Revised 2016 1

Symphonic Band Course Description and Philosophy Symphonic Band is an ensemble made up of 10th, 11th, and 12th graders. Students audition for placement in the ensemble and are seated according to ability and at the discretion of the teacher. The goal of the ensemble is for every student to make a positive contribution to forming a cohesive group. The ensemble will work together to achieve technically sound and artistically fulfilling performances, as well as to foster a life-long love of music. While the concert performance is important, the philosophy of the group is to teach students THROUGH music; learning real life skills necessary for success, such as critical thinking, problem solving, dedication, responsibility, and teamwork. At the end of the year, students should feel that they not only performed challenging music at an accomplished level, but that they learned more about music and about how to make a positive contribution in a group setting. Finally, above all, students should feel that the band room is a positive and safe place to express themselves, make mistakes, and discover who they are. The Symphonic Band will perform both traditional and new repertoire that is appropriate for their skill level. The teacher works to balance music that is immediately achievable with music that is challenging. In all cases, students can gain an appreciation for different styles of music, as well as learn to communicate emotionally to an audience. Students grow as musicians as they improve their individual technique, and grow into young adults who have a well-rounded music education with an appreciation for the art regardless of their personal ability. Students enrolled in Symphonic Band also attend a small group lesson once a week based on a rotating schedule. Such a schedule allows students to still attend and do well in their academic classes while offering direct instruction in a smaller setting in which teacher can address individual issues and give focused attention. These small groups are usually homogenously grouped by instrument, which allows individualized instruction for each student. The teacher is able to give specialized instruction on each instrument, supplemental materials for individual improvement, and the one-on-one attention that is often impossible in a large ensemble. Students are evaluated based on attitude, effort, and participation in both the ensemble and in lessons, not solely on ability. The ensemble performs in approximately three concerts each year, and each student prepares and performs an audition, which counts as the final exam grade. Symphonic Band members are also required to play with the Pep Band at all home football games. Text Reference: Various Pieces of music from the Mountain Lakes High School Music Library; New music purchased yearly Sound Innovations: Ensemble Development for Intermediate Concert Band; Green book Supplemental Materials include: Teacher made hand outs, Rubank Intermediate Method (Individual Instruments), Smartmusic digital content, solo etudes, assorted chamber music repertoire

Revised 2016 2

Unit I: Sound and Harmony Essential Question: Why is it important to have a quality sound on an instrument and in an ensemble? How do you recognize a “good” sound? How does more than one note being played at a time affect your emotions? Objectives: Students will be able to:

• Discuss the components of a good ensemble sound (balance, blend, etc.)

• Perform concert music while understanding how to balance the sound in regard to the Sound Pyramid

• Discuss and demonstrate the components of a good individual sound (breath support, embouchure, equipment, etc.)

• Demonstrate understanding of proper posture and why it is important to a good sound

• Perform warm up exercises that help improve endurance and flexibility on their instrument

• Produce a characteristic sound on his/her instrument

• Identify good role model performances, both solo instrument and ensemble

• Recognize an in tune sound

• Use ears and an electronic tuner to tune their instrument

• Demonstrate understanding of weather, volume, or other factors on intonation

• Describe pitch tendencies of their individual instrument and the necessary corrective steps (lip down, push in, etc.)

• Compare their pitch against another one, either in unison or harmony

• Relate harmony with intonation (pitch tendencies, chords, etc.)

• Recognize and identify basic harmonies (major, minor, tonic, dominant)

• Perform chord progressions both written and improvised in various keys

• Perform exercises and music with a constant awareness of tuning, balance, and blend

• Perform etudes with accompaniment (Smartmusic) while maintaining good tone and intonation

• Perform duets or other chamber music with good tone quality, intonation, and an awareness of harmony

• Discuss basic harmonic function with appropriate terminology (modulation, relative keys, modes, etc.)

Revised 2016 3

Symphonic Band Unit I: Sound and Harmony Topic/Content Skills

Assessment Resources Instructional Method Technology Integration

NJCCCS

Individual Tone Production (Embouchure, breath support, posture, hand position)

Teacher Observation, Student Analysis

Instrument, Rubank/Sound Innovations Book

Demonstration Discussion Class and lesson performance Individual practice

Recordings, Computer for internet research

1.1.12.B.1 1.3.12.B.1 1.3.12.B.2 1.3.12.B.3

Individual Intonation

Critical Analysis, Teacher Observation, Individual and Peer Assessment

Instrument, Rubank Intermediate Method book/Sound Innovations Book or other supplemental materials, teacher made hand out

Demonstration Discussion Class and lesson performance Individual practice

Electronic Tuner, WAV recorder

1.1.12.B.1 1.3.12.B.1 1.3.12.B.2 1.3.12.B.3

Ensemble Performance (Balance, Blend, Intonation)

Critical Analysis, Teacher Observation, Individual and Peer Analysis

Instrument, Concert Repertoire, Sound Innovations Ensemble Book, Department Rubric

Demonstration Discussion Class and lesson performance

Recordings 1.1.12.B.1 1.1.12.B.2 1.3.12.B.1 1.3.12.B.2 1.3.12.B.3

Harmonic Identification

Teacher, Peer, and Self-Analysis

Instrument, Concert Repertoire, supplemental materials, teacher made hand out

Lecture Class and lesson performance Individual practice

Computer software, Recordings

1.1.12.B.2 1.2.12.A.1 1.4.12.A.2 1.4.12.A.4

Revised 2016 4

Technology Software and Teacher Observation

Computer workstation with software

Individual and small group performance

Smartmusic 1.1.12.B.1 1.1.12.B.2 1.3.12.B.1 1.3.12.B.3

Revised 2016 5

Symphonic Band Unit I: Sound and Harmony Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Listening to a recording of a professional ensemble and discuss the performance. LREP – 21st Century Skills, Critical Thinking

• Play a chord as an ensemble and have one student or section stick out of the balance; then fit back in

• Breathe in for 4 counts and out for 16; then in for 3, 2, and 1 while trying to maintain good tone quality and proper breathing technique

• In small groups, choose warm up exercises that are appropriate for that student and instrument LREP – 21st Century Skills, Collaboration

• Discuss the components and benefits of a good warm up, including varied exercises based on students' abilities. LREP – Differentiation

• With one student using a tuner, have the other students match that pitch in unison one at a time

• Listen to two pitches played together and determine if they are in tune; the student will identify which pitch is not matching and in which direction (sharp

or flat)

• Use an electronic tuner to tune one note on their instrument. Then play other notes and try to relate them to the original one without the tuner

• Listen to an interval (3rd, etc.). The teacher will move the upper note around and students will say when they hear it “lock” into tune

• Play major chords one pitch at a time to hear the correct intervals

• Listen to a set of chords played by the teacher and identify “major”, “minor”, or “other”

• Listen to a set of chords played by the teacher and identify “tonic” or “dominant”

• Perform etudes and be able to identify leading tones, modulations, and mode shifts

• Describe notes on their own instrument that are usually out of tune, and what adjustments they can make to correct it

• Perform duets with other students or the teacher with sensitivity to intonation

• Students will record themselves performing an etude or excerpt from the concert music, then play it back and discuss the elements of tone and

intonation

Revised 2016 6

Unit II: Individual and Ensemble Technique Essential Question: How do you tell your story in performing music without words? How does understanding instrumental technique affect the artistic communication in musical performance? How do you evaluate a performance?

Objectives: Students will be able to: • Perform musical phrases and sections through the complete dynamic range with good control as individuals, in sections, and as an ensemble

• Demonstrate their understanding of the musical terminology regarding dynamics (pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo)

• Make musical decisions about what dynamic level the music is calling for even if it is not specifically written in the music

• Understand and identify the role their part has in the music as a whole and relate it to dynamic level

• Perform the concert music with accurate articulations

• Understand and perform articulations (legato/tenuto, stacatto, marcato, slurs, accents)

• Recognize articulation markings (symbols and words) including sfz, fp, sffz, etc.

• Analyze a musical phrase in the concert music or etudes to determine where to breathe, how to shape

• Asses where a phrase begins, ends, and leads

• Perform a variety of etudes from the Rubank Method or Sound Innovations books appropriate for their level that address improvement of technical

facility, range, endurance, articulation, dynamics, phrasing, and flexibility

• Perform all 12 major scales with correct notes at a moderate speed in multiple octaves (appropriate for the instrument)

• Perform minor scales up to 3 sharps and 3 flats

• Explain the 3 forms of minor scales and how to figure out which notes to play

• Identify the order of accidentals in the key signature

• Recognize and identify if the piece is in a major or minor key

• Demonstrate awareness of non-traditional scales and modes (Pentatonic, Chromatic)

• Understand and perform select modes (Lydian, Mixolydian)

• Utilize appropriate software (Smartmusic) in lessons and individual practice, which aid in improving their technical skills

Revised 2016 7

Symphonic Band Unit II: Individual and Ensemble Technique

Topic/Content Skills

Assessment Resources Instructional Method

Technology Integration

NJCCCS

Dynamics Teacher, Peer, and Self Analysis

Instrument, Rubank/Sound Innovations Method book, Concert repertoire

Demonstration Class and lesson performance Individual practice

Recordings 1.1.12.B.1 1.1.12.B.2 1.3.12.B.2

Articulation Teacher, Peer, and Self Analysis

Same as above Demonstration Class and lesson performance Individual practice

Recordings 1.1.12.B.1 1.1.12.B.2 1.3.12.B.2

Phrasing Teacher, Peer, and Self Analysis

Same as above Demonstration Class and lesson performance Individual practice

Recordings, Videos 1.2.12.A.2 1.3.12.B.2 1.3.12.B.3

Scales Teacher, Peer, and Self Analysis

Instrument, Sound Innovations book, Teacher or student made hand out

Demonstration Class and lesson performance Individual practice

Computer and software

1.1.12.B.2 1.3.12.B.2 1.3.12.B.3

Key Signatures Teacher evaluation

Instrument, Method book, Concert music or sight reading, Smartmusic digital content

Lecture Demonstration

Computer and Software Visual aids

1.1.12.B.1 1.1.12.B.2 1.3.12.B.2

Revised 2016 8

Symphonic Band Unit II: Individual and Ensemble Technique Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Play scales in whole notes, gradually growing louder as the scale ascends and softer as it descends

• Practice alternating soft and loud dynamics every two beats to enhance control

• Discuss practice techniques to improve dynamic range and control

• Students play a long tone and respond with dynamics according to the gestures made by the conductor (teacher or student)

• Perform etudes with no phrasing or shaping written in; have them play and make choices about phrasing.

• Demonstrate shaping of a phrase in two contrasting ways; discuss the pros and cons of each interpretation. LREP – 21st Century Skills, Critical

Thinking

• Students will fill in articulation and dynamics on a pre-made warm up sheet that the band will perform

• Warm up using rhythmic patterns that require rapid articulation

• Perform the major scales in varying speeds and patterns working to attain an accurate performance in the ensemble and lessons

• Students write out their own scale sheet using key signatures and/or spelling the scale by interval

• In group lessons, read music in unfamiliar keys to practice maintaining the correct accidentals and to familiarize the students in reading that key

• Perform exercises in minor keys

• “Key Signature Jeopardy” – in small group lessons quiz students on key signature recognition

• Listen to examples of professional soloists and discuss their phrasing

• Listen to recordings of the Symphonic Band to discuss areas of technical achievement and areas for improvement. LREP – 21st Century Skills,

Technology

Revised 2016 9

Unit III: Rhythm Essential Question: Is rhythm something written? Or something felt? How does understanding rhythmic notation improve musical performance? Objectives: Students will be able to:

• Maintain a steady beat when playing individually

• Understand, count, and perform moderately challenging rhythms including Whole, Half, Quarter, Eighth, and Sixteenth notes and rests on a single pitch

and varying pitches

• Understand, count, and perform dotted rhythms and rests

• Understand and play rhythms including ties

• Recognize and perform syncopated rhythms

• Understand and perform rhythms at various tempi

• Understand, count and perform Whole, Half, Quarter, Eighth, and Sixteenth note triplet and triplet rest patterns

• Demonstrate understanding of subdivision

• Write rhythms including all the above note values with correct notation for stems, beams, rests, barlines, etc.

• Demonstrate understanding of time signatures and time signature terminology (Simple, Complex, Compound)

• Count and Play music in Simple meter (2/4, 3/4, 4/4, 5/4), Compound meter (3/8, 6/8, 9/8, 12/8), and Complex meter (5/8, 7/8, 8/8, etc.)

• Count and play music in mixed or switching meter

• Demonstrate understanding of rhythmic modulation (beat stays the same or note value stays the same)

• Understand, describe, and play in cut time (2/2)

• Demonstrate understanding of tempo markings and terminology (i.e. Largo, Andante, Moderato, Allegro, Presto, etc.)

• Demonstrate understanding of markings and terminology that change the tempo (i.e. Ritardando, Accelerando, etc.)

• Read and perform music that includes tempo changes

• Understand how to use a metronome to determine accurate tempi and rhythmic performance

Revised 2016 10

Symphonic Band Unit III: Rhythm Topic/Content Skills

Assessment Resources Instructional Method Technology Integration

NJCCCS

Steady Beat Teacher Observation, Peer and Self Analysis, Rubric

Instrument, Concert repertoire, Rubank/Sound Innovations Book, Teacher or student made hand outs/board, Smartmusic digital content

Demonstration Class and Lesson performance Individual Practice

Recordings, Metronome

1.1.12.B.1 1.3.12.B.1

Duple Beat Division/ Notation

Teacher Observation, Peer and Self Analysis, Rubric

Same as above Same as above Recordings, Metronome

1.1.12.B.1 1.1.12.B.2 1.3.12.B.2 1.3.12.B.4

Triple Beat Division/ Notation

Teacher Observation, Peer and Self Analysis, Rubric

Same as above Same as above Recordings, Metronome

1.1.12.B.1 1.1.12.B.2 1.3.12.B.2 1.3.12.B.4

Dotted Rhythms/ Syncopation

Teacher Observation, Peer and Self Analysis, Rubric

Same as above Same as above Recordings, Metronome

1.1.12.B.1 1.1.12.B.2 1.3.12.B.2 1.3.12.B.4

Meter (Simple, Compound, Complex)

Teacher Observation, Peer and Self Analysis, Rubric

Same as above Same as above Recordings 1.1.12.B.1 1.1.12.B.2 1.3.12.B.2 1.3.12.B.4

Tempo Teacher Observation, Peer and Self Analysis, Rubric

Same as above Same as above Recordings, Metronome, Smartmusic

1.1.12.B.1 1.1.12.B.2 1.3.12.B.2

Revised 2016 11

Symphonic Band Unit III: Rhythm Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Play a quarter note, then silently count 12 and play another quarter note on 13. Discuss why or why not the 2nd note was played together, and how to

improve. LREP – 21st century skills, Critical Thinking

• Teacher or student counts off in a tempo and the ensemble counts or plays eighth notes. Check for accuracy of subdivision

• Compose original rhythms to be performed by the ensemble. LREP – 21st Century Skills, Collaboration

• Compose rhythms including meter changes

• Perform rhythms that do not change meter but change accent pattern (i.e. 3/4 to 6/8)

• Perform exercises and music that changes tempo

• Listen to a rhythm performed by the teacher and write what they hear with accurate notation

• Compare a written rhythm to a performed rhythm and identify any mistakes heard

• Play exercises and music at slow tempos without speeding up. Discuss techniques for maintaining slower tempi LREP - Differentiation

• Practice the concert music at different speeds to check for accuracy of rhythm and subdivision

• Perform supplemental material with a metronome

• Discuss techniques or methods of choosing a tempo for practice

• Students count off concert music or exercises to learn the importance of choosing the right tempo and being consistent

• Play fast music softly and slow music loudly to separate tempo from dynamics

• Teacher will name a tempo marking (i.e. Vivace) and ask students to play or count at that speed to check for comprehension of the musical terminology

• Perform etudes and music with varying time signatures

• Break down and practice challenging rhythms found in concert repertoire by having students figure out the counting, then practice on a single pitch

Revised 2016 12

Unit IV: Interpretation and Artistry (Expression) Essential Question: What is the difference between playing notes and rhythms and making music? How does understanding musical terminology affect the artistic communication in musical performance? How does music affect our emotions? Objectives: Students will be able to:

• Perform concert music while understanding the role their part plays in the music (melody, accompaniment, countermelody) and how that affects the

balance, dynamics, and phrasing

• Perform concert music and lesson etudes with all the style markings including articulation and dynamics to create an emotional response from the

listeners

• Recognize major musical forms and use proper terminology to refer to them (i.e. March, Fugue, Theme and Variations, Trio, Recapitulation, etc.)

• Understand labeling of major sections of music (AB, ABA, etc.)

• Use his/her creativity within the parameters of the written music to explore different interpretations

• Use the story of a piece to create a more meaningful and emotional performance

• Understand and assess the meanings of all the style markings in a piece of music, including all related terms

• Demonstrate understanding of and perform style markings such as dolce, pesante, morendo, etc.

• Synthesize all of the components related to communicating emotion in music, applying their knowledge of dynamics, phrasing, tempo markings, style

markings, and articulations

• Articulate an emotional response or personal experience he/she felt while playing or listening to a musical passage or piece

Revised 2016 13

Symphonic Band Unit IV: Interpretation and Artistry (Expression) Topic/Content Skills

Assessment Resources Instructional Method Technology integration

NJCCCS

Style Markings Teacher Observation, Peer and Self Analysis, Rubric

Concert repertoire, Rubank or Sound Innovations Method Book, Recordings, Teacher or Student made hand outs/board

Demonstration Class and Lesson Performance Individual Practice

Recordings 1.1.12.B.1 1.3.12.B.2

Form Student Checklist Concert Repertoire, Recordings, Smartmusic digital content

Demonstration/Examples Class performance

Recordings, Metronome, Smartmusic software

1.1.12.B.1

Composer’s Intent/Storyline

Teacher Observation, Written work

Concert Repertoire, Recordings, Teacher or Student made hand outs/board

Lecture, Discussion, Research

Recordings, Internet research

1.2.12.A.1 1.2.12.A.2 1.4.12.A.2 1.4.12.A.3

Musicality Teacher Observation, Peer and Self Analysis, Rubric

Instrument, Concert Repertoire, Instrumental Method Book, Recordings, Teacher or Student made hand outs/board

Demonstration Class and Lesson Performance Individual practice

Recordings 1.1.12.B.1 1.3.12.B.2 1.3.12.B.3

Synthesis Teacher Observation, Self Analysis, Rubric, Checklist

Instrument, Concert Repertoire, Instrumental Method Book, supplemental etudes or chamber music, Recordings

Class and lesson performance

Recordings 1.1.12.B.2 1.3.12.B.3 1.3.12.B.4 1.4.12.A.3

Revised 2016 14

Symphonic Band Unit IV: Interpretation and Artistry (Expression) Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Perform exercises like scales in rounds while thinking about expression

• Performing chord progressions and identifying which harmonic changes generate an emotional response

• Listen to recordings of professional groups and discuss how they create emotional responses from their audience. LREP - Sustainability

• Listen to an unfamiliar piece and write down emotional reactions. Student will list which aspect they reacted to and how (tempo, dynamics, energy, etc.)

• Listen to a musical piece and write or draw a story that goes along with it. Discuss their ideas with the actual story of the piece

• Discuss the composer’s intent of writing the concert music. Is it to tell a story? Learn a time signature? To make audiences feel sad?

• Record a performance of the concert music and discuss how and where we should include more expression

• Label the form of the concert music or lesson etudes individually, then compare with others. Notice any differences in labeling; can an argument be

made for either way? Is there a right and wrong answer? LREP - Differentiation

• Using a rubric or checklist, analyze the performance of an individual or of the ensemble. Evaluate the findings of all the components and create a plan

for improvement. LREP – 21st Century Skills, Critical Thinking

• Writing a checklist or set of goals for personal improvement over a period of time. Formulate a plan, and then check back after that amount of time

Revised 2016 15

•

Unit V: Individual and Ensemble Performance Essential Question: How do you engage an audience member? I’m only one person; do I really make a difference in the large ensemble? Objectives: Students will be able to:

• Understand how to solidify their individual performance details (i.e. shaping phrases, observing performance markings)

• Perform as individuals and understand how that relates to performing in a section of like instruments

• Perform in their section and understand how that role fits in with the overall ensemble in creating a well rounded performance

• Identify what makes an ensemble sound clean and effective in their performance

• Play with confidence and pride in their achievements

• Understand that Symphonic Band is not “2nd Band” or “Bad Band”, just Band at a different musically developed place

• Listen and critique their own performance and performances of others listening to the ‘big picture’ and evaluating the successes and shortcomings of

the performances

• Identify and demonstrate various conducting patterns

• Follow a musical score

• Conduct a short excerpt from concert music including cuing, dynamic, and stylistic gestures, not just beat pattern

• Understand the challenges involved in conducting an ensemble

• Understand and interpret a conductor’s gestures as much as possible

• Identify the differences between looking, sounding and acting professional and looking, sounding and acting like an amateur

• Understand what it means to be a good audience member

• Understand how to plan a concert, including: Programming, Aesthetics, Seating Arrangements, etc.

• Identify and understand the stress involved in performing as well as how to manage that stress

• Correlate musical performance and school spirit and sense of community

• Connect musical performance with team work, leadership, peer support and time management

16

Topic/Content Skills Assessment Resources Instructional Method Technology Integration NJCCCS Individual Performance Detail

Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Instrument, Concert repertoire, Instrumental Method Book, supplemental etudes, Recordings

Class, Concert and lesson performance, Discussion

Recordings, Computer Software

1.3.12.B.1

Ensemble Performance Detail

Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Instrument, Concert Repertoire, supplemental chamber music, Recordings

Class/Concert performance, Discussion

Recordings, Computer Software

1.3.12.B.1

Professionalism Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Instrument, Concert repertoire, Recordings/videos

Class/Concert performance, Discussion

Recordings/videos, Computer Software

1.2.12.A.2

Listening for understanding

Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Concert repertoire, Instrumental Method Book, Recordings

Class/Concert performance, Discussion

Recordings, Computer Software

1.3.12.B.3

Conducting Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Concert repertoire, Instrumental Method Book, Recordings

Class/Concert performance, Discussion

Recordings 1.3.12.B.2

Concert Planning Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Concert repertoire, Recordings

Discussion

Recordings, Computer Software, Internet Research

1.3.12.B.4 1.4.12.A.4

Public Performance Teacher Observation, Peer and Self Analysis, Rubric, Checklist

Concert Repertoire Class/Concert performance, Discussion

Recordings 1.4.12.A.4

17

Symphonic Band Unit V: Individual and Ensemble Performance Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Perform sections of the concert music, Rubank Intermediate Method exercises, or etudes from Sound Innovations in lessons for each other and peer

evaluate the effectiveness of the performance in regard to the details (i.e. Phrasing, Articulation, Dynamics, Communication)

• Perform sections of the concert music as a section (i.e. clarinets only) and discuss how the individual performance relates to the section. Add sections

one at a time and observe the changes in the overall texture, timbre and communication

• Perform exercises or sections of music where the conductor will vary tempo and style through conducting gestures and the students will have to react

to it and perform what is expected

• Listen and evaluate a recording of the Symphonic Band’s performance and compare it to the professional recording. Consider the acoustics of each

performance venue. Was the professional recording live or from a studio?

• Performing in Concerts (including home football games) throughout the school year demonstrating their professionalism to the best of their ability.

LREP – Character Education

• Observe performances as audience members

• Discussing how musical performance affects personal stress levels

• Follow conducting patterns on the board and conduct as a class

• Conduct a section of the concert music in class or a lesson. What are your observations? How is it different? LREP – 21st Century Skills, Critical

Thinking

• Students give feedback to peer conductors – What worked, what did not work, were they a good leader or did they just let the ensemble lead them?

LREP – Character Education

• The ensemble will follow a conductor for every aspect of music (articulation, style, dynamics, tempo). Discuss what gestures may work for which area

of focus

18

Unit VI: Literature, Cultural and Musical Awareness Essential Question: Are there differences, other than instrumentation, between music written today and music written 100 years ago? Aren’t they the same 12 notes? How can understanding history or culture affect a musical performance? Objectives: Students will be able to:

• Perform music from the standard Concert Band repertoire

• Develop and follow a procedure for successful sight-reading

• Identify the difficulty level of a piece of music or etude based on their understanding of musical concepts

• Sight read music with a high level of proficiency on music grade level 1-2 and will sight read music in the grade 3 level proficiently

• Perform concert literature ranging in difficulty from grade 1 through 4

• Sight read with confidence without being afraid to make a mistake

• Recover quickly when mistakes are made

• Identify areas for improvement of their own sight reading ability (i.e. rhythms, keys, dynamics)

• Learn and identify music from different periods of Band repertoire

• Perform music of various styles, including traditional and contemporary

• Recognize and identify important and well-known composers for band, and understand what to expect in his/her compositions

• Discuss performance concepts and musical awareness to understand and connect with music on an emotional level

19

Topic/Content Skills

Assessment Resources Instructional Method

Technology Integration

NJCCCS

Sight Reading Teacher Observation, Rubric

Instrument, Concert repertoire, Rubank/Sound Innovations Method Books, supplemental etudes, duets, and chamber music, Smartmusic digital content

Class, Concert and lesson performance, Discussion

Recordings, Computer Software

1.1.12.B.1 1.1.12.B.2 1.3.12.B.1 1.3.12.B.2

Difficulty/Grading Rubric, Checklist Concert repertoire, Smartmusic digital content

Class, Concert and lesson performance, Discussion

Recordings, Smartmusic digital content, internet research

1.4.12.A.4

Wind Music Styles/Periods

Teacher Observation, Checklist

Concert Repertoire, Smartmusic digital content

Class, Concert and lesson performance, Discussion

Recordings, internet research

1.2.12.A.1 1.4.12.A.1 1.4.12.A.3

20

Symphonic Band Unit VI: Literature, Cultural and Musical Awareness

Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• Performing appropriate Concert Band music in class and in concerts through the school year

• Develop a pre-reading plan for sight-reading a piece of music. LREP – Differentiated Instruction

• Discuss the difficulties associates with sight-reading a piece of music (i.e. Key, Meter, Rhythms, Accidentals, Speed, Road Map, Styles)

• Actively sight-read music in every lesson

• Making a check list or goal sheet for individual improvement in sight reading. LREP – 21st Century Skills, Problem Solving

• Actively sight-read music in as many ensemble rehearsals as possible

• Listen to recordings and/or perform music from all periods of wind band music and discuss how they are different

• Listen to several pieces of music and assign it a category for labeling the difficulty. What are the characteristics for categorizing them?

• Give input on which pieces they think would make a well-rounded concert program

• Use Smartmusic to browse compositions by the same composer; identify similar compositional techniques among those pieces

• Compare and contrast music from different time periods (i.e. contemporary vs. pre-1950)

• Sit next to a different ensemble member than usual. Discuss how that change affected your performance.

21

Unit VII: Careers and Life Skills Essential Question: Why would I continue to study music if I am not going to be a performance artist? How can I use skills from the band room in my daily life? Objectives: Students will be able to:

• Compare/contrast various careers in music • Identify skills needed in those areas of the musical field • Identify which area of music they are most interested in • Self-evaluate to determine if a career in music may be right for them • Understand that you can have music in your life with any career they may choose • Identify ‘real life’ skills they learn while studying an instrument that may be applicable to other career paths

Sample Learning Activities Students will participate in ensemble activities and small group instruction devoted to addressing the objectives. Activities may include:

LREP Goals addressed in each lesson below are Sustainability, 21st Century Skills, Character Education, and Differentiated Instruction.

• List everything you can think of that goes into making a cd – from the first sound to your iPod • Discuss how music can continue as a major part of your life even if you become a lawyer, doctor or sanitation engineer • Which of the following do you think you would do well at and why? What are the characteristics of these professionals?

- Composer, Film Composer, Manager, Graphic Artist, Music Therapist, Jingle Writer

Topic/Content Skills

Assessment Resources Instructional Method

Technology Integration

NJCCCS

Performance Opportunities

Teacher Observation

Internet, Music Magazines

Discussion, Lecture Internet research 1.2.12.A.2

Production Opportunities

Teacher Observation

Internet, Music Magazines

Discussion, Lecture Internet research 1.2.12.A.2

Finance/Marketing Opportunities

Teacher Observation

Internet, Music Magazines

Discussion, Lecture Internet research 1.2.12.A.2

Educational Opportunities

Teacher Observation

Internet, Music Magazines

Discussion, Lecture Internet research 1.2.12.A.2

Real Life Teacher Observation

Experience Discussion, Lecture Internet research 1.2.12.A.1 1.2.12.A.2

22

Long Range Education Plan Inclusion in the MLHS BAND PROGRAM Sustainability

As stated in the New Jersey Core Curriculum Content Standards for Visual and Performing Arts, “Access to the arts has a positive influence on the quality of an individual’s lifelong learning, personal expression, and contributions to community and global citizenship.” (Standard 1.2.12.A.2). Since many of our students pursue collegiate studies and professional careers outside of music, we emphasize the intrinsic benefits of studying an instrument and learning about music. We hope to instill in our students a love of music that will bring them joy as adults. Whether it be through performance in a community band, enjoying the soundtrack to a new movie, or passing on their memories and experience in band to their own children, the lessons they learn as members of the MLHS Band Program are far greater than just how to play their scales.

21st Century Skills – Technology, Communication, Problem Solving, Critical Thinking, Creativity and Innovation

This goal ties into most lessons in the overall high school band curriculum. A good musician is always be thinking critically about his or her performance as it happens. “Am I in tune?” “Am I playing too loudly?” “Why does my rhythm sound off?” These types of questions should be happening in real time, as the student plays the musical exercise or composition. Through ensemble and individual instruction, critical thinking and problem solving are ingrained as natural responses as the performance goes on. Creativity is also a high priority in instruction in the band program. Students are frequently asked to compose rhythms, design exercises, and lead warm-ups or rehearsal segments. Using the foundational skills they learn in class, they use creativity to synthesize the elements of music into their own lesson. Ethical Decision Making/Character Education

This goal prevails throughout all instruction in both class and lesson periods. Students are encouraged to support one another in the way they behave in class as well as when they are peer evaluating to provide constructive criticism with respect. Students will also learn what it means to behave as audience members and treat all performers with appropriate respect. Students also learn personal responsibility when caring for their equipment, perseverance when tackling a challenging piece of music, and responsibility to one’s classmates, since each individual’s performance has a direct impact on the group as a whole. Differentiated Instruction

All students in the MLHS Band Program receive a degree of personalized instruction, much of which happens in the lesson period. Since lessons are homogenously grouped by instrument and general ability level, the teacher is better able to personalize and tailor instruction to meet students’ needs. Whether it is by breaking down a concept further than is possible in the ensemble setting, choosing a more challenging etude for students who need a push, or just spending a little extra time on the concert repertoire, students frequently receive customized musical instruction. Since the band room has several small practice rooms, the teacher is also able to offer one-on-one instruction during audition time, or in the event a student really needs extra help.