will discuss solutions to musical problems encountered in rehearsals with emphasis on tempo, phrasing, and dynamics.

4. The student will demonstrate leadership through performance skills in a concert

setting. This includes the discipline of program order, stage presence, multi-ensemble membership, and leadership in overall preparedness. Students will demonstrate an awareness of and response to the director’s leadership. Students should able to follow, as well as conduct beat patterns.

5. The student will attend at least one off-campus professional quality music performance.

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YEAR FOUR - HISTORY AND CULTURE

1. The student will expand their understanding of the value of music as it relates to history and culture.

The student will explore the emotional and social impact of musical performances on one’s own life in the community and in other cultures.

2. The student will continue to perform music demonstrating a variety of cultural

backgrounds. This continues to reinforce the concept that music is universal to all cultures.


style. Emphasis will be placed on characteristics of different musical time periods, with music performed covering a minimum of two different time periods, for example; Classical and Romantic. Reference pp. 28

YEAR FOUR - TECHNOLOGY

1. The student will continue to make use of technology to supplement individual skill

development, through assessment, analysis and compositions.

This may include use of CD/DVD, MP3, computer software, and recorded musical performances. Tuners and metronomes will be used as aids for class and individual study.

2. The student will be given further opportunities to integrate current technology with

performance skills. Offerings may include: introductions to electronic strings, amplification equipment, microphone technique, and recording technology.

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YEAR FIVE COURSE DESCRIPTION:

Students in this course will build on skills and concepts learned in year four of instrumental playing. Commencing in year five, rehearsal offerings continue to allow for differentiated student ability level. Repertoire levels range from 2.0 to 3.5 or on a scale of 1-6. Students completing five years of instrumental instruction should conclude the year with the instrumental experience necessary to successfully transition into any high school level program.

This should focus toward meaningful culminating performance activities which should include: multiple public performance opportunities, participation in Illinois Grade School Music Association (IGSMA) and Illinois Music Educators Association (IMEA) events, and musical performances in the community at large. Enrichment opportunities such as jazz band, small ensembles, symphony orchestra, and other interdisciplinary activities may be offered.

YEAR FIVE - BASIC SKILLS

1. The student will demonstrate a refinement of playing posture and position, taking into

consideration growth, experience, and a variety of ensemble settings. Various sitting and standing positions should be included for concert, solo, and jazz

performance, as well as the use of instrumental accessories to achieve specific musical effects.

2. The student will demonstrate mastery of cleaning and care of the instrument, appropriate to their level of experience, and will begin to demonstrate an awareness of basic repair needs.

A. Strings: use of humidifying aids, string replacement, polishing, and cleaning. B. Winds: disassembling, cleaning, and reassembling the instrument, inclusive of valve

repair. C. Percussion: proper use and care of auxiliary instruments, as well as maintaining tension

or replacing drum heads. 23

YEAR FIVE - TONE PRODUCTION

1. The student will demonstrate a refined tone quality throughout the practical range of the instrument to allow for a more fluid performance. The standard for this objective will be based on the commonly accepted ranges that are appropriate to the abilities of the individual. Students continue the development and refinement of vibrato as applied to their instrument where applicable. Percussionists refine their awareness of variations in snare drum timbre.

2. The student will demonstrate a refinement of articulation skills and be introduced to advanced techniques. Attention should be given to expanding the techniques of attacks, releases, and bowings.

A. Strings: Concepts may include the refinement of alternative style techniques (chop bowing and ghost notes). Additional focus will be placed on loure, spiccato, and other more advanced bowing techniques. A refined awareness of bow speed, weight, and control will be addressed.

B. Winds: may include a continuing study of to multiple tonguing, muting techniques, expanded lip slurring, arpeggio studies, chromatic studies, and flutter tonguing. An expanded repertoire of jazz articulation techniques such as scoops, falls, and shakes could be covered as well.

C. Percussion: students will be able to discern the proper stick or mallet choice for a given instrument so as to produce the proper tone quality for a composition.

3. The student will refine their knowledge of tuning. Emphasis will be placed on mastering of tuning techniques for one’s own instrument within an ensemble setting. Students should be able to discriminate between flat, sharp and in-tune pitch and also utilize alternate fingerings to correct tuning discrepancies. Strings will demonstrate independent tuning of open strings. Percussionists should demonstrate mastery of tympani interval tuning.

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YEAR FIVE - MUSICAL CONCEPTS

1. The student will demonstrate mastery in the identification of notes contained in the

study material by letter name and fingering/position. Emphasis will be placed on mastering knowledge of note ranges, letter names, fingerings/positions

and alternate fingerings that are appropriate to their experience and ability level. For strings, this will include developing playing skill in positions I through IV. See Chart: Reference pp 29-33

2. The student will expand knowledge of musical terms and symbols encountered in the

study material. Terms and symbols found in the materials should include expanded compositional time periods, jazz terminology, advanced time signatures, dynamic markings, tempo markings, bowings, and articulation markings.

3. The student will demonstrate proficiency when performing complex meters and rhythmic patterns. Patterns should include mixed meters, changing meters, asymmetrical patterns, free rhythm, and non-traditional notation, as well as all note and rest values previously introduced as applicable to differentiated instruction.

4. The student will play scales in the following common key signatures.

Students should be able to read key signatures up to four flats and four sharps,s as well as a one or a two octave chromatic scale, depending on the instrument and the level of proficiency.

5. Percussion students will demonstrate proficiency on the following fifteen drumming

rudiments (pattern). mm =120 double tap, single stroke roll, double stroke roll, single paradiddle, double paradiddle, drag(ruff), five-stroke roll, seven-stroke roll, nine-stroke roll, 17 stroke roll, flam, flam accent #1, flam tap, flamadiddle, and flamacue. Percussion students should be able to play these rudiments open or closed and should be able to apply these techniques in a variety of musical styles.

6. The student will demonstrate mastery when sight-reading music of appropriate

difficulty. The music should be equivalent in difficulty found in the study material with a minimum range of difficulty from 1.5 to 2.5 on a scale of 1-6. A student will become familiar with sight-reading new music in an ensemble rehearsal or lesson.

7. The student will imitate simple rhythmic and melodic patterns of increased difficulty based on fifth year concepts. The student will improvise rhythmic or melodic variations on a given scale or chord pattern. Jazz studies will include a continued development of solo improvisation.

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This includes recognizing complex aspects of form as they occur in the repertoire. The student should be able to identify and demonstrate phrasing techniques, show an awareness of meter and form, and develop an understanding of stylistic differences in music. Reference p28

9. The student will compose music appropriate to their level within a set of guidelines.

This will include oral, aural, and rhythmic composition. YEAR FIVE - PERFORMANCE

1. The student will perform in a concert setting. This includes participating in a minimum of five performances per year. Emphasis should be

placed on balance within the section, and between sections as well as the matching and blending of individual sounds.


styles. This includes music from the approved repertoire lists with a minimum music difficulty level of 2.0 to 3.5 on a scale of 1-6. Students will apply the appropriate articulations within a given musical style. Students will continue to refine directed listening skills. This will include the continuation of swing eighth notes and chord symbols in jazz studies. Strings will continue to refine double stops, chords, and rapid string crossings with separate bows

3. The student will evaluate one’s own performance. The student will discuss solutions to musical problems encountered in rehearsals with emphasis on tempo, phrasing, dynamics, ensemble balance and chord structure.

4. The student will demonstrate skills in a concert setting.

This includes the discipline of program order, stage presence, multi-ensemble membership, and leadership in overall preparedness. Students will demonstrate an awareness of and response to the director’s leadership. Students should be able to follow as well as conduct beat patterns.

5. The student will attend at least one off-campus professional quality music performance.

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YEAR FIVE - HISTORY AND CULTURE

1. The student will expand their understanding of the value of music as it relates to history and culture. The student will explore the emotional and social impact of musical performances on one’s own life in the community and in other cultures.

2. The student will continue to perform music demonstrating a variety of cultural

backgrounds in collaboration with other fine arts departments. This continues to reinforce the concept that music is universal to all cultures.


style. Emphasis will be placed on characteristics of different musical time periods, with music performed covering a minimum of three different time periods. For example: Classical, Romantic, and 20th Century. Reference pp 28

YEAR FIVE - TECHNOLOGY

1. The student will continue to make use of technology to supplement individual skill

development, through assessment, analysis and compositions. This may include use of CD/DVD, computer software, and recorded musical performances. Tuners and metronomes will be used as aids for class and individual study.

2. The student will be given further opportunities to integrate current technology with

performance skills. Offerings may include: introductions to electronic strings, amplification equipment, microphone technique, and recording technology.

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Music Difficulty Level of Correlation

Level of Difficulty

For purposes of these standards, music is classified into six levels of difficulty:

Level .5-Very easy. Simple rhythms; very limited range

Level 1- Easy. Easy keys, meters, and rhythms; limited ranges

Level 2-Moderately easy. May include changes of

tempo, key and meter; modest ranges

Level 3-Moderate. Contains moderate technical demands, expanded ranges, and varied interpretive requirements.

Level 4-Moderately difficult. Requires well-developed technical skills, attention to phrasing and interpretation, and ability to perform various meters and rhythms in a variety of keys.

Level 5-Difficult. Requires advanced technical and interpretive skills; contains key signatures with numerous sharps or flats, unusual meters, complex rhythms, subtle dynamic requirements.

Level 6-Very difficult. Suitable for musically mature students of exceptional competence.

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YEAR ONE VOCABULARY

*indicates strings only ^indicates band only

Accent The emphasis on a note resulting in that note being louder or longer than another in a measure.

Accidental A sharp, flat, or natural not included in the given key

Air Pattern^ Blowing a rhythmic pattern without the use of an instrument for the purpose of practicing air flow

Allegro Quick tempo; cheerful

Alto Clef* The C clef falling on the third line of the staff, most of the time it is used by the viola.

Andante Moderate tempo

Arco* Play with the bow

Arpeggio A broken chord in which the individual notes are sounded one after another instead of simultaneously.

Articulation Directions to a performer typically through symbols and icons on a musical score that indicate characteristics of the attack and duration of a given note.

Bass Clef The clef that indicates the fourth line of the staff as f. Used by low sounding instruments

Bar Lines The vertical line placed on the staff to divide the music into measures.

Beat Regular pulsation; a basic unit of length in musical time

Bow Lift* The sign for a bow lift is: and indicates the string player should lift their bow, and return it to its starting point.

Breath Mark The sign for a breath mark is: and indicates the wind player should take a breath at this point.

Chord A combination of three or more tones sounded simultaneously.

Common Time 4/4 time; indicated in the score by the symbol C

Crescendo Crescendo (cresc.) means to gradually become louder, and is indicated by

the sign:

Da Capo (D.C.) (D.C.) repeat from the beginning.

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Dal Segno (D. S.) (D.S.) repeat from the sign. s

D.C. al Fine Tells a player to go back to the beginning, and end at the Fine marking (D.C. is an abbreviation for "da capo," and means "from the beginning" and Fine means "end").

Decrescendo (decresc. or decr.) to become softer, and is indicated by the sign:

Diminuendo (dim.) to gradually become softer.

Divisi An instruction in ensemble music that instructs one section to divide into two or more separate sections, each playing a separate part. Often these separate parts are written on the same staff.

Dotted Half Note in 4/4 time, a note that is counted for 3 beats

Dotted Quarter Note in 4/4 time, a note that is counted for 1 and a half beats

Double Bar Two vertical lines placed on the staff to indicate the end of a section or a composition.

Down Beat The first beat of a measure; given by the conductor with a downward stroke

Duet A piece for two performers

Dynamics A term that indicates the degree of loudness or softness in a musical composition.

Eighth Note e in 4/4 time, a note that is counted for half a beat

Eighth Rest in 4/4 time, a rest that is counted for half a beat

Embouchure^ The position of the lips and mouth when playing a wind instrument.

Fermata Hold; pause .

1st & 2nd Endings One or more measures which occur at the end of a phrase, it is usually indicated: play the notes under bracket 1 the first time through, then the notes under bracket 2 the second time through.

Fine The end

Flat A symbol which lowers the pitch of a note one half step.

Forte Loud

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Half Note h in 4/4 time a note that is counted for 2 beats

Half Rest in 4/4 time a rest that is counted for 2 beats

Half Step

The interval from one pitch to the immediately adjacent pitch, ascending

or descending, e.g. c-c ; e-e ; b-c. The smallest interval on the keyboard.

Harmony The sounding of two or more tones simultaneously; the vertical aspect of music.

Interval The difference in pitch between two tones.

Introduction a preliminary section in a piece of music

Ledger Lines Short lines placed above and below the staff for pitches beyond the range of the staff.

Ligature^ Device used on woodwind instruments to hold the reed to the mouthpiece. The ligature is normally made of metal and acts as a clamp to hold the reed secure.

Measure

A group of beats containing a primary accent and one or more secondary accents, indicated by the placement of bar lines on the staff. The space between two bar lines.

Measure Repeat Sign The sign to designate the repeat of an entire measure is a single slash with two dots (./.) within the measure immediately after the measure to be repeated.

Melody A tune; a succession of tones comprised of mode, rhythm, and pitches so arranged as to achieve musical shape

Mezzo Forte Moderately loud. Mezzo forte is indicated by the marking: mf

Mezzo Piano Moderately soft. Mezzo piano is indicated by the marking: mp

Moderato A moderate tempo or speed. This term sometimes modifies other tempos such as Allegro moderato, which means moderately fast.

Multiple Measure Rest

Natural Sign A musical symbol which cancels a previous sharp or flat

Notes The symbol which, when placed on a staff with a particular clef sign, indicates pitch.

A number over a line indicating how many measures to rest.

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Phrase A relatively short portion of a melodic line which expresses a musical idea

Piano Soft

Pick up Notes Note(s) that preceed the first strong metrical beat of a composition

Quarter Note q in 4/4 time a note that is counted for one beat

Quarter Rest

Repeat Sign

Indicates the repetition of a section of music as indicated by the following signs.

Round A piece of music in which two or more parts having the same melody, start performing at different points. The parts may be repeated as desired.

Rudiment Fundamental strokes or patterns that are basic to all drum music and technique.

Scale An ascending or descending arrangement of pitches

Sharp A symbol which raises the pitch of a note one-half step.

Slur A curved line placed above or below two or more notes of different pitch to indicate that they are to be performed in legato style or in the same bow direction for strings

Soli A solo for a section of players as opposed to one player

Solo To perform alone or as the predominant part.

Staccato Detached sounds, indicated by a dot over or under a note. The opposite of legato.

Staff

Tempo The rate of speed in a musical work.

Tie A curved line over or below two or more notes of the same pitch, the note values are added together to determine the note’s length.

Time Signature The numbers placed at the beginning of a composition to indicate the meter of the music, e.g. . The upper number indicates the beats in a

Five horizontal lines, with four spaces, upon which the notes and other musical symbols are placed.

in 4/4 time a rest that is counted for one beat

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measure; the lower number tells what kind of a note will receive one beat.

Tonguing^ To employ the tongue in producing, modifying, or interrupting the tones of certain wind instruments.

Treble Clef The G clef falling on the second line of the staff.

Trio A composition for three players

Tutti All. A direction for the entire ensemble to sing or play simultaneously.

Unison All players perform the same notes at the same time, either at exactly the same pitch or in a different octave.

Up-beat One or more notes occurring before the first bar line or the unaccented beat of a measure.

Warm up To prepare for performance or rehearsal by practicing beforehand, usually a specific routine or exercise.

Whole Note w in 4/4 time a note that is counted for 4 beats

Whole Rest in 4/4 time a rest that is counted for 4 beats

Whole Step An interval of 2 half steps.

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YEAR TWO VOCABULARY


ABA Ternary form

AABA Sonata form

Accelerando Accelerating, gradually increasing the tempo

Adagio Slow

Alla Breve In cut-time. Two beats per measure or equivalent thereof.

Balance Appropriate mix of tonal and melodic qualities

Blend Proper mix of melody, harmony, and tone quality

Blues In a Jazz context; a 12-bar progression based on the I, IV, and V7 chords

Canon Strict counterpoint where each voice exactly imitates the previous voice at a fixed distance

Carol Song with a refrain repeated after each stanza

Chorale Song usually written in four voices; melody is usually in the top voice with supporting harmony in the lower voices

Chord Progression Series of chords played in order

Chromatic Scale A scale that divides an octave into semitones, or half-steps. There are twelve half-steps in an octave.

Coda A tail, a closing section of music

Composition A musical work.

Concert Pitch A pitch that non-transposing instruments sound. Also, the tuning pitch of an ensemble.

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Consonance Sounds sweet and pleasing to the ear as opposed to dissonance.

Countermelody A second but subordinate melodic line sometimes found in music that has a melody and an accompaniment.

Cue Notes A phrase inserted in small notes to show another instrument’s musical line.

Cutoff Arm or hand motion made by a conductor to an ensemble that they stop performing.

Descant The treble or soprano voice

Dissonance Two or more notes sounded together which are discordant and require resolution.

Divisi Notation in ensemble music that instructs one section to divide into two or more separate sections.

D.S. al Coda A musical notation that informs the performer to repeat a specific section of the composition marked by a sign.

Dot A mark that represents a duration directive; placed to the right of a note, it adds half the note value to the original note.

Duplet A grouping of two notes played in the time usually taken to play three.

Enharmonics Two separate notations for the same sound, eg. F#=Gb

Folk Song Music of a particular culture.

Form The structure of a musical composition.

Glissando A rapid ascending or descending of the scale.

Homophonic A style of composition in which there is one melody, and all the voices and accompaniments move rhythmically together.

Improvisation Spontaneous performance of music without previous preparation or written notes.

Intonation Proper production of a tone so that it is exactly in tune.

Introduction A preparatory movement to introduce a larger composition.

Key Change Change in tonality.

Largo Slow and solemn.

Legato Playing in a smooth, graceful, connected style.

Major Tonality of the major scale.

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Meter Measure of time, grouping of beats into a regular pattern.

Metronome Device that keeps a regular beat and may be adjusted to any tempo.

Minor Series of tones that defines a minor tonality.

Multiple Measure Rest Notation to denote rests of two or more measures.

Phrasing The art of performing music that allows each phrase to be conceived as a single unit using correct breathing, dynamics, and rhythm.

Play by Ear The art of figuring out a tune without the use of written music.

Poco a Poco Little by little; used to modify tempo or dynamic markings.

Polyphonic Composition with many voices, each with it’s own melody.

Rallentando Gradually slowing down.

Rhythm Division of music into regular metric portions, the regular pulsation of music.

Ritardando Gradual delay of the tempo.

Scale Series of notes in ascending or descending order that presents the pitches of a key or mode.

Shift Movement of the left hand from one position to another when playing a stringed instrument.

Syncopation Disrupting the meter or pulse of a composition by means of a temporary shifting of the accent to a weak beat or off-beat.

Tacet Indication in music that a musician is to be silent for some time, typically for an entire section or movement.

Tenuto A directive to perform a certain note in a sustained manner.

Theory The art of analyzing music and understanding form and structure of a piece.

Triplet Three notes of equal length that are to be performed in the duration of two notes of equal length.

Tuning The adjustment of the pitch of an instrument.

Unison Two or more instruments or sections playing the same notes.

Vivace Tempo marking that denotes lively, brisk.

Vivo Tempo marking that denotes lively, animated, or brisk; slightly faster than vivace.

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YEAR THREE VOCABULARY


8va One octave higher

A Tempo Returning to the preceding speed

Agitato Agitated; faster, more aggressively played

Allegretto Quite lively; moderately fast

Animato With animation; spiritedly

Baroque Within the historical period of 1600-1750

Bowing* To mark a piece with signs indicating the bowing to be used.

Cantabile In a singing style

Cesura To cease or stop

Classical Western music from 1770-1830

Con With

Dampit* A humidifying sponge inserted inside of string instruments

Detache* Detached, but not short

Dominant The fifth tone on a major or minor scale

Duple Meter Rhythm of 2 beats in a measure

Leggiero Light,airy

Lento Slow, slower than Adagio

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Maestoso Majestic

Marcato Marked, with emphasis

Martele* Hammered, play notes with a sharp decided stroke

Modulation Passage from one key into another

Fortissimo Very Loud

Grace Note A note of embellishment, with no time value.

Grandioso Pompously

Grave Heavy, slow, ponderous in movement

Jazz A music style characterized by improvisation and swinging beat composed of a steady, prominent meter and syncopated rhythms.

Non Divisi* Playing two notes simultaneously on a stringed instrument.

Penultimate Second to last; applied to notes or measures

Pianissimo Very soft

Presto Very fast

Score The entirety of the instrumental and vocal parts of a composition in written form, placed together in staves placed one below the other.

Senza Without

Sforzando To perform a note with sudden emphasis

Sordino mute

Sostenuto sustained

Staggered Bowing* When sustaining a note with 2 or more players, bow changes should occur at different times

Staggered Breathing^ When sustaining a note with 2 or more players, breathing should occur at different times

Stringendo Gradually getting faster

Subdivision To break up a larger metrical pattern into smaller parts so that it may be more easily understood

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Swing In an equal note pattern, playing the first note slightly longer than the second note.

Tempo Primo To return to the original tempo in a composition, usually after a diversion from the original tempo.

Theme and Variation A style of composition that first presents a basic theme and alters that theme in successive statements.

Tonic The keynote of a scale; the first note

Tremolo Rapid alternation between 2 non-scale wise notes; *rapid bow alternation on a single note

Trill The even and rapid alternation of 2 tones

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YEAR FOUR & FIVE VOCABULARY


8vb A symbol directing one to play a passage one octave lower.

ABACA Rondo Form

Allargando

Growing broader, louder, and slower

Andantino A moderate tempo marking slightly faster than andante, but slower than moderato.

Concerto A composition that shows off a specific instrument with an ensemble used as accompaniment.

Contemporary Music of the current time period.

Con Moto With motion

Double Flat To lower a note or tone by 2 half steps

Double Sharp To raise a note or tone by two half steps

Double Tongue A technique used in playing a wind instrument, which allows notes to be played in rapid succession. It is achieved by rapidly alternating the T and K consonant.

Espressivo To play with expression

Falls A rapid descending of the scale; a fast drop off from the end of a note, creating the feeling of “falling off” of the pitch.

Flutter Tongue A technique of tonguing where the player rolls an “r” while blowing into a wind instrument.

Fortississimo Very, very loud.

Gracioso To play with grace; graciously.

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Harmonic Minor This scale is the same as a natural minor, except that the seventh tone is raised a half step both ascending and descending.

Harmonic The partial tones produced by the vibration of fractional parts of the string or air column.

Ictus The point of each beat in a conductor’s beat pattern.

Loure* Bowing in which slurred notes are played with a slight separation in the same direction.

Luft-Pause* Breath mark

March A processional or military air especially suited to parades, processions, or martial affairs usually written in 2/4 or 6/8 time.

Melodic Minor Scale where the sixth and seventh tones are raised by a half-step when ascending but goes according to key signature when descending.

Meno Less

Molto Much, a great deal, extremely

Morendo A directive to perform a certain passage in a manner that dies away or diminishes in tone or tempo.

Multiple Tonguing Double and triple tonguing

Natural Minor A scale that has the same tones as a major scale but uses the sixth tone of the major scale as its tonic.

Off-String Bowing* Lifting the bow off the string between each stroke.

Ornamentation Decorative notes of short duration added to compositions to emphasize certain notes and to add flavor to the composition.

Pesante Performing a passage in a heavy, ponderous fashion, with importance and weight, impressively

Pianississimo

Very, very soft

Piu More; typically used to modify tempo markings as in “piu mosso” meaning “more motion”

Poco A little; typically used to modify tempo markings

Ponticello To play with the bow on the bridge of a stringed instrument, making a scratchy sound.

Portato* Slurred notes played with a slight separation

Prestissimo Very, very fast

Pure Minor Natural minor

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Ricochet* Bow stroke where the bow is dropped on the string and rebounds on the string for several notes.

Ripieno Tutti, everyone plays

Ritenuto A directive to perform a certain passage of a composition with a slowing of the tempo more suddenly and extremely than a ritardando.

Romantic In music history, the time period from 1815-1910, characterized by rich harmonies and heavy melodies.

Rubato To dwell on and prolong prominent melody tones and taking time away from less prominent notes.

Scoop^ A jazz term that describes attacking a note from slightly below and resolving at the main note

Score Order The placement of the instruments in a musical score.

Secco Dry

Shake^ A jazz term describing a trill between one note and it’s minor third or on a brass instrument between a note and its next overblown harmonic.

Simile To perform a passage of a composition in a similar manner as a previous passage.

Slide* Swiftly ascending or descending scale tones.

Sul Tasto* Italian term for “at the fingerboard”

Spicatto* Separated, detached as played on a bowed stringed instrument. Notes are to be played with the point of the bow.

Sprechstimme A vocal style in which the melody is spoken at approximate pitches rather than sung on exact pitches.

Sonata Instrumental genre in several movements for a soloist or an ensemble.

Subdominant A tone that is one step below the dominant of a key.

Triple Tongue^ Articulation produced by alternating the “T” and “K” syllables to make a triplet pattern.

Turn An ornament consisting of four notes: the note above the main note, the main note, the note below the main note, and the main note.

Twentieth Century Music that was extremely varied with no dominant style emerging. A feature of the music of this time was an increased use of dissonance.

Vamp A simple pattern repeated until a soloist is prepared to enter or until music action continues.

Vibrato Technique involving slight fluctuation of the pitch of a note in order to enhance the tone.

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Instrumental Music Notation, Symbols, and Abbreviations Year 1

Year 2

Year 3

Year 4

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Correlation of curriculum to District 65/202 Music Standards

Standard #1 Elements of Music 1 Students will notate and analyze music Musical Concepts History Technology Objectives: 1,2,4,8,9,10 Objective: 3 Objective: 1

Standard #2: Elements of Music 2 Students will compose and improvise music Musical Concepts History Objectives: 7, 9 Objective: 1

Standard #3: Performance Students will play and /or sing a varied repertoire of music alone and with others. Musical Concepts History Technology Objectives: 1,2,4 Objective: 2 Objective: 2

Standard #4: Evaluation Students will evaluate and describe music and music performance. Musical Concepts History Technology Objectives: 3 Objective: 3 , 5 Objective: 1

Standard #5: Use of Technology Students will utilize technology in the creation and performance of music. Musical Concepts Objectives: 1,2,

Standard: #6 Interdisciplinary Students will relate music to the other arts and to disciplines outside the arts. Musical Concepts History Technology Objectives: 3 Objective: 3 Objective: 1 For reading and math concepts

Standard: #7: Culture/History Students will, in a historical context, relate music to diverse cultures. Musical Concepts Objectives: 1,2,3

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TEXTBOOK MATERIALS AND RESOURCES

REPETORIE LIST Example, J.J. Peppers Sons, Inc., Sheet Music Retailer, www.jwpepper.com

I. METHOD BOOKS (Band) Accent On Achievement (Books 1-3) By John O’Reilly and Mark Williams Alfred, 1997 Essential Elements (Books 1-2) By Tom C. Rhodes, Donald Bierschenk, Tim Lautzenheiser, and John Higgins Hal Leonard, 1991 Essential Elements 2000 (Books 1-2) By Tim Lautzenheiser, John Higgins, Charles Menghini, Paul Lavender, Tom C. Rhodes, and Donald Bierschenk Hal Leonard, 1999 Essential Technique: Intermediate to Advanced Studies By Tom C. Rhodes, Donald Bierschenk and Tim Lautzenheiser Hal Leonard, 1993 Foundations for Superior Performance By Jeff King and Richard Lewis Neil A. Kjos Music Co., 2010 Measures of Success By Deborah A. Sheldon, Brian Balmages, Timothy Loest, Robert Sheldon FJH Music Co., 2009 Rhythm Masters (Books 1-2) By J.R. McIntyre and Harry Hanes Southern Music, 1992 Standard of Excellence (Books 1-3) By Bruce Pearson Kjos, 1993 Student Instrumental Course (Books 1-3) Various Authors for each instrument Belwin

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Warm-Ups and Beyond: A Comprehensive Book for Develop ing Bands By Timothy Loest with Percussion by Kevin Lepper The FJH Music Company, Inc., 2003 The Yamaha Advantage (Books 1-2) By Sandy Feldstein and Larry Clark Carl Fischer, 2002 Yamaha Band Student (Books 1-3) By Sandy Feldstein and John O’Reilly Alfred, 1988 II. PERFORMANCE BOOKS (Band) Standard of Excellence: First Performance By Bruce Pearson and Barrie Gott Kjos, 2001 Yamaha Band Ensembles By John O’Reilly and John Kinyon Alfred, 1990 III. METHOD BOOKS (Jazz) The Blues Scales: Essential Tools for Jazz Improvisation By Dan Greenblatt Sher Music Co., 2004 Chop Monster: A Jazz Language Tutor (Books 1-2) By Shelly Berg J. Fraser Collection, 1998 Easy Jazz Conception: 15 Solo Etudes for Jazz Phrasing, Interpretation and Improvisation By Jim Snidero Advance Music, 1999

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Essential Elements for Jazz Ensemble By Mike Steinel Hal Leonard, 2000 Standard of Excellence Jazz Ensemble Method By Dean Sorenson and Bruce Pearson Kjos, 1998 IV. PERFORMANCE BOOKS (Jazz) A New Approach to Jazz Improvisation (113 Volumes) By Jamey Aebersold Jamey Aebersold Jazz, Inc. Best of Belwin Jazz: Young Jazz Collection Various Composers Alfred Music Co. Best of Essential Elements for Jazz Ensemble Arranged by Mike Steinel and Michael Sweeney Hal Leonard Discovery Jazz Favorites Sweeney/Berry/Clark/Nowak Hal Leonard The Real Easy Book: Tunes for Beginning Improvisers Stanford Jazz Workshop Sher Music Co., 2003 V. METHOD BOOKS (Strings) All for Strings By Gerald E. Anderson and Robert S. Frost Kjos, 1985 Essential Elements 2000 for Strings (Books 1-3) By Allen, Gillespie, and Haynes Hal Leonard, 2002

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Strictly Strings (Books 1-3) By Dillon, Kjelland, and O’Reilly Highland Etling, 1993 String Explorer (Books 1 -2) By Andrew Dabczynski and Richard Meyer and Bob Phillips Highland/Etling 2003 VI. PERFORMANCE BOOKS (Strings) Concert Tunes for Beginning Strings (Books 1-2) By Dale Brubaker JLJ Music, 1992 First Things First By Robert S. Frost Kjos, 2000 Orchestra Expression Vol. 1 & 2 Bullock /Lopez Alfred Publishing, 2007 Strickly String Classics Vol 1 & 2 John O’Reilly, Highland Etling, 1995 Strings Extraordinaire Monday/McAllister Kjos, 2008 Stringtown Tunes By Doris Gazda Carl Fischer, 2005 Technicises for Strings By Jim Probasco and Dale Swisher Heritage/Lorenze, 2002 Viva Vibrato By Gerald F. Fischbach and Robert S. Frost Kjos, 1997

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VII. PERFORMANCE BOOKS Jazz Philharmonic By Randy Sabien and Bob Phillips Alfred, 2000 Mariachi Philharmonic Nieto arranged by Boby Phillips Alfred Publishing 2005 VIII. MUSIC TECHNOLOGY RESOURCES Avid Sibelius Software, Ltd. Band-in-a-Box PG Music, Inc. Finale Smart Music Coda Music Technology Finale Notepad Make Music Technology Garage Band Apple Inc. 2002-2009 Itunes Apple Inc 200- 2010

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References

Teaching Stringed Instruments: A Course of Study, Reston, VA: Music Educators National Conference, 1991. The School Music Program: A New Vision, The K-12 Standards, Pre-K Standards, and What They Mean to Music Educators. Reston, VA: Music Educators National Conference, 1994. Standard of Excellence, Book 1 & 2 Curriculum, Bruce Pearson, Kjos 1994 Albemarle County Instrumental Curriculum: Albermarle, VA. 2002 Instrumental Music Curriculum: Troy Howard Middle School 2003 Mifflin County School District: Instrumental Music Curriculum: Lewistown, PA. 2005 Fine and Performing Arts Philosophy: Lexington Public Schools, Lexington MA. District 65 Elementary Music Curriculum Guide: Grades K- 5. 2003

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