Monroe Township Schools · Monroe Township Schools . Curriculum Management System ... Timpani...
-
Upload
truongnguyet -
Category
Documents
-
view
217 -
download
0
Transcript of Monroe Township Schools · Monroe Township Schools . Curriculum Management System ... Timpani...
Monroe Township Schools
Curriculum Management System
Percussion Ensemble
Grade 9-12 July 2009
* For adoption by all regular education programs Board Approved: September 2009
as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.
2
Table of Contents
Monroe Township Schools Administration and Board of Education Members Page 3 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Pages 8-9 Goals/Essential Questions/Objectives/Instructional Tools/Activities Pages 10-29 Benchmarks Page 30
3
MONROE TOWNSHIP SCHOOL DISTRICT
Dr. Kenneth Hamilton, Superintendent
Mr. Jeffrey Gorman, Assistant Superintendent
ADMINISTRATION
Ms. Amy Antelis, President
Ms. Kathy Kolupanowich, Vice President Mr. Marvin Braverman
Mr. Ken Chiarella Mr. Lew Kaufman
Mr. Mark Klein Mr. John Leary
Ms. Kathy Leonard Mr. Ira Tessler
BOARD OF EDUCATION
Ms. Patrice Faraone
JAMESBURG REPRESENTATIVE
Ms. Nidhi Bhatt
Ms. Reena Dholakia
Student Board Members
4
Acknowledgments
The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Names: Martin Griffin Supervisor Name: Robert Mele, Supervisor of Arts and Careers Technology Technology Staff: Al Pulsinelli Reggie Washington Secretarial Staff: Debby Gialanella Geri Manfre Gail Nemeth
5
MMoonnrrooee TToowwnnsshhiipp SScchhoooollss Mission and Goals
The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society.
Mission
Goals
To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodate the community and are utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals.
6
INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS
Philosophy
Our philosophy is to provide students with many opportunities to receive a well-rounded education. Part of this education includes
numerous performing ensembles, which includes Percussion Ensemble. Many concepts from this course can be tied into curriculum
from other subject areas and students are also able to develop critical thinking and analyzing skills. The course includes performance
as part of the Marching Band and as a separate ensemble performing at all instrumental concerts throughout the year.
Educational Goals
The Percussion Ensemble course is a performance based class for those percussion students who wish to perform in an additional
ensemble beyond the concert bands. Students spend the first marking period working on their Marching Band music and the time in
class following the spring concert is also devoted to the upcoming Marching Band season. During the remainder of the year, students
develop their orchestral percussion skills as well as learning and applying some basic music theory. Time is spent exploring the history
of marching percussion instruments from pre World War II to the present. Numerous concert percussion ensemble works are rehearsed
and performed over the course of the school year. The students will be able to:
• read and notate music in treble and bass clefs. • write and play all major and minor scales. • produce a basic quality sound on all orchestral and marching percussion instruments. • read, write and hear simple and compound intervals. • to construct diatonic triads and seventh chords. • perform exercises/literature with 2/4 mallets on keyboard instruments. • perform exercises/literature on timpani. • perform exercises/literature on multi-tenors. • understand the history of marching percussion instruments. • perform in both marching and orchestral percussion ensembles.
7
New Jersey State Department of Education Core Curriculum Content Standards
A note about Music Standards and Cumulative Progress Indicators. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in 2004. The Cumulative Progress Indicators (CPI's) referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: http://www.education.state.nj.us/cccs
8
Percussion Ensemble
Scope and Sequence
Quarter I Big Idea: I. Notation a. Clefs
b.
- Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence. Ledger Lines
c.
- Notate and identify notes in all clefs using ledger lines above and below the staff. Intervals
d.
- Recognize and identify the numerical differences between notes in all clefs. Beat and Tempo
e.
- Discuss organization of measures into beat and meter types; recognize meters aurally. Time Signatures
f.
- Label time signatures as either simple or compound. Discuss the differences and identify examples visually and aurally. Dynamic Markings
– Indicate volume markings using all appropriate symbols.
Big Idea: II. Scales, Tonality, Keys, Modes a. Major Scales/Key Signatures - Identify and construct all major scales using intervals and key signatures. b. Transposition - Rewrite simple melodies in different major keys than the original melodic line. c. Natural Minor Scales - Identify and construct natural minor scales using intervals. d. Harmonic Minor Scales - Identify and construct natural minor scales using intervals. e. Melodic Minor Scales - Identify and construct natural minor scales using intervals. f. Scale Relationships
Big Idea:
– Identify parallel and relative relationships between keys.
III. Instrument Characteristics a. Bass Drum – Discuss and demonstrate technique, sound production and articulation methods. b. Crash Cymbals - Discuss and demonstrate technique, sound production and articulation methods. c. Gong/Tam Tam - Discuss and demonstrate technique, sound production and articulation methods. d. Keyboard Percussion - Discuss and demonstrate technique, sound production and articulation methods. e. Orchestra Bells
Big Idea:
- Discuss and demonstrate technique, sound production and articulation methods.
IV. Instrument Characteristics II a. Snare Drum - Discuss and demonstrate technique, sound production and articulation methods. b. Suspended Cymbal - Discuss and demonstrate technique, sound production and articulation methods. c. Tambourine - Discuss and demonstrate technique, sound production and articulation methods d. Timpani - Discuss and demonstrate technique, sound production and articulation methods e. Triangle - Discuss and demonstrate technique, sound production and articulation methods
9
Quarter II Big Idea: V. Performance I a. Rehearsal Skills – Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques. b. Practice Skills – Discuss practice strategies such as warm up, problem solving and hearing protection. c. Equipment – Demonstrate proper maintenance of percussion equipment including moving, storage, cleaning and changing heads. d. Balance/Blend – Discuss and demonstrate balance of percussion instruments to the rest of the ensemble. e. Technical Facility
Big Idea:
– Demonstrate the importance of technical facility in performance.
VI. Performance II a. Expression – Demonstrate and discuss dynamics and expression in percussion performance. b. Rhythm – Identify note values and rests and discuss ways to count and subdivide rhythms. c. Sight Reading – Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble. d. Repertoire – Discuss standard percussion literature from various historical periods. e. Performance Skills
Big Idea:
– Demonstrate and discuss appropriate concert behavior.
VII. Intervals and Transposition a. Perfect, Major and Minor Intervals - Identify, construct and compare perfect, major and minor intervals. b. Augmented and Diminished Intervals - Identify, construct and compare augmented and diminished intervals. c. Inversion of Intervals - Use interval inversions to show relationships between all types of intervals. d. Simple and Compound Intervals – Discuss the use of simple intervals and their compound equivalents. e. Interval Transposition – Discuss transposition by moving notes up or down using the necessary interval. f. Clef Transposition
Big Idea: VIII. Chords
– Discuss transposition by substituting one clef for another depending on the instruments being used.
a. Root position triads and seventh chords –
b.
Construct major triads and major-minor seventh chords in root position. Discuss the use of intervals to build chords. Inversions of chords –
c.
Explain how to invert triads and seventh chords with the use of figured bass symbols. Diatonic triads in major –
d.
Construct triads on each scale degree in major keys using the key signature. Diatonic triads in minor –
e.
Construct triads on each scale degree in minor keys using the key signature. Diatonic seventh chords in major –
f.
Construct seventh chords on each scale degree in major keys using the key signature. Diatonic seventh chords in minor –
degree in minor keys using the key signature. Construct seventh chords on each scale
10
Quarter III
Big Idea: IX. Intermediate Keyboard Techniques I a. The 4 Mallet Grip – Discuss and demonstrate the three major four mallet grips. b. Holding the Mallets - Discuss and demonstrate the positioning of the mallets in each 4 mallet grip. c. Interval Changes - Discuss and demonstrate methods for changing with multiple mallets. d. Stroke Height – Discuss and demonstrate various stroke heights with multiple mallets. e. Stroke Efficiency and Accuracy - Discuss and demonstrate useful and wasted motion. f. Shift and Interval Change Efficiency
Big Idea: X. Intermediate Keyboard Techniques II a.
– Discuss and demonstrate efficient shifting.
Tone, Lift, legato, Staccato – Discuss and demonstrate the various methods of articulation. b. The Fundamental Strokes – Provide a basic overview on the fundamental strokes of 4 mallet technique. c. Single Independent Strokes – Demonstrate the proper method of performing single independent strokes. d. Single Alternating Strokes – Demonstrate the proper method of performing single alternating strokes. e. Double Vertical Strokes – Demonstrate the proper method of performing single alternating strokes f. Double Lateral Strokes
Big Idea: XI. Intermediate Keyboard Exercises a.
– Demonstrate the proper method of performing single alternating strokes
Single Independent Exercises – Provide exercises for the single independent strokes. b. Single Alternating Exercises – Provide exercises for the single alternating strokes. c. Double Vertical Exercises – Provide exercises for the double vertical strokes. d. Double Lateral Exercises – Provide exercises for the double lateral strokes. e. Mixed Strokes Exercises
Big Idea: XII. Multi-Tenor Techniques a.
– Provide exercises for the mixed strokes.
Grip and Drum Height – Discuss and demonstrate the proper grip and drum height for multi-tenors. b. Playing Positions – Discuss and demonstrate the proper playing positions for multi-tenors. c. Understanding Groupings – Discuss and demonstrate the various two and three drum groupings. d. Fundamental Studies – Discuss and demonstrate basic exercises for multi-tenors. e. Scrapes, Crossovers and Sweeps – Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors.
11
Quarter IV
Big Idea: XIII. Timpani Fundamentals a. Positioning of the drums – Discuss and demonstrate the proper positioning for playing timpani. b. Pitch Ranges – Discuss the range of pitches for each of the different sized drums. c. Grip – Demonstrate and provide rationale for the various types of timpani grips. d. Tuning/Ear Training – Demonstrate the significance of singing to tune timpani. e. Pedaling
Big Idea: XIV. Intermediate Timpani Techniques a.
– Discuss and demonstrate the proper pedaling methods for playing timpani.
Legato Stroke – Discuss and demonstrate the use of a legato stroke when playing timpani. b. Staccato Stroke – Discuss and demonstrate the use of a staccato stroke when playing timpani. c. Rolls – Discuss and demonstrate the proper way to play rolls on timpani. d. Dampening – Discuss and demonstrate proper dampening technique on timpani. e. Sticking
Big Idea: XV. Rolls and Diddle Rudiments a.
– Discuss and demonstrate sticking patterns which are necessary for playing timpani.
Single Stroke Roll Rudiments – Demonstrate and perform single stroke rolls, single stroke fours and sevens. b. Multiple Bounce Roll Rudiments – Demonstrate and perform multiple bounce rolls and triple stroke rolls. c. Double Stroke Open Roll Rudiments - Demonstrate and perform five through fifteen stroke open rolls. d. Single Diddle Rudiments - Demonstrate and perform single paradiddles and single paradiddle-diddles. e. Double Diddle Rudiments
Big Idea: XVI. History of Marching Percussion a.
- Demonstrate and perform double and triple paradiddles.
Fife and Drum Corps – Discuss the beginnings of marching percussion instruments prior to World War II. b. Rudimental Style – Discuss the integration of rudimental drumming into the marching arena. c. Multi-toms – Discuss the evolution of the multi-toms from single tenor drums and their impact on the activity. d. Pit Percussion – Discuss the evolution of the front ensemble and its impact on the musical arranging for drum and bugle corps. e. Indoor Percussion
– Discuss and analyze the impact of WGI on the marching percussion activity.
12
Su
gges
ted
days
of
Inst
ruct
ion
Curriculum Management System Grade Level/Subject
Big Idea: Notation :
9-12/Percussion Ensemble Topic: Reading and notating music.
Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 1.1. Clefs
(1.2 B4, 1.3 B2)
- Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence.
1.2. Ledger Lines
(1.2 B4, 1.3 B2)
- Notate and identify notes in all clefs using ledger lines above and below the staff.
1.3. Intervals
(1.2 B4, 1.3 B2)
- Recognize and identify the numerical differences between notes in all clefs.
• What are the relationships between the treble, bass, alto and tenor clefs?
• What are the relationships between simple and compound time signatures?
• How does an understanding of intervals aid in the comprehension of all types of scales?
• A basic understanding of musical notation. This includes how to read and write musical notation in multiple clefs and meters.
Enduring Understandings
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Suggested Activities: Students complete simple rhythmic and melodic notation up to four measures in length. Students will aurally and visually identify basic intervals. Compose a simple melody in a major key and a minor key using a simple quadruple or simple duple time signature. (Synthesis) 1. Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How does knowledge of intervals, scales, key signatures and time signatures assist in the composition process? (Knowledge & Evaluation)
13
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Notation :
9-12/Percussion Ensemble Topic: Reading and notating music.
Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
1.4. Beat and Tempo
(1.2 B4, 1.3 B2)
- Discuss organization of measures into beat and meter types; recognize meters aurally.
1.5. Time Signatures
(1.2 B4, 1.3 B2)
- Label time signatures as either simple or compound. Discuss the differences and identify examples visually and aurally.
1.6. Dynamic Markings
(1.2 B4, 1.3 B2)
– Indicate volume markings using all appropriate symbols.
Technology: http://musictheory.halifax.ns.ca/ www.earplane.com
14
Su
gges
ted
days
of
Inst
ruct
ion
Curriculum Management System Grade Level/Subject
Big Idea: Scales, Tonality, Keys, Modes :
9-12/Percussion Ensemble Topic: Construction and analysis of all scales
Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 2.1. Major Scales/Key
Signatures-
(1.2.12 B4, 1.3.8 B2)
Identify and construct all major scales using intervals and key signatures.
2.2. Transposition
(1.2.12 B4, 1.3.8 B2)
- Rewrite simple melodies in different major keys than the original melodic line.
2.3. Natural Minor Scales
(1.2.12 B4, 1.3.8 B2)
- Identify and construct natural minor scales using intervals.
• What are the relationships between the treble, bass,
alto and tenor clefs? • What are the relationships between major and minor
scales and key signatures? • How does an understanding of intervals aid in the
comprehension of all types of scales?
• All major and minor scales and key signatures including all three forms of minor scales.
Enduring Understandings
• Performance of all scales on keyboard instruments.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Suggested Activities: Students identify major and minor key signatures. Students write, identify and perform major and minor scales. Transpose a simple melody in a major key. (Synthesis) 1. Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How are the 3 types of minor scales utilized in composition.(Knowledge & Evaluation)
15
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Scales, Tonality, Keys, Modes :
9-12/Percussion Ensemble Topic: Construction and analysis of all scales
Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
2.4. Harmonic Minor Scales
(1.2.12 B4, 1.3.8 B2)
- Identify and construct natural minor scales using intervals.
2.5. Melodic Minor Scales
(1.2.12 B4, 1.3.8 B2)
- Identify and construct natural minor scales using intervals.
2.6. Scale Relationships
(1.2.12 B4, 1.3.8 B2)
– Identify parallel and relative relationships between keys.
Technology: http://musictheory.halifax.ns.ca/ www.earplane.com
16
Su
gges
ted
days
of
Inst
ruct
ion
Curriculum Management System Grade Level/Subject
Big Idea: Instrument Characteristics :
9-12/Percussion Ensemble Topic: In depth analysis of percussion instruments.
Goal 3: The student will be able to display proper technique and produce a quality sound on each instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
5 3.1. Bass Drum
(1.2 B4,1.3 B2)
– Discuss and demonstrate technique, sound production and articulation methods.
3.2. Crash Cymbals
(1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and articulation methods.
3.3. Gong/Tam Tam
(1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and articulation methods.
• What are the various techniques needed to produce a
quality sound? • How are the various methods for producing sound
similar from instrument to instrument? • How are they different?
• Production of basic sound on each instrument. Enduring Understandings
• Each percussion instrument requires specific methods of articulating as well as muting and dampening.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. (comprehension) Begin using exercises from “A Fresh Approach To Mallet Playing.” (application) Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation)
17
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Instrument Characteristics :
9-12/Percussion Ensemble Topic: In depth analysis of percussion instruments.
Goal 3: The student will be able to display proper technique and produce a quality sound on each instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
3.4. Keyboard Percussion
production and articulation methods. (1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound
3.5. Orchestra Bells
(1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and articulation methods.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
18
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Instrument Characteristics II :
9-12/Percussion Ensemble Topic: In depth analysis of percussion instruments.
Goal 4: The student will be able to display proper technique and produce a quality sound on each instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 4.1. Snare Drum
(1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and articulation methods.
4.2. Suspended Cymbal
production and articulation methods. (1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound
4.3. Tambourine
(1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and articulation methods.
• What are the various techniques needed to produce a
quality sound? • How are the various methods for producing sound
similar from instrument to instrument? • How are they different?
• Production of basic sound on each instrument. Enduring Understandings
• Each percussion instrument requires specific methods articulating as well as muting and dampening.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. Combine instruments covered in an “ensemble” to begin percussion ensemble playing. Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation)
19
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Instrument Characteristics II :
9-12/Percussion Ensemble Topic: In depth analysis of percussion instruments.
Goal 4: The student will be able to display proper technique and produce a quality sound on each instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
4.4. Timpani
articulation methods. (1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and
4.5. Triangle
articulation methods. (1.2 B4,1.3 B2)
- Discuss and demonstrate technique, sound production and
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
20
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Performance I :
9-12/Percussion Ensemble Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 5: The student will be able to implement the required skill sets necessary for successful percussion
ensemble performance. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
5 5.1. Rehearsal Skills
(1.2 B1, 1.3 B2)
– Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques.
5.2. Practice Skills
(1.2 B1, 1.3 B2)
– Discuss practice strategies such as warm up, problem solving and hearing protection.
5.3. Equipment
including moving, storage, cleaning and changing heads. (1.2 B1, 1.3 B2)
– Demonstrate proper maintenance of percussion equipment
• How does and individual’s practice skills have an
impact on their rehearsal skills? • How significant is the maintenance of percussion
equipment to its quality of sound? • What impact does a lack of ear protection have on
percussionists?
• The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing.
Enduring Understandings
• These skills are transferable to any musical ensemble.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation.
a) Understanding of your part being melody or
Suggested Activities: Students identify and perform parts within the ensemble, taking into account. (application)
accompaniment. b) Understanding of ensemble balance c) Understand instrument-specific tessitura
for written part
Perform at appropriate volume to achieve balanced ensemble sound. (application)
1. What are some problem solving strategies for performance? (Knowledge & Analysis) 2. How are proper implements chosen for balance in an ensemble? (Knowledge & Evaluation)
21
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Performance I :
9-12/Percussion Ensemble Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 5: The student will be able to implement the required skill sets necessary for successful percussion
ensemble performance. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
5.4 Balance/Blend
demonstrate balance of percussion instruments to the rest of the ensemble. (1.2 B1, 1.3 B2)
– Discuss and
5.5 Technical Facility
(1.2 B1, 1.3 B2)
– Demonstrate the importance of technical facility in performance.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
22
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Performance II :
9-12/Percussion Ensemble Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 6: The student will be able to implement the required skill sets necessary for successful percussion
ensemble performance. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
5 6.1. Expression
(1.2 B1, 1.3 B2)
– Demonstrate and discuss dynamics and expression in percussion performance.
6.2. Rhythm
(1.2 B1, 1.3 B2)
– Identify note values and rests and discuss ways to count and subdivide rhythms.
6.3. Sight Reading
(1.2 B1, 1.3 B2)
– Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble.
• How is expression utilized to enhance performance on
percussion instruments? • How can developing reading skills lead to playing
increasingly more sophisticated music? • Why is it necessary to be able to perform repertoire
from a variety of cultures and historical periods?
• The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing.
Enduring Understandings
• These skills are transferable to any musical ensemble.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Develop understanding of musical phrases a) variety of ways to perform a given phrase b) artistic choice about phrasing Students perform ensemble sight reading literature one grade level easier than what is being studied in class. (application) Synthesize, apply and exhibit performance skills in a variety of music literature. (Synthesis) 1. Demonstrate performance of six dynamic levels pp,p,mp,mf,f,ff (Knowledge & Synthesis) 2. Demonstrate ability to perform in the following time signatures 4/4,3/4,2/4,2/2,6/8, mixed meters (Knowledge & Synthesis)
23
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Performance II :
9-12/Percussion Ensemble Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 6: The student will be able to implement the required skill sets necessary for successful percussion
ensemble performance. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6.4. Repertoire
(1.2 B1, 1.5 B1) 6.5
– Discuss standard percussion literature from various historical periods.
Performance Skills
- Demonstrate and discuss Appropriate concert Behavior. (1.2 B1, 1.3 B2)
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
24
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intervals and Transposition :
9-12/Percussion Ensemble Topic: Intervals and their use in the analysis and composition of tonal music.
Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 7.1. Perfect, Major and Minor
Intervals
(1.2.12 B4, 1.3.8 B2)
– Identify, construct and compare perfect, major and minor intervals.
7.2. Augmented and Diminished Intervals
(1.2.12 B4, 1.3.8 B2)
- Identify, construct and compare augmented and diminished intervals.
7.3. Inversion of Intervals
(1.2.12 B4, 1.3.8 B2)
- Use interval inversions to show relationships between all types of intervals.
• How does an understanding of intervals aid in the
comprehension of all types of scales? • What is the purpose of transposition? • How does the inversion of intervals make the
understanding of complex intervals easier?
• Aural recognition as well as performance of all types of intervals.
Enduring Understandings
• Transposition from one clef to another in order to simplify performance.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students use the method of inverting intervals by adding the two numbers and always having a total of nine for the two intervals. (application) Students transpose a simple melody into another key and/or clef. (synthesis) Play all major, minor and perfect intervals above and below any given note. (Synthesis) 1. What is the difference between simple and compound intervals? (Knowledge & Analysis) 2. What are the various methods of transposition? (Knowledge)
25
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intervals and Transposition :
9-12/Percussion Ensemble Topic: Intervals and their use in the analysis and composition of tonal music.
Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
7.4. Simple and Compound
Intervals
(1.2.12 B4, 1.3.8 B2)
– Discuss the use of simple intervals and their compound equivalents.
7.5. Interval Transposition
(1.2.12 B4, 1.3.8 B2)
– Discuss transposition by moving notes up or down using the necessary interval.
7.6. Clef Transposition
(1.2.12 B4, 1.3.8 B2)
– Discuss transposition by substituting one clef for another depending on the instruments being used.
Technology: http://musictheory.halifax.ns.ca/ www.earplane.com
26
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Chords :
9-12/Percussion Ensemble Topic: Construction and analysis of chords in root position and inversions.
Goal 8: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 8.1. Root position triads and
seventh chords –
Construct major triads and major-minor seventh chords in root position. Discuss the use of intervals to build chords. (1.2.12 B2, 1.3.8 B2)
8.2. Inversions of chords –
(1.1.12 A1, 1.2.12 B2, 1.3.8 B2)
Explain how to invert triads and seventh chords with the use of figured bass symbols.
8.3. Diatonic triads in major –
(1.2.12 B2, 1.3.8 B2)
Construct triads on each scale degree in major keys using the key signature.
• How does an understanding of intervals and key
signatures aid in the construction of diatonic triads and seventh chords?
• How does an understanding of intervals aid in the application of figured bass symbols?
• In what ways were figured bass symbols necessary in eighteenth century composition and performance?
• Recognition of chord quality through aural and visual analysis.
Enduring Understandings
• Performance of root position and inverted chords on keyboard instruments.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students construct chords given the root and key signature. (Application) Students construct chords given the bass note and inversion symbol. (Application) Create a simple progression of chords utilizing root position and inverted triads and seventh chords. (Synthesis) 1. What are the “primary triads” in every key and what function do they have in tonal music? (Knowledge & Analysis) 2. How do chord inversions affect the sound of
27
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Chords :
9-12/Percussion Ensemble Topic: Construction and analysis of chords in root position and inversions.
Goal 8: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
8.4. Diatonic triads in minor –
(1.2.12 B2, 1.3.8 B2)
Construct triads on each scale degree in minor keys using the key signature.
8.5. Diatonic seventh chords in major –
(1.2.12 B2, 1.3.8 B2)
Construct seventh chords on each scale degree in major keys using the key signature.
8.6. Diatonic seventh chords in minor –
(1.2.12 B2, 1.3.8 B2)
Construct seventh chords on each scale degree in minor keys using the key signature.
triads and seventh chords? (Knowledge & Analysis) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com
28
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Techniques I :
9-12/Percussion Ensemble Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble.
Goal 9: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
8 9.1. The four Mallet Grip
(1.2 B1, 1.3 B2)
– Discuss and demonstrate the three major four mallet grips.
9.2. Holding the Mallets
(1.2 B1, 1.3 B2)
- Discuss and demonstrate the positioning of the mallets in each four mallet grip.
9.3. Interval Changes
(1.2 B1, 1.3 B2)
- Discuss and demonstrate methods for changing with multiple mallets.
• What is the purpose of having different categories of
four mallet grips? • Why is it important for percussionists to be able to
utilize all types of grips? • How does basic production of sound become
incorporated into four mallet playing?
• Basic exercises for playing with 4 mallets, which include simple chord progressions and shifting.
Enduring Understandings
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the traditional, Burton and Musser four mallet grips. (Comprehension) Students demonstrate accuracy and efficiency by reducing mismanagement of distance and momentum. (Comprehension) Perform basic exercises utilizing the various types of four mallet grips. (Application) 1. What are the relationships between the various 4 mallet grips? (Knowledge & Analysis) 2. How does a theory foundation aid in the development of four mallet playing? (Knowledge & Analysis)
29
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Techniques I :
9-12/Percussion Ensemble Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble.
Goal 9: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
9.4. Stroke Height
(1.2 B1, 1.3 B2)
– Discuss and demonstrate various stroke heights with multiple mallets.
9.5. Stroke Efficiency and Accuracy
Wasted motion. (1.2 B1, 1.3 B2)
9.6.
- Discuss and demonstrate useful and
Shift and Interval Change Efficiency
– Discuss and Demonstrate efficient Shifting. (1.2 B1, 1.3 B2)
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
30
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Techniques II :
9-12/Percussion Ensemble Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality
sound on each keyboard instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
8 10.1. Tone, Lift, legato, Staccato
(1.2 B1, 1.3 B2)
Discuss and demonstrate the various methods of articulation.
10.2. The Fundamental Strokes
(1.2 B1, 1.3 B2)
– Provide a basic overview on the fundamental strokes of four mallet technique.
10.3. Single Independent Strokes
(1.2 B1, 1.3 B2)
Demonstrate the proper method of performing single independent strokes.
• Why do keyboard players need to know various types
of mallet strokes? • What is the purpose of utilizing different sticking
combinations? • How does mallet choice impact the stroke choice?
• Basic keyboard exercises which address fundamental strokes and articulation.
Enduring Understandings
• Double vertical strokes have become a term used to describe “double stops” which is a term borrowed from string technique.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in “Method Of Movement For Marimba.” (Comprehension & Application) Perform basic exercises utilizing the various types of four mallet strokes. (Application) 1. What are the relationships between the various sticking combinations? (Knowledge & Analysis) 2. How do “drummers” have an advantage when it comes to learning mallet stickings? (Knowledge & Analysis)
31
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Techniques II :
9-12/Percussion Ensemble Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality
sound on each keyboard instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
10.4. Single Alternating Strokes
(1.2 B1, 1.3 B2)
– Demonstrate the proper method of performing single alternating strokes.
10.5. Double Vertical Strokes
(1.2 B1, 1.3 B2)
– Demonstrate the proper method of performing single alternating strokes.
10.6. Double Lateral Strokes
(1.2 B1, 1.3 B2)
– Demonstrate the proper method of performing single alternating strokes.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
32
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Exercises :
9-12/Percussion Ensemble Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for
each of the mallet strokes covered. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 11.1. Single Independent
Exercises
Independent strokes. (1.2 B1, 1.3 B2)
11.2.
– Provide exercises for the single
Single Alternating Exercises Provide exercises for single Alternating strokes. (1.2 B1, 1.3 B2)
11.3.
Double Vertical Exercises Provide exercises for the Double vertical strokes. (1.2 B1, 1.3 B2)
• Why is it necessary to begin warming up with single independent exercises?
• How are double vertical strokes difficult despite their simple appearance?
• Why is it necessary to begin performing combination or mixed strokes at slower tempos?
• Basic keyboard exercises, which develop the various stroke combinations utilizing both two and four mallet grips.
Enduring Understandings
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in “Method Of Movement For Marimba.” (Comprehension & Application) Perform basic exercises utilizing vertical and lateral strokes. (Application) 1. Why is it difficult to strike the bar in he correct playing zone when playing lateral strokesi? (Knowledge & Analysis) 2. Why is it necessary to make sure mallet heights are relatively high initially? (Knowledge & Analysis)
33
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Keyboard Exercises :
9-12/Percussion Ensemble Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for
each of the mallet strokes covered. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
11.4. Double Lateral Exercises
11.5.
Provide exercises for the Double lateral strokes. (1.2 B1, 1.3 B2)
Provide exercises for Mixed strokes. (1.2 B1, 1.3 B2)
Mixed Strokes Exercises
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
34
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Multi-Tenor Techniques :
9-12/Percussion Ensemble Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 12.1. Grip and Drum Height
heights for multi-tenors. (1.2 B1, 1.3 B2)
– Discuss and demonstrate the proper grip and drum
12.2. Playing Positions and demonstrate the proper playing positions for multi-
tenors. (1.2 B1, 1.3 B2)
– Discuss
12.3. Understanding Groupings
three drum groupings. (1.2 B1, 1.3 B2)
– Discuss and demonstrate the various two and
• What is the proper method for tuning multi-tenors? • Why is it necessary to play in specific playing zones
when playing multi-tenors? • How do groupings aid in the development of multi-tenor
playing?
• The multi-toms have evolved from a single tenor drum to the current model which features four to six drums.
Enduring Understandings
• Basic exercises to perform simple marching literature as well an introduction to more complex material.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate playing techniques utilizing fundamental sticking and groupings as described in “Modern Multi-Tenor techniques.” (Comprehension) Perform basic exercises utilizing single stickings as well as groupings. (Application) 1. Why is it necessary to have perfect spacing between multi-tenors? (Knowledge & Analysis) 2. How does mallet choice impact the performance on multi-tenors? (Knowledge & Analysis)
35
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Multi-Tenor Techniques :
9-12/Percussion Ensemble Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
12.4. Fundamental Studies Discuss and demonstrate Basic exercises for Multi-tenors. (1.2 B1, 1.3 B2)
–
12.5. Scrapes, Crossovers and Sweeps
(1.2 B1, 1.3 B2)
– Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
36
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Timpani Fundamentals :
9-12/Percussion Ensemble Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani
playing. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 13.1. Positioning of the drums
for playing timpani. (1.2 B1, 1.3 B2)
– Discuss and demonstrate the proper positioning
13.2. Pitch Ranges
(1.2 B1, 1.3 B2)
– Discuss the range of pitches for each of the different sized drums.
13.3. Grip
grips. (1.2 B1, 1.3 B2)
– Demonstrate and provide rationale for the various types of timpani
• Why is drum positioning so important to playing
timpani? • How does ear training play a role in the development of
a timpanist? • What are the uses for the different timpani grips?
• Basic exercises to demonstrate production of sound and playing zones on the drums.
Enduring Understandings
• Changing of pitches using tuning gauges as well as ear training.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate an appropriate use of each stroke type. (Comprehension) Students effectively demonstrate the different timpani grips and the necessity for each. (Comprehension) Perform basic exercises utilizing pedaling and simple pitch changes. (Application) 1. Why is it necessary to have perfect pitch ranges on each timpani? (Knowledge & Analysis) 2. How does mallet choice impact the performance on timpani? (Knowledge & Analysis)
37
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Timpani Fundamentals :
9-12/Percussion Ensemble Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani
playing. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
13.4. Tuning/Ear Training
(1.2 B1, 1.3 B2)
– Demonstrate the significance of singing to tune timpani.
13.5. Pedaling
(1.2 B1, 1.3 B2)
– Discuss and demonstrate the proper pedaling methods for playing timpani.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org www.earplane.org
38
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Timpani Techniques :
9-12/Percussion Ensemble Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on
the instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 14.1. Legato Stroke
playing timpani. (1.2 B1, 1.3 B2)
– Discuss and demonstrate the use of a legato stroke when
14.2. Staccato StrokeAnd demonstrate the use of a staccato stroke when playing timpani. (1.2 B1, 1.3 B2)
– Discuss
14.3. Rolls
(1.2 B1, 1.3 B2)
– Discuss and demonstrate the proper way to play rolls on timpani.
• What role does each of the strokes have in timpani
playing? • What are the similarities/differences in playing timpani
as compared to keyboards? • Why must various stickings be used when playing
timpani?
• Exercises, which encompass the different types of strokes and rolls.
Enduring Understandings
• Sticking and dampening are a significant component of timpani playing due to the set up and natural sustain.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students play major and minor scales on two drums. (Application) Rotate students onto timpani in percussion ensemble setting in order to apply fundamentals discussed. (Application) Perform basic exercises utilizing rolls, pedaling and pitch changes. (Application) 1. Why is it necessary to utilize dampening techniques? (Knowledge & Analysis) 2. How does mallet placement on the drum impact the performance on timpani? (Knowledge & Analysis)
39
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Intermediate Timpani Techniques :
9-12/Percussion Ensemble Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on
the instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
14.4. Dampening
timpani. (1.2 B1, 1.3 B2)
– Discuss and demonstrate proper dampening technique on
14.5. Sticking
(1.2 B1, 1.3 B2)
– Discuss and demonstrate the use of a staccato stroke when playing timpani.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
40
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Rolls and Diddle Rudiments :
9-12/Percussion Ensemble Topic: Basic rolls and diddle rudiments.
Goal 15: The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
6 15.1. Single Stroke Roll
Rudiments
rolls, single stroke fours and sevens. (1.2 B1, 1.3 B2)
– Demonstrate and perform single stroke
15.2. Multiple Bounce Roll Rudiments
(1.2 B1, 1.3 B2)
- Demonstrate and perform multiple bounce rolls and triple stroke rolls.
15.3. Double Stroke Open Roll Rudiments
(1.2 B1, 1.3 B2)
- Demonstrate and perform five through fifteen stroke open rolls.
• How are diddles incorporated into rudimental playing? • What is the reason for performing various multiple
bounce rolls? • What is the difference between rudimental and
orchestral playing?
• Single and double strokes are the foundation for more complex rudiments.
Enduring Understandings
• Open rolls versus closed rolls and their use in orchestral and marching percussion.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate basic single stroke, double stroke and roll patterns. (Comprehension) Students perform basic rudiments utilizing the rolls and diddles discussed. (Application) Perform basic exercises utilizing diddles and rolls. (Application) 1. Why is it necessary to understand single and diddle rudiments? (Knowledge & Analysis) 2. How do multiple bounce rolls aid in the development of percussionists? (Knowledge & Analysis)
41
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: Rolls and Diddle Rudiments :
9-12/Percussion Ensemble Topic: Basic rolls and diddle rudiments.
Goal 15: The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
15.4. Single Diddle Rudiments
and single paradiddle diddles. (1.2 B1, 1.3 B2) 15.5.
- Demonstrate and perform single paradiddles
Double Diddle Rudiments
- Demonstrate and perform double and triple paradiddles. (1.2 B1, 1.3 B2)
Technology: www.vicfirth.com www.blackswamp.com www.pas.org
42
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: History of Marching Percussion :
9-12/Percussion Ensemble Topic: The evolution of the instruments and rudimental style used in the marching percussion ensemble.
Goal 16: The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
5 16.1. Fife and Drum Corps
instruments prior to World War II. (1.5 B1, 1.5 B2)
– Discuss the beginnings of marching percussion
16.2. Rudimental Style
Arena. (1.5 B1, 1.5 B2)
– Discuss the integration of rudimental drumming into the marching
16.3. Multi-toms
(1.5 B1, 1.5 B2)
– Discuss the evolution of the multi-toms from the single tenor and their impact on the activity.
• Why did fife and drum corps come into existence and how have they evolved into the current drum and bugle corps?
• What has enabled percussion instruments to evolve to their current status in the marching percussion arena?
• What impact has WGI had on the marching percussion activity?
• The instruments in the marching percussion activity have evolved over a long period of time and continue to do so.
Enduring Understandings
• Indoor percussion now plays a significant role in the development of marching percussion instruments as well as sticks/mallets.
Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. . Suggested Activities: Students watch “The History of Drum Corps” which chronicles the evolution of marching percussion instruments. Utilize dvd recordings from DCI drum and bugle corps and WGI indoor percussion units to compare the instruments used in each arena. (Analysis) 1. How is the rudimental style different from the orchestral style of playing? (Knowledge & Analysis) 2. How has the pit percussion in the marching activity become so closely related to the concert idiom? (Knowledge & Evaluation) 3. Identify various era of percussion aurally from sample recordings. (Knowledge)
43
Sugg
este
d da
ys o
f In
stru
ctio
n Curriculum Management System Grade Level/Subject
Big Idea: History of Marching Percussion :
9-12/Percussion Ensemble Topic: The evolution of the instruments and rudimental style used in the marching percussion ensemble.
Goal 16: The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.
Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:
Essential Questions Sample Conceptual Understandings
Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model
16.4. Pit Percussion
Evolution of the front ensemble and its impact on the musical arranging for drum and bugle corps. (1.5 B1, 1.5 B2)
– Discuss the
16.5. Indoor Percussion
(1.5 B1, 1.5 B2)
– Discuss and analyze the impact of WGI on the marching percussion activity.
Technology: www.vicfirth.com www.blackswamp.com www.pas.org www.wgi.org www.dci.org
44
Percussion Ensemble
COURSE BENCHMARKS
1. The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals. 2. The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys 3. The student will be able to display proper technique and produce a quality sound on each instrument. 4. The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. 5. The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. 6. The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument utilizing the various strokes. 7. The student will be able to develop an intermediate level of performance using exercises for each of the mallet strokes covered. 8. The student will be able to perform basic fundamentals on marching multi-tenors 9. The student will be able to position, tune and understand pitch ranges for successful timpani playing. 10. The student will be able to demonstrate the proper timpani grip and produce a quality sound on the instrument utilizing the various strokes. 11. The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments. 12. The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an
appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.