Orchestra Curriculum PDF

ROCKWOOD
SCHOOL
DISTRICT
ORCHESTRA
CURRICULUM 3-12
May, 2003 Orchestra Curriculum 4-12 Approved by Board of Education

May, 2004, Annual Review with Changes to Curriculum Advisory Committee
February, 2005, Annual Review with Changes to Curriculum Advisory Committee
January, 2006, Annual Review with Changes to Curriculum Advisory Committee
Winter, 2007-2008 Program Evaluation
In-Depth Review Draft to CAC December 6, 2008
In-Depth Review Draft to the Board of Education, March 12, 2009
September, 2011 Revised Draft to add 3rd Grade
ROCKWOOD
SCHOOL
DISTRICT
ORCHESTRA
CURRICULUM 3-12
Index
Rockwood School District Mission Statement ..............................................................4
Rockwood School District Learner Expectations ..........................................................5
Differentiation and Acceleration in Orchestra ...............................................................6
Basic and Essential Skills .............................................................................................6
Equity in Orchestra ........................................................................................................7
Data Driven Teaching Learning Model .........................................................................8
Rationale ........................................................................................................................9
Orchestra Goals for Graduates .......................................................................................9
Implementation Guidelines .........................................................................................10
Expectations for Orchestra Performance, Grades 3-12................................................11
Expectations for Care of Stringed Instruments, Grades 3-12 ......................................11
Expectations for Rehearsal ..........................................................................................12
Expectations for Independent Practice.........................................................................12
Core Conceptual Objectives for Orchestra 3-12 ..................13
Scope and Sequence of Orchestra Content and Skills .................................................14
Third Grade Violin.......................................................................................................26
Fourth Grade Orchestra................................................................................................54
Fifth Grade Orchestra ..................................................................................................86
Middle School Orchestra ...........................................................................................117
Middle School Orchestra Course Map .......................................................................118
Middle School Orchestra Course Description Guide.................................................119
Sixth Grade: Intermediate Orchestra ........................................................................120
Seventh Grade: Cadet Orchestra ...............................................................................151
Eighth Grade: Concert Orchestra ..............................................................................183
High School Orchestra ...............................................................................................215
High School Orchestra Course Map ..........................................................................216
High School Orchestra Course Description Guide ....................................................217
Chamber Orchestra ....................................................................................................219
Concert Orchestra ......................................................................................................251
Symphonic Orchestra .................................................................................................282
Appendix ....................................................................................................................313
Fine Arts Resource Selection Evaluation Checklist ..................................................314
Rockwood Writing Guidelines ..................................................................................316
Missouri Show-Me Standards ....................................................................................320
Graphic Organizers ....................................................................................................326
Procedures for New Rockwood String Teachers .......................................................338
Infinite Campus Report Cards for Grades 3, 4, and 5 ................................................347
Third Grade Learning Target Classroom Record Chart ............................................348
Fourth Grade Learning Target Classroom Record Chart ...........................................349
Fifth Grade Learning Target Classroom Record Chart..............................................350
ACKNOWLEDGEMENTS
The writing team gratefully acknowledges those parents, patrons, students, teachers,
and administrators who provided direction and feedback to the document at every stage
of its development.
Elementary School Orchestra Writing Committee

Nicole Cramer, Linda McNair, Linda Rekas
Middle School Orchestra Writing Committee
Emily Huskey, Julia Lega, Judy Moss
High School Orchestra Writing Committee
Patti Fleer, Joe Gutowski, James Nacy, Steve Patton
Consultants
Dr. James Richards, Director of Music Education, University of Missouri St. Louis
Jan Korn, Librarian
Administrator Review Committee
Sharon Jackson, Lisa Kaczmarczyk, Mitch Lefkowitz, Dr. Kirti Mehrota, Gary Ujka
Parent and Student Review Committee

Amy and Emily Buatois, Roxie Klein, Shelly Palumbo,
Becky Sparling, Julie Walasinski
Department of Curriculum and School Leadership
Dr. Scott Spurgeon Associate Superintendent
Dr. Carrie Luttrell - Executive Director of Curriculum, Instruction, and Assessment
Dr. Cheryl Venet Coordinator of Fine Arts
Support Staff
June Wilhelm Fine Arts Department Secretary
Third Grade Draft Revision Committee
Nicole Cramer, Jennifer Coalson Husky, Linda Rekas, Darlene Lanser, Tracy Smith,
Carl Hoff, Steve Haney, Jenger Wollard, Laura Holzen, Joanna Metsker, Mary White,
Dr. Matt Frederickson, Mark McHale
ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT
All students, with support from the community, parents, and staff, will be provided a
dynamic curriculum within a safe and caring environment so they will develop the skills,
abilities, and attitudes to be lifelong learners and citizens of good character who are
prepared to contribute to an ever-changing, global society.
ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS
ROCKWOOD STUDENTS
ARE LEARNERS:
With positive self-worth
Who demonstrate critical thinking and

problem-solving skills in all areas.
Who demonstrate verbal,

quantitative, cultural, and
technical literacy.
Who demonstrate the

adaptability necessary for
life in a changing world.
Who can utilize community

resources to foster continual
growth and development.
Who think and express

themselves creatively and
appreciate the creativity of
others.
With skills and attitudes

necessary to become selfdirected, life-long learners.
Who have a broad

familiarity with the world
of work to develop and
enhance their career
potentials and opportunities.
Who understand the value of

effort in realizing their full
educational, vocational, civic,
and personal potential.
Who understand and

appreciate the elements
and principles of the arts
and their influence on all areas
of life.
Who understand the principles

of physical and emotional
health and the importance of
maintaining them.
Who understand and

demonstrate individual, social,
and civic responsibility, including
a global concern, tolerance, and
respect for others.
With effective skills in written

and oral communication.
Who demonstrate individual

and social ethics.
DIFFERENTIATION AND ORCHESTRA

The Orchestra Department in the Rockwood School District differentiates instruction
through a variety of facilitating activities that address students unique abilities. Teachers
should consider differences in learning styles, skill levels, and student interest when
planning instruction. Differentiation strategies are listed for each CCO.
ACCELERATION AND ORCHESTRA

Advanced students are accelerated in Orchestra in a variety of ways. Students in high
school are auditioned and placed in the appropriate orchestra. In all grades, advanced
students perform more challenging parts, have opportunities for solo performances, and
are provided opportunities for participation in extra-curricular orchestras.
BASIC AND ESSENTIAL SKILLS

All content and skills of a curriculum document are classified as either
BASIC or ESSENTIAL according to the definitions set forth by the Rockwood
Curriculum and Instruction Department.
BASIC SKILLS
Those skills which lay the basis/foundation for all future learning:
Reading
Writing
Math
Problem solving
Working with others
Analytical skills
Effective communication
ESSENTIAL SKILLS
Those skills which are vital to future learning (specific to each content area):
Specific skills listed by grade level/course
Scope/sequence
Critical to mastery of the course
EQUITY IN TEACHING ORCHESTRA

Orchestra teachers create a positive classroom environment in which all students are
accepted and taught mutual respect. Teachers model sensitivity to differences in race,
gender, ethnicity, and ability/disability. Teachers address individual and group needs of
students in Orchestra classes.
Racial/Ethnic Equity
Teachers use a variety of teaching styles consistent with the learning styles of racial,
cultural, and ethnic groups represented in their classrooms. Racial/ethnic equity is taught
in Orchestra through analysis and discussion of works that represent diverse composers
and performers.
Gender Equity
Gender equity is taught in Orchestra through study of musicians and composers.
Technology Skills
In Orchestra, students use computer technology to: improve performances; demonstrate
knowledge of music theory; compose music; and critique works and performances.
Technology integration is listed for each CCO.
Research/Information Processing
Students use research and information processing skills in Orchestra as part of music
analysis, critique, and historical/cultural study.
Data Driven Teaching Learning Model
Department of Curriculum and School Leadership

Rockwood School District 2004
ROCKWOOD ORCHESTRA RATIONALE
The Rockwood orchestra program helps students develop technical performance skills,
knowledge, and critical judgment. Orchestra helps students develop self-discipline, selfevaluation, and perseverance to meet high standards. These habits of mind support
achievement in other academic areas.
The orchestra program teaches students about the musical heritage from ancient to
contemporary times and from diverse cultures. Students appreciate the characteristics of
various styles and understand the contexts in which music is composed and performed.
In a global society, music functions as a universal language that can help people find
common ground across nations and languages.
Graduates of the Rockwood orchestra program can play an instrument in their families,
religious institutions, and/or community musical groups. If students choose to pursue a
career in music, they will be prepared to enter a college or conservatory. Aesthetic
education gained throughout all levels of participation in the program will enhance the
individuals appreciation of music throughout his/her life.
ROCKWOOD ORCHESTRA GOALS FOR GRADUATES
Graduates of the Rockwood Orchestra Program will:
Recognize through aesthetic awareness that music is a part of all humanity.
Acquire skills necessary for life-long music learning and application.
Prepare and present a musically proficient performance, alone or in an ensemble.
Make knowledgeable and discriminating judgments about music.
Understand the relationship of music to other arts and to non-arts disciplines.
Enjoy and appreciate musical performances within their historical and cultural
context.
IMPLEMENTATION GUIDELINES
Teachers are required to teach the Core Conceptual Objectives (CCOs) with the essential
content, vocabulary, and process skills specified at each grade level. This content is
aligned with the Show-Me Standards and Grade Level Expectations. They are also
required to use Application Level Assessments (ALAs) and scoring guides that describe
performance/production at various levels of quality. In the elementary violin and
orchestra classes, there is a minimal required repertoire that teachers enhance. At the
secondary level, teachers independently select music through which students demonstrate
the required content and skills.
Teachers are required to pre-assess, differentiate instruction, and create facilitating
activities however those listed in the document are suggestions or models. Teachers may
develop their own pre-assessments, and differentiated activities that meet the needs of
their students.
This is a living, changing, document that will be reviewed and revised annually. Teacher
feedback is essential to this process. Therefore, teachers are encouraged to record
observations and comments about the curriculum as well as ideas for additions and
deletions. Throughout the course of the year, teachers should document demonstrations
of each ALA to be used in the refinement of scoring guides.
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EXPECTATIONS
In Orchestra, there are common expectations, essential for student achievement that will
be assessed and reported as part of the Core Conceptual Objectives.
Expectations for Orchestra Performance for an Audience, Grades 4-12, CCO I
Students should:
Wear appropriate concert attire as prescribed by director.
Arrive promptly at designated time.
Bring instruments, music and any other required equipment.
Be seated and ready to play (without talking, chewing gum, etc.).
Follow conductors directions, cues, and baton.
Watch/listen to other players.
Demonstrate correct body posture and instrument position while playing and at
rest.
Demonstrate technical skills and musicianship in ensemble performance.
Expectations for Care of Stringed Instruments, Grades 3-12, CCO I
Students should:
Handle, clean, and store the instrument
Tighten and loosen the bow tension as needed.
Rosin and clean the bow.
Carefully remove and replace the instrument in its case.
Clean and polish the instrument.
Treat all instruments with respect and care.
Use a shoulder rest when playing the violin or viola.
Use a rock stop when playing the cello or bass.
11
Expectations for Rehearsal, Grades 3-12, CCO I and CCO II
Students should:
Arrive at rehearsal on time.
Be prepared to play your part.
Be seated and ready to play (without talking, chewing gum, etc.).
Follow conductors directions, cues, and baton.
Watch/listen to other players.
Demonstrate correct body posture and instrument position while playing and at
rest.
Demonstrate technical skills and musicianship in ensemble performance.
Expectations for Independent Practice, Grades 4-12

CCO I A, CCO I B, CCO II B
Students should:
Practice daily and consistently.
Tune instrument carefully before practicing (grades 6-12).
Analyze problems to define components that can be solved one by one.
Decide on best method to solve each problem.
Organize practice time.
Practice both with and without instrument.
Repeat correct performance for reinforcement.
Practice different tempi, slow as well as fast.
Practice both left and right hands equally.
Practice difficult sections in context.
Practice performing skills.
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CORE CONCEPTUAL OBJECTIVES FOR GRADES 3-12 ORCHESTRA

Core Conceptual Objectives (CCOs) in the Orchestra curriculum are aligned with
Missouri Fine Arts Standards and grade level expectations. Codes after each CCO
indicate this alignment. The CCOs remain constant for grades 3-12 while content
knowledge and techniques spiral to provide continuous refinement of basic music skills.
Scoring Guides following each CCO indicate the level of proficiency.
Core Conceptual Objectives:
CCO I: Students will use performance skills to express musical ideas. (Tone production,
Position, Bowing skills, Musicianship: Repertoire, Improvisation, Ensemble playing)
CCO II. Students will demonstrate elements of music.
A. Reading Skills (Melodic and Rhythmic Notation, Symbols of Expression,
Sight-reading, Intervals played and sung)
B. Finger Patterns and Scales
C. Composition
CCO III. Students will explain perceptions about and evaluations of music
A. Music Criticism
B. Form
CCO IV. Students will make connections among the arts and with non-arts disciplines.
A. Connections among the Arts
B. Connections with Non-Arts Disciplines
CCO V. Students will demonstrate knowledge of music in historical and cultural
contexts.
13
Scope and Sequence

of
Orchestra
Content and Skills
Content and skills are listed at the grade/course where students are expected to first master them. They
may be introduced in earlier grades/courses and will be reviewed in subsequent grades/courses.
14
CCO I. Students will use performance skills to express musical ideas.
Elementary School
Tone Production: bow weight, bow speed, contact point on A and E strings
Grade Three
Standing Position Feet, torso, and shoulders, feet shoulder width apart, knees
flexible, weight is centered or shifted to left foot, spine is straight, shoulders are
relaxed and level, left toe slightly forward
Violin Position: left shoulder seam covered, nose toward scroll, scroll/elbow over
left toe, left elbow under violin, violin horizontal with floor, jaw on jaw rest, violin
held by weight of head
Left Hand Position: base of first finger back toward nut, neck on base of first
knuckle, thumb on first tape with thumbnail facing G peg, finger tips on tape,
knuckles rounded, hand balanced on wrist, line from knuckles to elbow, elbow over
toe
Bow Hold: inside corner of right thumb touching where frog and stick intersect to
make circle, middle fingers on frog with 2nd finder across from thumb, index
finger slightly spaced from 2nd finger, curved pinky above frog on top of stick,
fingers pronated toward tip, maintain flexible joints
Bowing Skills: staccato, legato, pizzicato with anchored thumb, bow lifts, bow
direction
Musicianship: Repertoire may include: Chicken on a Fence Post, Old Brass
Wagon, Im a Little Monkey, Twinkle and Variations, French Folk Song, A Scale;
Improvisation may include: improvise melody on E and new rhythms on the A
scale, Ensemble Playing: starting/stopping together; following established tempo.
Tone Production: bow weight - use natural arm weight, bow speed - vary to play
Grade Four
different note values, contact point - keep bow parallel to bridge on A and D strings
Violin & Viola Sitting Position: feet on floor, knees hip width apart, sitting rightfront corner of chair, back erect, left shoulder toward music
Violin & Viola Instrument Position: left shoulder seam covered, jaw on jaw rest,
violin horizontal with floor, violin held by weight of head
Violin & Viola Left Arm Position: base of first finger back toward nut, neck on
base of first knuckle, thumb on first tape with thumbnail facing G peg, finger tips
on tape, knuckles rounded, hand balanced on wrist, line from knuckles to elbow,
left elbow under instrument
Violin & Viola Bow Hold: inside corner of right thumb touching where frog and
stick intersect to make circle, middle fingers on frog with 2nd finger across from
thumb, index finger slightly spaced from 2nd finger, curved pinky above frog on
top of stick, fingers pronated toward tip, maintain flexible joints
Cello Sitting Position: Front edge of chair, feet planted flat, cello square between
the knees, bouts high enough on leg to be comfortable, top of cello touches upper
chest, adjust endpin to make C peg behind left ear
Cello Left Arm Position: With left arm up and out to the side, wrist straight,
fingers curved creating a C shape, pad of the thumb on the back-center of neck
aligned with the second finger, finger tips on tapes
Cello Bow Hold: inside corner of right thumb touching where frog and stick
intersect to make circle, middle finger on ferrule across from thumb, index finger
over stick at first joint, relaxed pinky over stick on frog, fingers slightly spaced,
flexible joints
Bowing Skills: slurs, accents, matched up/down , arco/pizzicato
Musicianship: Repertoire may include: See Saw, Twinkle, French Folk Song,
Lightly Row, Song of the Wind, Go Tell Aunt Rhody, Allegro, May Song, Long,
Long Ago, Perpetual Motion, Note reading skills on D and A with appropriate
literature while playing; Improvisation: Improvise melody using notes of at D
Major scale. Ensemble Playing: playing in unison and parts
15

Elementary School
Tone Production: bow weight - use natural arm weight, bow speed - vary to play
Grade Five
different note values and dynamics, contact point - keep bow parallel to bridge on
all strings
Violin, Viola, and Cello Positions see Grade Four
Bass Standing Position: Adjust the length of the endpin so that the nut of the
bass is near the top of the forehead, stand with feet hip width apart, place left foot
slightly forward, position endpin in front of left foot one-arms-length away, turn
bass slightly to the right, lean against the body so that the upper bout rests against
the inside of the left pelvis
Bass Left Hand Position: wrist straight, fingers curved creating a "C" shape, pad
of the thumb on the back-center of neck aligned with the second finger, finger tips
on tapes
Bass Bow Hold: inside corner of right thumb touching where frog and stick
intersect to make circle, middle finger on ferrule across from thumb, index finger
over stick at first joint, relaxed pinky over stick on frog, fingers slightly spaced,
flexible joints
Bowing Skills: slurs, ties, hooked, accents, arco/pizzicato, string crossings, bow
sections (whole bow, middle, upper half, lower half), bow lift (small motion), up
bow preparation starting in middle(pickup notes)
Musicianship: Perform on all strings in I position from written music for
students instrument. Introduction to 3rd position all strings for bass and 4th
position G, D, A for cello. Repertoire may include method book, supplemental
materials, and appropriate ensemble literature; Sing: major scale. Improvisation:
Improvise melody using notes of at G Major scale. Ensemble Playing: playing in
unison and parts
16

Middle School
Tuning: open A and D string tuning with fine tuners
Grade Six Tone Production: clear resonant tone using grade one repertoire
Intermediate
Left Hand Skill: vibrato motion on one finger
Orchestra
Bowing Skills: legato, staccato, hooked bows
Musicianship:
Repertoire: Grade 1
Improvisation: improvise using notes of D major scale above and below the tonic
and the octave;
Ensemble Playing: playing in five orchestral parts, (violin I, violin II, viola, cello,
bass)
Tuning: all open string tuning with fine tuners
Grade Seven Tone Production: clear resonant tone using grade two repertoire
Cadet Orchestra
Left Hand Skill: vibrato motion on one finger while bowing
Bowing Skills: tremolo, unanchored pizzicato
Musicianship:
Repertoire: Grade 2
Improvisation: improvise using notes of G major scale with varied rhythms
Ensemble Playing: sectional rehearsal skills
Tuning: open string tuning with pegs using perfect fifths for violin, viola, cello;
Grade Eightharmonics for bass
Concert Orchestra
Tone Production: clear resonant tone using grade three repertoire
Left Hand Skill: vibrato motion on more than one finger while bowing
Bowing Skills: spiccato at balance point, marcato
Musicianship:
Repertoire: Grade 3
Improvisation: improvise using notes of C major scale
Ensemble Playing: small ensemble playing
High School
Chamber Orchestra
Concert Orchestra
Symphonic
Orchestra
Bowing skills: Appropriate to repertoire; col legno, sul ponticello, sul tasto
Shifting skills: 3rd position for violin and viola; 4th position for cello; 4th position
for bass.
Musicianship: Repertoire: through grade 3; Improvisation: improvise melodies
in D major, two-octaves; Ensemble Playing: sectional rehearsal skills
Vibrato skills: variation of width and speed of vibrato appropriate to repertoire.
Bow skills: loure, various speeds of spiccato, 8-note slurs
Shifting skills: 2nd position for all instruments.
Musicianship: Repertoire: through grade 4; Improvisation: improvise melodies in
D and G major, two-octaves
Bow skills: mixed slur patterns, multiple stops/chords,
Shifting skills: 4th and 5th positions for violin and viola. Thumb position for cello
and bass.
Musicianship: Repertoire through grade 5; Improvisation: improvise melodies in
various minor keys
17
A. Reading Skills
Elementary School
Grade Three
Grade Four
Grade Five
Middle School
Grade Six Intermediate
Orchestra
Grade Seven - Cadet

Orchestra
Grade EightConcert Orchestra
Students will play music using finger charts on E and A strings, finger numbers,
and pre-reading symbols.
Students will sing fingerings for third grade repertoire.
Students play music using a fingering chart. Students play music using standard
notation for D Major scale notes on the D and A string using note/rest values of
eighth, quarter, half, dotted half, and whole notes.
Students will sing fingerings and note names for fourth grade repertoire.
Reading Skills: Accents, allegro, andante, arco , bar line, bow lift, chromatic,
clef, da capo al fine (D.C al fine), dotted half note, divisi, down bow- up bow,
double bar, dynamics, extensions (cellos), forte, piano, mezzo forte, mezzo piano,
crescendo, diminuendo, eighth note, first and second endings, half note, half rest,
hooked bows, measure, moderato, music alphabet (pitch names), natural, octave,
pizzicato, quarter note, quarter rest, repeat sign, sharp, shifting, slur, staccato,
staff, tempo markings, tie, time signature: 2/4 , 4/4, C, perfect fifth, unison,
whole step-half step.
Sing major scale using note names.
Reading skills: accent, accidental, Allegro, Andante, crescendo, decrescendo,
diminuendo, dotted quarter note, dynamics, eighth rest, flat, fortissimo, Major,
mezzo forte, mezzo piano, Moderato, pick up notes, ritardando, sixteenth note,
sixteenth rest
Sight-reading: Students will review a piece of early Grade 1 literature, develop a
sight-reading plan, and play at sight from a written composition.
Intervals Played and Sung (aural training): Perfect fourth
Reading skills: 6/8 meter, arpeggio, chord, double stop, ensemble, fortissimo,
harmonic, interval, left-hand pizzicato, phrase, pianissimo, simile, solo,
syncopation, triplet
Sight-reading: Analyze piece prior to sight-reading; sight-read music at Grade 1
level
Intervals Played and Sung (aural training): Major third
Reading skills: 2/2 meter, a tempo, ascending, Baroque style, chromatic,
concerto, cut time, D.C. al Coda, D.S. al Coda, D.S. al Fine, descending, dotted
eighth, melodic minor, tremolo
Sight-reading: Analyze piece prior to sight-reading; sight-read music at Grade 2
level
Intervals Played and Sung (aural training): Major triad
18

A. Reading Skills
High School
Chamber Orchestra
Concert Orchestra
Reading skills: adagio, con sordino, fortissimo, largo, marcato, martel,

pianissimo, ponticello, rallentando, sempre, senza, sordino, soli, sul, tutti
Sight-reading skills: Analyze piece prior to sight-reading; sight-read music up to
Grade 2.5 level.
Intervals Played and Sung (aural training):Octave
Reading skills: allegro, moderato, cantabile, dolce, grace note, grazioso, grave,
maestoso, meno, molto, pesante, poco, sostenuto, subito, tenuto
Sight-reading skills:
Key Signatures
Key Signatures will be limited to the following:
C, G, D Major, and relative natural minors.
There should be at least one key signature change per piece.
Meters
Meters will be limited to the following:
2/4, 3/4, 4/4, Cut Time
Tempo
Tempi will be no slower than 60 beats per minorute and no faster than 10 eightbeats per minorute.
For continuous pieces, there will be at least one tempo change, but no more than
two.
Clefs
Viola will use only alto clef.
Cello and Bass will use only bass clef.
Position Work
Minorimal 3rd position work used in the violin 1 part only.
Minorimal 4th position work used in the cello.
Minorimal half position work and 5th position work used in the bass.
Fingerings
All fingerings will be marked when position work (listed above) is used.
Divisi
There will be no divisi parts written.
Multiple Stops
Multiple stops will be limited to all open strings or open strings with one finger
used.
Repeats
1st and 2nd endings
D.C. and D.S.
Fine
Intervals Played and Sung (aural training): Major scales
19

A. Reading Skills
Symphonic
Orchestra
Reading skills: allargando, agitato, attaca, cadenza, concertino, ripieno, dolore,

espressivo, fuoco, guisto, lento, ma non troppo, morendo, ossia, pi, quasi, rubato,
secco, stringendo, tacit.
Sight reading skills:
Key Signatures
C, G, D, A, F, B-flat Major, and relative natural minors.
Meters
2/4, 3/4, 4/4, Cut Time, 6/eight-, Mix Meters (7/eight- 3+2+2)
Tempo
Tempi will be no slower than 60 beats per minorute and no faster than 120 beats
per minorute.
For continuous pieces, there will be at least one tempo change, but no more than
two.
Clefs And Transpositions
Viola can have limited use of treble clef.
Cello can have limited use of tenor clef.
Bassoon and Trombone will use bass clef only.
All horns will be in F.
All clarinets will be in B-flat
All trumpets will be in B-flat
Position Work For Strings
3rd position and minorimal use of 5th position may be used in the violin 1 part
only.
Minorimal 3rd position work may be used in the violin 2 and viola part.
Half, 2nd, 3rd, and 4th position work may be used in the cello.
Half position to thumb position work may be used in the bass.
Divisi
Limited use of divisi parts may be written.
Repeats
1st and 2nd endings may be used.
D.C., and D.S. may be used.
Fine may be used.
Intervals Played and Sung (aural training): Melodic minor scales
20

Elementary School
A Major scale one octave staring on open A;
Grade Three
Finger tips on tapes left-hand shape and position
Play a one octave major scale starting on open D string.
Grade Four
Read and play 4th grade level music repertoire.
Sing open strings and scale tones.
Violin C, G, D Maj. One octave; low 2nd finger; 4th finger. Accurately play all
Grade Five
notes on all strings in 1st position in these keys.
Viola - C, G, D Maj. One octave; low 2nd finger; 4th finger. Accurately play all
notes on all strings in 1st position in these keys.
Cello - C, G, D, Maj. One octave, 2nd finger, shifting to 4th position.
Bass C, G, D Maj. One octave; 2nd finger, shifting to 3rd position.
Middle School
Violin & Viola - A Major lower octave, F Major one octave, high 3 and low 1
Grade Six Cello - A, F Major one octave, forward extension, backward extension;
Intermediate
Bass - C, F Major one octave position and 2nd position
Orchestra
Grade Seven - Cadet
Orchestra
High School
Chamber Orchestra
Concert Orchestra
Symphonic
Orchestra
Violin - G, D, A Major two octaves, Bb Major, d minor. one octave, 3rd pos. low
4th finger, shift on same finger
Viola - C, G, D Major two octaves, Bb Major, d minor one octave, 3rd pos, low
4th finger, shift same finger
Cello - C, G, D Major two octave Bb Major, d minor one octave, 4th pos, shift
same finger
Bass - B-flat, C, G, D Major, one-octave; d minor one-octave
Violin - a, g minor one-octave, B-flat, C Major two octaves, 2nd position, trills,
double stops, shift different fingers
Viola - a, g minor one octave, C, F two octaves, 2nd position, trills, double stops,
shift different fingers
Cello - C, F, Major two-octave., a, g minor one-octave
Bass - a, g minor one octave, C, F Major two octaves, shifting different fingers
Two octave scales: Major: C, G, D, A, F; minor a, g, d, e
Two octave scales: B-flat Major, b minor
Three octave scales: Majors: C, G, D, A, E, F, B-flat; minors: a, e, b, f-sharp, csharp, a-flat, d, g, c, f
21

C. Composition
Elementary School
Write a composition in finger-chart style using the following parameters:
Grade Three
1) 2-4 measures 2) A string notes 3) 4 notes per measure
Write a composition in standard musical notation using the following parameters:
Grade Four
1) 2-4 measures
2) D major scale notes 3) 4 beats per measure
Compose a melody on a single staff using the following parameters: 1) 4-8
Grade Five
measures 2) Starting/ending on open D for D Major or open G for G major 3)
Range of one octave 4) 4 beats per measure (use correct time signature) 5) Use
quarter notes, quarter rest, half notes, eighth notes
Middle School
Write an eight-measure melody in the key of D Major in 4/4 time signature using
Grade Six notes above and below the tonic and octave.
Intermediate
Orchestra
Grade Seven - Cadet Write an eight-measure melody in the key of G Major.
Orchestra
Write an eight-measure melody in the key of C Major.
High School
Chamber Orchestra Write an eight-measure melody in the key of F Major, in a simple duple or
quadruple meter, using bowing and shifting markings.
Write an eight-measure melody in the key of A Major, in a triple meter, using
Concert Orchestra
bowing and shifting markings.
Write an eight-measure melody in the key of A minor, in a compound duple or
Symphonic
triple meter, using bowing and shifting markings.
Orchestra
22
CCO III. Students will analyze, critique, and compare and contrast music. Students will describe
personal responses to music.
A. Music Criticism
Elementary School
Grade Three
Grade Four
Grade Five
Middle School
Orchestra
Grade Seven Cadet Orchestra
High School
Chamber Orchestra
Concert Orchestra
Symphonic
Orchestra
Respond to and critique a performance based on playing position, sound quality,

and pitch accuracy. Make observations regarding emotional and/or physical
responses to a given performance.
Critique a performance on playing position, note accuracy, and tone production.
Make observations regarding emotional and/or physical responses to a given
performance.
Critique a performance on playing position, note accuracy, tone production, and
dynamics.
Make observations regarding emotional and/or physical responses to a given
performance.
Respond to and critique a performance of Grade 1 literature on posture, left hand
shape, bow hold, tone quality, intonation, articulation (bowing), rhythm, and
dynamics.
dynamics.
dynamics.
Respond to and critique a performance of music of the Baroque period addressing
unity of mood, rhythmic characteristics, melodic characteristics, terraced
dynamics, textural characteristics, and instrumentation.
Respond to and critique a performance of music of the Classical period addressing
contrast of mood, rhythmic characteristics, melodic characteristics, dynamics, and
instrumentation.
Respond to and critique a performance of music of the Romantic period
addressing individuality of style and expression.
B. Form
Elementary School
Grade Three
Grade Four
Grade Five
Middle School
Orchestra
High School
Chamber Orchestra
Concert Orchestra
Symphonic
Orchestra
ABA, Theme and Variations

ABCB, Through-Composed, repeated patterns of themes
Symphony, concerto
Rondo, ABA
Jig, Waltz
Concerto, Symphony
Baroque Suite, Fugue, Concerto Grosso

Compound Ternary, Theme and Variation
Programmatic Music, Sonata
A. Connections among the arts
Elementary School
Students will make connections between music and movement/dance.
Grade Three
Grade Four
Students will make connections between music and visual art.
Grade Five
Students will make connections between a selection from orchestra and visual art.
Middle School
Orchestra
High School
Compare and contrast music and art of the Baroque period.
Students will compare and contrast Romantic music and dance.

Students will make connections between contemporary music and the use of music
to create mood in films/TV.
Chamber Orchestra
Students will compare and contrast Baroque music and architecture.
Concert Orchestra
Symphonic
Orchestra
Students will compare and contrast Classical music and Classical ballet.
Students will compare and contrast between Romantic music and drama.
B. Connections with non-arts disciplines

Elementary School
Grade Three
Grade Four
Grade Five
Middle School
Orchestra
High School
Chamber Orchestra
Concert Orchestra
Symphonic
Orchestra
Students will make connections between the operation of a violin and science.
Students will make connections between the operation of stringed instruments and
operation of simple machines in science.
Students will make connections between music and language arts.
Compare and contrast team-building in orchestra and physical education.
Compare strategies for reading music with those for reading text.
Students will relate events in American history to American music.
Compare and contrast 17th century music and technological/scientific ideas.

Students make connections between the political/social revolutions of the late 18th
century and Classical period music.
Students will make connections between literary writing style and Romantic
music.
24
CCO V. Students will demonstrate knowledge of music in historical and cultural contexts.
Elementary School
Students will be able to understand how the Suzuki method has affected the
Grade Three
history of music education.
Students will be able to explain the evolution of string instruments in relation to
Grade Four
music.
Students will compare and contrast Bach and Beethoven in a historical context.
Grade Five
Middle School
Orchestra
High School
Students will compare and contrast Baroque and Classical music.
Students will compare and contrast Classical and Romantic music.

Students will compare and contrast Romantic and Contemporary music.
Chamber Orchestra
Students will compare and contrast sacred and secular music in the Baroque era.
Concert Orchestra
Symphonic
Orchestra
Students will compare and contrast music of the Baroque and Classical periods.
Students will compare and contrast programmatic music of the Romantic era.
25
Third Grade Violin

Course Description
This is a required course for all third grade students. Students meet for 30 minutes twice
a week. Students will receive instruction on the violin. The course is taught using a
modification of the Suzuki style in which the focus is on learning the repertoire by rote
rather than reading notes from sheet music. The students perform repertoire taken from
the Suzuki book as well as other folk music.
26
Overview of Content and Skills for Third Grade Violin

Tone Production: bow weight, bow speed, contact point on A and E strings
Standing Position Feet, torso, and shoulders, feet shoulder width apart, knees flexible, weight is centered or
shifted to left foot, spine is straight, shoulders are relaxed and level, left toe slightly forward
Violin Position: left shoulder seam covered, nose toward scroll, scroll/elbow over left toe, left elbow under
violin, violin horizontal with floor, jaw on jaw rest, violin held by weight of head
Left Hand Position: base of first finger back toward nut, neck on base of first knuckle, thumb on first tape
with thumbnail facing G peg, finger tips on tape, knuckles rounded, hand balanced on wrist, line from
knuckles to elbow, elbow over toe
Bow Hold: inside corner of right thumb touching where frog and stick intersect to make circle, middle
fingers on frog with 2nd finder across from thumb, index finger slightly spaced from 2nd finger, curved
pinky above frog on top of stick, fingers pronated toward tip, maintain flexible joints
Bowing Skills: staccato, legato, pizzicato with anchored thumb, bow lifts, bow direction
Musicianship: Repertoire may include: Chicken on a Fence Post, Old Brass Wagon, Im a Little Monkey,
Twinkle and Variations, French Folk Song, A Scale; Improvisation may include: improvise melody on E and
new rhythms on the A scale, Ensemble Playing: starting/stopping together; following established tempo.
A. Reading Skills
Reading Skills: Finger charts, E and A strings, Finger numbers, Pre-reading rhythmic symbols
Intervals Sung (aural training): Sing repertoire fingerings
A major scale; one octave starting on open A
C. Composition
Write a composition in finger-chart style using the following parameters: 1) 2-4 measures 2) A string notes
3) 4 notes per measure
A. Music Criticism
Respond to and critique a performance based on playing position, sound quality, and pitch accuracy.
Make observations regarding emotional and/or physical responses to a given performance.
B. Form
Compare and contrast ABA with Theme and Variation musical forms.
Students will make connections between music and movement/dance.
Students will make connections between the operation of a violin and science.
Students will be able to understand how the Suzuki method has affected the history of music education.
27
Third Grade Violin

Core Conceptual Objective I: Students will use performance skills to express musical ideas.
Essential Question
How do musicians express ideas through performance?
Content and Skills:

By the end of this grade/course students should know:
Tone Production: bow weight, bow speed, contact

point on A and E strings
Missouri State Standards & GLEs

FA1,G2.5, GLE: PP2A3, PP2C3,
PP2D3, PP2E3, AP2A4
Learning Target
By the end of this grade/course students should be
able to do:
Perform a given piece using appropriate bow
weight, speed, and contact point.
Standing Position: Feet, torso, and shoulders: feet

shoulder width apart, knees flexible, weight is
centered or shifted to left foot, spine is straight,
shoulders are relaxed and level, left toe slightly
forward
Maintain proper standing position while playing.
Violin Position: left shoulder seam covered, nose

toward scroll, scroll/elbow over left toe, violin
horizontal with floor, jaw on jaw rest, violin held by
weight of head
Maintain proper violin position while playing.
Left Hand Position: base of first finger back toward

nut, neck on base of first knuckle, thumb on first tape
with thumbnail facing G peg, finger tips on tape,
knuckles rounded, hand balanced on wrist, line from
knuckles to elbow, elbow over toe
Maintain proper left hand position while playing.
Bow Hold: inside corner of right thumb touching

where frog and stick intersect to make circle, middle
fingers on frog with 2nd finder across from thumb,
index finger slightly spaced from 2nd finger, curved
pinky above frog on top of stick, fingers pronated
toward tip, maintain flexible joints
Maintain proper bow hold while playing.
Bowing Skills: staccato, legato, pizzicato with

anchored thumb, bow lifts, bow direction
Apply appropriate bowing skills while playing.
Musicianship:
Repertoire: Chicken on a Fence Post, Old Brass
Wagon, Im a Little Monkey, Twinkle and Variations,
French Folk Song, A Scale;
Perform the required repertoire.
Improvise a melody on E string.

Improvise new rhythms on the A scale.
Improvisation: improvise melody on E and rhythms

on a single pitch,
Perform in a group following the leader.

Ensemble Playing: starting/stopping together;
following established tempo.
28
Unit Vocabulary:
Violin Parts: scroll, pegs, nut, fingerboard, neck, strings, upper bout, f-holes, bridge, tailpiece, fine tuners,
chin rest, end (tail) button, sound post
Bow Parts: tip, stick, horse hair, frog, screw, grip, ferrule
Tone Production: bow contact point, bow speed, bow weight
Bowing Terms: down bow, up bow, staccato, legato, pizzicato, bow lift
Musicianship: improvise, repertoire, tone
Pre-Assessment: Have students who have indicated prior violin experience demonstrate by playing a
song.
Facilitating Activities at Depth of Knowledge levels:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Students imitate teacher. Students will practice
Student-led discussion
Students critique models performing alone, in
on performance
of correct and incorrect
small groups, or with
techniques and then
posture/playing.
class
practice them.
Teaching Strategy:
Direct instruction,
modeling
Assessment:
Demonstrate how to do
the following correctly:
tone production,
standing position, violin
position, bow hold, and
left hand position
Level 4
Extended Thinking
Student Activity:
Create & perform
original rhythmic
variations for a piece.
Teaching Strategy:
Small group activities,
Teaching Strategy:
Simulate performance.
Teaching Strategy:
Iindividual consultation.
Assessment:
Explain how to do the
following correctly:
tone production,
left hand position
Assessment:
Assess how to do the
following correctly:
tone production,
left hand position
Assessment:
Critique performance of
newly created rhythmic
variation.
Technology Integration:
Not applicable
Differentiation Suggestions:
Students may be paired with a mentor student, have additional access to fingering charts, or use modified
repertoire. Students can do independent practice if facilities allow.
Application Level Assessment for CCO I
Student Task(s):
Perform a given piece using appropriate bow weight, speed, and contact point.
Maintain proper standing position while playing.
Maintain proper violin position while playing.
Maintain proper left hand position while playing.
Maintain proper bow hold while playing.
Perform the required repertoire.
Improvise a melody on E string.
Improvise new rhythms on the A scale.
Perform in a group following the leader.
How will students demonstrate transfer of skills to a new context?
Students who continue to play violin will build upon these skills.
Students who play another instrument will apply skills to that instrument.
Students will appreciate the skill required to play an instrument when watching/listening to others playing.
29
Scoring Guide for

Third Grade Violin, CCO I
Learning Target
Learning Target:
Tone Production
Learning Target:
Standing Position
Learning Target:
Violin Position
4
Advanced
3
Proficient
Student always performs with

appropriate:
weight
speed
contact point
Student always performs with:
Feet shoulder width apart
Knees flexible
Weight is centered or
shifted to left foot
Spine is straight
Shoulders are relaxed and
level
Left foot slightly forward
Student consistently performs

with appropriate:
weight
speed
contact point
with:
Knees flexible
Spine is straight
level

Left shoulder seam
covered
Nose toward scroll
Scroll/elbow over left toe
Left elbow under violin
Violin horizontal with
floor
Jaw on jaw rest
Violin held by weight of
head

with:
Left shoulder seam
covered
Nose toward scroll
floor
Jaw on jaw rest
head
2
Basic
Student sometimes performs
with appropriate:
weight
speed
contact point
with:
Feet shoulder width
apart
Knees flexible
Spine is straight
Shoulders are relaxed
and level
Left foot slightly
forward
with:
Left shoulder seam covered
Nose toward scroll
Violin horizontal with floor
Jaw on jaw rest
head
1
Below Basic
Student rarely performs with
appropriate:
weight
speed
contact point
Student rarely performs with:
Knees flexible
Spine is straight
level

Left shoulder seam
covered
Nose toward scroll
floor
Jaw on jaw rest
head
Learning Target:
Left Hand Position

Base of first finger back
toward nut
Neck on base of first
knuckle
Thumb on first tape with
thumbnail facing G peg
Finger tips on tape
Knuckles rounded
Hand balanced on wrist
Line from knuckles to
elbow
Elbow is over toe

with:
toward nut
knuckle
Finger tips on tape
Knuckles rounded
elbow
Elbow is over toe

with:
toward nut
knuckle
Thumb on first tape
with thumbnail facing
G peg
Finger tips on tape
Knuckles rounded
elbow
Elbow is over toe

toward nut
knuckle
Finger tips on tape
Knuckles rounded
elbow
Elbow is over toe
Learning Target:
Bow Hold

Inside corner of right
thumb touching where
frog and stick intersect to
make circle
Middle fingers on frog
with 2nd finger across
from thumb
Index finger slightly
spaced from 2nd finger
Curved pinky above frog
on top of stick
Fingers pronated toward
tip
Maintain flexible joints

with:
make circle
from thumb
on top of stick
tip

with:
frog and stick intersect
to make circle
from thumb
Curved pinky above
frog on top of stick
Fingers pronated
toward tip

make circle
from thumb
on top of stick
tip
31
Learning Target Bowing skills:

Staccato (quick,
separated bows)
Legato (smooth,
connected bows)
Pizzicato with
anchored
thumb(plucking the
string)
Bow lifts (circling the
bow off the string to
play two down bow
notes in a row)
Bow direction
Student always performs the

bowing skill being assessed.

the bowing skill being
assessed.

the bowing skill being
assessed.
Student rarely performs the

bowing skill being assessed.
Learning Target:
Musicianship
Repertoire
Chicken on a Fence
Post
Old Brass Wagon
Im A Little Monkey
Twinkle Theme and
Variations
French Folk Song

repertoire being assessed with:
Correct Notes
Correct Rhythm
Good Intonation

Correct Notes
Correct Rhythm
Good Intonation

repertoire being assessed
with:
Correct Notes
Correct Rhythm
Good Intonation

Correct Notes
Correct Rhythm
Good Intonation
Learning Target:
Musicianship
Melodic Improvisation
Learning Target:
Student played at least

two different pitches on
the E string
No more and no less than
four beats
Original melody
Student creates new a

the E string
Played more or less than
four beats
Original melody
Student creates a new
32

the E string
Played more or less than
four beats
Copied another example
Student does not create a new
Single pitch played

Incorrect number of
beats
Copied another
example
Student does not create an
MusicianshipRhythmic Improvisation
rhythmic pattern over a given

pulse
rhythmic pattern, but does not

play with the pulse
rhythmic pattern, but does

play with the pulse
new rhythmic pattern and

does not play with the pulse
Learning Target:
Musicianship- Ensemble
Playing
-starting and stopping
together
-following established
tempo
Student always :
Starts and stops with the
leader
Follows established
tempo
Student consistently:
leader
Follows established
tempo
Student sometimes:
leader
Follows established
tempo
Student rarely:
leader
Follows established
tempo
33
Third Grade Violin

Core Conceptual Objective CCOII: Students will demonstrate elements of music.
A. Reading Skills
Essential Question
How do composers express ideas through their compositions?
Content and Skills:

By the end of this grade/course students
should know:
Reading Skills:
Finger charts:
E and A strings
Finger numbers
Pre-reading rhythmic symbols
Intervals Sung (aural training): Sing
repertoire fingerings

FA2, G2.5, GLE: PP1A3, EP1A3
Learning Target
By the end of this grade/course students should be able to do:
Students play music using a fingering chart.
Students will sing fingerings for third grade repertoire.
Unit Vocabulary: finger chart, string names

Pre-Assessment: Have students who have had prior experience on the violin play a song from a fingering
chart.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Repeat or sing finger
Read and play the finger Sight read Mystery Song
numbers from a chart
charts.
To draw a conclusion as
with the class.
to its title
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Chunking
Teaching Strategy:
Direct instruction.
Assessment:
Fill in the blank test for
finger chart.
Assessment:
Playing test
Assessment:
Name and play /read a
familiar tune
Level 4
Extended Thinking
Student Activity:
Create a finger chart for
a tune of the students
choice
Teaching Strategy:
Guided individual
instruction
Assessment:
Perform the finger chart
created by the student
If a computer is available, it can be used for written testing or creating finger charts.
Color code finger charts.
Provide standard notation for students who can already read music.
Adaptations to the finger charts:
-alternate fingers
-only reading strings
-note size
-harmony part
-advanced music
34
Application Level Assessment for CCO IIA

Student Tasks:
Students read and play music on the E and A string using finger charts.
Students read and play finger numbers using finger charts.
Students will apply note reading skills to other music disciplines should they continue studying music.
Students will independently perform notated music of their choice.
Students will apply their knowledge of reading music to communication arts in interpreting text features.
35
Scoring Guide for Third Grade Violin, CCO IIA

Learning Target
Learning Target:
Students play music using
a fingering chart.
4
Advanced
3
Proficient
Student always reads and

plays using a finger chart with:
Correct string
Correct fingers
Correct rhythm
Student consistently reads and

plays using a finger chart with:
Correct string
Correct fingers
Correct rhythm
36
2
Basic
Student sometimes reads
and plays using a finger
chart with:
Correct string
Correct fingers
Correct rhythm
1
Below Basic
Student rarely reads and plays
using a finger chart with:
Correct string
Correct fingers
Correct rhythm
Third Grade Violin

B. Finger patterns and Scales
Essential Question
How are scales the foundation of music?
Content and Skills:

should know:
A major scale; one octave starting on
open A

FA2, G2.5, GLE: PP2A5, PP2C3,
PP2D3
Learning Target
Play a one octave scale starting on open A string.
Unit Vocabulary: Scale, octave, string names

Pre-Assessment: Have students with prior experience play the A major scale on the violin.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Singing the A major
Playing the A major
Use scale concept to
scale.
scale in varying group
construct D Major
sizes.
Scale.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Chunking
Modeling
Guided discussion
Assessment:
Assessment:
Assessment:
Writing or verbalizing
Playing test
Write or verbalize the D
the A major scale.
Major scale.
Technology Integration: Not applicable
Play a segment of the scale instead of the whole scale.
Play multi-octave scales.
Play a scale using alternative fingerings.
Student Task:
Students will apply their knowledge of scales in a musical context.
37
Level 4
Extended Thinking
Student Activity:
Apply the concept of the
D Major Scale to violin.
Teaching Strategy:
Guided instruction
Assessment:
Play D Major Scale
Scoring Guide for Third Grade Violin, CCO IIB

Learning Target
Learning Target:
Play a one octave scale
starting on open A string.
4
Advanced
Student always plays the A
major scale with:
correct fingers
correct pitch
3
Proficient
2
Basic
Student consistently plays the

A major scale with:
correct fingers
correct pitch
Student sometimes plays the

A major scale with:
correct fingers
correct pitch
38
1
Below Basic
Student rarely plays the A
major scale with:
correct fingers
correct pitch
Third Grade Orchestra

C. Composition
Essential Question
How do people compose music?
Content and Skills:

should know:
Finger chart format
A string notes

FA1, G2.5, GLE: PP2A3, PP4A3,
HC1D3
Learning Target
Write a composition in finger-chart style using the following
parameters: 1) 2-4 measures 2) A string notes 3) 4 notes per
measure
Unit Vocabulary: Measure, composition

Pre-Assessment: Have students write a brief composition in finger-chart style.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Draw the framework for Compose a 2-4 measure Critique other groups
a finger chart as a class.
melody in finger chart
compositions based on
style in small groups.
finger-chart format and
parameters.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Guided instruction.
Assessment:
Draw the framework for
a finger chart.
Assessment:
Compose a 2-4 measure
melody in finger chart
style.
Assessment:
Observation
Level 4
Extended Thinking
Student Activity:
Create and perform a
composition on the
violin
Teaching Strategy:
Independent
Consultation
Assessment:
Perform composition.
If applicable, students will use music writing software to produce compositions.
Adapt writing to complete assignment.
Advanced composition assignment will be given if applicable.
Use varying rhythms.
Application Level Assessment for CCO IIC:
Student Task:
Compose a melody in finger-chart style using the following parameters: 1) 2-4 measures 2) A string notes
3) 4 notes per measure 4) Perform for class
Students will apply their knowledge of composition to text features found in communication arts.
Students will apply their knowledge of composition to other musical contexts.
39
Scoring Guide for Third Grade Violin, CCO IIC

Learning Target
Learning Target:
Write a composition in
finger-chart style using:
2-4 measures
A string notes
4 notes per
measure
4
Advanced
Student composes a melody
always using:
2-4 measures
A string notes
4 notes per measure
3
Proficient
consistently using:
2-4 measures
A string notes
4 notes per measure
40
2
Basic
sometimes using:
2-4 measures
A string notes
4 notes per
measure
1
Below Basic
rarely using:
2-4 measures
A string notes
4 notes per measure
Third Grade Violin

Core Conceptual Objective CCOIII: Students will explain evaluations of and perceptions about
music. Students will describe personal responses to music.
A. Music Criticism
Essential Question
How do you evaluate a musical performance?
Content and Skills:

should know:
Proper playing position
Quality of sound
Pitch and rhythmic accuracy

FA 1, FA2, FA3, G1.5, G4.1, GLE:
AP2A3
Learning Target
Respond to and critique a performance based on playing
position, sound quality, and pitch accuracy.
Make observations regarding emotional and/or physical
Unit Vocabulary: critique, pitch, tempo

Pre-Assessment: Knowledge of note accuracy and tone production.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Comment on the
Class discussion of a
Compare the affect that
qualities of a good
performance
proper technique has on
performance.
sound quality.
Teaching Strategy:
Direct Instruction
Assessment:
List individual qualities
of a good performance.
Teaching Strategy:
Guided Discussion
Assessment:
Critique a performance
as to note accuracy and
tone production.
Teaching Strategy:
Direct Modeling
Assessment:
Predict how sound
quality affects a good
performance.
Level 4
Extended Thinking
Student Activity:
Create a cause and
effect chart on sound
quality.
Teaching Strategy:
Discuss Variables
Assessment:
Determine if variables
are in proper proportion
for desired sound
quality.
If available, students will type critiques or charts on a computer.
Critique only one specific category.
Critique more extensively on sound quality, pitch accuracy, and playing position.
Utilize critique to improve performance.
Application Level Assessment for CCO IIIA:
Respond to and critique a performance on playing position, pitch/rhythmic accuracy, and sound quality.
Students will use their experience with prediction, reflection, and analysis in the communication arts.
Students will use their critiquing skills as fine arts consumers.
41
3th Grade Scoring Guide for Third Grade Violin, CCO IIIA
Learning Target
Learning Target:
Critique a performance for:
playing position
sound quality
pitch/rhythmic
accuracy
emotional and/or
physical responses
4
Advanced
Critiques all 4 categories
Supports each statement
3
Proficient
Critiques 3 categories
Supports most statements
42
2
Basic
Critiques 2 categories
Supports some
statements
1
Below Basic
Does not critique any
category
No supporting statements
Third Grade Violin

Core Conceptual Objective CCOIII: Students will explain perceptions about and evaluations of
music.
B. Form
Essential Question
How is music organized?

FA2, FA 3, G1.5, G1.6, GLE: AP1A3,
AP1A5
Content and Skills:

should know:
ABA:
First and last sections are the same
Contrasting middle section
Theme and Variation:
Initial statement of theme
Multiple alterations of theme
Learning Target
Compare and contrast ABA with Theme and Variation musical
forms.
Unit Vocabulary: ABA, Theme and Variation, form

Pre-Assessment: Students list characteristics of ABA, Theme and Variation forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Student demonstrates
Group practice
Working in small
knowledge of forms
classifying the different
groups, create a song
through physical
forms.
using one of the two
responses.
forms
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Model examples of both Guided example and
Cooperative Learning
forms.
discussion
Assessment:
Identify ABA and
Theme and Variation
forms
Assessment:
Compare and contrast
ABA, Theme and
Variation forms.
Assessment:
Check for appropriate
elements of form.
If applicable, students will use available composition software.
If available, students will type the compare/contrast on the computer.
Introduce more complex forms for advanced students.
Use visual aids.
Focus on a single form instead of both.
Application Level Assessment for CCO IIIB:
Student Task:
Compare and contrast ABA, Theme and Variation
43
Level 4
Extended Thinking
Student Activity:
Compose a 6 measure
piece in 4/4 time,.ABA
Teaching Strategy:
Provide parameters for
composition.
Assessment:
Analyze composition for
proper form.

Students will use experience recognizing patterns and form in math and language arts.
Students will use experience recognizing form in other musical contexts.
44
Scoring Guide for Third Grade Violin, CCO IIIB

Learning Target
Learning Target:
Compare and contrast ABA
to Theme and Variation
forms.
4
Advanced
Student was able to list a
minimum of three qualities
in both the compare and
contrast categories.
3
Proficient
2
Basic
1
Below Basic
Student was able to list at

least two qualities in both
the compare and contrast
categories.
Student was able to list

one quality in either the
compare or contrast
categories.
Student was not able to list

qualities for any of the
forms.
45
Third Grade Violin

Core Conceptual Objective CCOIV: Students will make connections among the arts and with nonarts disciplines.
Essential Question
What are the connections between music and other arts?
Content and Skills:


FA4, HP4, G1.9, G2.4 GLE: AP1B3,
HC1C3
Learning Target
should be able to do:
Students will make connections
between music and movement/dance.
How music inspired the body to move.
Unit Vocabulary:
Pre-Assessment: Students talk about their experiences with dance and music.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Tell how music and
Demonstrate how music Investigate how music is
dance are related.
can inspire movement.
used in dance in
different cultures.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Discussion
Modeling
Guided Instruction
Direct Instruction
Individual Consultation
Level 4
Extended Thinking
Student Activity:
Create a new dance to
music of students
choosing.
Teaching Strategy:
Guided Instruction
Assessment:
Teacher observation and
feedback.
Assessment:
Present the dance to the
class.
Assessment:
feedback.
Assessment:
Present final project
If applicable, students will use the computer and library resources to research.
Students can demonstrate an advanced dance to the class.
46
Students that have difficulty moving may adapt movement as needed.
Application Level Assessment for CCO IVA:

Student Task:
Students will make connects between music and movement/dance.
Students use their experience with making connections between music and movement in other musical
contexts.
Students will have a greater awareness of how music physically affects their body.
47
Scoring Guide for Third Grade Violin, CCO IVA

Learning Target
Learning Target:
Students will make
connections between music
and movement/dance.
4
Advanced
Student was able to
demonstrate movement to a
variety of styles of music.
3
Proficient
Student was able to
demonstrate movement to
some styles of music.
48
2
Basic
Student was able to
demonstrate limited
movement to music.
1
Below Basic
Student did not demonstrate
any movement to music.
Third Grade Violin

B. Connection with non-arts disciplines.
Essential Question
What are the connections between music and other subjects?
Content and Skills:
should know:
How pitch is affected by length,
thickness, and tension of strings.

FA4, G1.2, G1.6, GLE: IC1B4
Learning Target
Students will make connections between science and music.
Unit Vocabulary: pitch, tension

Pre-Assessment: Class discussion about prior knowledge of how pitch changes.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Tell how pitch is
Explain the cause and
Differentiate higher or
affected by length,
effect of how adding or
lower pitches based on
thickness, and tension of removing fingers from
aural or visual cues.
strings.
the string affects pitch.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction
Guided Instruction
Assessment:
feedback
Assessment:
feedback
Assessment:
Teacher Feedback
Level 4
Extended Thinking
Student Activity:
Apply concept to a
different instrument.
Teaching Strategy:
Guided Instruction
Assessment:
Teacher feedback
If available, students will use computers for research and assignments.
Students may observe the thickness and amplitude of vibrations of the strings.
Application Level Assessment for CCO IVB:
Student Task:
Students will make connections between science and music.
Students will apply connections between music and science to other musical instruments.
49
Scoring Guide for Third Grade, CCOIVB:

Learning Target
Learning Target:
Students will make
and science.
4
Advanced
Student is able to make
extensive connections music
and sound production.
3
Proficient
comprehensive connections
music and sound production.
50
2
Basic
Student is able to
make few
connections music
and sound
production.
1
Below Basic
Student is not able to make
any connections music and
sound production.
Third Grade Violin

Core Conceptual Objective V: Students will demonstrate knowledge of music in historical and
cultural contexts.
Essential Question
What is the relationship between music and history/culture?

FA5, G1.9, GLE: HC1C3
Content and Skills: By the end of this grade/course students should know:
Traditional Method
Older beginners
Fewer small instruments
No parents involvement in lessons
Listening not encouraged
Note reading driven
Play and read notes simultaneously
No consistent literature
Use exercises to learn technique
Suzuki Method/Mother Tongue Method

Beginners as young as two
Sizes for all ages
Suzuki triangle (parent, teacher, child)
Listening integral to learning
Ear before eye
Learn to plan before reading notes
Established set of literature
Use repertoire to learn technique
Learning Target: By the end of this grade/course students should be able to do:
Understand how the Suzuki has affected the history of music education.
Unit Vocabulary: Suzuki, instructional method, Suzuki triangle, Mother Tongue Method
Pre-Assessment: Class discussion about previous knowledge regarding the Suzuki method and
instruction.
Level 1
Recall
Activity:
Tell how music
education is different
because of the Suzuki
method.
Level 2
Skill/Concept
Activity:
Interpret how Suzuki
instruction differs from
traditional instruction.
Level 3
Strategic Thinking
Activity:
Investigate how many
Suzuki students go on to
play professionally.
Strategy:
Direct instruction
Strategy:
Teacher guided
Strategy:
Assessment:
Class discussion
Teacher Feedback
Assessment:
Teacher Feedback
Assessment:
Project demonstrating
the result of
investigation.
Level 4
Extended Thinking
Activity:
Analyze professional
musicianship has been
impacted by the
introduction of the
Suzuki method.
Strategy:
Assessment:
Present analysis of
research.
Students could use computer-based and library resources to research the historical period/style/genre.
Students could present information to others using computer technology (e.g., written paper, power point
presentation).
Students can present information in a variety of ways (verbally, written, etc.)
51
Application Level Assessment for CCO V:

Student Task:
By the end of this grade students should be able to understand how the Suzuki method has affected music
education.
Students will understand how one person can have a significant impact on the course of history.
52
Scoring Guide for Third Grade, CCOV:
Learning Target
Learning Target:
Understand how the Suzuki
method has impacted the history
of music education.
4
Advanced
3
Proficient

extensive connections between
the Suzuki method and the

multiple connections between
the Suzuki method and the
53
2
Basic
Student is able to make few
connections between the
Suzuki method and the history
of music education.
1
Below Basic
Student is not able to make
any connections between the
Suzuki method and the history
of music education.
Fourth Grade
Orchestra
Course Description
This is an elective course offered to all fourth grade students. Students meet for 30
minutes twice a week in low string (cello) and high string (violin/viola) groups if
possible. The students may choose from violin, viola, and cello. Standard note-reading
skills are taught through the use of a strings method book as well as supplemental
materials.
54
Overview of Content and Skills for Fourth Grade Orchestra

Tone Production: bow weight - use natural arm weight, bow speed - vary to play different note values,
contact point - keep bow parallel to bridge on A and D strings
Violin & Viola Sitting Position: feet on floor, knees hip width apart, sitting right-front corner of chair, back
erect, left shoulder toward music
Violin & Viola Instrument Position: left shoulder seam covered, jaw on jaw rest, violin horizontal with
floor, violin held by weight of head
Violin & Viola Left Arm Position: base of first finger back toward nut, neck on base of first knuckle,
thumb on first tape with thumbnail facing G peg, finger tips on tape, knuckles rounded, hand balanced on
wrist, line from knuckles to elbow, left elbow under instrument
Violin & Viola Bow Hold: inside corner of right thumb touching where frog and stick intersect to make
circle, middle fingers on frog with 2nd finger across from thumb, index finger slightly spaced from 2nd
finger, curved pinky above frog on top of stick, fingers pronated toward tip, maintain flexible joints
Cello Sitting Position: Front edge of chair, feet planted flat, cello square between the knees, bouts high
enough on leg to be comfortable, top of cello touches upper chest, adjust endpin to make C peg behind left
ear
Cello Left Arm Position: With left arm up and out to the side, wrist straight, fingers curved creating a C
shape, pad of the thumb on the back-center of neck aligned with the second finger, finger tips on tapes
Cello Bow Hold: inside corner of right thumb touching where frog and stick intersect to make circle, middle
finger on ferrule across from thumb, index finger over stick at first joint, relaxed pinky over stick on frog,
fingers slightly spaced, flexible joints
Bowing Skills: slurs, accents, matched up/down , arco/pizzicato
Musicianship: Repertoire may include: See Saw, Twinkle, French Folk Song, Lightly Row, Song of the
Wind, Go Tell Aunt Rhody, Allegro, May Song, Long, Long Ago, Perpetual Motion, Note reading skills on
D and A with appropriate literature while playing; Improvisation: Improvise melody using notes of at D
Major scale. Ensemble Playing: playing in unison and parts
A. Reading Skills
Students play music using a fingering chart. Students play music using standard notation for D Major scale
notes on the D and A string using note/rest values of eighth, quarter, half, dotted half, and whole notes.
Students will sing fingerings and note names for fourth grade repertoire.
C. Composition
Write a composition in standard musical notation using the following parameters: 1) 2-4 measures
2) D major scale notes 3) 4 beats per measure
A. Music Criticism
B. Form
Compare and contrast ABCB and through-composed musical forms. Be able to recognize repeated patterns
of themes within a piece.
55

Students will make connections between the operation of stringed instruments and operation of simple
machines in science.
Students will be able to explain the evolution of string instruments in relation to music.
56
4th Grade Learning Targets by Instrument

Violin/Viola
Perform Music, CCO I
Violinists/violists will maintain proper sitting position while playing.
Violinists/violists will maintain proper violin/viola position while playing.
Violinists/violists will maintain proper left arm position while playing.
Violinists/violists will maintain proper bow hold while playing.
Perform from the chosen method book and supplemental material.
Perform in an ensemble, starting and stopping with a leader.
Sing open strings.
Improvise a melody using the notes of the D Major scale.
Elements of Music, CCOII
Students will play the following scales:
o Violin -G, D, A Maj. One octave; low 2nd finger; 4th finger
o Viola - C, G, D Maj. One octave; low 2nd finger; 4th finger
Compose a melody on a single staff using the following parameters:
1) 4-8 measures
2) Starting/ending on open D
3) Range of D major, one octave
4) 4 beats per measure
Music Criticism, CCO III
Compare and contrast ABCB and through-composed musical forms. Be able to recognize repeated
patterns of themes within a piece.
Making Connections among Arts and Non-Arts Disciplines, CCO IV
Knowledge of Music in a Historical and Cultural Context, CCO V
57

Cello
Cellists will maintain proper sitting position while playing.
Cellists will maintain proper cello position while playing.
Cellists will maintain proper left arm position while playing.
Cellists will maintain proper bow hold while playing.
Sing open strings.
o Cello - C, G, D, Maj. One octave, 2nd finger
1) 2-4 measures
2) Starting/ending on open D
3) Range of D major, one octave
Compare and contrast ABCB and through-composed musical forms. Be able to recognize repeated
patterns of themes within a piece.
58
Fourth Grade Orchestra

Essential Question
Content and Skills:

By the end of this grade/course students should
know:
Tone Production: bow weight-use natural arm

weight, bow speed-vary to play different note
values, contact point-keep bow parallel to
bridge on A and D strings
Violin & Viola Sitting Position:
feet on floor, knees hip width apart, sitting right
front corner of chair, back erect, left shoulder
toward music
Violin & Viola Instrument Position: left
shoulder seam covered, jaw on jaw rest, violin
horizontal with floor, violin held by weight of
head
Violin & Viola Left Arm Position: base of
first finger back toward nut, neck on base of
first knuckle, thumb on first tape with
thumbnail facing G peg, finger tips on tape,
knuckles rounded, hand balanced on wrist, line
from knuckles to elbow, left elbow under
instrument
Bow Hold: inside corner of right thumb
touching where frog and stick intersect to make
circle, middle fingers on frog with 2nd finder
across from thumb, index finger slightly spaced
from 2nd finger, curved pinky above frog on
top of stick, fingers pronated toward tip,
maintain flexible joints

PP2D4, PP2E4, AP2A4
Learning Targets
By the end of this grade/course students should be able to
do:
Perform a given piece using appropriate bow weight,
speed, and contact point.
Violinists/violists will maintain proper sitting position

while playing.
Violinists/violists will maintain proper violin position

while playing.
Violinists/violists will maintain proper left hand and arm

position while playing.
Violinists/violists will maintain proper bow hold while

playing.
59
Cello Sitting Position:

Front edge of chair, feet planted flat, cello
square between the knees, bouts high enough
on leg to be comfortable, top of cello touches
upper chest, adjust endpin to make C peg
behind left ear
Cello Left Hand Position:
With left arm up and out to the side,
Wrist straight, fingers curved creating a C
shape, pad of the thumb on the back-center of
neck aligned with the second finger, finger tips
on tapes
Cello Bow Hold:
Inside corner of right thumb touching where
frog and stick intersect to make circle, middle
finger on ferrule across from thumb, index
finger over stick at first joint, relaxed pinky
over stick on frog, fingers slightly spaced,
flexible joints
Musicianship:
Repertoire: Repertoire may include: See Saw,
Twinkle, French Folk Song, Lightly Row, Song
of the Wind, Go Tell Aunt Rhody, Allegro,
May Song, Long, Long Ago, Perpetual Motion
Cellists will maintain proper sitting position with cello

while playing.
Cellists will maintain proper left hand and arm position

while playing.
Apply appropriate bowing skills and instrument position

while playing with correct fingers.
Note reading skills on D and A with

appropriate literature;
Perform from the chosen method book and supplemental

material.
Improvisation: Improvise a melody using the

notes of the D Major scale.
Ensemble playing: playing in unison and parts,

following a leader, dynamics forte/piano
Perform in an ensemble, starting and stopping with a

leader.
Examples of benchmark repertoire for 4th grade

orchestra: Perpetual Motion, Can Can, The
Bees
Unit Vocabulary:
Bowing terms: legato, staccato, up/ down bow, arco/pizzicato
Misc. terms: major scale, endpin, ensemble, improvise
Dynamic terms: forte, piano
Pre-Assessment:
Have students who have played the viola, cello or bass before perform a song.
Have students who have prior experience reading music on his or her instrument sight read a piece.
60

Level 1
Recall
Student Activity:
Students identify the
fingerings & note
names on D & A
strings in their music
Teaching Strategy:
Direct instruction,
modeling
Assessment:
Students label their
own music with
fingerings and/or note
names
Level 2
Skill/Concept
Student Activity:
Students will
demonstrate reading
skills by performing
their music on D & A
strings.
Teaching Strategy:
Direct instruction,
modeling
Assessment:
Teacher observation
and feedback
Level 3
Strategic Thinking
Student Activity:
Students formulate
fingering plan for
new D major
repertoire
Level 4
Extended Thinking
Student Activity:
Apply concepts of note
reading to other strings
Teaching Strategy:
Direct instruction,
modeling
Assessment:
Peer critique of
fingering plan
Teaching Strategy:
Guided explorations
Assessment:
feedback
Technology Integration: Possible application of music-related computer software where facilities allow.
Simplification of parts for students having difficulties
Write in note names on parts
Weaker students paired with more advanced
Give advanced students more challenging parts to the same piece
Allow for independent work on additional pieces
Have advanced students play Suzuki pieces in different octaves or positions.
Violinists/violists start using 4th finger where appropriate.
Application Level Assessment for CCO I A

Student Task:
Violinists/violists will maintain proper violin position while playing.
Violinists/violists will maintain proper left hand position while playing.
Cellists will maintain proper (instrument) position while playing.
Cellists will maintain proper left hand position while playing.
Perform chosen Suzuki repertoire.
Students demonstrate the transfer of note-reading skills to text features as used in language arts.
Ensemble playing encourages team work.
Following directions as given by the group leader would carry over to all areas.
Performing selections in a concert setting brings together multiple high level tasks.
61
Scoring Guide for Fourth Grade Orchestra, CCO IA: Performance Skills
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
Tone Production

appropriate:
Bow weight-use natural arm
weight
Bow speed-vary to play
different note values
Contact point-keep bow
parallel to bridge on A and D
strings

with appropriate:
Bow weight-use natural
arm weight
parallel to bridge on A
and D strings

with appropriate:
arm weight
and D strings

appropriate:
arm weight
and D strings
Learning Target:
Violin/Viola Sitting
Position

Feet on floor
Knees hip width apart
Sitting right front corner of
chair and back erect
Left shoulder toward music

with:
Feet on floor
Sitting right front corner
of chair and back erect
Left shoulder toward
music

with:
Feet on floor
Sitting right front
corner of chair and back
erect
music

Feet on floor
Sitting right front corner
of chair and back erect
music
62
Learning Target:
Violin/Viola
Instrument Position

left shoulder seam covered
jaw on jaw rest
violin horizontal with floor
violin held by weight of head

with:
left shoulder seam
covered
jaw on jaw rest
violin horizontal with
floor
violin held by weight of
head

with:
left shoulder seam
covered
jaw on jaw rest
floor
head

left shoulder seam
covered
jaw on jaw rest
floor
head
Learning Target:
Violin/Viola Left
Arm Position

toward nut
Neck on base of first knuckle
Finger tips on tape
Knuckles rounded
Line from knuckles to elbow
Left elbow under instrument

with:
toward nut
knuckle
Finger tips on tape
Knuckles rounded
elbow
Left elbow under
instrument

with:
toward nut
knuckle
Thumb on first tape
with thumbnail facing
G peg
Finger tips on tape
Knuckles rounded
elbow
Left elbow under
instrument

toward nut
knuckle
Finger tips on tape
Knuckles rounded
elbow
Left elbow under
instrument
63
Learning Target:
Violin/Viola Bow
Hold

Inside corner of right thumb
touching where frog and stick
intersect to make circle
Middle fingers on frog with
2nd finger across from thumb
Index finger slightly spaced
from 2nd finger
Curved pinky above frog on
top of stick
Fingers pronated toward tip

with:
make circle
from thumb
on top of stick
tip

with:
to make circle
from thumb
Curved pinky above
frog on top of stick
Fingers pronated
toward tip

make circle
from thumb
on top of stick
tip
Learning Target:
Cello
Sitting/Instrument
Position
Student always:
sits on front edge of chair
feet planted flat
cello square between the knees
bouts high enough on leg to be
comfortable
top of cello touches upper
chest
adjust endpin to make C peg
behind left ear
feet planted flat
cello square between the
knees
bouts high enough on leg
to be comfortable
chest
adjust endpin to make C
peg behind left ear
Student sometimes:
sits on front edge of
chair
feet planted flat
cello square between
the knees
bouts high enough on
leg to be comfortable
top of cello touches
upper chest
adjust endpin to make
C peg behind left ear
Student rarely:
feet planted flat
cello square between the
knees
bouts high enough on leg
to be comfortable
chest
adjust endpin to make C
peg behind left ear
64
Learning Target:
Cello Left Hand
Position
Student always holds left hand:

With left arm up and out to the
side
With wrist straight
With fingers curved creating a
C shape
With pad of the thumb on the
back-center of neck aligned
with the second finger
With finger tips on tapes
Student consistently holds left

hand:
With left arm up and out to
the side
With wrist straight
With fingers curved
creating a C shape
With pad of the thumb on
the back-center of neck
aligned with the second
finger
Student sometimes holds

left hand:
With left arm up and
out to the side
With wrist straight
With fingers curved
creating a C shape
With pad of the thumb
on the back-center of
neck aligned with the
second finger
With finger tips on
tapes
Student rarely holds left hand:

With left arm up and out to
the side
With wrist straight
With fingers curved
creating a C shape
With pad of the thumb on
the back-center of neck
finger
Learning Target:
Cello Bow Hold
Student always holds the bow

with:
Middle finger on ferrule
across from thumb
Index finger over stick at first
joint
Relaxed pinky over stick on
frog
Fingers slightly spaced
Flexible joints
Student consistently holds the

bow with:
make circle
across from thumb
Index finger over stick at
first joint
Relaxed pinky over stick
on frog
Flexible joints
Student sometimes holds the

bow with:
to make circle
across from thumb
Index finger over stick
at first joint
Relaxed pinky over
stick on frog
Flexible joints
Student rarely holds the bow

with:
make circle
across from thumb
first joint
on frog
Flexible joints
65
Learning Target:
Improvisation
Using the notes of the
D Major scale
Student creates a melody using a

minimum of 4 pitches of the D
Major scale over a given pulse.
Learning Target:
Musicianship
Repertoire

Correct Notes
Correct Rhythm
Good Intonation
Good Tone
Learning Target:
Ensemble Playing
Student always:
Starts/stops with leader
Follows the established
tempo
Matches bow directions
Matches dynamic levels
Student creates a melody

using 3 pitches of the D
Major scale over a given
pulse.

using only 2 of the pitches
of the D Major scale over
a given pulse.
Student does not create a

melody using the pitches
of the D Major scale, or
uses only a single pitch.

Correct Notes
Correct Rhythm
Good Intonation
Good Tone

with:
Correct Notes
Correct Rhythm
Good Intonation
Good Tone

Correct Notes
Correct Rhythm
Good Intonation
Good Tone
tempo
Student sometimes:
tempo
Student rarely:
tempo
66

A. Reading Skills
Essential Question
Content and Skills:
should know:
Reading Skills:
Finger charts from Suzuki repertoire
listed in CCO I.
Standard musical notation for the D and
A string notes.
Note/rest values of eighth, quarter, half,
dotted half, and whole notes and rests.
Finger numbers
Intervals Sung (aural training): Sing
repertoire fingerings and note names.

FA2, G1.6, G2.5, GLE: EP1A4, EP1B4
Learning Target
Students play music using a fingering chart.
Students play music using standard notation for D Major scale
notes on the D and A string.
Students will sing fingerings and note names for fourth grade
repertoire.
Unit Vocabulary: Arco, pizzicato, octave, staff, bar line, measure, repeat sign, double bar, quarter rest,
sharp, time signature, finger chart, note values (eighth, quarter, half, dotted half), note names from D major
scale, string names
Pre-Assessment: Have students who have had prior experience on the violin play a song from a fingering
chart.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Repeat or sing finger
Read and play works
Sight read Mystery Song
numbers and note names from standard musical
in standard music
from standard musical
notation.
notation to solve finding
notation with the class.
its title
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Chunking
Teaching Strategy:
Direct instruction.
Assessment:
Fill in the blank test for
note names and finger
numbers.
Assessment:
Playing test
Assessment:
Read/play the now
familiar tune
Level 4
Extended Thinking
Student Activity:
Create a musical
composition in standard
music notation for a
tune of the students
choice
Teaching Strategy:
Guided individual
instruction
Assessment:
Perform the composition
created by the student
If a computer is available, it can be used for written testing or creating finger charts.
67
Color code finger charts.
Provide harmony parts or advanced parts for students who can already read music.
Adaptations to the finger charts:
-note size
-harmony part
-advanced music
Application Level Assessment for CCO IIA
Student Tasks:
Students read and play music on the D and A string using finger charts.
Students read and play finger numbers using finger charts.
Students read and play from standard musical notation in the key of D major on the D and A string
Students will apply their knowledge of reading music to communication arts in interpreting text features.
68
l
Scoring Guide for Fourth Grade Orchestra: CCO IIA
Learning Target
Learning Target:
Students play music using
a notation.
4
Advanced
Student always reads and
plays using notation with:
Correct string
Correct fingers
Correct rhythm
3
Proficient
Student consistently reads and
plays using notation with:
Correct string
Correct fingers
Correct rhythm
69
2
Basic
Student sometimes reads
and plays using notation
with:
Correct
Correct fingers
Correct rhythm
1
Below Basic
Student rarely reads and plays
using notation with:
Correct string
Correct fingers
Correct rhythm

B. Finger patterns and Scales
Essential Question
Content and Skills:

should know:
D major scale; one octave starting on
open D
Musical alphabet pitch names in D
major.
Intervals sung (Aural training):
Seconds
Fifths.

FA2, G1.6, GLE: PP1A4, PP2A4,
PP2D4, EP1B4,
Learning Target
Unit Vocabulary: scale, musical alphabet pitch names in D major.

Pre-Assessment: Have students with prior experience play the D major scale on the violin.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Singing the D major
Playing the D major
Use scale concept to
scale.
scale in varying group
construct G Major
sizes.
Scale.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Chunking
Modeling
Guided discussion
Assessment:
Assessment:
Assessment:
Playing test
Write or verbalize the G
the D major scale.
Major scale.
Technology Integration: Not applicable
Play G Major (or C Major for viola or cello) scales.
Play a scale using alternative fingerings.
Student Task:
Students will apply their knowledge of scales in a musical context.
70
Level 4
Extended Thinking
Student Activity:
Apply the concept of the
G Major Scale to violin.
Teaching Strategy:
Guided instruction
Assessment:
Play G Major Scale
Scoring Guide for Fourth Grade Orchestra, CCO IIB

Learning Target
Learning Target:
Play a one octave scale
starting on open D string.
4
Advanced
Student always plays the D
major scale with:
correct fingers
correct pitch
3
Proficient
2
Basic

D major scale with:
correct fingers
correct pitch

D major scale with:
correct fingers
correct pitch
71
1
Below Basic
Student rarely plays the D
major scale with:
correct fingers
correct pitch

C. Composition
Essential Question
FA1, FA3, G1.5, G2.5 GLE: PP4A4,
EP1A4, EP1B4, EP1D4
Content and Skills:
should know:
Music notation format:
Standard musical notation in D major on
the D and A strings.
Learning Target
Write a composition in standard musical notation using the
following parameters:
1) 2-4 measures
2) D major scale notes
Unit Vocabulary: Measure, composition, D major scale notes, clef sign, time signature, bar line, double
bar line.
Pre-Assessment: Have students write a brief composition using standard musical notation.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Draw the staff with a
Compose a 2-4 measure Critique other groups
correct clef sign, time
melody in on the staff.
compositions based on
signature and double bar
the parameters.
line.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Guided instruction.
Assessment:
Draw the staff with a
correct clef sign, time
signature and double bar
line.
Assessment:
Compose a 2-4 measure
melody in standard
notation.
Assessment:
Observation
Level 4
Extended Thinking
Student Activity:
Sight read other
students compositions.
Teaching Strategy:
Independent
Consultation
Assessment:
Peer critique
If applicable, students will use music writing software to produce compositions.
Adapt writing to complete assignment.
Advanced composition assignment will be given if applicable.
Student Task:
Compose a melody using standard notation using the following parameters: 1) 2-4 measures 2) D major
scale notes 3) 4 beats per measure 4) Perform for class
Students will apply their knowledge of composition to text features found in communication arts.
72
Scoring Guide for Fourth Grade Orchestra, CCO IIC

Learning Target
Learning Target:
Write a composition in
finger-chart style using:
2-4 measures
D and A string
notes
4 beats per
measure
4
Advanced
3
Proficient
2
Basic
1
Below Basic

always using:
2-4 measures
D and A string notes
4 beats per measure

consistently using:
2-4 measures
4 beats per measure

sometimes using:
2-4 measures
D and A string
notes
4 beats per measure

rarely using:
2-4 measures
4 beats per measure
73

Core Conceptual Objective III: Students will explain perceptions about and evaluations of music.
A. Music Criticism
Essential Question
Content and Skills:

should know:
Playing position, pitch/rhythmic
accuracy, and tone production.
Emotional and physical response.

FA1, FA3, G1.5, G2.4, GLE: AP2A4,
AP2B4
Learning Target
Critique a performance on playing position, note accuracy, and
tone production.
Unit Vocabulary: musical style, texture, intonation

Pre-Assessment: Students will critique a performance by the teacher.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Discuss qualities of a
Create a cause and
good performance as a
effect chart using
performance.
class.
playing position as the
focus.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction
Teacher-led discussion
Assessment:
Assessment:
Predict how playing
position affects tone and
note accuracy.
Assessment:
for playing position,
note accuracy and tone
production.
Level 4
Extended Thinking
Student Activity:
Use critiquing
techniques for selfevaluation and
improvement.
Teaching Strategy:
Individualized
consultation
Assessment:
Teacher feedback
If available, students will make use of computers to write their critiques.
Students will critique a performance focusing on only one component.
Students will critique a performance for additional components.
Students will critique an ensemble performance (instead of an individual).
Application Level Assessment for CCO IIIA
Student Task(s):
Critique a performance on playing position, pitch/rhythmic accuracy, and tone production.
Students will utilize their observational skills to express emotional and physical responses to other art
forms (i.e. plays, poetry, and movies).
74
Scoring Guide for Fourth Grade Orchestra, CCOIIIA

Learning Target
4
Advanced
3
Proficient
Learning Target:
playing position
pitch/rhythmic
accuracy
tone production
emotional and/or
physical responses
Can offer critique on all 4

categories of a performance
Supports each statement of
critique with detailed
description.
Can offer critique on 3

75
2
Basic
categories of a
performance.
Supports some
statements
1
Below Basic
Can offer critique on one
category

B. Form
Essential Question
How do composers use form to organize their music?
Content and Skills:

should know:
Through-composed:
Continuous, non-repeating melody
ABCB:
Multiple sections arranged thematically
within a form.

FA1, FA3, G1.9, G2.4, G2.5, GLE:
AP1A4
Learning Target
Compare and contrast ABCB and through-composed musical
forms. Be able to recognize repeated patterns of themes within
a piece.
Unit Vocabulary: ABCB, through-composed

Pre-Assessment: Students will list the characteristics of ABCB and through-composed forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
List the characteristics
Create a Venn diagram
In small groups, arrange
of ABCB and throughto compare/contrast
sections of familiar
composed forms
Lightly Row
pieces to create a new
(ABCB)and Song of the song in either ABCB or
Wind (throughthrough-composed form.
composed)
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction
Direct instruction
Cooperative learning
Assessment:
Identify the
characteristics
of ABCB and throughcomposed forms
Assessment:
ABCB and ThroughComposed musical
forms.
Assessment:
Construct a new song in
either ABCB or
through-composed form.
Level 4
Extended Thinking
Student Activity:
Student will
independently create an
eight measure
composition in either
ABCB or throughcomposed form.
Teaching Strategy:
Independent
consultation
Assessment:
Student will present an
independently created
ABCB or throughcomposed form.
If available, students will make use of computers to write their comparisons of ABCB and throughcomposed musical forms. Students are given introduction to music-based software programs.
Identify characteristics of only one of the two forms.
Introduce more complex forms to compare and contrast.
Discuss the form of Rounds and what it takes for a song to work as a Round.
Student Task(s):
Compare and contrast ABCB and through-composed musical forms.
Students will use experience recognizing patterns and form in math, visual and language arts.
Students will use experience recognizing patterns and form in other musical contexts.
76
Scoring Guide for Fourth Grade Orchestra, CCO IIIB

Learning Target
Learning Target:
ABCB with throughcomposed forms.
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Student was able to apply

listening skills to describe
at least three qualities of
categories.

categories.
Student was able to

distinguish one quality in
either the compare or
contrast category.

qualities for either form.
77

Essential Question
Content and Skills:


FA4, G1.9, G2.4, GLE: IC1A4,
IC1B4
Learning Target
Students will draw a picture to illustrate
a piece of music.
How music can be expressed visually.
Unit Vocabulary: Ascending, Descending, Tempo, Piano, Forte, Major, Minor

Pre-Assessment: Students will listen to excerpts and identify ascending and descending patterns, fast and
slow tempos, piano and forte dynamics, and major/minor modalities.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Class discussion of how Draw a picture to
Compare how music in
music can be
interpret a given piece
movies is used to
represented visually.
of music.
illustrate the movie.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Discussion
Guided Instruction
Discussion
Direct Instruction
Assessment:
Teacher feedback
Assessment:
Individual teacher
feedback
Assessment:
Cite evidence of how
music is used in movies.
Students can research connections between music and the arts.
Students can use a computer to animate a piece of music.
Provide opportunities for students to research visual arts and music.
Provide opportunities for students to create various pieces of artwork.
Students can be given choice of various art forms to adapt to individual needs.
Student Task:
Students will draw a picture to illustrate a piece of music.
Students use their experience with making connections in other visual art forms.
78
Level 4
Extended Thinking
Student Activity:
Apply concepts to other
visual arts.
Teaching Strategy:
Guided Instruction
Assessment:
Create a piece of
artwork depicting a
chosen piece of music.
Scoring Guide for Fourth Grade Orchestra, CCO IVA

Learning Target
Learning Target:
Students will draw a
picture to illustrate a piece
of music.
4
Advanced
Student was able to capture
the spirit of the music in
multiple art forms.
3
Proficient
2
Basic
1
Below Basic
Student was able to capture

the spirit of the music in their
picture.
Student was able to

somewhat capture the spirit
of the music in their picture.
Student was not able to

capture the spirit of the music
in any art form
79

B. Connection with non-arts disciplines.
Essential Question
Content and Skills:

should know:
Simple machines on the violin:
Screw: fine tuners, bow screw
Lever: head on chin rest
Wedge: bridge
Wheel and Axle: Peg
How simple machines work:
Screw: used to raise or lower things or
hold objects together
Lever: object that rests on a support
called a fulcrum, which lifts or moves
loads
Wedge: used to push two objects apart

SC2, FA4, G1.9, G2.4, GLE:IC1A4,
IC1B4
Learning Target
Students will make connections between the operation of
stringed instruments and operation of simple machines in
science.
Unit Vocabulary:
Simple machines (lever, inclined plane, wheel and axle, screw, wedge, pulley)
Screw: fine tuners, bow screw
Lever: head on chin rest
Wedge: bridge
Wheel and Axle: peg
Pre-Assessment: Students will list parts of the violin and of a simple machine.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Using a worksheet, the
Experiment with the
student will label the
simple machines on a
the screw or the fine
simple machines on a
violin or a bow.
tuner with the peg.
violin.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Modeling
Guided instruction
Assessment:
List the simple machines
on a violin.
Assessment:
Demonstrate a simple
machine on the violin or
bow.
Assessment:
Create a Venn diagram
comparing and
contrasting the peg and
fine tuner.
If available, student will use computers for research and assignments.
80
Level 4
Extended Thinking
Student Activity:
Using a different simple
machine, design a new
way to tighten the bow
hair.
Teaching Strategy:
Independent
consultation
Assessment:
Prove how the simple
machine works.
Student will show the various simple machines instead of listing them on a worksheet.
Student will find simple machines on a different instrument.
Create a new instrument making use of simple machines.
Student Task:
Students will make connections between the operation of a violin and the operation of a simple machine in
science.
Students will make observations about simple machines in everyday life.
81
Scoring Guide for Fourth Grade Orchestra, CCOIVB:

Learning Target
Learning Target:
Students will make
operation of stringed
instruments and operation
of simple machines in
science.
4
Advanced
3
Proficient
Student identifies and explains

at least one example of each
of the following simple
machines:
Screw (fine tuners,
bow screw)
Lever (chin rest)
Wedge (bridge)
Wheel and Axle
(peg)

at least one example of two of
the following simple
machines:
Screw (fine tuners,
bow screw)
Lever (chin rest)
Wedge (bridge)
82
2
Basic
at least one example of one of
machines:
Screw (fine tuners,
bow screw)
Lever (chin rest)
Wedge (bridge)
1
Below Basic
Student is not able to identify
or explain any examples of
machines:
Screw ( fine tuners,
bow screw)
Lever (chin rest)
Wedge (bridge)

cultural contexts.
Essential Question

FA5, G1.9, G2.4, GLE: HC1A4, HC1B4,
HC1C4, HC1D4
Explain the evolution of string instruments in relation to music.
History
Composers
Concert Artists
Eclectic Artists
Violin
Modern instruments
originated in
Italy in 16th
century
Evolved from from
lira de braccio
Started as a folk
instrument and
then gained
acceptance as a
concert
instrument.
Viola
Modern instruments
originated in
Italy in 16th
century
Evolved from from
lira de braccio
Started as a folk
instrument and
then gained
acceptance as a
concert
instrument.
Cello
Modern instruments
originated in
Italy in 16th
century
Evolved from from
lira de braccio
Started as a folk
instrument and
then gained
acceptance as a
concert
instrument.
Johann Sebastian Bach,

Antonio Vivaldi,
Wolfgang Mozart
Fritz Kreisler, Izthak
Perlman, Hilary Hahn
Georg Phillip Telemann,

Ernest Bloch, Paul
Hindemith
William Primrose, Yuri
Bashmet, Nijel Kennedy
Johann Sebastian Bach,

Luigi Boccherini, Camille
Saint-Saens
Pablo Casals, Jacqueline du
Pr, Mstislav Rostropovich
Stephane Grappelli, Mark

Wood, Mark OConnor,
Rachel Barton Pine
Nijel Kennedy, Jeremy

Kittel, Richard Maximoff
Natalie Haas, Mark

Summer, Yo Yo Ma
Unit Vocabulary: lira de braccio, eclectic, musical artist, Johann Sebastian Bach, Antonio Vivaldi,
Wolfgang Mozart, Georg Phillip Telemann, Ernest Bloch, Paul Hindemith, Luigi Boccherini, Camille
Saint-Saens, Fritz Kreisler, Izthak Perlman, Hilary Hahn, William Primrose, Yuri Bashmet, Nijel Kennedy,
Pablo Casals, Jacqueline du Pr, Mstislav Rostropovich, Stephane Grappelli, Mark Wood, Mark OConnor,
Rachel Barton Pine, Jeremy Kittel, Richard Maximoff, Natalie Haas, Mark Summer
Pre-Assessment: Class discussion regarding prior knowledge of string instruments and performers.
83

Level 1
Recall
Activity:
List historical
information about
strings instruments.
Level 2
Skill/Concept
Activity:
Categorize information
about string instruments
and performers.
Level 4
Extended Thinking
Activity:
Analyze technique for
various different
musical styles.
Strategy:
Guided Instruction
Level 3
Strategic Thinking
Activity:
Compare the similarities
and differences between
eclectic and concert
artists.
Strategy:
Guided Instruction
Strategy:
Direct instruction
Assessment:
Written document
Assessment:
Written document and
teacher feedback
Assessment:
Present comparison for
teacher feedback
Assessment:
Present analysis for
teacher evaluation
Strategy:
Teacher consultation
Students use computer-based and library resources to research the historical period/style/genre.
Students present information to others using computer technology (e.g., written paper, power point
presentation).
Students may present information in a variety of ways.
Extend lesson to investigate the history of the string bass.
Explain the evolution of string instruments in relation to music.
Students will transfer knowledge of string instrument evolution and musical styles to other musical and
cultural contexts.
84
Scoring Guide for Fourth Grade Orchestra, CCOV:
Learning Target
Learning Target:
Explain the evolution of string
instruments in relation to music.
4
Advanced
3
Proficient
Student makes extensive

evolution of string instruments
and music history
Student makes comprehensive

and music history.
85
2
Basic
Student makes few
and music history.
1
Below Basic
Student cannot make any
and music history.
Fifth Grade
Orchestra
Course Description
This is an elective course offered to all fifth grade students who participated in fourth
grade orchestra. Students meet for 30 minutes twice a week. Students will continue
instruction on the violin, viola, and cello from fourth grade. This will be the first year of
instruction on bass for students. Standard note-reading skills are taught through the use
of a orchestra method book as well as supplemental materials.
86
Overview of Content and Skills for Fifth Grade Orchestra

Tone Production: bow weight - use natural arm weight, bow speed - vary to play different note values and
dynamics, contact point - keep bow parallel to bridge on all strings
Violin, Viola, and Cello Positions see Grade Four
Bass Standing Position: Adjust the length of the endpin so that the nut of the bass is near the top of the
forehead, stand with feet hip width apart, place left foot slightly forward, position endpin in front of left foot
one-arms-length away, turn bass slightly to the right, lean against the body so that the upper bout rests
against the inside of the left pelvis
Bass Left Hand Position: wrist straight, fingers curved creating a "C" shape, pad of the thumb on the backcenter of neck aligned with the second finger, finger tips on tapes
Bass Bow Hold: inside corner of right thumb touching where frog and stick intersect to make circle, middle
finger on ferrule across from thumb, index finger over stick at first joint, relaxed pinky over stick on frog,
fingers slightly spaced, flexible joints
Bowing Skills: slurs, ties, hooked, accents, arco/pizzicato, string crossings, bow sections (whole bow,
middle, upper half, lower half), bow lift (small motion), up bow preparation starting in middle(pickup notes)
Musicianship: Perform on all strings in I position from written music for students instrument. Introduction
to 3rd position all strings for bass and 4th position G, D, A for cello. Repertoire may include method book,
supplemental materials, and appropriate ensemble literature; Sing: major scale. Improvisation: Improvise
melody using notes of at G Major scale. Ensemble Playing: playing in unison and parts
A. Reading Skills
Reading Skills: Accents, allegro, andante, arco , bar line, bow lift, chromatic, clef, da capo al fine (D.C al
fine), dotted half note, divisi, down bow- up bow, double bar, dynamics, extensions (cellos), forte, piano,
mezzo forte, mezzo piano, crescendo, diminuendo, eighth note, first and second endings, half note, half rest,
hooked bows, measure, moderato, music alphabet (pitch names), natural, octave, pizzicato, quarter note,
quarter rest, repeat sign, sharp, shifting, slur, staccato, staff, tempo markings, tie, time signature: 2/4 , 4/4,
C, perfect fifth, unison, whole step-half step.
Sing major scale using note names.
Violin C, G, D Maj. One octave; low 2nd finger; 4th finger. Accurately play all notes on all strings in 1st
position in these keys.
Viola - C, G, D Maj. One octave; low 2nd finger; 4th finger. Accurately play all notes on all strings in 1st
position in these keys.
Cello - C, G, D, Maj. One octave, 2nd finger, shifting to 4th position.
Bass C, G, D Maj. One octave; 2nd finger, shifting to 3rd position.
C. Composition
Compose a melody on a single staff using the following parameters: 1) 4-8 measures 2) Starting/ending on
open D for D Major or open G for G major 3) Range of one octave 4) 4 beats per measure (use correct time
signature) 5) Use quarter notes, quarter rest, half notes, eighth notes
A. Music Criticism
Critique a performance on playing position, note accuracy, tone production, and dynamics.
B. Form
Symphony, concerto
87

88

Violin/Viola
Violinists/violists will maintain proper instrument position while playing.
Violinists/violists will maintain proper left hand and arm position while playing.
Violinists/violists will use low 2 finger pattern on E (for violins only), D, and A strings.
Perform in an ensemble, starting and stopping with a leader playing in unison and independent parts.
Sing major scale.
Improvise a melody using the notes of the G Major scale.
o Violin D, G, C Maj. One octave; low 2nd finger; 4th finger
o Viola D, G, C Maj. One octave; low 2nd finger; 4th finger
1) 4-8 measures
2) Starting/ending on open D for D Major or G of G Major
3) Range of one octave
4) 4 beats per measure (using correct time signature)
5) Use quarter notes, quarter rest, half notes, and eighth notes
Compare and contrast Symphony and Concerto forms.
89

Cello
Cellists will maintain proper cello position while playing.
Cellists will maintain proper left hand and arm position while playing.
Cellists will explore shifting into 4th position on the A, D, and G strings.
Cellists will use extended finger pattern on G and C strings.
Cellists will use 2nd finger in 1st position on A and D strings.
Sing major scale.
o Cello - C, G, D, Maj. One octave, 2nd finger
1) 4-8 measures
90

Bass
Bass players will maintain proper standing position while playing.
Bass players will maintain proper instrument position while playing.
Bass players will maintain proper left hand and arm position while playing.
Bass players will maintain proper bow hold while playing.
Bassists will shift into 3rd position on all strings.
Basses will use 2nd finger in 1st position on D, A, and E strings.
Sing major scale.
o Bass D, G, and C Maj. One octave; shifting to 3rd position
1) 4-8 measures
91
Fifth Grade Orchestra

Essential Question
Content and Skills:

know:

PP2D5, PP2E5, PP3A5, AP2A5
Learning Targets
do:
Tone Production: bow weight-use natural arm

weight, bow speed-vary to play different note
values, contact point-keep bow parallel to
bridge on A and D strings
Violin, Viola, and Cello Positions: see Grade
Four
Perform a given piece using appropriate bow weight,

speed, and contact point.
Bass Standing Position:

Adjust the length of the endpin so that the nut
of the bass is near the top of the forehead, stand
with feet hip width apart, place left foot slightly
forward, position endpin in front of left foot
one-arms-length away, turn bass slightly to the
right, balance and lean against the body so that
the upper bout rest against the inside of the left
pelvis
Bass Left Hand Position:
Wrists straight, fingers curved creating a C
shape, pad of the thumb on the back-center of
neck aligned with the second finger, finger tips
on tape
Bass Bow Hold:
Inside corner of right thumb touching where
frog and stick intersect to make circle, middle
finger on ferrule across from thumb, index
finger over stick at first joint, relaxed pinky
over stick on frog, fingers slightly spaced,
flexible joints
Bass players will maintain proper standing position while

playing.
Violin, viola, and cello players will maintain proper

sitting position, instrument position, and bow holds while
playing.
Bass players will maintain proper left hand and arm

position while playing.
Bass players will maintain proper bow hold while

playing.
92
Bowing Skills:
slurs, ties, hooked, accents, arco/pizzicato,
string crossings, bow sections (whole bow,
middle, upper half, lower half), bow lift (small
motion), up bow preparation starting in middle
Musicianship:
Note reading skills on all strings in 1st position
for all instruments.
Perform from the chosen method book and supplemental

material.
Introduction to 3rd position all strings for bass,

IV position G, D, A for cello.
Cellos and Basses perform using finger positions other

than I position to expand note options.
Sing: Major scale
Sing major scale.
Improvisation: Improvise melody using notes

of at G Major scale.
Ensemble Playing: playing in unison and parts
Perform in an ensemble, starting and stopping with a

leader.
Repertoire may include method book,

supplemental materials, and appropriate
ensemble literature;
orchestra end of 1st semester: #65 Its the Blues
Man!, #90 Johnny Works With One Hammer,
#91 The Clocks (Round)
orchestra end of 2nd semester: #135 Chromatic
Calisthenics 2, #140 Wipe Out, #180 Music for
Royal Fireworks
Unit Vocabulary:
Bowing terms: slurs, ties, hooked, accents, up/down bow, arco/pizzicato, legato, staccato
Misc. terms: major scale, endpin, ensemble, tone, improvise
Pre-Assessment:
Have students who have prior experience reading music on his or her instrument sight read a piece in D
major or play a song they know to demonstrate position.
93

Level 1
Recall
Student Activity:
Identify from looking
at music which notes
are tied, slurred, or
hooked.
Level 2
Skill/Concept
Student Activity:
Perform ties, slurs,
and hooks as written
in music.
Teaching Strategy:
Direct instruction,
clear definitions,
modeling
Assessment:
Students match
examples in music
with the term (tie, slur,
or hook).
Teaching Strategy:
Direct instruction,
modeling, practice
Assessment:
Teacher observation
and feedback or peer
critique.
Level 3
Strategic Thinking
Student Activity:
Given a section of
music with premarked bowing
directions at the
beginning and end,
have students
formulate a bowing
plan using ties, slurs,
and/or hooks.
Teaching Strategy:
Guided problem
solving example
Level 4
Extended Thinking
Student Activity:
Students create short
composition using at least
one tie, slur, and hooked
bowing.
Assessment:
Peer critique of
bowing plan
Assessment:
Peer critique and individual
consultation with teacher.
Teaching Strategy:
Teacher provides structure
for composition. Model.
Technology Integration: Possible application of music-related computer software where facilities allow.
Possible use of projector or Smartboard to demonstrate concepts. Possibly record student performances for
self-evaluation. Possible use Smartmusic to provide accompaniment and feedback on performance.
Simplification of parts for students having difficulties
Write in note names on parts
Weaker students paired with more advanced
Give advanced students more challenging parts to the same piece
Allow for independent work on additional pieces
Violinist/violists can explore shifting into III position on the E, A, and/or D strings.
For advanced students play in different octaves or positions.
94
Application Level Assessment for CCO I A

Student Task:
Violinists/violists will maintain proper violin position while playing.
Violinists/violists will maintain proper left hand position while playing.
Cellists will maintain proper (instrument) position while playing.
Cellists will maintain proper left hand position while playing.
Bass players will maintain proper standing position while playing.
Bass players will maintain proper left hand position while playing.
Bass players will maintain proper bow hold while playing.
Sing major scale.

Students demonstrate the transfer of note-reading skills to text features as used in language arts.
Following directions as given by the group leader would carry over to all areas.
Performing selections in a concert setting brings together multiple high level tasks.
95
Scoring Guide for Fifth Grade Orchestra, CCO IA: Performance Skills
Learning Target
4
Advanced
3
Proficient
2
Basic
Learning Target:
Tone Production

appropriate:
Bow weight-use natural arm
weight
parallel to bridge on A and D
strings

with appropriate:
arm weight
and D strings

with appropriate:
arm weight
and D strings
Learning Target:
Bass Standing
Position
Student always stands with:

The length of the endpin
adjusted so that the nut of the
bass is near the top of the
forehead
Feet hip width apart
Left foot placed slightly
forward
Endpin positioned in front of
left foot one-arms-length away
Bass turned slightly to the
right
Bass balanced and leaning
against the body so that the
upper bout rests against the
inside of the left pelvis
Student consistently stands

with:
adjusted so that the nut of
the bass is near the top of
the forehead
forward
Endpin positioned in front
of left foot one-armslength away
Bass turned slightly to the
right
Bass balanced and leaning
against the body so that
the upper bout rests
against the inside of the
left pelvis
Student sometimes stands

with:
adjusted so that the nut
of the bass is near the top
of the forehead
forward
Endpin positioned in
front of left foot onearms-length away
Bass turned slightly to
the right
Bass balanced and
leaning against the body
so that the upper bout
rests against the inside of
the left pelvis
96
1
Below Basic
appropriate:
arm weight
and D strings
Student rarely stands with:

adjusted so that the nut
of the bass is near the top
of the forehead
forward
Endpin positioned in
front of left foot onearms-length away
Bass turned slightly to
the right
Bass balanced and
leaning against the body
so that the upper bout
rests against the inside of
the left pelvis
Learning Target:
Bass Left Hand
Position
Student always holds left hand

with:
Wrist straight
Fingers curved creating a C
shape
Pad of the thumb on the backcenter of neck aligned with the
second finger
Finger tips on tape
Student consistently holds left

hand with:
Wrist straight
Fingers curved creating a
C shape
Pad of the thumb on the
back-center of neck
finger
Finger tips on tape

left hand with:
Wrist straight
Fingers curved creating
a C shape
back-center of neck
finger
Finger tips on tape
Student rarely holds left hand

with:
Wrist straight
Fingers curved creating a
C shape
back-center of neck
finger
Finger tips on tape
Learning Target:
Bass Bow Hold
Student always holds the bow

with:
across from thumb
Index finger over stick at first
joint
Relaxed pinky over stick on
frog
Flexible joints
Student consistently holds the

bow with:
make circle
across from thumb
first joint
on frog
Flexible joints

the bow with:
to make circle
Middle finger on
ferrule across from
thumb
Index finger over stick
at first joint
Relaxed pinky over
stick on frog
Flexible joints
Student rarely holds the bow

with:
thumb touching where frog
and stick intersect to make
circle
across from thumb
first joint
on frog
Flexible joints
Learning Target:
Improvisation
Using the notes of the
G Major scale
Student creates a melody using a

minimum of 4 pitches of the G
Major scale over a given pulse.

using 3 pitches of the G
Major scale over a given
pulse.
97

using only 2 of the pitches
of the G Major scale over
a given pulse.
Student does not create a

melody using the pitches
of the G Major scale, or
uses only a single pitch.
Learning Target:
Musicianship
Repertoire
Learning Target:
Ensemble Playing

Correct Notes
Correct Rhythm
Good Intonation
Good Tone
Student always:
tempo

Correct Notes
Correct Rhythm
Good Intonation
Good Tone
Starts/stops with
leader
Follows the
established tempo
Matches bow
directions
98

with:
Correct Notes
Correct Rhythm
Good Intonation
Good Tone
Student sometimes:
Starts/stops with
leader
Follows the
established tempo
Matches bow
directions

Correct Notes
Correct Rhythm
Good Intonation
Good Tone
Student rarely:
Starts/stops with
leader
Follows the
established tempo
Matches bow
directions

A. Reading Skills
Essential Question
Content and Skills:

should know:
Reading Skills:
Accents
Arco
Bar line
Bow lift
Clef
Crescendo
D.C. al fine
Diminuendo
Divisi
Dotted half note
Down bow, up bow
Double bar line
Dynamics: f, p, mf, mp, <, >
Eighth note
First and second endings
Half note
Half rest
Hooked bows
Measure
Music alphabet (Pitch Names)
Natural
Pizzicato
Quarter note
Quarter rest
Repeat sign
Sharp
Slur
Staccato
Staff
Tempo markings: allegro, andante,
moderato
Tie
Time signature: 2/4 , 4/4, C
Intervals Sung (aural training):
Major scale

FA2;FA3; G2.4; G2.5; GLE: PP2A5,
PP2B5,PP2E5, PP4A5, EP1A5,
EP1B5, EP1C5, EP1D5, EP1E5
Learning Target
Sing scale with note names
99
Unit Vocabulary:
Accents, allegro, andante, arco , bar line, bow lift, chromatic, clef, da capo al fine (D.C al fine), dotted half
note, divisi, down bow- up bow, double bar, dynamics, extensions (cellos), forte, piano, mezzo forte,
mezzo piano, crescendo, diminuendo, eighth note, first and second endings, half note, half rest, hooked
bows, measure, moderato, music alphabet (pitch names), natural, octave, pizzicato, quarter note, quarter
rest, repeat sign, sharp, shifting, slur, staccato, staff, tempo markings, tie, time signature: 2/4 , 4/4, C,
perfect fifth, unison, whole step-half step.
Pre-Assessment:
Students will use prior reading experience to play examples using reading skills from D Major repertoire.
Written pre-test on music terms and symbols from 4th grade level.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash card games with
Flash card games by
Sight read Name That
oral recall.
playing the notes.
Tune songs.
Teaching Strategy:
Direct Instruction
Assessment:
Written vocabulary and
fill in the blank test
Teaching Strategy:
Direct Instruction
Assessment:
Playing test.
Teaching Strategy:
Guided Practice
Assessment:
Sight reading playing
test.
Level 4
Extended Thinking
Student Activity:
Compose a song.
Teaching Strategy:
Guided instruction
Assessment:
Perform the song.
If computers are available, students can play online note identification games.
Write in fingerings.
Adaptations:
-alternate fingers
-note size
-harmony part
-advanced music
Application Level Assessment for CCO IIA:
Student Task:
Read and play fifth grade level music repertoire.
Sing perfect fifth, sing scale tones.
Students will apply their knowledge of reading music to language arts in interpreting text features.
100
Scoring Guide for Fifth Grade Orchestra, CCO IIA

Learning Target
Learning Target:
Read and play a selection
from 5th grade level
repertoire
Learning Target:
Students will sing a perfect
fifth.
4
Advanced
Student always plays the
selection with accurate:
Notes/Pitch
Note/Rest Value
Time signature
Bowings
Matches both pitches in
appropriate range.
3
Proficient
2
Basic
1
Below Basic

Notes/Pitch
Note/Rest Value
Time signature
Bowings

Notes/Pitch
Note/Rest Value
Time signature
Bowings
Student rarely plays the

Notes/Pitch
Note/Rest Value
Time signature
Bowings
Approximately matches both

pitches.
Matches one pitch.
Does not match either pitch.
101

Essential Question
FA2, G1.6, G2.5, GLE: PP2A5,
PP2D5, EP1B5
Content and Skills:
should know:
Learning Target
play:
Play one octave scales that are appropriate to the instrument.
Violin C, G, D Maj. One octave; low 2nd

finger; 4th finger. Accurately play all notes
on all strings in 1st position in these keys.
Play targeted finger pattern/fingering
Viola - C, G, D Maj. One octave; low 2nd
Violin/Viola: low 2nd finger; 4th finger with
finger; 4th finger. Accurately play all notes
accuracy and appropriate use
on all strings in 1st position in these keys.
Cello: 2nd finger, shift to 4th position
Cello - C, G, D, Maj. One octave, 2nd finger,
Bass: 2nd finger, shift to 3rd position
shifting to 4th position.
Bass C, G, D Maj. One octave; 2nd finger,
shifting to 3rd position.
Unit Vocabulary: Scale, octave, major, shifting, position
Pre-Assessment: Students play scales.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Sing the scale.
Play the targeted scale
Construct a different major
in varying group
scale starting on new pitch
configurations.
based on previous scale
knowledge
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Chunking
Modeling
Guided instruction
Assessment:
Assessment:
Assessment:
Playing test
Observation
the targeted scale
Not applicable
Level 4
Extended Thinking
Student Activity:
Prove that the different
major scale is correct by
performing and listening
to the scale.
Teaching Strategy:
Guided instruction
Assessment:
Observation
Explore high 3rd fingers for violin/viola, extensions for cellos, half and 2nd position for basses.
Play multi-octave scales
Explore 3rd position for violins/violas
Play a scale using alternate fingerings.
Explore all notes in the chromatic scale in 1st position.
Application Level Assessment for CCO IIB:
Student Task:
Play one octave scales that are appropriate to the instrument.
Students will apply their knowledge of scales to playing a piece of music.
102
Scoring Guide for Fifth Grade Orchestra, CCOIIB

Learning Target
Learning Target: 1 octave

scale
Violin C, G, D Major
Viola - C, G, D Major
Cello - C, G, D, Major
Bass C, G, D Major
Learning Target:
Finger pattern
Violin/Viola: low 2nd
finger, 4th finger
Cello: 2nd finger, 4th
position
Bass: 2nd finger, shifting
to 3rd position
4
Advanced
targeted major scale with:
correct fingers
correct pitch

targeted finger
pattern/fingering with:
correct fingers
correct pitch
correct location on
fingerboard
3
Proficient
2
Basic

correct fingers
correct pitch

correct fingers
correct pitch

targeted finger
correct fingers
correct pitch
correct location on
fingerboard

targeted finger
correct fingers
correct pitch
correct location on
fingerboard
103
1
Below Basic
correct fingers
correct pitch

targeted finger
correct fingers
correct pitch
correct location on
fingerboard

C. Composition
Essential Question
Content and Skills:

should know:
Format for writing music on a staff.
Compose a 4-8 measure melody.

FA1,G2.1, G2.5, GLE: PP3A, PP4A5,
EP1B5, EP1D5, AP1A5
Learning Target
By the end of this grade/course students should be able to:
Compose a melody on a single staff using the following
parameters: 1) 4-8 measures 2) Starting/ending on open D for D
Major or open G for G major 3) Range of one octave 4) 4 beats
per measure (use correct time signature) 5) Use quarter notes,
quarter rest, half notes, eighth notes
Unit Vocabulary: composition, range, beats, staff, clef (treble, alto, bass) time signature, bar lines, sharp,
double bar, melody.
Pre-Assessment: Students will compose a two measure composition.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards.
Shuffle flash cards to
Working with a
create new melodies.
partner to compose a
melody.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction.
Guided practice.
Guided practice.
Assessment:
Assessment:
Assessment:
Written test of symbol
Notate a melody using
Compose a 4-8
recall.
randomly selected
measure melody and
pitches.
notate it on a staff.
Level 4
Extended Thinking
Student Activity:
Analyze other examples of
compositions to determine
if they fit parameters.
Teaching Strategy:
Teacher guided
Assessment:
Observation/
Perform the compositions.
If available, use music notation software to compose a melody.
Adapt writing (finger charts instead of standard music notation; dictate rather than write) to complete
assignment.
Assign multi-level composition (melody/harmony, two different instruments.)
Student Task:
Compose a melody on a single staff using the following parameters: 4-8 measures; range of D major, one
octave; 4 beats per measure; use quarter notes, quarter rest, half notes, eighth notes.
Students will apply their knowledge of composition to text features found in language arts.
104
Scoring Guide for Fifth Grade Orchestra, CCOIIC

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
Compose a melody with:
4-8 measures
Starting and
ending on open D
for D Major or
open G for G
Major
Range of one
octave
4 beats per
measure
Quarter
notes/rests, half
notes, eighth notes
Student uses all of the

4-8 measures
Starting and ending
on appropriate open
string
Range of one octave
4 beats per measure
Quarter notes/rests,
half notes, eighth
notes
Student uses four of the

4-8 measures
Starting and ending
on appropriate open
strings
Range of one octave
4 beats per measure
half notes, eighth
notes
Student uses three of the

4-8 measures
Starting and ending
on appropriate
open string
Range of one
octave
4 beats per measure
half notes, eighth
notes
Student uses two or fewer of

the following parameters:
4-8 measures
Starting and ending
on appropriate open
string
Range of one octave
4 beats per measure
half notes, eighth
notes
105

A. Music Criticism
Essential Question
Content and Skills:

should know:
Playing position, pitch/rhythmic
accuracy, tone production, dynamics,
and elements of musicality.

FA1, FA2, FA3, G1.5 G2.5, GLE:
AP1B5, AP2A5, AP2B5
Learning Target
Critique a performance on playing position, note accuracy, tone
production, and dynamics.
Unit Vocabulary: musical style, texture, intonation, articulation, dynamics

Pre-Assessment: Students will critique a performance by the teacher.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Discuss qualities of a
Create a cause and
good performance as a
effect chart using
performance.
class.
playing position as the
focus.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction
Teacher-led discussion
Assessment:
Assessment:
Predict how playing
position affects tone and
note accuracy.
Assessment:
for playing position,
note accuracy and tone
production.
Level 4
Extended Thinking
Student Activity:
Use critiquing
techniques for selfevaluation and
improvement.
Teaching Strategy:
Individualized
consultation
Assessment:
Teacher feedback
If available, students will make use of computers to write their critiques.
Students will critique a performance focusing on only one component.
Students will critique a performance for additional components.
Students will critique an ensemble performance (instead of an individual).
Application Level Assessment for CCO IIIA
Student Task(s):
Critique a performance on playing position, pitch/rhythmic accuracy, tone production, and dynamics.
Students will utilize their observational skills to express emotional and physical responses to other art
forms (i.e. plays, poetry, and movies).
106
Scoring Guide for Fifth Grade Orchestra, CCOIIIA

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
playing position
pitch/rhythmic
accuracy
tone production
dynamics
emotional and/or
physical responses
Can offer critique on all 5

Supports each statement of
critique with detailed
description.

Can offer critique on 2-3

categories of a
performance.
Supports some
statements
Can offer critique on1

category
107

B. Form
Essential Question
Content and Skills:
should know:
Concerto:
A multi-movement work for orchestra
that usually features one or more solo
instruments.
Symphony:
A large- scale work for orchestra usually
made of four distinct movements

FA2, FA3, G1.5 GLE: AP1A5, AP1B5
Learning Target
Compare and contrast concerto and symphonic forms.
Unit Vocabulary: concerto, symphony

Pre-Assessment: Students will list the characteristics of concerto and symphonic forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
List the
Create a Venn diagram In small groups, listen to
characteristics
to compare/contrast
and discuss recorded
of concerto and
characteristics of
excerpts. Draw
symphonic forms
concerti and
conclusions whether the
symphonies.
selection is concerto or
symphonic form.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction
Direct instruction
Cooperative learning
Assessment:
Identify the
characteristics
of concerto and
symphony.
Assessment:
the characteristics of
concerto and
symphony.
Assessment:
Differentiate between
concerto and symphonic
forms.
Level 4
Extended Thinking
Student Activity:
Student will independently
create an eight measure
piece in concerto or
symphonic form.
Teaching Strategy:
Independent consultation
Assessment:
Student will present an
independently created
concerto or symphonic form.
If available, students will make use of computers to write their comparisons of concerto and symphonic
forms. Students are given introduction to music-based software programs.
Identify characteristics of only one of the two forms.
Create a 16 measure composition in concerto or symphonic forms.
Perform a composition in concerto or symphonic form.
Student Task(s):
Compare and contrast concerto and symphonic forms.
Students will use experience recognizing patterns and form in math, visual and language arts.
Students will use experience recognizing patterns and form in other musical contexts.
108
Scoring Guide for Fifth Grade Orchestra, CCO IIIB

Learning Target
Learning Target:
concerto and symphonic
forms.
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Student was able to apply

listening skills to describe
at least three qualities of
categories.

categories.
Student was able to

distinguish one quality in
either the compare or
contrast category.

qualities for either form.
109

Core Conceptual Objective IVA: Students will make connections among the arts and with non-arts
disciplines.
A. Connections among the arts.
Essential Question
Content and Skills:

know:

FA4, FA5, G1.9, G2.4, GLE:
IC1A5,IC1B5, HC1A5, HC1B5,
HC1C5
Learning Target
able to do:
Students will make connections between music and
visual art.
Characteristics
Unit Vocabulary: line, shape, color, form, texture, rhythm/pattern, contrast, space, balance, proportion
Pre-Assessment: Ask students to describe the elements they could look for when looking at a picture.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Recognize similar
Classify
Develop a logical
characteristics between
complimentary pieces argument why a
pieces of music and
of music and artwork. particular piece of art to
artwork.
illustrate a given piece
of music.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Instruction
Guided Instruction
Assessment:
Identify characteristics
relating artwork to
music.
Assessment:
Given several
examples of artwork,
students will interpret
which relate best to
one piece of music.
Assessment:
Present argument to
class.
Level 4
Extended Thinking
Student Activity:
Student analyzes a chosen
piece of music and
connects it to an artwork of
their choice.
Teaching Strategy:
Guided Instruction
Assessment:
Student justifies choice of
artwork and music.
If applicable, students will use the computer and library resources to research art and music.
Adapt music and artwork to the abilities of the student.
Application Level Assessment for CCO IVA
Student Task:
Students develop a better awareness of how the arts impact each other.
110
Scoring Guide for Fifth Grade Orchestra, CCO IVA

Learning Target
Learning Target:
Students will make
and visual art.
4
Advanced
Student was able to
make strong connections
between art and music.
3
Proficient
Student was able to
logical connections
between art and music.
111
2
Basic
Student was able to
make few connections
between music and art.
1
Below Basic
Student was not able
make connections
between artwork and
music.

Core Conceptual Objective IV: Students will make connections among the arts and with non-arts
disciplines.
B. Connections with non-arts disciplines.
Essential Question

FA4, FA5, G1.9, G2.4 GLE: IC1A5,
IC1B5, HC1C5
Content and Skills:

Music:
Ideas are communicated through music
There are different musical forms such as ABA and throughcomposed
The language is composed of notes on a staff
Learning Target
By the end of this grade/course
students should be able to do:
between music and language arts
forms.
Language Arts:
Ideas are communicated through text
There are different literature forms such as prose and poetry.
The language is composed of letters of the alphabet
Unit Vocabulary: staff, prose, poetry, ABA form, through-composed

Pre-Assessment: Students will list characteristics of an ABA musical form and a rhyming poem.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Learn the words to Song Student will construct a
In small groups,
of the Wind and
T chart comparing and
students will compare
compare the form to
contrasting a poem and
and contrast ABA
Twinkle.
a song.
musical form and
rhyming poetry
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction
Direct instruction
Guided discussion
Assessment:
List characteristics of an
ABA/Rhyming poem
and through
composed/prose.
Assessment:
Student will identify
patterns between a poem
and a song from the 5th
grade method book.
Assessment:
the musical form and
words of Go Tell Aunt
Rhody
Level 4
Extended Thinking
Student Activity:
Student will create lyrics
to either a through
composed song or an
ABA form song.
Teaching Strategy:
Independent
consultation
Assessment:
Present lyrics to the
class and explain how
the words fit the form.
Technology Integration: if available, students will use computers to research lyrics to various folk songs.
List characteristics of only one form (ABA musical form or a rhyming poem.)
Students will create lyrics to additional forms.
112

Student Task:
Students will compare and contrast music and language arts forms.
Students will use their experience to make connections between composing music and expressive language.
113
Scoring Guide for Fifth Grade Orchestra, CCOIVB

Learning Target
Learning Target:
between music and language arts
forms.
4
Advanced
Compare ABA and

poetry.
Supports statements
All information is correct
and complete
3
Proficient
Compare ABA and poetry

Supports statements
Most information is
correct and specific
114
2
Basic
Compares ABA and

poetry
Some information is
correct
1
Below Basic
Lists characteristics of
one of the forms
Information is incomplete
or incorrect
Fifth Grade Orchestra CCOV

cultural contexts.
Essential Question

FA5, G1.9, G2.4, GLE: HC1A5,
HC1B5, HC1C5
Style/Genre/Period/Title
Baroque
Classical
1600-1750
1750-1825
Time/Place when composed
Germany
Germany
Composer(s)
Bach
Beethoven
Characteristics of Music
Highly ornamented
Simpler, less ornate
(clues used to identify it)
Long, flowing melodies
Shorter melodic ideas
Less structured
Highly structured
Function in society
Entertainment (dances)
Entertainment (operas)
Church music
What was happening:
What was happening:
Historical Context
What was happening at the time
Government: Monarch
Government: Monarch
and place when/where the music
Arts/Science: Age of Reason; Arts/Science: Age of
was composed?
beginning of modern
Enlightenment; reasoning
(war/peace, science, technology,
philosophy
highly valued
type of government, other arts) Trained musicians
Trained musicians
Who were the musicians?
Audience could include both Audience could include both
What training did they have?
aristocracy and everyday
aristocracy and everyday
Who were audience members?
people
people
Contemporary Context
When/where is this music played
today?
How did this music influence
current musicians/composers?
Played in concert halls

Still used as a reference for
modern composition
Still played and revised
today
Played in concert halls

Still used as a reference for
modern composition
Still played and revised
today
Unit Vocabulary:
Baroque, classical, ornamented, aristocracy, opera
Pre-Assessment:
Students will list the musical and historical traits of Bach and Beethoven.
115

Level 1
Recall
Activity:
Identify musical and
historical traits of Bach
and Beethoven.
Level 2
Skill/Concept
Activity:
Divide into two groups
and have each group
classify the musical and
historical traits of either
Bach or Beethoven.
Level 3
Strategic Thinking
Activity:
Research the historical
significance of a
composition by either
Bach or Beethoven
using online and library
resources..
Strategy:
Guided instruction.
Strategy:
Class discussion.
Strategy:
Direct instruction
Assessment:
List the musical and
and Beethoven.
Assessment:
Classify the musical and
and Beethoven.
Assessment:
Apprise the reader of the
historical significance of
a composition by either
Bach or Beethoven.
Level 4
Extended Thinking
Activity: Independently
research a composer of
the same time period as
either Bach or
Beethoven using online
and library resources.
Strategy:
Independent
consultation
Assessment:
Present research on a
composer of the same
time period as either
Bach or Beethoven.
Students use computer-based and library resources to research the historical period/style/genre.
Students will present information to others using computer technology (e.g., written paper, power point
presentation).
Identify the musical and historical traits of either Bach or Beethoven.
Independently research another composer of the same time period as either Bach or Beethoven.
Independently research art of the same time period as either Bach or Beethoven.
Student Task:
Students will apply skills used in comparing and contrasting musical and historical traits to other art forms.
Students will apply skills gained in comparing and contrasting traits to language arts.
116
Middle School
Orchestra
117
MIDDLE SCHOOL
ORCHESTRA COURSE MAP
Grade 6
Intermediate Orchestra
Grade 7
Cadet Orchestra
118
Grade 8
Concert Orchestra
Middle School Course Descriptions
INTERMEDIATE ORCHESTRA
(full year)
Grade level: 6
Prerequisite: Fifth Grade Orchestra or evidence of equivalent training satisfactory to the instructor.
The training provided in Fifth Grade Orchestra continues in this course. Students receive instruction in
music reading skills, production of a good tone, bowing, and left-hand techniques. Attendance at scheduled
performances is mandatory and part of the required class work. This course meets every day for one middle
school class period. It is a full year course.
Students must provide their own instruments and books.
CADET ORCHESTRA
(full year)
Grade level: 7
Prerequisite: 5th Grade Strings, Intermediate Orchestra or evidence of equivalent training
satisfactory to the instructor.
This is a performance-oriented course. Students continue to receive instruction in production of a good
tone, music reading skills, bowing, and left-hand techniques. The fundamentals of performance within an
orchestral ensemble will be developed. Students are prepared for the demands of the more advanced
orchestral literature performed in the Concert Orchestra. Orchestral literature in a variety of different styles
will be rehearsed and performed. Attendance at scheduled performances is mandatory and part of the
required class work.
Students are encouraged to participate in appropriate enrichment opportunities, such as private lessons, AllSuburban Honors Orchestra, All-District Honor Orchestra, Solo and Ensemble Festival, and the
Community Music School Youth Orchestra Program.
CONCERT ORCHESTRA
(full year)
Grade level: 8
Prerequisite: Cadet Orchestra or evidence of equivalent training satisfactory to the instructor.
This is a performance-oriented course. Training is provided in technical skills, music reading and in the
performance of a broad range of musical styles. More advanced orchestral literature is performed. Students
are prepared for the demands of the literature that will be performed in the high school orchestra.
Attendance at scheduled performances is mandatory and part of the required class work.
Students are encouraged to participate in appropriate enrichment opportunities, such as private lessons, AllSuburban Honors Orchestra, All-District Honor Orchestra, Solo and Ensemble Festival, and the
Community Music School Youth Orchestra.
119
Sixth Grade
Intermediate
Orchestra
120
Overview of Content and Skills for Sixth Grade Intermediate Orchestra

Tuning: open A and D string tuning with fine tuners
Tone Production: clear resonant tone using grade one repertoire
Left Hand Skill: vibrato motion on one finger
Bowing Skills: legato, staccato, hooked bows
Musicianship:
Repertoire: Grade 1
Improvisation: improvise using notes of D major scale above and below the tonic and the octave;
Ensemble Playing: playing in five orchestral parts, (violin I, violin II, viola, cello, bass)
A. Reading Skills
Reading skills: accent, accidental, Allegro, Andante, crescendo, decrescendo, diminuendo, dotted quarter
note, dynamics, eighth rest, flat, fortissimo, Major, mezzo forte, mezzo piano, Moderato, pick up notes,
ritardando, sixteenth note, sixteenth rest
Sight-reading: Students will review a piece of early Grade 1 literature, develop a sight-reading plan, and
play at sight from a written composition.
Intervals Played and Sung (aural training): Perfect fourth
Violin & Viola - A Major lower octave, F Major one octave, high 3 and low 1
Cello - A, F Major one octave, forward extension, backward extension;
Bass - C, F Major one octave position and 2nd position
C. Composition
Write an eight-measure melody in the key of D Major in 4/4 time signature using notes above and below the
tonic and octave.
A. Music Criticism
Respond to and critique a performance of Grade 1 literature on posture, left hand shape, bow hold, tone
quality, intonation, articulation (bowing), rhythm, and dynamics.
B. Form
Rondo, ABA
Compare and contrast music and art of the Baroque period.
121
Sixth Grade Orchestra

Essential Question
Missouri State Standards; Grade Level

Expectations
FA1, G2.5, GLE: PP2A6-8, PP2B6-8, PP2C6-8,
PP2E6-8
How do musicians express ideas through

performance?
Content and Skills:
should know:
Tuning: open A and D string tuning
with fine tuners
Tone Production: clear resonant tone
using grade one repertoire
Left Hand Skill: vibrato motion on one
finger
Bowing Skills: legato, staccato, hooked
bows
Musicianship:
Repertoire: Grade 1
Improvisation: improvise using notes of
D major scale above and below the tonic
and the octave;
Ensemble Playing: playing in five
orchestral parts (violin I, violin II, viola,
cello, bass)
Learning Target
Students will tune D and A strings using fine tuners.
Students will produce a clear resonant tone using grade one
repertoire.
Students will demonstrate vibrato motion on one finger.
Students will demonstrate legato, staccato, and hooked bows as
appropriate to Grade 1 repertoire.
Students will perform Grade 1 repertoire.
Students will improvise using notes of D major scale above and
below the tonic and the octave.
Students will play in ensembles with five orchestral parts.
Unit Vocabulary:
Legato, staccato, hooked bows, vibrato, improvise, tonic, octave, resonant, repertoire, fine tuner, tone,
weight, speed, and contact point, scale
Pre-Assessment:
Students will take playing tests to demonstrate readiness.
Students will play short passages of previous repertoire.
Level 1
Recall
Student Activity:
Students will complete
a diagram showing the
seating arrangement of
an ensemble.
Teaching Strategy:
Direct Instruction
Level 2
Skill/Concept
Student Activity:
Students will practice
playing their own part.
Level 3
Strategic Thinking
Student Activity:
playing their own part
with their section.
Level 4
Extended Thinking
Student Activity:
playing their solo
with accompaniment.
Teaching Strategy:
Modeling
Teaching Strategy:
Directing rehearsal
Teaching Strategy:
Guided practice
Assessment:
Students will explain
how an ensemble
functions.
Assessment:
Students will play their own
part for the teacher.
Assessment:
Students will play in
ensembles with five
orchestral parts.
Assessment:
Students will play a
solo as part of an
ensemble
performance.
122
Students record their performances for self-evaluation.
Students use music theory software on the computer.
Advanced students may be paired with less proficient students.
Advanced students may be given or may select solo or small ensemble pieces in addition to class repertoire.
Students are encouraged to take private lessons and participate in extracurricular performing groups.
Application Level Assessment for CCO I:
Student Tasks:
Students will tune D and A strings using fine tuners.
Students will produce a clear resonant tone using Grade 1 repertoire.
Students will demonstrate vibrato motion on one finger.
Students will demonstrate legato, staccato, and hooked bows as appropriate to Grade 1 repertoire.
Students will improvise using notes of D major scale above and below the tonic and the octave.
Students will play in ensembles with five orchestral parts.
Students who choose to continue playing an instrument will build upon skills learned in this class.
Students learn self-discipline.
Students learn leadership skills.
Students learn to evaluate the quality of musical performances.
Students learn social skills.
123
Scoring Guide for Sixth Grade Orchestra, CCO I: Performance Skills

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Promptly matches pitch
Matches pitch
Approximates pitch
Unable to match pitch
Produces a clear and resonant

tone

tone
Produces an inconsistent
tone
Unclear tone
Bows using piano dynamic

while tuning

while tuning
Bows too softly or too

loudly
Learning Target
Students will produce a
clear resonant tone using
grade one repertoire.
Always demonstrates
appropriate:
weight
speed
contact point
Consistently demonstrates
appropriate:
weight
speed
contact point
Sometimes demonstrates
appropriate:
weight
speed
contact point
Learning Target
Students will demonstrate
vibrato motion on one
finger.
Always demonstrates
appropriate:
appropriate:
appropriate:
Rarely demonstrates
appropriate:
Maintain left hand position
Maintain instrument position
Consistent vibration
movement with flexible wrist
Motion begins from the pitch

center

center

center

center
Back and forth motion

parallel to fingerboard/strings


Back and forth motion parallel

to fingerboard/strings
Learning Target
Students will tune D and A
strings using fine tuners.
124
Does not use bow while

turning fine tuners
Rarely demonstrates
appropriate:
weight
speed
contact point
Learning Target
legato bowing style in
grade 1 repertoire.
Learning Target
staccato bowing style in
grade 1 repertoire.
Always demonstrates:
Consistently demonstrates:
Sometimes demonstrates:
Rarely demonstrates:
Bow perpendicular to the

strings; parallel to the bridge



Bow changes are smooth


Bow strokes are short and

separated

separated

separated
Learning Target
hooked bowing style in
grade 1 repertoire.
Learning Target
Students will improvise
using notes of D major
scale above and below the
tonic and the octave.

separated





separated

separated

separated

separated
Notes are played on the same

bow stroke

bow stroke
Notes are played on the

same bow stroke

bow stroke
Create a melodic and rhythmic

line.
Create a melodic line.
Modifies an existing melodic

line.
Copies anothers melodic

line.
Pitches remain within the key

of D Major

of D Major

of D Major
Pitches outside of the key of

D Major
125
Learning Target
ensembles with five
orchestral parts.
Follows teachers cues and

directions

directions

directions
Plays own part while

blending sound with section




harmonizing with entire
group

group

group

group
Continuous self-evaluation
and improvement
and improvement
Models accurate playing

techniques for others
126
Learning Target
Students will perform Grade
1 repertoire.
Always Demonstrates:
Consistently Demonstrates:
Sometimes Demonstrates:
Rarely Demonstrates:
Body Posture:
Appropriate to instrument
Body Posture:
Body Posture:
Body Posture:
Instrument Position:
Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Articulation (Bowing):
Bowing style and placement
as instructed by teacher
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Musicianship:
Plays expressively according
to composers markings and
style
Musicianship:
style
Musicianship:
style
Musicianship:
Plays expressively
according to composers
markings and style
127

Core Conceptual Objective II: Students will demonstrate elements of music. A. Reading Skills
Essential Question
How do performers interpret the composers musical intentions?
Content and Skills:
should know:
Reading skills: accent, accidental,
Allegro, Andante, crescendo,
decrescendo, diminuendo, dotted quarter
note, dynamics, eighth rest, flat,
fortissimo, major, mezzo forte, mezzo
piano, Moderato, pick up notes,
ritardando, sixteenth note, sixteenth rest
Sight-reading: Analyze piece prior to
sight reading; sight-read music at early
Grade 1 level
Intervals Played and Sung (aural
training): Perfect fourth

FA2, GLE: PP1A6-8, EP1B6-8,
EP1C6-8, EP1E6-8
Learning Target
Students will perform repertoire using grade level appropriate
expression.
Students will review a piece of early Grade 1 literature, develop

a sight-reading plan, and play at sight from a written
composition.
Students will play and sing a perfect fourth.
Unit Vocabulary:
accent, accidental, Allegro, Andante, crescendo, decrescendo, diminuendo, dotted quarter note, dynamics,
eighth rest, flat, fortissimo, major, mezzo forte, mezzo piano, Moderato, pick up notes, ritardando, sixteenth
note, sixteenth rest
Pre-Assessment:
Students define symbols and terms.
Students perform playing tests from sight.
Level 1
Recall
Student Activity:
Take notes. Use
flashcards to practice
identifying symbols and
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
Practice planning and
playing multiple pieces
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
Identify symbols and
terminology of
expression.
Assessment:
Demonstrate each
symbol and expressive
term.
Assessment:
Students will review a
piece of early Grade 1
literature, develop a
sight-reading plan, and
play at sight from a
written composition.
Assessment:
Not Applicable
128
Use music theory software.
Use internet websites.
Use a metronome.
Students who know terms can teach them to others.
Students can create flash cards for use in memorizing terms.
Students create posters that teach the terms.
Students can read music and listen to a partner as he/she sight-reads.
Application Level Assessment for CCO II A:
Student Task(s):
Students will perform repertoire using grade level appropriate expression.
Students will review a piece of early Grade 1 literature, develop a sight-reading plan, and play at sight from
a written composition.
Students will play and sing a perfect fourth.
Students who continue in music will use reading skills to play more advanced literature.
Students will be able to read a new piece of music and understand the composers musical intentions.
Students will be able to perform expressively.
129
Scoring Guide for Sixth Grade Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:
Students will perform
repertoire using grade level
appropriate expression.
Performs all of the expressive

symbols and markings in
repertoire.
Performs most of the

expressive symbols and
markings in repertoire.
Performs some of the

Performs few of the

Learning Target:
piece of early Grade 1
literature, develop a sightreading plan, and play at
sight from a written
composition.
Reviews music analytically.
Ineffective review.
Performs with accurate:

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Performs with few errors in:

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Performs with many errors

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Performance addresses few

categories and makes many
errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
Students will play and sing
a perfect fourth.
Not applicable

appropriate range
Matches one pitch and

approximately matches the
other pitch

pitch
130
2
Basic
1
Below Basic

Core Conceptual Objective II: Students will demonstrate elements of music.
Essential Question
Content and Skills:
should know:
Violin & Viola - A Major lower octave,
F Major one octave, high 3 and low 1

FA2, GLE: EP1B6-8
Learning Target
By the end of this grade/course students should be able to play:
Violin and viola students will play scales using appropriate
fingerings and finger patterns: A Major lower octave, F Major
one octave, high 3 and low 1.
Cello - A, F Major one octave, forward

extension, backward extension;
Cello students will play scales using appropriate fingerings and

finger patterns: A, F Major one octave, forward extension, and
backward extension.
Bass - C, F Major one octave position

and 2nd position
Bass students will play scales using appropriate fingerings and

finger patterns: C, F Major one octave position, and 2nd
position.
Unit Vocabulary:
Major scale, position, extension, octave, fingering, patterns
Pre-Assessment:
Students play one octave scales in each key.
Students write out the scales.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Practice scale fingerings Practice pieces.
and finger patterns.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction,
Guided Practice
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
Identify the key
Play F Major scale using Perform pieces in key of
signature and scale on
appropriate fingerings
F Major.
paper.
Students practice using internet-based software.
Students use music theory software to compose.
Play two-octave scales.
131
Level 4
Extended Thinking
Student Activity:
Compose a short melody
in the key of F Major.
Teaching Strategy:
Guided Practice
Assessment:
Use a scoring guide to
assess an original
composition.
Application Level Assessment for CCO IIB

Student Task(s):
Violin and viola students will play scales using appropriate fingerings and finger patterns: A Major lower
octave, F Major one octave, high 3 and low 1.
Cello students will play scales using appropriate fingerings and finger patterns: A, F Major one octave,
forward extension, and backward extension.
Bass students will play scales using appropriate fingerings and finger patterns: C, F Major one octave
position, and 2nd position.
Students will be able to sight-read passages with greater fluency.
Students will improve intonation.
Students will be better able to play in various key signatures.
132
Scoring Guide for Sixth Grade Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
Violin and viola students
will play scales using
appropriate fingerings and
finger patterns: A Major
lower octave, F Major one
octave, high 3 and low 1.

targeted scale with:
correct fingers
correct pitch (half steps
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
Cello students will play
scales using appropriate
fingerings and finger
patterns: A, F Major one
octave, forward extension,
and backward extension.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
Bass students will play
patterns: C, F Major one
octave position, and 2nd
position.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
133

C. Composition
Essential Question
Content and Skills:
should know:
How to compose a melody in the key of
D Major using notes above and below
the tonic and octave.

FA1, PP4A6-8, EP1B6-8
Learning Target
Write an eight-measure melody in the key of D Major in 4/4
time signature using notes above and below the tonic and
octave.
Unit Vocabulary: tonic, octave, clef sign, measure, bar lines, key signature, time signature, whole note,
half note, quarter note, eighth note, sixteenth note, note names, staff
Pre-Assessment: Students compose two measures in D Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
Practice composing and
handout or article that
sharing feedback with
describes characteristics describes characteristics peers.
of a good melody.
of a good melody.
Discuss examples.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
Describe the qualities of Critique a melody using Write an eight-measure
a good melody.
qualities of a good
melody in the key of D
melody.
Major in 4/4 time
signature using notes
above and below the
tonic and octave.
Level 4
Extended Thinking
Student Activity:
Research compositions.
peers.
Teaching Strategy:
Guided Practice
Assessment:
Write an extended
composition with a
harmonized melody.
Technology Integration: Students will use a music notation program such as Finale or Sibelius.
Advanced students may write in two parts or write a longer composition.
Students with less readiness may write a shorter piece or a piece with limited pitch range.
Application Level Assessment for CCO IIC
Student Task(s):
Write an eight-measure melody in the key of D Major in 4/4 time signature using notes above and below
the tonic and octave.
Students will understand that composing is a career option.
Students will better appreciate the work of composers.
Musical composition skills will lead to better music reading skills.
134
Scoring Guide for Sixth Grade Orchestra, CCO IIC: Composition

Learning Target
Learning Target:
Write an eight-measure
melody in the key of D
Major in 4/4 time signature
using notes above and
below the tonic and octave.
4
Advanced
Composition includes:
Clef sign
Key signature
Time signature
Four beats in a measure
Eight or more measures
Melodic line in the key of D
Expressive symbols
Bowing
3
Proficient
Clef sign
Key signature
Time signature
Eight measures
Bowing
135
2
Basic
Clef sign
Key signature
Time signature
Less than eight measures
1
Below Basic
Clef sign
Key signature
Time signature
Melodic line

A. Music Criticism
Essential Question
Content and Skills:
should know:
How to evaluate performance.

FA2, G1.5, AP2A6-8, AP2B6-8
Learning Target
Respond to and critique a performance on posture, left hand shape,
bow hold, tone quality, intonation, articulation (bowing), rhythm,
and dynamics.
Unit Vocabulary: music criticism, posture, left hand shape, bow hold, tone quality, intonation,
articulation (bowing), rhythm, and dynamics
Pre-Assessment: Respond to and critique a short excerpt.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Listen to and watch
Reflect upon and discuss
excerpts of two
performances in class.
performances of the
same work.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Modeling, Facilitate a
class discussion,
Guided Practice
Assessment:
Define criteria used to
evaluate musical
performance.
Assessment:
two performances on
aspects of quality.
Teaching Strategy:
class discussion on
personal responses to
music, Guided Practice
Assessment:
Respond to and critique a
performance on posture,
left hand shape, bow hold,
tone quality, intonation,
articulation (bowing),
rhythm, and dynamics.
Level 4
Extended Thinking
Student Activity:
Research a piece of
music prior to attending
a live performance of the
work. Take notes during
the performance.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Write an in-depth
critique and present it to
a group.
Watch and listen to performance on-line.
Use audio-visual resources.
Type critiques on the computer.
Audio or videotape and then critique students performances.
Students who need more structure could complete a graphic organizer.
Students with advanced writing skills could write a performance critique for a newspaper.
Students could work alone or with a partner to critique a performance.
136

Student Task(s):
Respond to and critique a performance on posture, left hand shape, bow hold, tone quality, intonation,
articulation (bowing), rhythm, and dynamics.
Students will be able to apply analytical skills to other subjects.
Students who continue to study music will apply critique skills to musical works.
Students will have a life-long appreciation of music.
137
Music Criticism Scoring Guide

Criteria
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Introduction
Tells plan to critique. Gives
information about the work:
composers name,
musicians name, title of
piece, when and where it
was created, how it was
used, time period, style, or
culture.
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments
Analysis
Analyzes work to determine
how each applies: posture,
Clearly states plan to

critique another artists
work. All available
information is given.
States plan to critique

another artists work.
Most available
Artists work is
mentioned. Tells
artists name and
title.
Artists name or
title of work
listed.
Logical, coherent,
complete, detailed
description of what is
seen/heard in the
performance.
Considers each element to
determine which are most
important in the work.
Explains, in detail, how
and where each important
element and principle is
used in the work.
Complete description of
what is seen/heard in
the work.
Complete description
of what is seen/heard
in the work but
slightly unorganized.
Lists elements used.
Tells how or where
some elements and
principles are used in
the work.
Interpretation
Relates personal, cultural,
and emotional responses to
the piece.
Justifies statements with
reference to the work.
Clearly infers meaning of

work based upon analysis
and personal response.
Clearly supports
statements with detailed,
specific reference to all
musical elements.
Considers elements to
determine which are
most important in the
work. Explains how
and where each
important element and
principle is used in the
work.
Interprets the meaning
of work based upon
analysis and personal
response.
Supports statements
with reference to most
musical elements.
Random
mention of one
or two details
seen/heard in the
work.
Partially lists
elements.
Judgment
Evaluates the quality of the
performance.
Evaluates the quality of

the performance on
musicians
tone/intonation, technique
articulation, and
expression or
musicianship. Supports
all statements with
specific, detailed reference
to the work.
Free of errors.
Consistently uses third
person. Uses
sophisticated sentence
variety, precise
vocabulary. All steps of
critique model in correct
order.

the performance on
musicians
tone/intonation,
technique articulation,
and expression or
most statements with
Discusses the
musicians
tone/intonation,
technique
articulation, or
expression/musicians
hip. Few references
to the work to
support statements.
Few minor errors in

spelling or grammar.
Uses third person.
Some sentence variety,
appropriate vocabulary.
All steps of critique
model in correct order.
Errors in grammar
and spelling without
affecting clarity.
Some use of first
person. Little
sentence variety.
model present but out
of order.
Mechanics
Grammar, Style, Form
138
Suggests a meaning
of the work.
Supports statements
with reference to
some musical
elements.
Suggests
meaning of the
work.
Supports
statements with
reference to few
musical
elements.
States personal
opinion.
Multiple
grammatical
errors interfere
with content and
readability.
Doesnt use
third person.

B. Form
Essential Question
Content and Skills:
should know:
Characteristics of forms

FA3, G1.5, AP1A6-8
Learning Target
Compare and contrast rondo and ABA forms.
Rondo
ABACA
Repeats musical sections with
contrasting sections in between
ABA
First and last sections are the same
Contrasting middle section
Unit Vocabulary: rondo, ABA, form
Pre-Assessment: Students list characteristics of rondo and ABA forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Write definitions
Discuss examples of
Create melodic lines in
rondo and ABA forms.
small groups.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction, Class Guided Practice
discussion
Assessment:
Assessment:
Assessment:
List characteristics of
Compose a short piece
in rondo or ABA form.
Use notation software to compose.
Use online and library sources to research rondo and ABA forms.
Use word processing software to compare and contrast.
Create a chart/poster that visually compares and contrasts rondo and ABA forms.
Compose a shorter or longer piece in rondo or ABA form.
Compose a two-part piece in rondo or ABA form.
Student Task(s):
Compare and contrast rondo and ABA forms.
139
Level 4
Extended Thinking
Student Activity:
Not applicable.
Teaching Strategy:
Not applicable.
Assessment:
Not applicable.

Students will understand that music is organized sound.
Students will apply organization of ideas in music to other disciplines.
Students as audience members will better understand musical ideas through knowledge of musical forms.
140
Scoring Guide for Sixth Grade Orchestra, CCO IIIB Form

Learning Target
Learning Target:
4
Advanced
Compares, contrasts, and
evaluates characteristics of
rondo and ABA forms using
examples.
3
Proficient
Compares and contrasts
characteristics of rondo and
ABA forms using examples.
141
2
Basic
Explains characteristics of
rondo and ABA forms using
examples.
1
Below Basic
Lists characteristics of rondo
and ABA forms.
Sixth Grade Orchestra, 6-19-08

disciplines.
Essential Question
Content and Skills:
Baroque Music:
Complex composition, technical difficulty
Ornamentation
Contrast of dynamics and textures
Communicates moods and emotions
Functions are sacred and secular
Influenced by dance styles
Form is organization of musical ideas

FA4, IC1A6-8
Learning Target
be able to do:
Compare and contrast Baroque music and art.
Baroque Art:
Complex composition, has many shapes
Ornamentation, decorative
Contrast of light and dark in art
Functions: Decorate buildings and homes of
aristocracy
Form means real or illusion of depth
Unit Vocabulary: imitation, symmetry, ornamentation
Pre-Assessment: List characteristics of Baroque music and art.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Students will
investigate
research Baroque music and
Baroque music and art using online and library
art in cooperative
resources. Student will give
groups.
an audio-visual
presentation.
Teaching
Teaching Strategy: Teaching Strategy:
Strategy:
Cooperative
Guided Practice
Direct Instruction
Learning
Model
Assessment:
Assessment:
Assessment:
List characteristics Compare and
Audio-visual presentation to
of both Baroque
contrast Baroque
class.
music and art.
music and art.
142
Level 4
Extended Thinking
Student Activity:
research Baroque music and art
resources.
Teaching Strategy:
Modeling, Collaboration with
Art teachers, Guided Practice
Assessment:
Compose a piece of music in
the Baroque style and select
artworks that would decorate a
concert hall in which it would
be performed.
Students will use the computer and library resources to research Baroque music and art.
Create a poster that compares and contrasts Baroque music and art.
Complete a Venn diagram comparing and contrasting Baroque music and art.
Create examples of Baroque music and art.
Student Task:
Compare and contrast Baroque music and art.
Students will understand that music and art created in the same time and place are related.
Students will understand that similar ideas can be expressed in different art forms.
143
Scoring Guide Sixth Grade Orchestra, CCO IVA: Connections between Baroque music and art
Learning Target
Learning Target:
Baroque music and art.
4
Advanced
evaluates Baroque music and
art.
3
Proficient
144
2
Basic
1
Below Basic
Baroque music or art.

disciplines.
Essential Question
Content and Skills:
should know:
Team-Building in Music
Cooperative play (ensemble
playing)
Problem-solving
Decision-making
Leadership
Team strategies
Risk-taking
Self-Control
Respect

FA4, G1.10, IC1B6-8
Learning Target
Compare and contrast team-building in orchestra and physical
education.
Team-Building in Physical Education

Cooperative play (sports)
Problem-solving
Decision-making
Leadership
Team strategies
Risk-taking
Self-Control
Respect
Unit Vocabulary: cooperative play, problem-solving, decision-making, leadership, team strategies, risktaking, self-control, respect
Pre-Assessment: Define terms.
145

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Students will participate Identify problems in the
in team-building
ensemble and then use
exercises. Discuss how
team-building strategies
they apply concepts (ie.
to develop solutions.
Leadership) in both
music and physical
education classes.
Teaching Strategy:
Direct Instruction
Assessment:
Write definitions for
characteristics of teambuilding in music and
physical education.
Teaching Strategy:
Facilitating teambuilding exercises.
Assessment:
team-building in music
and physical education.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Student will
independently research
team-building strategies
resources.
Prepare a lesson plan for
teaching another student
how team-building is
used in both music and
physical education
classes.
Teaching Strategy:
Guided Practice
Assessment:
Present several
alternative solutions to
the problem.
Assessment:
Facilitate a group teambuilding exercise in
music class.
Use online and library resources to research team-building.
Write comparisons using word processing software.
Create a poster that compares and contrasts team-building in music and physical education.
Complete a Venn diagram comparing and contrasting team-building in music and physical education.
Student Task:
Students will understand that music and physical education use similar team-building strategies.
Students will understand that similar ideas can be expressed in different disciplines.
146
Scoring Guide for Sixth Grade Orchestra, CCO IVB: Compare and contrast team-building in orchestra and health/physical education.
Learning Target
Learning Target:
team-building in orchestra
and physical education.
4
Advanced
evaluates strategies for teambuilding in music and physical
education.
3
Proficient
strategies for team-building in
music and physical education.
147
2
Basic
Explains strategies for teambuilding in music and
physical education.
1
Below Basic
strategies for team-building in
music or physical education.
Sixth Grade Orchestra, CCO V

Core Conceptual Objective V. Students will demonstrate knowledge of music in historical and
cultural contexts.
Essential Question
What is the relationship between music and historical events?
Missouri State Standards

FA5, G1.9, HC1A6-8,
HC1B6-8, HC1C6-8,
HC1D6-8
Style/Genre/Period
Baroque Period
Classical Period
1600-1750, Europe
1775-1825, Europe & America
Composer(s)
Bach
Beethoven
Form
Concerto
Theme and Variation
Characteristics of Music (clues

used to identify it)
Complex composition, technical

difficulty
Ornamentation
Communicates moods and
emotions
Function in society
Historical Context
What was happening at that time
and place? (war/peace, science,
technology, type of
government)
Sacred
Some secular entertainment
Conflict between church and
scientific innovation and
discovery
Musicians employed by church
and aristocracy
Musicians trained through
apprenticeship
Audience: parish and courts
today?
Performed in secular venues and

churches
Played today to all in concerts, or
through video/audio recordings
Foundation for later works
Formal structure
Symmetrical
Simple melody line
Ornamentation
Gradual dynamic changes
emotions
Syncopation
Secular entertainment
Some sacred
Sacred music becomes less
prominent
Musicians still employed by
church and aristocracy but they
become entrepreneurs who earn
money from publications of their
music and ticket sales to their
performances
apprenticeship
Audience: primarily aristocracy
and church, but middle class is
emerging
148
Unit Vocabulary: ornamentation, parish, Baroque, Classical, entrepreneurs, texture, syncopation,
dynamics, secular, sacred, apprenticeship, aristocracy
Pre-Assessment: List the characteristics of Baroque and Classical music.
Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
Students will investigate
Baroque and Classical
music in cooperative
groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
music.
Assessment:
music.
Level 3
Strategic Thinking
Student Activity:
Student will
the Baroque and
Classical periods using
computer-based and
library resources.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
Students will give a
presentation.
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
Students use online and library resources to research the historical period/style/genre.
Students use word processing software to write comparison.
Create a poster that compares and contrasts Baroque and Classical music.
Complete a Venn diagram comparing and contrasting Baroque and Classical music.
Student Task:
Students will understand that music serves many functions/purposes in historical context.
Students will understand that contemporary music is influenced by music from the Baroque and Classical
periods.
149
Scoring Guide for Sixth Grade Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
Students will compare and
contrast Baroque and
Classical music.
4
Advanced
evaluates Baroque and
Classical music.
3
Proficient
Baroque and Classical music.
150
2
Basic
music.
1
Below Basic
Baroque and Classical music.
Seventh Grade
Cadet Orchestra
151
Overview of Content and Skills for Seventh Grade Cadet Orchestra

Tuning: all open string tuning with fine tuners
Tone Production: clear resonant tone using grade two repertoire
Left Hand Skill: vibrato motion on one finger while bowing
Bowing Skills: tremolo, unanchored pizzicato
Musicianship:
Repertoire: Grade 2
Improvisation: improvise using notes of G major scale with varied rhythms
A. Reading Skills
Reading skills: 6/8 meter, arpeggio, chord, double stop, ensemble, fortissimo, harmonic, interval, left-hand
pizzicato, phrase, pianissimo, simile, solo, syncopation, triplet
Sight-reading: Analyze piece prior to sight-reading; sight-read music at Grade 1 level
Intervals Played and Sung (aural training): Major third
Violin - G, D, A Major two octaves, Bb Major, d minor, one octave, 3rd pos. low 4th finger, shift on same
finger
Viola - C, G, D Major two octaves, Bb Major, d minor one octave, 3rd pos, low 4th finger, shift same finger
Cello - C, G, D Major two octave Bb Major, d minor one octave, 4th pos, shift same finger
Bass - B-flat, C, G, D Major, one-octave; d minor one-octave
C. Composition
Write an eight-measure melody in the key of G Major.
A. Music Criticism
B. Form
Jig, Waltz
Students will compare and contrast Romantic music and dance.
152
Seventh Grade Orchestra

Essential Question

Expectations
PP2E6-8

performance?
Content and Skills:
should know:
Tuning: all open string tuning with fine
tuners
using grade two repertoire
Left Hand Skill: vibrato motion on one
finger while bowing
Bowing Skills: tremolo, unanchored
pizzicato
Musicianship:
Repertoire: Grade 2
G major scale with varied rhythms
Ensemble Playing: sectional rehearsal
skills
Learning Target
Students will tune all strings using fine tuners.
Students will produce a clear resonant tone using grade two
repertoire.
Students will demonstrate vibrato motion on one finger while
bowing.
Students will demonstrate tremolo and unanchored pizzicato as
appropriate to Grade 2 repertoire.
Students will improvise using notes of G major scale with
varied rhythms.
Students will play in sectional rehearsals.
Unit Vocabulary: tremolo, unanchored pizzicato, vibrato, improvise, tonic, octave, resonant, repertoire,
fine tuner, tone, weight, speed, and contact point, scale, sectional
Pre-Assessment:
Level 1
Recall
Student Activity:
a section.
Teaching Strategy:
Direct Instruction
Level 2
Skill/Concept
Student Activity:
Level 3
Strategic Thinking
Student Activity:
with their section.
Level 4
Extended Thinking
Student Activity:
playing their solo
with accompaniment.
Teaching Strategy:
Modeling
Teaching Strategy:
Directing sectional
Teaching Strategy:
Guided practice
Assessment:
how a section
functions.
Assessment:
Assessment:
sectional rehearsals.
Assessment:
solo as part of a
sectional rehearsal.
153
Advanced students may be given the opportunity to lead the sectional.
Student Tasks:
Students will tune all strings using fine tuners.
Students will produce a clear resonant tone using grade two repertoire.
Students will demonstrate vibrato motion on one finger while bowing.
Students will demonstrate tremolo and unanchored pizzicato as appropriate to Grade 2 repertoire.
Students will improvise using notes of G major scale with varied rhythms.
Students will play in sectional rehearsals.
Sectional playing encourages team work.
154
Scoring Guide for Seventh Grade Orchestra, CCO I: Performance Skills

Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Promptly matches pitch
Matches pitch
Approximates pitch

tone

tone
tone
Unclear tone

while tuning

while tuning

loudly
Learning Target
grade two repertoire.
Always demonstrates
appropriate:
weight
speed
contact point
appropriate:
weight
speed
contact point
appropriate:
weight
speed
contact point
Rarely demonstrates
appropriate:
weight
speed
contact point
Learning Target
tremolo as appropriate to
Grade 2 repertoire.




Tremolo in upper half of bow
Tremolo in upper half of

bow
Flexible right wrist
Learning Target
Students will tune all
strings using fine tuners.

turning fine tuners

Small, quick motions with

bow

bow
155

bow

bow
Learning Target
vibrato motion on one
finger while bowing.
Learning Target
unanchored pizzicato as
appropriate to Grade 2
repertoire.
Always demonstrates
appropriate:
appropriate:
appropriate:
Rarely demonstrates
appropriate:

center

center

center

center




Bow speed, weight, and

contact point

contact point

contact point

contact point
Solid hold on bow with three

fingers and thumb

fingers and thumb
Solid hold on bow with

three fingers and thumb

fingers and thumb
Index finger as pizzicato

finger

finger

finger

finger
Pizzicato over the fingerboard
Pizzicato over the

fingerboard
156
Learning Target
using notes of G major
scale with varied rhythms.
Creates a melodic and

rhythmic line.
of G Major
Creates a melodic line.

of G Major

line.

line.

of G Major

G Major
Rhythms are varied
Rhythms are the same

Rhythms are varied

Rhythms are varied
Learning Target
Students will play in sectional
rehearsals.

directions

directions

directions



and improvement
and improvement

157
Learning Target
2 repertoire.
Body Posture:
Body Posture:
Body Posture:
Body Posture:
Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Musicianship:
style
Musicianship:
style
Musicianship:
style
Musicianship:
Plays expressively
markings and style
158

Essential Question
Content and Skills:
should know:
Reading skills: 6/8 meter, arpeggio,
chord, double stop, ensemble, fortissimo,
harmonic, interval, left-hand pizzicato,
phrase, pianissimo, simile, solo,
syncopation, triplet
sight-reading; sight-read music at Grade
1 level
training): Major third

EP1C6-8, EP1E6-8
Learning Target
expression.
Students will review a piece of Grade 1 literature, develop a

Students will play and sing a major third.
Unit Vocabulary: 6/8 meter, arpeggio, chord, double stop, ensemble, fortissimo, harmonic, interval, lefthand pizzicato, major third, phrase, pianissimo, simile, solo, syncopation, triplet
Pre-Assessment:
Level 1
Recall
Student Activity:
Take notes. Use
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
terminology of
expression.
Assessment:
Demonstrate each
term.
Assessment:
piece of Grade 1
Assessment:
Not Applicable
Use a metronome.
159
Student Task(s):
Students will review a piece of Grade 1 literature, develop a sight-reading plan, and play at sight from a
Students will play and sing a major third.
160
Scoring Guide for Seventh Grade Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:

repertoire.


Performs few of the

Learning Target:
piece of Grade 1 literature,
develop a sight-reading
plan, and play at sight from
Ineffective review.

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
a major third.
Not applicable

appropriate range
Matches one pitch and

other pitch

pitches
161
2
Basic
1
Below Basic

Essential Question

FA2, GLE: EP1B6-8
Content and Skills:

should know:
Violin - G, D, A Major two octaves; Bb
Major, d minor one octave, 3rd position,
low 4th finger, shift on same finger
Learning Target
Violin students will play scales using appropriate fingerings and
finger patterns: G, D, A Major two octaves; Bb Major, d minor
one octave, 3rd position, low 4th finger, shifting on same finger.
Viola - C, G, D Major two octaves; Bb

Major, d minor one octave, 3rd position,
low 4th finger, shift on same finger
Viola students will play scales using appropriate fingerings and

finger patterns: C, G, D Major two octaves; Bb Major, d minor
one octave, 3rd position, low 4th finger, shifting on same finger.
Cello - C, G, D Major two octaves; Bb

Major, d minor one octave, 4th position,
shift on same finger

finger patterns: C, G, D Major two octaves; Bb Major, d minor
one octave, 4th position, shifting on same finger.
Bass - Bb, C, G, D Major, one-octave; d

minor one-octave

finger patterns: Bb, C, G, D Major, one-octave; d minor oneoctave.
Unit Vocabulary: Major scale, minor scale, position, extension, octave, fingering, patterns, flat, shifting
Pre-Assessment:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction,
Guided Practice
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
Identify the key
Play Bb Major scale
Perform pieces in key of
using appropriate
Bb Major.
paper.
patterns.
162
Level 4
Extended Thinking
Student Activity:
in the key of Bb Major.
Teaching Strategy:
Guided Practice
Assessment:
assess an original
composition.
Student Task(s):
Violin students will play scales using appropriate fingerings and finger patterns: G, D, A Major two
octaves; Bb Major, d minor one octave, 3rd position, low 4th finger, shifting on same finger.
Viola students will play scales using appropriate fingerings and finger patterns: C, G, D Major two
octaves; Bb Major, d minor one octave, 3rd position, low 4th finger, shifting on same finger.
Cello students will play scales using appropriate fingerings and finger patterns: C, G, D Major two
octaves; Bb Major, d minor one octave, 4th position, shifting on same finger.
Bass students will play scales using appropriate fingerings and finger patterns: Bb, C, G, D Major, oneoctave; d minor one-octave.
163
Scoring Guide for Seventh Grade Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
Violin students will play
patterns: G, D, A Major
two octaves; Bb Major, d
minor one octave, 3rd
position, low 4th finger,
shifting on same finger.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
Viola students will play
patterns: C, G, D Major
minor one octave, 3rd
position, low 4th finger,
shifting on same finger.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
patterns: C, G, D Major
minor one octave, 4th
position, shifting on same
finger.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
164
Learning Target:
Bass students will play
patterns: Bb, C, G, D
Major, one-octave; d minor
one-octave.

correct fingers
and whole steps)

correct fingers
and whole steps)
165

correct fingers
and whole steps)

correct fingers
and whole steps)

C. Composition
Essential Question
Content and Skills:
should know:
How to compose an eight-measure
melody in the key of G Major.

FA1, PP4A6-8, EP1B6-8
Learning Target
Students will write an eight-measure melody in the key of G
Major in 3/4 time signature.
Unit Vocabulary: Clef sign, measure, bar lines, key signature, time signature, whole note, half note,
quarter note, eighth note, sixteenth note, note names, staff
Pre-Assessment: Students compose two measures in G Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
of a good melody.
of a good melody.
Discuss examples.
Level 4
Extended Thinking
Student Activity:
peers.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Direct Instruction,
Modeling
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Assessment:
Describe the qualities of
a good melody.
Assessment:
Critique a melody using
qualities of a good
melody.
Assessment:
melody in the key of G
Major in 3/4 time
signature.
Assessment:
Write an extended
composition with a
harmonized melody.
Students will use a music notation program such as Finale or Sibelius.
Student Task(s):
Students will write an eight-measure melody in the key of G Major in 3/4 time signature.
166
Scoring Guide for Seventh Grade Orchestra, CCO IIC: Composition

Learning Target
Learning Target:
Students will write an
eight-measure melody in
the key of G Major in 3/4
time signature.
4
Advanced
Clef sign
Key signature
Time signature
Three beats in a measure
Melodic line in the key of G
Expressive symbols
Bowing
3
Proficient
Clef sign
Key signature
Time signature
Eight measures
Bowing
167
2
Basic
Clef sign
Key signature
Time signature
1
Below Basic
Clef sign
Key signature
Time signature
Melodic line
Seventh Grade Orchestra 6-20-08

A. Music Criticism
Essential Question
Content and Skills:
should know:

FA2, G1.5, AP2A6-8, AP2B6-8
Learning Target
Respond to and critique a performance of Grade 2 literature on
posture, left hand shape, bow hold, tone quality, intonation,
Unit Vocabulary:
Music criticism, posture, left hand shape, bow hold, tone quality, intonation, articulation (bowing), rhythm,
and dynamics
Pre-Assessment:
Respond to and critique a short excerpt.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Listen to and watch
excerpts of two
performances of the
same work.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
class discussion, Guided
Practice
Assessment:
evaluate musical
performance.
Assessment:
two performances on
aspects of quality.
Teaching Strategy:
class discussion on
Assessment:
Respond to and critique
a performance on
posture, left hand shape,
bow hold, tone quality,
intonation, articulation
(bowing), rhythm, and
dynamics.
Level 4
Extended Thinking
Student Activity:
Research a piece of
a live performance of
the work. Take notes
during the performance.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Write an in-depth
a group.
168

Student Task(s):
169

Criteria
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Introduction
composers name,
musicians name, title of
piece, when and where it was
created, how it was used,
time period, style, or culture.
Description
Sentences that list everything
heard or seen in the
performance, including
names of instruments
Analysis
how each applies: posture,

work. All available

Most available
Artists work is
mentioned. Tells
artists name and title.
Artists name or
title of work
listed.
Logical, coherent,
complete, detailed
description of what is
seen/heard in the
performance.
Explains, in detail, how
and where each important
used in the work.
what is seen/heard in
the work.
in the work but
slightly unorganized.
Random mention
of one or two
details seen/heard
in the work.

Tells how or where
some elements and
the work.
Partially lists
elements.
Interpretation
Relates personal, cultural,
and emotional responses to
the piece.

Clearly supports
specific reference to all
musical elements.
the performance on
musicians
articulation, and
expression or
all statements with
specific, detailed reference
to the work.
Free of errors.
Consistently uses third
person. Uses
variety, precise
vocabulary. All steps of
order.
determine which are
work. Explains how
and where each
important element and
principle is used in the
work.
Interprets the meaning
of work based upon
response.
Supports statements
with reference to most
musical elements.
the performance on
musicians
tone/intonation,
and expression or
Suggests a meaning of
the work.
Supports statements
with reference to
some musical
elements.
Suggests meaning
of the work.
Supports
statements with
reference to few
musical elements.
Discusses the
musicians
tone/intonation,
or
expression/musiciansh
ip. Few references to
the work to support
statements.
States personal
opinion.
Few minor errors in

Uses third person.
Some sentence variety,
Errors in grammar and

spelling without
affecting clarity.
Some use of first
person. Little
sentence variety. All
steps of critique
of order.
Multiple
grammatical
errors interfere
with content and
readability.
Doesnt use third
person.
Judgment
performance.
Mechanics
170

B. Form
Essential Question
Content and Skills:
should know:
Jig

FA3, G1.5, AP1A6-8
Learning Target
Compare and contrast jig and waltz forms.
Type of folk dance

Time signature 6/8
Fast tempo
Strong, clear tune
Simple harmony
Structure: Two 8-bar sections
Originated in Ireland
Waltz
Type of ballroom dance
Time signature 3/4
Fast tempo
Oom cha cha accompaniment
Strong, clear tune
Simple harmony
Originated in Austria
Unit Vocabulary: jig, dance, harmony, triple meter, waltz, form
Pre-Assessment: Students list characteristics of jig and waltz forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Write definitions
Discuss examples of jig
Create melodic lines in
and waltz forms.
small groups.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
discussion
Assessment:
Assessment:
Assessment:
List characteristics of jig Compare and contrast
Compose a short piece
and waltz forms.
jig and waltz forms.
in jig or waltz form.
Complete a Venn diagram.
Use online and library sources to research jig and waltz forms.
171
Level 4
Extended Thinking
Student Activity:
Not applicable.
Teaching Strategy:
Not applicable.
Assessment:
Not applicable.
Create a chart/poster that visually compares and contrasts jig and waltz forms.
Compose a shorter or longer piece in jig and waltz form.
Compose a two-part piece in jig and waltz form.
Student Task(s):
Compare and contrast jig and waltz forms.
172
Scoring Guide for Seventh Grade Orchestra, CCO IIIB Form

Learning Target
Learning Target:
Compare and contrast jig
and waltz forms.
4
Advanced
3
Proficient

evaluates characteristics of jig
and waltz forms using
examples.

characteristics of jig and waltz
forms using examples.
173
2
Basic
jig and waltz forms using
examples.
1
Below Basic
Lists characteristics of jig and
waltz forms

disciplines.
Essential Question
Content and Skills:
Romantic Music:
Concert music
Expansion of formal structures
Asymmetrical melodies
Intense, lyrical melodies
Heavy, powerful texture
Wide range of pitch, dynamics, and tone color
Heavier brass section
Syncopation and complex rhythms
Nationalism/patriotism
Audiences are all classes of society
Academically trained musicians

FA4, IC1A6-8
Learning Target
be able to do:
Compare and contrast Romantic music and
dance.
Romantic Dance:
Concert dance - Ballet
Formal structure
Introduction of dancing on point (on toes)
Graceful movements
Nationalism/patriotism
Social dance waltz was considered inappropriate
since partners had a closed embrace
Academically trained dancers
Unit Vocabulary: Romantic, expression, formal structure, composition, musical idea, virtuoso, ballet,
nationalism, patriotism, syncopation, asymmetrical melody
Pre-Assessment: List characteristics of Romantic music and dance.
174

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Students will investigate Student will
Romantic music and
dance in cooperative
Romantic music and
groups.
dance using online and
library resources.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
both Romantic music
and dance.
Assessment:
Romantic music and
dance.
Assessment:
Audio-visual
presentation to class.
Level 4
Extended Thinking
Student Activity:
Student will
Romantic music and
dance using online and
library resources.
Teaching Strategy:
Modeling, Collaboration
with Art teachers,
Guided Practice
Assessment:
Compose a piece of
music in the Romantic
style and choreograph a
dance in the Romantic
style.
Students will use online and library resources to research Romantic music and dance.
Create a poster that compares and contrasts Romantic music and dance.
Complete a Venn diagram comparing and contrasting Romantic music and dance.
Create examples of Romantic music and dance.
Student Task:
Compare and contrast Romantic music and dance.
Students will understand that music and art created in the same time and place are related.
175
Scoring Guide Seventh Grade Orchestra, CCO IVA: Connections between Romantic music and dance
Learning Target
4
Advanced
Learning Target:
Romantic music and dance.

evaluates Romantic music and
dance.
3
Proficient
176
2
Basic
1
Below Basic
Romantic music or dance.

disciplines.
Essential Question
Content and Skills:
Music
Analyze music text to determine:
Key Signature
Time Signature
Tempo
Accidentals
Rhythm
Symbols and Signs
Listen in your mind as you read to predict what it will
sound like (aural memory)

FA4, G1.10, IC1B6-8
Learning Target
Compare strategies for reading music
with those for reading text.
Language Arts:
Analyze written text:
Structure and Format (How is text organized and
arranged? Look at title, headings, and captions.)
Decoding and Phonics (Look for familiar spelling patterns
and word parts to help decode longer words.)
Predict (Think about what might come next as you read.)
Create Mental Images
Unit Vocabulary: key signature, time signature, tempo, accidentals, rhythm, symbols and signs, aural
memory, structure, format, decoding, phonics, prediction
Pre-Assessment: List strategies for reading music and written text.
177

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Student will
applying music and text
reading strategies in
music and text reading
cooperative groups.
strategies using online
Teaching Strategy:
Direct Instruction
Assessment:
both music and text
reading strategies.
Teaching Strategy:
Model
Assessment:
strategies.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Student will
strategies using online
Prepare a lesson plan for
teaching another
student.
Teaching Strategy:
Guided Practice
Assessment:
presentation.
Assessment:
Teach another student
how to read music.
Use online and library resources to research music and text reading strategies.
Create a poster that compares and contrasts music and text reading strategies.
Complete a Venn diagram comparing and contrasting music and text reading strategies.
Student Task:
Students will understand that music and reading use similar strategies to decode text.
Students will read text better as a result of reading music.
178
Seventh Grade Orchestra, CCO IVB: Compare strategies for reading music and written text.
Learning Target
Learning Target:
Compare strategies for
reading music and written
text.
4
Advanced
evaluates strategies for reading
music with strategies for
reading written text.
3
Proficient
strategies for reading music
with strategies for reading
written text.
179
2
Basic
Explains strategies for
reading music or strategies
for reading written text.
1
Below Basic
strategies for reading music or
strategies for reading written
text.
Seventh Grade Orchestra, CCO V

cultural contexts.
Essential Question

FA5, G1.9, HC1A6-8,
HC1B6-8, HC1C6-8,
HC1D6-8
Style/Genre/Period
Classical Period
Romantic Period
Composer(s)
Beethoven
Tchaikovsky
Form
Theme and Variation
Ballet suite

Formal structure
Symmetrical
Simple melody line
Ornamentation
Gradual dynamic changes
emotions
Syncopation
Function in society
Some sacred
prominent
Musicians still employed by
church and aristocracy but they
become entrepreneurs who earn
money from publications of their
music and ticket sales to their
performances
apprenticeship
Audience: primarily aristocracy
and church, but middle class is
emerging
Expansion of formal structures

Wide range of pitch, dynamics,
and tone color
emotions
Syncopation and complex
rhythms
Historical Context
and place? (war/peace, science,
technology, type of
government)
today?
Secular music becomes the norm

Nationalism/Patriotism inspired
composers to write music that
reflected the native culture of
their country
Musicians no longer employed by
church; earned money by selling
tickets to performances, by
writing dance music, and by
teaching at schools of music
schools of music
Audience: All classes of society
Played today in concerts, or
Foundation for later works,
especially TV/film music
180
Unit Vocabulary: ornamentation, Classical, entrepreneurs, texture, syncopation, dynamics, secular,

sacred, apprenticeship, aristocracy, symmetrical, asymmetrical, Nationalism, Patriotism
Pre-Assessment: List the characteristics of Classical and Romantic music.
Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
Classical and Romantic
music in cooperative
groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
music.
Assessment:
music.
Level 3
Strategic Thinking
Student Activity:
Student will
the Classical and
Romantic periods using
online and library
resources.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
presentation.
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
Create a poster that compares and contrasts Classical and Romantic music.
Complete a Venn diagram comparing and contrasting Classical and Romantic music.
Student Task:
Students will understand that contemporary music is influenced by music from the Classical and Romantic
periods.
181
Scoring Guide for Seventh Grade Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
contrast Classical and
Romantic music.
4
Advanced
evaluates Classical and
Romantic music.
3
Proficient
Classical and Romantic music.
182
2
Basic
music.
1
Below Basic
Classical and Romantic music.
Eighth Grade
Concert Orchestra
183
Overview of Content and Skills for Eighth Grade Concert Orchestra

Tuning: open string tuning with pegs using perfect fifths for violin, viola, cello; harmonics for bass
Tone Production: clear resonant tone using grade three repertoire
Left Hand Skill: vibrato motion on more than one finger while bowing
Bowing Skills: spiccato at balance point, marcato
Musicianship:
Repertoire: Grade 3
Improvisation: improvise using notes of C major scale
Ensemble Playing: small ensemble playing
A. Reading Skills
Reading skills: 2/2 meter, a tempo, ascending, Baroque style, chromatic, concerto, cut time, D.C. al Coda,
D.S. al Coda, D.S. al Fine, descending, dotted eighth, melodic minor, tremolo
Sight-reading: Analyze piece prior to sight-reading; sight-read music at Grade 2 level
Intervals Played and Sung (aural training): Major triad
Violin - a, g minor one-octave, B-flat, C Major two octaves, 2nd position, trills, double stops, shift different
fingers
Viola - a, g minor one octave, C, F two octaves, 2nd position, trills, double stops, shift different fingers
Cello - C, F, Major two-octave., a, g minor one-octave
Bass - a, g minor one octave, C, F Major two octaves, shifting different fingers
C. Composition
Write an eight-measure melody in the key of C Major.
A. Music Criticism
B. Form
Concerto, Symphony
Students will make connections between contemporary music and the use of music to create mood in
films/TV.
184
Eighth Grade Orchestra

Essential Question

Expectations
PP2E6-8

performance?
Content and Skills:
should know:
Tuning: open string tuning with pegs
using perfect fifths for violin, viola,
cello; harmonics for bass
using grade three repertoire
Left Hand Skill: vibrato motion on
more than one finger while bowing
Bowing Skills: spiccato at balance point,
marcato
Musicianship:
Repertoire: Grade 3
C major scale
Ensemble Playing: small ensemble
playing
Learning Target
Students will tune all strings with pegs using perfect fifths for
violin, viola, cello; harmonics for bass.
Students will produce a clear resonant tone using grade three
repertoire.
Students will demonstrate vibrato motion on more than one
finger while bowing.
Students will demonstrate spiccato at the balance point and
marcato as appropriate to Grade 2 repertoire.
Students will improvise using notes of C major scale.
Students will play in small ensembles.
Unit Vocabulary: siccato, balance point, marcato, vibrato, improvise, resonant, repertoire, pegs, perfect
fifths, harmonics, tone, weight, speed, and contact point, scale, ensemble.
Pre-Assessment:
Level 1
Recall
Student Activity:
a small ensemble.
Teaching Strategy:
Direct Instruction
Level 2
Skill/Concept
Student Activity:
Level 3
Strategic Thinking
Student Activity:
with their small ensemble.
Level 4
Extended Thinking
Student Activity:
playing their solo
with accompaniment.
Teaching Strategy:
Modeling
Teaching Strategy:
Guided practice
Teaching Strategy:
Guided practice
Assessment:
how a small ensemble
functions.
Assessment:
Assessment:
small ensembles.
Assessment:
solo as part of a small
ensemble.
185
Advanced students may be given the opportunity to lead their own small ensemble.
Students may play in small ensembles with at different levels of difficulty.
Student Tasks:
Students will tune all strings with pegs using perfect fifths for violin, viola, cello; harmonics for bass.
Students will produce a clear resonant tone using grade three repertoire.
Students will demonstrate vibrato motion on more than one finger while bowing.
Students will demonstrate spiccato at the balance point and marcato as appropriate to Grade 2 repertoire.
Students will improvise using notes of C major scale.
Students will play in small ensembles.
Small ensemble playing encourages team work.
186
Scoring Guide for Eighth Grade Orchestra, CCO I: Performance Skills

Learning Target
Learning Target
Students will tune all
strings with pegs using
perfect fifths for violin,
viola, cello; harmonics for
bass.
Learning Target
grade three repertoire.
4
Advanced
3
Proficient
2
Basic
Promptly matches pitch for

perfect fifths (violin, viola,
cello) or harmonics (bass)
Matches pitch for perfect

fifths (violin, viola, cello) or
harmonics (bass)
Approximates pitch for

perfect fifths (violin, viola,
cello) or harmonics (bass)

tone

tone
tone

while tuning

while tuning

loudly
Always demonstrates
appropriate:
weight
speed
contact point
appropriate:
weight
speed
contact point
appropriate:
weight
speed
contact point
187
1
Below Basic
Unclear tone

turning fine tuners
Rarely demonstrates
appropriate:
weight
speed
contact point
Learning Target
vibrato motion on more
than one finger while
bowing.
Learning Target
spiccato at the balance
point as appropriate to
Grade 2 repertoire.
Always demonstrates
appropriate:
appropriate:
appropriate:
Rarely demonstrates
appropriate:

center

center

center

center





contact point

contact point

contact point

contact point




Bow at balance point
Bouncing bow
Bouncing bow
Bouncing bow
Bouncing bow
Flexible bow wrist
Flexible bow wrist
Flexible bow wrist
Bow strokes in the shape of an

arc
Bow strokes in the shape of an

arc
Clear and resonant tone
188
Learning Target
marcato as appropriate to
Grade 2 repertoire.
Learning Target
using notes of C major
scale.
Learning Target
Students will play in small
ensembles.
Attack at the beginning of

each note

each note

each note

each note
Attack at the end of each note
Attack at the end of each

note
Continuous motion of the bow

from one note to the next

Creates a melodic and

rhythmic line.
Creates a melodic line.

of C Major

of C Major
Continuous motion of the

bow from one note to the
next
line.

line.

of C Major
Pitches remain within the

key of C Major

blending sound with small
ensemble

ensemble

ensemble

ensemble
and improvement
and improvement
and improvement


Follows non-verbal cues from

other ensemble members
189

Learning Target
3 repertoire.
Body Posture:
Body Posture:
Body Posture:
Body Posture:
Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Left Hand Shape:

Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Tone Quality:
Clear and resonant
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Intonation:
Accurate pitch
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Rhythmic Accuracy
Musicianship:
style
Musicianship:
style
Musicianship:
style
Musicianship:
Plays expressively
markings and style
190

Essential Question
Content and Skills:
should know:
Reading skills: 2/2 meter, a tempo,
ascending, Baroque style, chromatic,
concerto, cut time, D.C. al Coda, D.S. al
Coda, D.S. al Fine, descending, dotted
eighth, melodic minor, tremolo
sight-reading; sight-read music at Grade
2 level
training): Major triad

EP1C6-8, EP1E6-8
Learning Target
expression.
Students will review a piece of Grade 2 literature, develop a

Students will play and sing a major triad.
Unit Vocabulary: 2/2 meter, a tempo, ascending, Baroque style, chromatic, concerto, cut time, D.C. al
Coda, D.S. al Coda, D.S. al Fine, descending, dotted eighth, melodic minor, tremolo
Pre-Assessment:
Level 1
Recall
Student Activity:
Take notes. Use
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
terminology of
expression.
Assessment:
Demonstrate each
term.
Assessment:
piece of Grade 2
Assessment:
Not Applicable
Use a metronome.
191
Student Task(s):
Students will review a piece of Grade 2 literature, develop a sight-reading plan, and play at sight from a
Students will play and sing a major triad.
192
Scoring Guide for Eighth Grade Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:

repertoire.


Performs few of the

Learning Target:
piece of Grade 2 literature,
develop a sight-reading
plan, and play at sight from
Ineffective review.

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
a major triad.
Not applicable
Matches three pitches in

appropriate range
Matches two pitches and

other pitch
Approximately matches one

pitch
193
2
Basic
1
Below Basic

Essential Question
Content and Skills:
should know:
Violin - a, g minor one-octave, Bb, C
Major two octaves, 2nd position, trills,
double stops, shifting on different fingers

FA2, GLE: EP1B6-8
Viola - a, g minor one octave, C, F two

octaves, 2nd position, trills, double
stops, shifting on different fingers
Learning Target
Violin students will play scales using appropriate fingerings and
finger patterns: a, g minor one-octave, B-flat, C Major two
octaves, 2nd position, trills, double stops, shifting on different
fingers.
Viola students will play scales using appropriate fingerings and
finger patterns: a, g minor one octave, C, F two octaves, 2nd
position, trills, double stops, shifting on different fingers.
Cello - C, F, Major two-octave., a, g

minor one-octave, shifting on different
fingers

finger patterns: C, F, Major two-octave., a, g minor one-octave,
shifting on different fingers.
Bass - a, g minor one octave, C, F Major

two octaves, shifting on different fingers

finger patterns: a, g minor one octave, C, F Major two octaves,
shifting on different fingers.
Unit Vocabulary: Major scale, minor scale, position, trill, octave, fingering, patterns, flat, shifting, double
stops
Pre-Assessment:
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct instruction,
Guided Practice
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
Identify the key
Play the a minor scale
Perform pieces in key of
using appropriate
a minor.
paper.
patterns.
Level 4
Extended Thinking
Student Activity:
in the key of a minor.
Teaching Strategy:
Guided Practice
Assessment:
assess an original
composition.
Student Task(s):
Violin students will play scales using appropriate fingerings and finger patterns: a, g minor one-octave, Bflat, C Major two octaves, 2nd position, trills, double stops, shifting on different fingers.
Viola students will play scales using appropriate fingerings and finger patterns: a, g minor one octave, C, F
two octaves, 2nd position, trills, double stops, shifting on different fingers.
Cello students will play scales using appropriate fingerings and finger patterns: C, F, Major two-octave., a,
g minor one-octave, shifting on different fingers.
Bass students will play scales using appropriate fingerings and finger patterns: a, g minor one octave, C, F
Major two octaves, shifting on different fingers.
195
Scoring Guide for Eighth Grade Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Learning Target:
Violin students will play
patterns: a, g minor oneoctave, B-flat, C Major two
octaves, 2nd position, trills,
double stops, shifting on
different fingers.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
Viola students will play
patterns: a, g minor one
octave, C, F two octaves,
2nd position, trills, double
stops, shifting on different
fingers.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
Learning Target:
patterns: C, F, Major twooctave., a, g minor oneoctave, shifting on different
fingers.

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)

correct fingers
and whole steps)
196
Learning Target:
Bass students will play scales using
appropriate fingerings and finger
patterns: a, g minor one octave, C,
F Major two octaves, shifting on
different fingers.
Student always plays the targeted scale

with:
correct fingers
correct pitch (half steps and whole
steps)
Student consistently plays the targeted

scale with:
correct fingers
correct pitch (half steps and whole
steps)
197

correct fingers
correct pitch (half steps and
whole steps)

C. Composition
Essential Question
Content and Skills:
should know:
Write an eight-measure melody in the
key of C Major.

FA1, PP4A6-8, EP1B6-8
Learning Target
Students will write an eight-measure melody in the key of C
Major in 6/8 time signature.
Unit Vocabulary: clef sign, measure, bar lines, key signature, time signature, whole note, half note,
quarter note, eighth note, sixteenth note, note names, staff
Pre-Assessment: Students compose two measures in C Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
of a good melody.
of a good melody.
Discuss examples.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
a good melody.
qualities of a good
melody in the key of C
melody.
Major in 6/8 time
signature.
Level 4
Extended Thinking
Student Activity:
peers.
Teaching Strategy:
Guided Practice
Assessment:
Write an extended
composition with a
harmonized melody.
Student Task(s):
Students will write an eight-measure melody in the key of C Major in 6/8 time signature.
198
Scoring Guide for Eighth Grade Orchestra, CCO IIC: Composition

Learning Target
Learning Target:
Students will write an
eight-measure melody in
the key of C Major in 6/8
time signature.
4
Advanced
Clef sign
Key signature
Time signature
Six beats in a measure
Melodic line in the key of C
Expressive symbols
Bowing
3
Proficient
Clef sign
Key signature
Time signature
Eight measures
Bowing
199
2
Basic
Clef sign
Key signature
Time signature
1
Below Basic
Clef sign
Key signature
Time signature
Melodic line

A. Music Criticism
Essential Question
Content and Skills:
should know:

FA2, G1.5, AP2A6-8, AP2B6-8
Learning Target
Respond to and critique a performance of Grade 3 literature on
posture, left hand shape, bow hold, tone quality, intonation,
Unit Vocabulary: Music criticism, posture, left hand shape, bow hold, tone quality, intonation,
articulation (bowing), rhythm, and dynamics
Pre-Assessment: Respond to and critique a short excerpt.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Listen to and watch
excerpts of two
performances of the
same work.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
class discussion, Guided
Practice
Assessment:
evaluate musical
performance.
Assessment:
two performances on
aspects of quality.
Teaching Strategy:
class discussion on
Assessment:
a performance on
posture, left hand shape,
bow hold, tone quality,
intonation, articulation
dynamics.
Level 4
Extended Thinking
Student Activity:
Research a piece of
a live performance of
the work. Take notes
during the performance.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Write an in-depth
a group.
200

Student Task(s):
201

Criteria
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Introduction
composers name, musicians
name, title of piece, when and
where it was created, how it
was used, time period, style, or
culture.
Description
performance, including names
of instruments

work. All available

Most available
Artists work is
mentioned. Tells
artists name and
title.
Artists name
or title of
work listed.
Logical, coherent, complete,

detailed description of what
is seen/heard in the
performance.
what is seen/heard in the
work.
Complete
description of what
work but slightly
unorganized.
Analysis
how each applies: posture, left
hand shape, bow hold, tone
quality, intonation, articulation
dynamics.
Interpretation
Relates personal, cultural, and
emotional responses to the
piece.

Explains, in detail, how and
where each important
used in the work.
Clearly supports statements
with detailed, specific
reference to all musical
elements.
determine which are
work. Explains how and
used in the work.
Interprets the meaning of
work based upon
response.
Supports statements with
reference to most
musical elements.

Tells how or where
some elements and
principles are used
in the work.
Random
mention of
one or two
details
seen/heard in
the work.
Partially lists
elements.
Judgment
performance.

performance on musicians
articulation, and expression
or musicianship. Supports
all statements with specific,
detailed reference to the
work.

the performance on
musicians
tone/intonation,
and expression or
Mechanics
Free of errors. Consistently

uses third person. Uses
variety, precise vocabulary.
All steps of critique model
in correct order.
Few minor errors in

Uses third person. Some
sentence variety,
Discusses the
musicians
tone/intonation,
technique
articulation, or
expression/musician
ship. Few
references to the
work to support
statements.
Errors in grammar
affecting clarity.
Some use of first
person. Little
sentence variety.
model present but
out of order.
202
Suggests a meaning
of the work.
Supports statements
with reference to
some musical
elements.
Suggests
meaning of
the work.
Supports
statements
with reference
to few
musical
elements.
States
personal
opinion.
Multiple
grammatical
errors
interfere with
content and
readability.
Doesnt use
third person.

B. Form
Essential Question

FA3, G1.5, AP1A6-8
Content and Skills:

Learning Target
Compare and contrast concerto and symphony
forms.
Concerto
Arose in Baroque period
Multi-movement work with contrasting tempi
Often contains fast first and final movements, and a
slow second movement
Solo instrument accompanied by orchestra
Most influential composers: Johann Sebastian Bach,
Antonio Vivaldi
Symphony
Arose in the Classical period
Multi-movement work with contrasting tempi
Often contains fast first and final movements, slow
second movement, and third movement in 3/4 meter
String or full orchestra; can feature soloists
Most influential composers: Wolfgang Amadeus
Mozart, Ludwig von Beethoven, Johannes Brahms
Unit Vocabulary: concerto, symphony, form, Baroque, Classical, solo, accompany, multi-movement,
tempi
Pre-Assessment: Students list characteristics of concerto and symphony forms.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Write definitions
Discuss examples of
Research Baroque
concerto and symphony
concerti and symphonies
forms.
sources.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
discussion
Assessment:
forms.
Assessment:
forms.
Assessment:
Presentation.
203
Level 4
Extended Thinking
Student Activity:
Not applicable.
Teaching Strategy:
Not applicable.
Assessment:
Not applicable.
Complete a Venn diagram.
Use online and library sources to research concerto and symphony forms.
Create a chart/poster that visually compares and contrasts concerto and symphony forms.
Compose a shorter or longer piece in concerto and symphony forms.
Compose a two-part piece in concerto and symphony forms.
Student Task(s):
Compare and contrast concerto and symphony forms.
204
Scoring Guide for Eighth Grade Orchestra, CCO IIIB Form

Learning Target
Learning Target:
forms.
4
Advanced
3
Proficient

concerto and symphony forms
using examples.

characteristics of concerto and
symphony forms using
examples.
205
2
Basic
forms using examples.
1
Below Basic
concerto and symphony forms.

disciplines.
Essential Question
Content and Skills:
Contemporary Music:
Freedom of structure
Asymmetrical, repetitive melodies
Melodies had wide pitch ranges
Tone color varied
Atonality
Impressionistic
Experimentation of styles
Invention of electronic instruments
Complex, repetitive rhythms
Changing meters
Influenced by historical events, new ideas, existing
repertoire

FA4, IC1A6-8
Learning Target
be able to do:
Make connections between Contemporary music
and the use of music to create mood in
contemporary films.
Functions of Contemporary Music in Films:

Focus audience attention
Establish mood
Represent characters and settings
Emphasize storyline
Serve as background
Influenced by historical events, new ideas, existing
repertoire
Unit Vocabulary: atonality, asymmetrical, contemporary, composition, function, mood, characters,
settings, storyline, background, rhythmic/melodic line, textures, tone color, Impressionistic, meter, pitch
range
Pre-Assessment: List characteristics of Contemporary music and functions of music in films.
206

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Contemporary music
and film in cooperative
Contemporary music
groups.
and film using online
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
both Contemporary
music and function of
music in contemporary
films.
Assessment:
Make connections
between Contemporary
music and the use of
music to create mood in
films.
Assessment:
Audio-visual
Level 4
Extended Thinking
Student Activity:
Student will
Contemporary music
and film using online
Teaching Strategy:
with Art teachers,
Guided Practice
Assessment:
Select a scene from a
film and compose a
piece of music in
Contemporary style to
accompany the scene.
Students will use online and library resources to research Contemporary music and film.
Create a poster that shows the function of Contemporary music in film.
Complete a Venn diagram showing connections between Contemporary music and film.
Create examples of Contemporary music and film.
Student Task:
Make connections between Contemporary music and film.
Students will understand that music and film created in the same time and place are related.
207
Scoring Guide Eighth Grade Orchestra, CCO IVA: Connections between Contemporary music and film
Learning Target
Make connections between

Contemporary music and
film.
4
Advanced
Evaluates function of
Contemporary music in film.
3
Proficient
Make connections between
208
2
Basic
Contemporary music in
film.
1
Below Basic

disciplines.
Essential Question
Content and Skills:
American music:
Syncopation
Asymmetrical rhythms
Long, irregular melodies
Reflects the wide open geography of the American
landscape
Reflects sense of personal freedom
Influenced by African-American, European, and Native
American styles

FA4, G1.10, IC1B6-8
Learning Target
Students will relate events in American
history to American music.
American history:
Colonial settlement
Institution of slavery
Revolutionary War and American Independence
Westward expansion and Manifest Destiny
Industrial Revolution
Civil War and the end of slavery
World Wars I and II
Depression
Korean War
Civil Rights
Vietnam
September 11, 2001
Unit Vocabulary: syncopation, asymmetrical
Pre-Assessment: List events in American history and characteristics of American music.
209

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
American history and
American music in
music from the Civil
cooperative groups.
War using online and
library resources.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
Assessment:
Assessment:
Students will compare
both American history
and contrast American
presentation.
and American music.
history and American
music.
Level 4
Extended Thinking
Student Activity:
Student will
War using online and
library resources.
Teaching Strategy:
Guided Practice
Assessment:
Teach another student
how to play a piece of
War.
Use online and library resources to research American history and American music.
Create a poster that compares and contrasts American history and American music.
Complete a Venn diagram comparing and contrasting American history and American music.
Student Task:
Students will understand that American music is influenced by American history.
210
Eighth Grade Orchestra, CCO IVB: Compare strategies for reading music and written text.
Learning Target
Learning Target:
Students will relate events
in American history to
American music.
4
Advanced
investigates events in
American history with
American music.
3
Proficient
Compares and contrasts events
in American history with
American music.
211
2
Basic
Explains the characteristics
of American history and
American music.
1
Below Basic
American history and
American music.
Eighth Grade Orchestra, CCO V

cultural contexts.
Essential Question

FA5, G1.9, HC1A6-8, HC1B6-8, HC1C68, HC1D6-8
Style/Genre/Period
Romantic Period
Contemporary Period
Time/Place when
composed
1900-present
Composer(s)
Tchaikovsky
Aaron Copland
Form
Ballet suite
Varied
Wide range of pitch, dynamics,
and tone color
emotions
Syncopation and complex
rhythms
Function in society
Asymmetrical repetitive melodies
Melodies had wide pitch ranges
Tone color varied
Atonality
Impressionism as a response to
Romanticism
Experimentation of styles
Invention of electronic instruments
Complex, repetitive rhythms
Changing meters
Contrasts of dynamics and textures
Influenced by historical events, new
ideas, existing repertoire
Historical Context
What was happening at that
time and place? (war/peace,
science, technology, type
of government)
What training did they
have?
Who were audience
members?
Secular music becomes the norm

Nationalism/Patriotism inspired
composers to write music that
reflected the native culture of
their country
Musicians no longer employed
by church; earned money by
selling tickets to performances,
by writing dance music, and by
teaching at schools of music
schools of music
Played today in concerts, or
Foundation for later works,
especially TV/film music
When/where is this music
played today?
How did this music
influence current
musicians/composers?
212
World Wars influenced composers

Recording and listening devices invented
Copyright laws strengthened, as did
technology to copy music
Musicians from all classes of society
Musicians trained through schools of
music
Played today in concerts, or through

video/audio recordings
Played in TV/film music
Unit Vocabulary: Romantic, Contemporary, texture, rhythm, syncopation, dynamics, secular,
Nationalism, Patriotism, asymmetrical, atonality, Impressionism, copyright
Pre-Assessment: List the characteristics of Romantic and Contemporary music.
Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
Romantic and
Contemporary music in
cooperative groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
Romantic and
Contemporary music.
Assessment:
Romantic and
Contemporary music.
Level 3
Strategic Thinking
Student Activity:
Student will
the Romantic and
Contemporary periods
resources.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
presentation.
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
Create a poster that compares and contrasts Romantic and Contemporary music.
Complete a Venn diagram comparing and contrasting Romantic and Contemporary music.
Student Task:
Students will understand that contemporary music is influenced by music from the Romantic and
Contemporary periods.
213
Scoring Guide for Eighth Grade Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
contrast Romantic and
Contemporary music.
4
Advanced
evaluates Romantic and
Contemporary music.
3
Proficient
Romantic and Contemporary
music.
214
2
Basic
Romantic and
Contemporary music.
1
Below Basic
Romantic and Contemporary
music.
High School
Orchestra Courses
215
HIGH SCHOOL
ORCHESTRA COURSE MAP
GRADE 9
GRADE 10
GRADE 11
Orchestra I: Chamber Orchestra

Orchestra II: Concert Orchestra
Orchestra III: Symphonic Orchestra
216
GRADE 12
High School Orchestra Course Descriptions

I: Chamber Orchestra (9, 10, 11, 12)
1 Unit, Full Year
Prerequisite: Eighth Grade Concert Orchestra or evidence of equivalent training satisfactory to the
instructor.
This is a performing orchestra. Training is provided in the technical skills and music reading skills needed
to perform standard string orchestra literature. Students will perform music from a broad range of musical
styles. Attendance at scheduled performances and after school rehearsals is mandatory and part of the
required class work. Training is provided to prepare students to perform the more demanding literature
performed by the Concert Orchestra and/or Symphonic Orchestra.
Students are encouraged to participate in appropriate enrichment opportunities, such as private lessons, AllSuburban Honors Orchestra, Solo and Ensemble Festival, Community Music School Youth Orchestra
Program, and other various community orchestras.
Students must provide their own instruments.
This course may be repeated for elective credit.
II: Concert Orchestra (9, 10, 11, 12)
1 Unit, Full Year
Prerequisite: Students are accepted by audition only to this more advanced performing group.
Students must exhibit the technical and music reading skills necessary to perform standard
orchestral literature, as established in audition requirements.
This is a performing orchestra. Further training is provided both in technical skills and in music reading.
Advanced string orchestra literature is performed. Students will perform music from a broad range of
musical styles. Attendance at scheduled performances and after school rehearsals is mandatory and part of
the required class work. Training is provided to prepare students to perform the more demanding literature
performed by the Symphonic Orchestra.
Students are encouraged to participate in appropriate enrichment opportunities, such as private lessons, AllSuburban Honors Orchestra, Solo and Ensemble Festival, Community Music School Youth Orchestra
Program, and other various community orchestras.
217
III. SYMPHONIC ORCHESTRA
(9, 10, 11, 12)
1 Unit, Full Year
Prerequisite: Students are accepted by audition only. Symphonic Orchestra is the most advanced
performing group. Students must exhibit the technical and music reading skills necessary to perform
advanced orchestra literature, as established in audition requirements.
This is a major performing orchestra. Further training is provided both in technical skills and in music
reading. Advanced string orchestra literature is performed. Students will perform music from a broad range
of musical styles. Attendance at scheduled performances and after school rehearsals is part of the required
class work and is mandatory. Training is provided which will enable the student to continue music training
and/or performance beyond the high school level.
Students are encouraged to participate in appropriate enrichment opportunities, such as private lessons, AllState Orchestra, All-Suburban Honors Orchestra, Solo and Ensemble Festival, St. Louis Symphony
Community Music School Youth Orchestra Program, and other various community orchestras.
218
Chamber Orchestra
219
Overview of Content and Skills for Chamber Orchestra

Bowing skills: Appropriate to repertoire; col legno, sul ponticello, sul tasto
Shifting skills: 3rd position for violin and viola; 4th position for cello; 4th position for bass.
Musicianship: Repertoire: through grade 3; Improvisation: improvise melodies in D major, two-octaves;
A. Reading Skills
Reading skills: adagio, con sordino, fortissimo, largo, marcato, martel, pianissimo, ponticello, rallentando,
sempre, senza, sordino, soli, sul, tutti
Sight-reading skills: Analyze piece prior to sight-reading; sight-read music up to Grade 2.5 level.
Intervals Played and Sung (aural training):Octave
Two octave scales: Major: C, G, D, A, F; minor a, g, d, e
C. Composition
Write an eight-measure melody in the key of F Major, in a simple duple or quadruple meter, using bowing
and shifting markings.
A. Music Criticism
Respond to and critique a performance of music of the Baroque period addressing unity of mood, rhythmic
characteristics, melodic characteristics, terraced dynamics, textural characteristics, and instrumentation.
B. Form
Baroque Suite, Fugue, Concerto Grosso
Students will compare and contrast Baroque music and architecture.
220
Chamber Orchestra
Essential Question

Expectations
FA1, G2.5, GLE: PP2A9-12, PP2B9-12, PP2C912, PP2D9-12, PP2E9-12

performance?
Content and Skills:
should know:
Learning Target
Bowing skills: Appropriate to

repertoire; col legno, sul ponticello, sul
tasto
Students will perform repertoire that require col legno, sul

ponticello, and sul tasto bowing styles.
Shifting skills: 3rd position for violin

and viola; 4th position for cello; 4th
position for bass.
Students will perform repertoire that requires 3rd position for

violin and viola, 4th position for cello and 4th position for bass.
Musicianship:
Repertoire: through grade 3
Improvisation: improvise melodies in D
major, two octaves
Ensemble Playing: sectional rehearsal
skills
Students will perform grade 3 repertoire.

Students will improvise in a two-octave range using the key of
D Major.
Students will demonstrate sectional rehearsal skills.
Unit Vocabulary: improvisation, col legno, sul ponticello, sul tasto

Pre-Assessment: Students will take playing tests to demonstrate readiness.
Level 1
Recall
Student Activity:
Listen to examples of
others improvisations.
Teaching Strategy:
Direct Instruction,
Demonstration
Assessment:
Define improvisation.
Level 2
Skill/Concept
Student Activity:
Imitate teachers examples
of 3-6 note improvisations.
Teaching Strategy:
Modeling
Assessment:
Respond to another persons
call with an improvised 36 note response.
Students use notation software on the computer.
Students use SmartMusic software.
221
Level 3
Strategic Thinking
Student Activity:
Practice improvising with
a partner in a given key.
Teaching Strategy:
Model improvising within
a set of parameters.
Assessment:
Improvise in a two-octave
range using the key of D
Major.
Level 4
Extended Thinking
Student Activity:
Research a style and
plan the cadenza.
Teaching Strategy:
Coaching
Assessment:
Improvise a complete
cadenza.
Pair weaker students with more advanced students.
Advanced students may be given or may select solo or small ensemble pieces in addition to whole class
work.
Students are encouraged to take private lessons and participate in outside performing groups.
Student Tasks:
Students will perform repertoire that require col legno, sul ponticello, and sul tasto bowing styles.
Students will perform repertoire that requires 3rd position for violin and viola, 4th position for cello and 4th
position for bass.
Students will improvise in a two-octave range using the key of D Major.
Students will demonstrate sectional rehearsal skills.
222
Scoring Guide for Chamber Orchestra, CCO I: Performance Skills

Learning Target
Learning Target
Students will perform col
legno bowing style.
Learning Target
Students will perform sul
ponticello bowing style.
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Bow hold for upper strings:
Tilt bow stick toward player

Tilt bow stick away from
player

player

player
Bow hold for lower strings:



Tilt bow stick toward
player
Placement: upper half of

bow
Placement: upper half of

bow
Wrist motion instead of arm

motion
Wrist motion instead of arm

motion
Stick remains near strings
Stick bounces away from

strings causing irregular pulse
Placement: middle or
lower half of bow
Wrist motion instead of
arm motion
Stick bounces away from
strings so that player loses
control

player
Placement: middle or lower
half of bow
Arm motion instead of wrist
motion
Player strikes hair instead of
stick.
Placement: bow next to

bridge

bridge

bridge
Placement: bow is not near

bridge
Hair on string(s) appropriate

to dynamic markings
Hair on string(s) appropriate

to dynamic markings
Hair on string(s)
inappropriate to dynamic
markings
Hair on string(s)
markings
Consistent tone color

throughout stroke
Inconsistent tone color

throughout stroke

throughout stroke

throughout stroke
223
Learning Target
Students will perform sul
tasto (sur la touche)
bowing style.
Learning Target
repertoire that requires 3rd
position for violin and
viola, 4th position for cello
and 4th position for bass.
Learning Target
Students will improvise in
a two-octave range using
the key of D Major.
Placement: bow is over the

edge of the fingerboard


Placement: bow is not over

the edge of the fingerboard
Adjusts speed and weight

appropriate to dynamic
markings

markings
Speed and weight

markings
Speed and weight

markings
Consistent tone color

throughout stroke

throughout stroke

throughout stroke

throughout stroke
Shifts with a smooth, gliding

motion

motion
Shifts with a smooth,

gliding motion
Shifts with a rough motion,

lifts fingers from strings
Accurate intonation
Accurate intonation
Inaccurate intonation
Hand position remains

consistent while shifting

Hand position inconsistent

while shifting

while shifting
Appropriate adjustments to
bow speed and weight during
shift
Bow speed and weight are not

appropriately adjusted during
shift
Bow speed and weight are

not appropriately adjusted
during shift

shift

of D Major

of D Major

of D Major

D Major
Rhythms consistent with

chosen meter

chosen meter
Rhythms inconsistent with

chosen meter

chosen meter
Utilizes two-octave range
Utilizes less than two-octave

range

range
Single focal point
Multiple focal points

224
Learning Target
sectional rehearsal skills.
Follows rehearsal plan

(addressing specific
techniques as applies to
repertoire)

repertoire)

repertoire)
Uses effective practice

strategies
Uses effective practice

strategies
Limited use of effective

practice strategies
Maintains decorum
Maintains decorum
Maintains decorum
and improvement
and improvement

225
Does not follow rehearsal

plan
Ineffective practice
strategies
Lacks focus, distracts others
Learning Target
Students will perform grade 3
repertoire.
Tone Quality:
Clear and resonant in all
registers and ranges,
appropriate to literature
Tone Quality:
Tone Quality:
Tone Quality:
Intonation:
Accurate pitch throughout all
registers and ranges
Intonation:
Intonation:
Intonation:
Accurate pitch throughout
all registers and ranges
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Rhythm:
Precisely, mathematically
divided within pulse
Rhythm:
Rhythm:
Rhythm:
Musicianship:
Phrasing, style, plays
expressively according to
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
226
Chamber Orchestra
Essential Question
Content and Skills:
should know:
Reading skills: adagio, con sordino,
fortissimo, largo, marcato, martel,
pianissimo, ponticello, rallentando,
sempre, senza, sordino, soli, sul, tutti

FA2, GLE: PP1A9-12, EP1C9-12,
EP1D9-12, EP1E9-12
Learning Target
expression.
Sight-reading skills: Analyze piece

prior to sight-reading and then sight-read
music up to Grade 2.5 literature.
Students will review a piece of grade 2.5 literature, develop a

plan, and play at sight from a written composition.

training): Octave
Students will play and sing an octave.
Unit Vocabulary: adagio, con sordino, fortissimo, largo, marcato, martel, pianissimo, ponticello,
rallentando, sempre, senza, sordino, soli, sul, tutti
Pre-Assessment:
Level 1
Recall
Student Activity:
Use dictionaries to
translate terms from
other languages to
English. Use flashcards
to practice identifying
symbols and
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
terminology of
expression.
Assessment:
Demonstrate each
term.
Assessment:
piece of grade 2.5
plan, and play at sight
from a written
composition.
Assessment:
Not Applicable
227
Student Task(s):
Students will review a piece of grade 2.5 literature, develop a plan, and play at sight from a written
composition.
Students will play and sing an octave.
228
Scoring Guide for Chamber Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:

repertoire.


Performs few of the

Learning Target:
piece of grade 2.5
literature, develop a plan,
and play at sight from a
Ineffective review.

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
an octave

appropriate range.

appropriate range.
Approximately matches
both pitches.
Does not match either pitch.
229
2
Basic
1
Below Basic
Chamber Orchestra
Essential Question
Content and Skills:
should know:
Two-octave scales, fingerings, and finger
patterns for: Major: C, G, D, A, F;
Minor: a, g, d, and e

FA2, GLE: EP1B9-12
Learning Target
Play two-octave scales using appropriate fingerings and finger
patterns for: Major: C, G, D, A, F; Minor: a, g, d, and e.
Unit Vocabulary: tonic, whole step, half step, diatonic, melodic minor, harmonic minor, natural minor
Pre-Assessment:
Students play two octave scales in each key.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Teaching Strategy:
Direct instruction,
Modeling
Assessment:
Identify the key
paper.
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Assessment:
Play two-octave scales
using appropriate
patterns: Major C, G,
D, A, F; Minor a, g, d,
and e.
Assessment:
Perform pieces that
require a two-octave
range in the following
keys: Major C, G, D, A,
F; Minor a, g, d, and e.
Level 4
Extended Thinking
Student Activity:
that includes a twooctave range in one of
the following keys:
Major C, G, D, A, F;
Minor a, g, d, and e.
Teaching Strategy:
Guided Practice
Assessment:
assess an original
composition.
Students practice using internet-based software and SmartMusic.
Student Task(s):
Play two-octave scales using appropriate fingerings and finger patterns: Major C, G, D, A, F; Minor a, g,
d, and e.
230

Students will improve sense of tonality.
231
Scoring Guide for Chamber Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
Learning Target:
using appropriate
patterns: Major C, G, D,
A, F; Minor a, g, d, and e.
4
Advanced
correct fingers
correct pitch
3
Proficient
2
Basic

correct fingers
correct pitch

correct fingers
correct pitch
232
1
Below Basic
correct fingers
correct pitch
Chamber Orchestra
C. Composition
Essential Question
Content and Skills:

should know:
melody in the key of F Major, in a
simple duple or quadruple meter, using
bowing and shifting skills.

FA1, PP2A9-12, PP4A9-12, EP1A912, EP1B9-12
Learning Target
Write an eight-measure melody in the key of F Major, in a
simple duple or quadruple meter, using bowing and shifting
markings.
Unit Vocabulary: meter, duple meter, quadruple meter, simple meter, compound meter
Pre-Assessment: Students compose a short phrase in F Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
of a good melody.
of a good melody.
Discuss examples.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
a good melody.
qualities of a good
melody in the key of F
melody.
Major, in a simple duple
or quadruple meter,
using bowing and
shifting markings.
Level 4
Extended Thinking
Student Activity:
peers.
Teaching Strategy:
Guided Practice
Assessment:
Write an extended
composition with a
harmonized melody.
Advanced students may modulate to another key within their melody.
Student Task(s):
Write an eight-measure melody in the key of F Major, in a simple duple or quadruple meter, using bowing
233

234
Scoring Guide for Chamber Orchestra, CCO IIC: Composition

Learning Target
4
Advanced
3
Proficient
Learning Target:
melody in the key of F
Major, in a simple duple or
quadruple meter, using
bowing and shifting
markings.
eight-measures
Strong tonal center of F Major
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
Dynamic markings
Expressive symbols
eight-measures
Strong tonal center of F Major
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
235
2
Basic
eight-measures
Strong tonal center of F
Major
Incomplete phrases
Consistent meter
Shifting
Bowing
1
Below Basic
Less than eight-measures
Lacks F Major tonal center
Incomplete phrases
Inconsistent meter
Chamber Orchestra
A. Music Criticism
Essential Question
Content and Skills:
should know:
How to critique musical performance
addressing: unity of mood, rhythmic
characteristics, melodic characteristics,
terraced dynamics, textural
characteristics, and instrumentation.

FA2, G1.5, AP2A9-12, AP2B9-12
Learning Target
Respond to and critique a performance of music of the Baroque
period addressing unity of mood, rhythmic characteristics,
melodic characteristics, terraced dynamics, textural
characteristics, and instrumentation.
Unit Vocabulary: terraced dynamics, fugue, suite, concerto grosso, basso continuo, ornamentation,
monophonic, polyphonic, homophonic, gut strings, Baroque bows, endpin, shoulder rest, instrumentation
Pre-Assessment: Students will critique a recording or live performance of Baroque repertoire.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Look up definitions,
Listen to and/or watch a Listen to and/or watch a
take notes
performance of Baroque performance of Baroque
music. Group
music. Group
discussion of attributes.
Practice writing a
Discuss personal
critique.
responses referencing
vocabulary and
characteristics of the
music.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
class discussion, Guided class discussion on
Practice
Assessment:
Assessment:
Assessment:
Vocabulary test over
Baroque terminology.
of music of the Baroque a performance of music
period addressing unity
of the Baroque period
of mood, rhythmic
addressing unity of
characteristics, melodic
mood, rhythmic
characteristics, terraced
dynamics, textural
characteristics, and
dynamics, textural
instrumentation.
instrumentation.
Use online and library resources to research Baroque music.
236
Level 4
Extended Thinking
Student Activity:
Independent research
resources. Analysis of
works. Prepare a
presentation.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Research Baroque
music. Select works.
a performance of music
addressing unity of
mood, rhythmic
dynamics, textural
instrumentation. Present
the results to the class.

Advanced students research and compare Baroque music to another genre.
Worksheets that break criticism into parts can be provided to students who need more structure.
Student Task(s):
Respond to and critique a performance of music of the Baroque period addressing unity of mood, rhythmic
characteristics, melodic characteristics, terraced dynamics, textural characteristics, and instrumentation.
Students will be able to critique other genres of music.
The understanding of Baroque style will help students play with more stylistic accuracy.
237

Criteria
4
Advanced
3
Proficient
2
Basic
1
Below Basic
Introduction
culture.
Description
of instruments

work. All available

Most available
Artists work is
mentioned. Tells
Artists name
or title of
work listed.

performance.
work.
in the work but slightly
unorganized.
Analysis
how each applies: position,
phrasing, tone quality, bowing
style, intonation, articulation,
rhythm, and expressive
qualities.
Interpretation
Explains the artists use of
style, emotional mood or
attitude toward the subject, and
purpose of the work

used in the work.
work based upon analysis.
Clearly supports all
specific, reference to
musical elements. Relates
the performers choices to
personal interpretation of
the composers work.

Tells how or where
some elements and
the work.
Judgment
composition
Evaluates the composition

on the basis of information
about the composers life,
times, and intentions.
work.
determine which are
used in the work.
work based upon
analysis. Supports
statements with
reference to musical
elements. Connects
most of the performers
choices to a general
interpretation of the
composers work.
Evaluates the
composition on the basis
of information about the
composers intentions.
the performance on
musicians
tone/intonation,
and expression or
Random
mention of
one or two
details
seen/heard in
the work.
Partially lists
elements.
Mechanics

References last name only
after introductory
paragraph. All steps of
order.
Few minor errors in

sentence variety,
References last name
only after introductory
order.
238
the work. Supports
statement with
reference to some
musical elements.
Suggests
meaning of
the work.
Explains information
about the composers
life without connecting
it to the meaning of the
composition.
Discusses the
musicians
tone/intonation,
or
expression/musicianshi
p. Few references to
the work to support
statements.
spelling without
affecting clarity. Some
use of first person.
Little sentence variety.
First and/or last name
of artist used
throughout writing.
of order.
States
personal
opinion.
Multiple
grammatical
errors
interfere with
content and
readability.
Uses first,
second,
and/or third
person. First
and/or last
name of artist
used
throughout
essay.
Chamber Orchestra
B. Form
Essential Question
Content and Skills:
know:
Characteristics of Baroque forms

FA3, G1.5, AP1A9-12
Learning Target
able to do:
Compare and contrast Baroque suite, fugue, and
concerto grosso forms.
Baroque Suite
Multi-movement
Overture/Prelude (polyphonic)
Dance-based movements (homophonic)
Binary form
Compound ternary
Concerto Grosso
Multi-movement (varying textures)
Concertino/Ripieno
Basso continuo
Fugue Can be used as one movement in Baroque
Suite or Concerto Gross or as a stand-alone form
Single movement
Polyphonic texture
Statement
Antecedent & Consequence
Unit Vocabulary: terraced dynamics, fugue, suite, concerto grosso, basso continuo, ornamentation,
monophonic, polyphonic, homophonic, instrumentation
Pre-Assessment: Vocabulary test
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, look up
Listen and/or watch
Practice composing
definitions
performances. Score
eight-measure melodies.
analysis.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Direct Instruction,
Modeling
Modeling, Guided
Practice
Assessment:
Assessment:
Assessment:
Compose an eightBaroque suite, fugue,
Baroque suite, fugue,
measure melody in the
and concerto grosso
and concerto grosso
Baroque style.
forms.
forms.
239
Level 4
Extended Thinking
Student Activity:
Research. Practice
composing.
Teaching Strategy:
Direct Instruction,
Modeling, Guided
Practice
Assessment:
Compose a single
movement in the
Baroque style.
Use online and library sources to research Baroque forms.
Use word processing software.
Create a chart/poster that visually compares and contrasts the forms.
Compose an eight-measure melody in the Baroque style.
Compose a single movement in the Baroque style.
Student Task(s):
Compare and contrast Baroque suite, fugue, and concerto grosso forms.
Audience members will better understand musical ideas through knowledge of musical forms.
240
Scoring Guide for Chamber Orchestra, CCO IIIB Form

Learning Target
Learning Target:
Baroque suite, fugue, and
4
Advanced
Baroque suite, fugue, and
3
Proficient
characteristics of Baroque
suite, fugue, and concerto
grosso forms.
241
2
Basic
Baroque suite, fugue, or
1
Below Basic
Baroque suite, fugue, or
Chamber Orchestra
disciplines.
Essential Question

FA4, IC1A9-12
Content and Skills:

Characteristics of Baroque Music

Imitation (thematic pitch repetition, rhythmic repetition)
Symmetry of Form
Ornamentation (heavy decoration)
Played in churches and palaces
Learning Target
Compare and contrast Baroque
music and architecture.
Characteristics of Baroque Architecture

Imitation (themes from nature, figure sculptures)
Symmetry of Form
Ornamentation (heavy decoration)
Used for churches and palaces
Unit Vocabulary: imitation, symmetry, ornamentation
Pre-Assessment: List characteristics of Baroque music and architecture.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Baroque music and
architecture in
Baroque music and
cooperative groups.
architecture using online
Student will give an
audio-visual
presentation.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
both Baroque music and
architecture.
Assessment:
Baroque music and
architecture.
Assessment:
Audio-visual
242
Level 4
Extended Thinking
Student Activity:
Student will
Baroque music and
architecture using online
Teaching Strategy:
with Art/Industrial Tech
teachers, Guided
Practice
Assessment:
Compose a piece of
music in the Baroque
style and design the
faade of a concert hall
in which it would be
performed.
Students will use online and library resources to research Baroque music and architecture.
Create a poster that compares and contrasts Baroque music and architecture.
Complete a Venn diagram comparing and contrasting Baroque music and architecture.
Create examples of Baroque music and architecture.
Student Task:
Compare and contrast Baroque music and architecture.
Students will understand that music and architecture created in the same time and place are related.
243
Scoring Guide Chamber Orchestra, CCO IVA: Connections between Baroque music and architecture
Learning Target
Learning Target:
Baroque music and
architecture.
4
Advanced
evaluates Baroque music and
architecture.
3
Proficient
Baroque music and
architecture.
244
2
Basic
Baroque music or
architecture.
1
Below Basic
Baroque music or architecture.
Chamber Orchestra
disciplines.
Essential Question
Content and Skills:
17th Century Music
Increasing complexity
Establishment of common practice music theory principles
Advancement of keyboard instruments (harpsichord, pipe
organ)
Violin family established

FA4, G1.10, IC1B9-12
Learning Target
Compare and contrast 17th century
music and technological/scientific
ideas.
17th Century Technological/Scientific ideas

Union of mathematics and experimentation
Improvements in medicine, mining, and navigation and
industry
Unit Vocabulary: harpsichord, pipe organ
Pre-Assessment: List characteristics of 17th century innovations in music and technology/science.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
17th century music and
technology/science in
technology/science
cooperative groups.
resources. Student will
give an audio-visual
presentation.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
Assessment:
Assessment:
Audio-visual
both 17th century music
and technology/science. technological/scientific
ideas.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Not Applicable
Assessment:
Not Applicable
Use online and library resources to research 17th century music and technologic/scientific ideas.
245
Create a poster that compares and contrasts 17th century music and technologic/scientific ideas.
Complete a Venn diagram comparing and contrasting 17th century music and technologic/scientific ideas.
Student Task:
Students will understand that music and technology/science created in the same time and place are related.
246
Chamber Orchestra, CCO IVB: Connections between 17th Century music and technologic/scientific ideas.
Learning Target
Learning Target:
Compare and contrast 17th
century music and
technological/scientific
ideas.
4
Advanced
evaluates 17th century music
and technological/scientific
ideas
3
Proficient
Compares and contrasts 17th
century music and
technological/scientific ideas
247
2
Basic
Explains characteristics 17th
century music or
technological/scientific
ideas.
1
Below Basic
Lists characteristics of 17th
century music or
technological/scientific ideas.
Chamber Orchestra, CCO V

cultural contexts.
Essential Question
Missouri State Standards; Grade

Level Expectations
FA5, G1.9, HC1A9-12, HC1B9-12,
HC1C9-12, HC1D9-12
Style/Genre/Period
Baroque Sacred Music
Baroque Secular Music
1600-1750, Europe
1600-1750, Europe
Composer(s)
Bach, Vivaldi, Handel
Bach, Vivaldi, Handel
Form
Cantata, Mass, Oratorio

Most works in Latin

Mostly vocal and organ repertoire
Baroque Suite, Opera, Concerto

Grosso, Fugue
Most works in vernacular
Mostly instrumental repertoire
Function in society
Worship
Entertainment
Historical Context
and place? (war, peace, science,
technology, type of
government)

discovery
Church becomes less important in
government
Musicians employed by church
apprenticeship
Audience: parish
today?
Played today in religious settings,

Now performed in secular venues
as well as in churches

discovery
Aristocracy becomes more
important in government
Musicians employed by
monarch/aristocrats
apprenticeship
Audience: court
Folk music musicians trained
by rote one generation to the next
Unit Vocabulary: Latin, clergy, aristocrat, vernacular, secular, sacred, mass, oratorio, hymn, chorale,
opera
Pre-Assessment: List the characteristics of Baroque secular and sacred music.
248

Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
sacred and secular music
of the Baroque period in
cooperative groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
of the Baroque period.
Assessment:
of the Baroque period.
Level 3
Strategic Thinking
Student Activity:
Student will
presentation.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
Audio-visual
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
presentation).
Create a poster that compares and contrasts sacred and secular music of the Baroque period.
Complete a Venn diagram comparing and contrasting sacred and secular music of the Baroque period.
Student Task:
Students will understand that contemporary music is influenced by music from the Baroque period.
249
Scoring Guide for Chamber Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
contrast sacred and secular
music in the Baroque era.
4
Advanced
evaluates Baroque sacred and
secular music.
3
Proficient
Baroque sacred and secular
music.
250
2
Basic
Baroque sacred or secular
music.
1
Below Basic
Baroque sacred or secular
music.
Concert Orchestra
251
Overview of Content and Skills for Concert Orchestra

Bow skills: loure, various speeds of spiccato, 8-note slurs
Shifting skills: 2nd position for all instruments.
Musicianship: Repertoire: through grade 4; Improvisation: improvise melodies in D and G major, twooctaves
A. Reading Skills
Reading skills: allegro, moderato, cantabile, dolce, grace note, grazioso, grave, maestoso, meno, molto,
pesante, poco, sostenuto, subito, tenuto
Key Signatures
C, G, D Major, and relative natural minors.
Meters
2/4, , 4/4, Cut Time
Tempo
Tempi will be no slower than 60 beats per minorute and no faster than 10 eightbeats per minorute.
For continuous pieces, there will be at least one tempo change, but no more than two.
Clefs
Position Work
Minorimal 3rd position work used in the violin 1 part only.
Minorimal 4th position work used in the cello.
Minorimal half position work and 5th position work used in the bass.
Fingerings
All fingerings will be marked when position work (listed above) is used.
Divisi
Multiple Stops
Multiple stops will be limited to all open strings or open strings with one finger used.
Repeats
1st and 2nd endings
D.C. and D.S.
Fine
Intervals Played and Sung (aural training): Major scales
Two octave scales: B-flat Major, b minor
C. Composition
Write an eight-measure melody in the key of A Major, in a triple meter, using bowing and shifting markings.
252
Overview of Content and Skills for Concert Orchestra

A. Music Criticism
Respond to and critique a performance of music of the Classical period addressing contrast of mood,
rhythmic characteristics, melodic characteristics, dynamics, and instrumentation.
B. Form
Compound Ternary, Theme and Variation
Students will compare and contrast Classical music and Classical ballet.
Students make connections between the political/social revolutions of the late 18th century and Classical
period music.
253
Concert Orchestra
Essential Question
Content and Skills:

should know:

Expectations
FA1, G2.5, GLE: PP2A9-12, PP2B9-12,
PP2C9-12, PP2D9-12, PP2E9-12
Learning Target
Vibrato skills: variation of width and

speed of vibrato appropriate to
repertoire.
Students will apply use of vibrato with speed and width

appropriate to repertoire.
Bow skills: loure, various speeds of

spiccato, eight-note slurs
Students will perform repertoire that require loure, various

speeds of spiccato, and eight-note slurs.
Shifting skills: 2nd position for all

instruments.
Students will perform repertoire that requires 2nd position for all
instruments.
Musicianship:
Repertoire: through grade 4;
Improvisation: improvise melodies in D
and G major, two octaves
Students will perform repertoire through grade 4.

Students will improvise melodies in a two-octave range using
the keys of D and G Major.
Unit Vocabulary: improvisation, loure, spiccato, slurs

Pre-Assessment: Students will take playing tests to demonstrate readiness.
Level 1
Recall
Student Activity:
Listen to examples of
others improvisations.
Teaching Strategy:
Direct Instruction,
Demonstration
Assessment:
Define improvisation.
Level 2
Skill/Concept
Student Activity:
Imitate teachers examples
of 3-6 note improvisations.
Teaching Strategy:
Modeling
Assessment:
Respond to another persons
call with an improvised 36 note response.
Students use notation software on the computer.
Students use SmartMusic software.
254
Level 3
Strategic Thinking
Student Activity:
Practice improvising with a
partner in a given key
Teaching Strategy:
Model improvising within a
set of parameters
Assessment:
melodies in a two-octave
range using the keys of D
and G Major.
Level 4
Extended Thinking
Student Activity:
Research a style and plan
the cadenza.
Teaching Strategy:
Coaching.
Assessment:
Improvise a complete
cadenza.
work.
Student Tasks:
Students will apply use of vibrato with speed and width appropriate to repertoire.
Students will perform repertoire that require loure, various speeds of spiccato, and eight-note slurs.
Students will perform repertoire that requires 2nd position for all instruments.
Students will perform repertoire through grade 4.
Students will improvise melodies in a two-octave range using the keys of D and G Major.
255
Scoring Guide for Concert Orchestra CCO I: Performance Skills

Learning Target
Learning Target:
loure bowing style.
4
Advanced
3
Proficient
Smooth bowing with

consistent rhythm
Smooth bowing with

consistent rhythm
Relaxed bow hold with

flexible fingers and wrist

Consistent tone throughout

stroke
Inconsistent tone throughout

stroke

markings

markings
256
2
Basic
Mostly smooth bowing
with inconsistencies in
rhythm
Mostly relaxed bow hold
lacking flexible fingers and
wrist
Inconsistent tone
throughout stroke
Speed and weight
markings
1
Below Basic
Bowing is not smooth or
consistent in rhythm
Tense bow hold lacking
flexibility
Inconsistent tone throughout
stroke
Speed and weight
markings
Learning Target:
various speeds of spiccato.
Fast Spiccato:
Bow is placed above balance
point as appropriate to tempo
and repertoire
Fast Spiccato:
Bow is placed above balance
point as appropriate to tempo
and repertoire
Fast Spiccato:
Bow placement is
inappropriate to tempo and
repertoire



wrist
Bow stick tilt toward

fingerboard
Bow stick not tilted (flat bow

hair)
Bounce height is close to

strings and bow stroke is
even

even
Moderate Spiccato:
Bow is placed at balance
point or below as appropriate
to tempo and repertoire
Moderate Spiccato:
Bow is placed at balance
point or below as appropriate
to tempo and repertoire
Moderate Spiccato:
Bow placement is
repertoire



wrist
Bow stick tilt toward

fingerboard

hair)

even

even
257
Bow stick not tilted (flat

bow hair)
Bounce height is
inconsistent and bow stroke
is uneven
Bow stick not tilted (flat

bow hair)
Bounce height is
inconsistent and bow stroke
is uneven
Fast Spiccato:
Bow placement is
repertoire
flexibility
hair)
Loss of control due to
inconsistent bow stroke
Moderate Spiccato:
Bow placement is
repertoire
flexibility
hair)
Loss of control due to
inconsistent bow stroke
Learning Target:
eight-note slurs.
Learning Target:
repertoire that requires 2nd
position for all instruments.
Learning Target:
melodies in a two-octave
range using the keys of D
and G Major.
Always performs music with

correct technique for eightnote slurs.
Consistently performs music

with correct technique for
eight-note slurs.
Sometimes performs music

with correct technique for
eight-note slurs.

motion

motion

motion

Accurate intonation
Accurate intonation



while shifting

while shifting
shift

shift

shift

shift

given key
Pitches remain within the given

key

given key
Pitches outside the given

key

chosen meter

chosen meter

chosen meter

chosen meter

range

range
Single focal point

258
Rarely performs music with

correct technique for eightnote slurs.
Learning Target:
grade 4 repertoire.
Tone Quality:
Clear, resonant, in all registers
and ranges, appropriate to
literature
Tone Quality:
Clear, resonant, in all registers
and ranges, appropriate to
literature
Tone Quality:
Clear, resonant, in all
Tone Quality:
Intonation:
Intonation:
Intonation:
Intonation:
Accurate pitch throughout
all registers and ranges
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Bowing style and placement as
instructed by teacher
Rhythm:
Rhythm:
Rhythm:
Rhythm:
Musicianship:
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
259
Concert Orchestra
A. Reading Skills
Essential Question
Content and Skills:
Reading skills: allegro, moderato, cantabile, dolce, grace note,

grazioso, grave, maestoso, meno, molto, pesante, poco,
sostenuto, subito, tenuto.
Key Signatures
C, G, D major, and relative natural minors.
Meters
2/4, 3/4, 4/4, Cut Time
Tempo
Tempi will be no slower than 60 beats per minute and no
faster than 108 beats per minute.
For continuous pieces, there will be at least one tempo
change, but no more than two.
Clefs
Position Work
Minimal 3rd position work used in the violin 1 part only.
Minimal 4th position work used in the cello.
Minimal half position work and 5th position work used in the
bass.
Fingerings
All fingerings will be marked when position work (listed
above) is used.
Divisi
Multiple Stops
Multiple stops will be limited to all open strings or open
strings with one finger used.
Repeats
1st and 2nd endings
D.C. and D.S.
Fine
Intervals Played and Sung (aural training): Major scale

FA2, GLE: PP1A9-12, EP1C9-12,
EP1D9-12, EP1E9-12
Learning Target
Students will perform repertoire using
grade level appropriate expression.
Students will review a piece of grade 3

literature, develop a plan, and play at
sight from a written composition.
Students will play and sing a Major scale.
Unit Vocabulary: allegro, moderato, cantabile, dolce, grace note, grazioso, grave, maestoso, meno, molto,
pesante, poco, sostenuto, subito, tenuto
260
Pre-Assessment:
Level 1
Recall
Student Activity:
Use dictionaries to
other languages to
symbols and
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
terminology of
expression.
Assessment:
Demonstrate each
term.
Assessment:
piece of grade 3
from a written
composition.
Assessment:
Not Applicable
Student Task(s):
Students will review a piece of grade 3 literature, develop a plan, and play at sight from a written
composition.
Students will play and sing a Major scale.
261
Scoring Guide for Concert Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:

repertoire.


Performs few of the

Learning Target:
piece of grade 3 literature,
develop a plan, and play at
composition.
Ineffective review.

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
a Major scale.
Matches all pitches in

appropriate range.

appropriate range.
Matches most pitches in

appropriate range.
Matches few pitches in

appropriate range.
262
2
Basic
1
Below Basic
Concert Orchestra
Essential Question
Content and Skills:
should know:
Two-octave scales: B-flat Major, b
minor

FA2, GLE: EP1B9-12
Learning Target
Play two-octave scales using appropriate fingerings and finger
patterns: B-flat Major, b minor
Pre-Assessment:
Students play two-octave scales in each key.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Practice scale fingerings and Practice pieces.
finger patterns.
Teaching
Strategy:
Direct instruction,
Modeling
Assessment:
Identify the key
signature and
scale on paper.
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Assessment:
using appropriate fingerings
and finger patterns: B-flat
Major, b minor
Assessment:
Perform pieces that require
a two-octave range in the
following keys: B-flat
Major, b minor
Level 4
Extended Thinking
Student Activity:
that includes a twooctave range in one of
the following keys: Bflat Major, b minor
Teaching Strategy:
Guided Practice
Assessment:
assess an original
composition.
Technology Integration: Students practice using internet-based software and SmartMusic.

Play additional scales beyond designated keys.
Student Task(s):
Play two-octave scales using appropriate fingerings and finger patterns: B-flat Major, b minor
263
Scoring Guide for Concert Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
Learning Target:
using appropriate
patterns: B-flat Major, b
minor.
4
Advanced
correct fingers
correct pitch
3
Proficient
2
Basic

correct fingers
correct pitch

correct fingers
correct pitch
264
1
Below Basic
correct fingers
correct pitch
Concert Orchestra
C. Composition
Essential Question
Content and Skills:
should know:
melody in the key of A Major, in a triple
meter, using a variety of bowing and
shifting markings.

FA1, PP2A9-12, PP4A9-12, EP1A9-12, EP1B9-12
Learning Target
Write an eight-measure melody in the key of A Major, in a triple
meter, using a variety of bowing and shifting markings.
Unit Vocabulary: Meter, triple meter, simple meter, compound meter

Pre-Assessment: Students write a short phrase in A Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
sharing feedback with peers.
describes characteristics describes characteristics
of a good melody.
of a good melody.
Discuss examples.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
a good melody.
qualities of a good
melody in the key of A
melody.
Major, in a triple meter,
using a variety of bowing
Level 4
Extended Thinking
Student Activity:
Research
compositions.
Practice composing
and sharing
feedback with peers.
Teaching Strategy:
Guided Practice
Assessment:
Write an extended
composition with a
harmonized melody.
Technology Integration: Students will use a music notation program such as Finale or Sibelius.
Advanced students could write in two parts or write a longer composition.
Advanced students could modulate to another key within their melody.
Students with less readiness could write shorter pieces or pieces with limited pitch range.
Student Task(s):
Write an eight-measure melody in the key of A Major, in a triple meter, using a variety of bowing and
shifting markings.
265
Scoring Guide for Concert Orchestra, CCO IIC: Composition

Learning Target
Learning Target:
Major, in a triple meter,
using a variety of bowing
4
Advanced
3
Proficient
eight-measures
Strong tonal center of A Major
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
Dynamic markings
Expressive symbols
eight-measures
Strong tonal center of A Major
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
266
2
Basic
eight-measures
Strong tonal center of A
Major
Incomplete phrases
Consistent meter
Shifting
Bowing
1
Below Basic
Lacks A Major tonal center
Incomplete phrases
Inconsistent meter
Concert Orchestra
A. Music Criticism
Essential Question
Content and Skills:
should know:
How to critique a performance of music
of the Classical period addressing
contrast of mood, rhythmic
characteristics, melodic characteristics,
dynamics, and instrumentation.
Missouri State Standards & GLEs,

FA2, G1.5, AP2A9-12, AP2B9-12
Learning Target
Respond to and critique a performance of music of the Classical
period addressing contrast of mood, rhythmic characteristics,
melodic characteristics, dynamics, and instrumentation.
Unit Vocabulary: sonata, ornamentation, instrumentation, homophonic, phrasing, antecedent,

consequence
Pre-Assessment: Students will critique a recording or live performance of Classical repertoire.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Look up
definitions, take
performance of
performance of Classical
notes
Classical period music.
period music. Group
Group discussion of
attributes. Practice
Discuss personal responses
writing a critique.
referencing vocabulary and
characteristics of the music.
Teaching
Teaching Strategy:
Teaching Strategy:
Strategy:
Modeling, Facilitate a class
Direct Instruction
class discussion,
discussion on personal
Guided Practice
responses to music, Guided
Practice
Assessment:
Assessment:
Assessment:
Vocabulary test
over Classical
of music of the
performance of music of the
period
Classical period
Classical period addressing
terminology.
addressing contrast of
contrast of mood, rhythmic
mood, rhythmic
characteristics, melodic characteristics, dynamics,
characteristics,
and instrumentation.
dynamics, and
instrumentation.
267
Level 4
Extended Thinking
Student Activity:
Independent research using
online and library
works. Prepare a
presentation.
Teaching Strategy:
Modeling, Guided Practice
Assessment:
Research Classical period
performance of music of
the Classical period
addressing contrast of
mood, rhythmic
characteristics, dynamics,
and instrumentation
instrumentation. Present
the results to the class.
Use online and library resources to research Classical music.
Advanced students research and compare Classical music to another genre.
Student Task(s):
Respond to and critique a performance of music of the Classical period addressing contrast of mood,
rhythmic characteristics, melodic characteristics, dynamics, and instrumentation.
The understanding of the Classical style will help students play with more stylistic accuracy.
268

Criteria
Introduction
culture
Description
of instruments
Analysis
Describes pitch, tempo, and
dynamics
Interpretation
purpose of the work
4
Advanced
3
Proficient
2
Basic
1
Below Basic

work. All available

Most available
Artists work is
mentioned. Tells
Artists name or
title of work
listed.

performance.
Logical, coherent,
complete description of
work.
in the work but slightly
unorganized.

used in the work.
the composers work.
determine which are
used in the work.
work based upon
analysis. Supports
statements with
elements. Connects
composers work.
Evaluates the
the performance on
musicians
tone/intonation,
and expression or
Few minor errors in
sentence variety,
order.

Tells how or where
some elements and
the work.
Random
mention of one
or two details
seen/heard in the
work.
Partially lists
elements.
Judgment
composition

work.
Mechanics

after introductory
order.
269
the work. Supports
statement with
reference to some
musical elements.
Suggests
meaning of the
work.
Explains information
about the composers
life without connecting
it to the meaning of the
composition.
Discusses the
musicians
tone/intonation,
or expression
/musicianship. Few
references to the work
to support statements.
spelling without
affecting clarity. Some
use of first person.
Little sentence variety.
First and/or last name
of artist used
throughout writing.
of order.
States personal
opinion.
Multiple
grammatical
errors interfere
with content and
readability.
Uses first,
second, and/or
third person.
First and/or last
name of artist
used throughout
essay.
Concert Orchestra
B. Form
Essential Question

FA3, G1.5, AP1A9-12
Content and Skills:

Characteristics of Classical period forms
Learning Target
Compare and contrast compound
ternary with theme and variation.
Compound Ternary
Three sections (ABA)
Key relationship: Tonic -> New Key -> Tonic
Melodic, harmonic, and textural contrasts between A and B
A and B could be stand-alone forms, but are not intended to
be performed individually
Theme and Variation
Endless number of sections possible after original theme is
presented
No distinct key relationships between sections (variations)
Melodic, harmonic, textural, and timbral modifications of the
theme
Each variation is a complete musical thought, but are not
intended to be performed individually
Unit Vocabulary: minuet and trio, binary, compound ternary, tonic, relative major, dominant, texture,
melody, harmony, theme, variation, counterpoint, timbre, orchestration
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, look up
Listen and/or watch
Practice composing
definitions
performances. Score
analysis.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Direct Instruction,
Modeling
Modeling, Guided
Practice
Assessment:
Assessment:
Assessment:
Compose an eightcompound ternary and
compound ternary with
theme and variation.
Classical style.
270
Level 4
Extended Thinking
Student Activity:
Research. Practice
composing.
Teaching Strategy:
Direct Instruction,
Modeling, Guided
Practice
Assessment:
Compose a single
movement in the
Classical style.
Use online and library sources to research Classical forms.
Compose an eight-measure melody in the Classical style.
Compose a single movement in the Classical style.
Student Task(s):
Compare and contrast compound ternary with theme and variation.
271
Scoring Guide for Concert Orchestra, CCO IIIB: Form

Learning Target
Learning Target:
compound ternary with
4
Advanced
compound ternary and theme
and variation.
3
Proficient
characteristics of compound
ternary and theme and
variation.
272
2
Basic
compound ternary and
1
Below Basic
compound ternary and theme
and variation.
Concert Orchestra
disciplines.
Essential Question
Content and Skills:
Characteristics of Classical Music

Formal structure
Aristocratic audience
Importance of melody and phrasing with a
flowing style
Mood consistent within a movement, changes
with change of movement
Characteristics of Classical ballet
Formal structure
Aristocratic audience
Graceful, flowing, precise movements
Mood consistent within a movement, changes
with change of movement

FA4, IC1A9-12
Learning Target
Students will make connections between
Classical music and Classical ballet.
Unit Vocabulary: ballet, adagio (musical term and ballet term), allegro (musical term and ballet term)
Pre-Assessment: List characteristics of Classical music and ballet.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes.
Classical music and
ballet in cooperative
Classical music and
groups.
ballet using online and
library resources.
Student will give an
audio-visual
presentation.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Guided Practice
Model
Assessment:
Assessment:
Assessment:
Audio-visual
Classical music and
Classical music and
ballet.
ballet.
Level 4
Extended Thinking
Student Activity:
Student will
Classical music and
ballet using online and
library resources.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Compose music for a
short dance sequence.
Students will use online and library resources to research Classical music and ballet.
273
Create a poster that compares and contrasts Classical music and ballet.
Complete a Venn diagram comparing and contrasting Classical music and ballet.
Create examples of Classical music and ballet.
Student Task:
Compare and contrast Classical music and ballet.
Students will understand that music and ballet created in the same time and place are related.
274
Scoring Guide Chamber Orchestra, CCO IVA: Connections between Classical music and Classical ballet
Learning Target
Learning Target:
Classical music and
Classical ballet.
4
Advanced
evaluates Classical music and
ballet.
3
Proficient
Classical music and ballet.
275
2
Basic
1
Below Basic
Concert Orchestra
disciplines.
Essential Question
Content and Skills:
Classical music:
Music is starting to become accessible to the newly emerging
middle class
Exploration outside of Baroque compositional customs:
melody gains prominence, established rules for musical
forms, pieces become longer and more developed
Musicians begin to become independent from aristocratic
and church patronage

FA4, G1.10, IC1B9-12
Learning Target
Make connections between the
political/social revolutions of the late
18th century and Classical period music.
Political and social revolution:

American and French revolutions are direct results of an
emerging middle class attacking the privileges of the
aristocracy and clergy
Reason, not tradition or custom, is a guiding force in human
decision
Unit Vocabulary: aristocrat, clergy, middle class, reason
Pre-Assessment: List characteristics of social and political revolutions and music in the Classical era.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Take notes.
Student Activity:
Classical era music and
the political/social
revolutions in
cooperative groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
Makes connections
between the
political/social
revolutions of the late
18th century and
Assessment:
both Classical era music
and the political/social
revolutions.
Student Activity:
research Classical era music and
the political/social revolutions
resources. Student will give an
audio-visual presentation.
Teaching Strategy:
Guided Practice
Assessment:
class.
276
Level 4
Extended
Thinking
Student
Activity:
Not Applicable
Teaching
Strategy:
Not Applicable
Assessment:
Not Applicable
Use online and library resources to research Classical era music and the political/social revolutions.
Create a poster that compares and contrasts Classical era music and the political/social revolutions.
Complete a Venn diagram comparing and contrasting Classical era music and the political/social
revolutions.
Student Task:
Students will make connections between the political/social revolutions of the late 18th century and
Students will understand that music created during political and social revolutions in the same time and
place are related.
277
Chamber Orchestra, CCO IVB: Connections between music and social studies.
Learning Target
Learning Target:
Makes connections
between the political/social
revolutions of the late 18th
century and Classical
period music.
4
Advanced
Makes connections between
of the late 18th century and
Classical period music using
relevant examples. Defends
position with fact-based
information.
3
Proficient
Makes connections between
of the late 18th century and
Classical period music using
relevant examples.
278
2
Basic
Explains the political/social
revolutions of the late 18th
century or Classical period
music.
1
Below Basic
Concert Orchestra, CCO V

cultural contexts.
Essential Question

FA5, G1.9, HC1A9-12, HC1B9-12,
HC1C9-12, HC1D9-12
Style/Genre/Period
Baroque Period
Classical Period
Time/Place when
composed
1600-1750, Europe
Composer(s)
Bach, Handel, Vivaldi
Mozart, Haydn, Beethoven
Form
Sonata, Baroque Suite, Fugue
Sonata, Theme and Variation
Formal structure
Highly ornamented
Homophonic and polyphonic
textures
Sacred
scientific innovation and discovery
Musicians employed by church and
aristocracy
apprenticeship
Audience: parish and courts
Formal structure
Simple lines
Homophonic texture
Function in society
Historical Context
science, technology, type of
government)
Who were audience
members?
played today?
How did this music
influence current
musicians/composers?
Performed in secular venues and

churches
Sacred
prominent
Musicians still employed by church
and aristocracy but they become
entrepreneurs who earn money from
publications of their music and ticket
sales to their performances
apprenticeship
Audience: primarily aristocracy and
church, but middle class is emerging
Unit Vocabulary: monarchy, democracy, revolution, homophonic, compound ternary, theme, variations,
ideology
Pre-Assessment: List characteristics of Baroque and Classical period music.
279

Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
period music in
cooperative groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
Students will compare
and contrast music of
the Baroque and
Classical periods.
Assessment:
period music.
Level 3
Strategic Thinking
Student Activity:
Student will
period music using
online and library
presentation.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
Audio-visual
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
presentation).
Create a poster that compare and contrast music in the Baroque and Classical periods.
Complete a Venn diagram comparing and contrasting music in the Baroque and Classical periods.
Student Task:
Students will understand that contemporary music is influenced by music from the Baroque and Classical
periods.
280
Scoring Guide for Concert Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
contrast music of the
periods.
4
Advanced
3
Proficient

evaluates music of the
Baroque and Classical periods.
Compares and contrasts music

of the Baroque and Classical
periods.
281
2
Basic
music of the Baroque or
Classical periods.
1
Below Basic
Lists characteristics of music
of the Baroque or Classical
periods.
Symphonic
Orchestra
282
Overview of Content and Skills for Symphonic Orchestra

Bow skills: mixed slur patterns, multiple stops/chords,
Shifting skills: 4th and 5th positions for violin and viola. Thumb position for cello and bass.
Musicianship: Repertoire through grade 5; Improvisation: improvise melodies in various minor keys
A. Reading Skills
Reading skills: allargando, agitato, attaca, cadenza, concertino, ripieno, dolore, espressivo, fuoco, guisto,
lento, ma non troppo, morendo, ossia, pi, quasi, rubato, secco, stringendo, tacit.
Key Signatures
C, G, D, A, F, B-flat Major, and relative natural minors.
Meters
2/4, 3/4, 4/4, Cut Time, 6/eight-, Mix Meters (7/eight- 3+2+2)
Tempo
Tempi will be no slower than 60 beats per minorute and no faster than 120 beats per minorute.
For continuous pieces, there will be at least one tempo change, but no more than two.
3rd position and minorimal use of 5th position may be used in the violin 1 part only.
Minorimal 3rd position work may be used in the violin 2 and viola part.
Divisi
Repeats
D.C. and D.S. may be used.
Fine may be used.
Intervals Played and Sung (aural training): Melodic minor scales
Three octave scales: Majors: C, G, D, A, E, F, B-flat; minors: a, e, b, f-sharp, c-sharp, a-flat, d, g, c, f
C. Composition
Write an eight-measure melody in the key of A minor, in a compound duple or triple meter, using bowing
283
Overview of Content and Skills for Symphonic Orchestra

A. Music Criticism
Respond to and critique a performance of music of the Romantic period addressing individuality of style and
expression.
B. Form
Programmatic Music, Sonata
Students will compare and contrast between Romantic music and drama.
Students will make connections between literary writing style and Romantic music.
Students will compare and contrast programmatic music of the Romantic era.
284
Symphonic Orchestra
Essential Question
performance?
Content and Skills:
should know:

FA1, G2.5, GLE: PP2A9-12, PP2B9-12, PP2C912, PP2D9-12, PP2E9-12
Learning Target
Vibrato skills: variation of width and

speed of vibrato appropriate to
repertoire.
Vary the width and speed of vibrato.
Bow skills: mixed slur patterns,

multiple stops/chords,
Perform mixed slur patterns.

Perform multiple stops and chords.
Shifting skills: 4th and 5th positions for

violin and viola. Thumb position for
cello and bass.
Violinists and violists will shift into 4th and 5th positions.
Cellists and bassists will shift into thumb position.
Musicianship: Repertoire through

grade 5; Improvisation: improvise
melodies in various minor keys
Students will perform literature through grade 5.

Students will improvise melodies in various minor keys.
Unit Vocabulary: vibrato, slur, double-stop, chord, thumb position

Pre-Assessment: Students will perform a playing test.
Level 1
Recall
Student Activity:
Listen to examples
of vibrato, doublestops, chords, shifts
and slurs.
Level 2
Skill/Concept
Student Activity:
Practice vibrato,
double-stops, chords,
shifts and slurs.
Teaching Strategy:
Modeling, Direct
instruction
Assessment:
Define definitions of
vibrato, doublestops, chords, shifts
and slurs.
Teaching Strategy:
Modeling, Guided
practice
Assessment:
Perform vibrato,
double-stops, chords,
shifts and slurs.
Level 3
Strategic Thinking
Student Activity:
Student will improvise a
melody in a minor key,
making use of vary widths of
vibrato, double-stops, chords,
shifts and slurs in a given
piece of music.
Teaching Strategy:
Coaching, Guided practice
Level 4
Extended Thinking
Student Activity:
Student will research the
historical context of vibrato,
double-stops, chords, shifts
and slurs in a given piece of
music.
Assessment:
Student will record an
improvised melody in a minor
key, making use of vary
widths of vibrato, doublestops, chords, shifts and slurs
in a given piece of music
Assessment:
With a given piece of music,
the student will decide where
to edit and apply vibrato,
double-stops, chords, shifts
and slurs.
285
Teaching Strategy:
Coaching, Guided practice
work.
Student Tasks:
Students will perform repertoire that require vibrato, double-stops, chords, shifts and slurs.
Students will perform repertoire that requires 4th and 5th positions for violin and viola, and thumb position
for cello and bass.
Students will improvise melodies in a minor key.
Students learn to create variety of colors in music through vibrato, shifting and slurs.
Students increase technical facility through the practice of double-stops, chords and shifting
Students will develop creative prowess through improvisational skills.
286
Scoring Guide for Symphonic Orchestra CCO I: Performance Skills

Learning Target
4
Advanced
3
Proficient
2
Basic
Learning Target:
Vary the width and speed
of vibrato
Vibrate in a variety of speeds

and widths with control of
gradation.
Vibrate in a variety of speeds

and widths.
Vibrate with no variation in

speed and width.
No vibrato
Learning Target:
Perform mixed slur
patterns
Slur multiple notes on a

variety of pitches, mixed
strings. rhythms, and
positions
Slur multiple notes on variety

of pitches and mixed strings.
Slur multiple notes on

variety of pitches.
Slur two notes.
Learning Target:
Perform multiple stops and
chords
Perform double stops and

chords with pitch accuracy,
correct fingering on required
strings with correct bow
technique

chords with pitch accuracy,
correct fingering on required
strings.

chords with correct
fingering.

motion

motion
Shifts with a smooth,

gliding motion

Accurate intonation
Accurate intonation



while shifting

while shifting
shift

shift
Bow speed and weight are

not appropriately adjusted
during shift

shift
Learning Target:
Violinists and violists will
shift into 4th and 5th
positions
Cellists and bassists will
shift into thumb position
.
287
1
Below Basic
Attempts to perform double

stops and chords.
Learning Target:
literature through grade 5
Learning Target:
melodies in various minor
keys
Tone Quality:
Tone Quality:
Tone Quality:
Tone Quality:
Intonation:
Intonation:
Intonation:
Intonation:
Note Accuracy
Note Accuracy
Note Accuracy
Note Accuracy
Rhythm:
Rhythm:
Rhythm:
Rhythm:
Musicianship:
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
Musicianship:
composers markings
Pitches remain within a given

minor key

minor key

minor key
Pitches do not remain within

a given minor key

chosen meter

chosen meter

chosen meter

chosen meter
Single focal point
288
CCO IIA--Symphonic Orchestra

A. Reading Skills
Essential Question
Content and Skills:
Reading skills: allargando, agitato, attaca, cadenza, concertino,

ripieno, dolore, espressivo, fuoco, guisto, lento, ma non troppo,
morendo, ossia, pi, quasi, rubato, secco, stringendo, tacit.
Key Signatures
C, G, D, A, F, B-flat major, and relative natural minors.
Meters
2/4, 3/4, 4/4, Cut Time, 6/8, Mix Meters (7/8 3+2+2)
Tempo
Tempi will be no slower than 60 beats per minute and no faster
than 120 beats per minute.
For continuous pieces, there will be at least one tempo change,
but no more than two.
3rd position and minimal use of 5th position may be used in the
violin 1 part only.
Minimal 3rd position work may be used in the violin 2 and viola
part.
Divisi
Repeats
D.C., and D.S. may be used.
Fine may be used.
Intervals Played and Sung (aural training): melodic minor
scale

FA2, GLE: PP1A9-12, EP1C9-12,
EP1D9-12, EP1E9-12
Learning Target
Students will perform repertoire using
grade level appropriate expression.
Students will review a piece of grade 4

literature, develop a plan, and play at
sight from a written composition.
Students will play and sing a melodic

minor scale.
Unit Vocabulary: allargando, agitato, attaca, cadenza, concertino, ripieno, dolore, espressivo, fuoco,
guisto, lento, ma non troppo, morendo, ossia, pi, quasi, rubato, secco, stringendo, tacit, divisi
289
Pre-Assessment:
Level 1
Recall
Student Activity:
Use dictionaries to
other languages to
symbols and
terminology.
Teaching Strategy:
Direct instruction,
Demonstration
Level 2
Skill/Concept
Student Activity:
Practice performing
symbols and terms.
Level 3
Strategic Thinking
Student Activity:
at sight.
Level 4
Extended Thinking
Student Activity:
Not Applicable
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Teaching Strategy:
Not Applicable
Assessment:
terminology of
expression.
Assessment:
Demonstrate each
term.
Assessment:
piece of grade 4
from a written
composition.
Assessment:
Not Applicable
Student Task(s):
Students will review a piece of grade 4 literature, develop a plan, and play at sight from a written
composition.
Students will play and sing a melodic minor scale.
290
Scoring Guide for Symphonic Orchestra, CCO IIA, Music Reading Skills
Learning Target
4
Advanced
3
Proficient
Learning Target:

repertoire.


Performs few of the

Learning Target:
piece of grade 4 literature,
develop a plan, and play at
composition.
Ineffective review.

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols

errors in:
Key Signature
Time Signature
Accidentals
Rhythms
Signs and Symbols
Learning Target:
a melodic minor scale.

appropriate range.

appropriate range.
Matches most pitches in

appropriate range.
Matches few pitches in

appropriate range.
291
2
Basic
1
Below Basic
Symphonic Orchestra
Core Conceptual Objective CCOIIB: Students will demonstrate elements of music.
Essential Question
Content and Skills:
should know:
Three-octave scales: Majors: C, G, D,
A, E, F, B-flat; Minors: a, e, b, f-sharp,
c-sharp, a-flat, d, g, c, f

FA2, GLE: EP1B9-12
Learning Target
Play three-octave scales: Majors: C, G, D, A, E, F, B-flat;
Minors: a, e, b, f-sharp, c-sharp, a-flat, d, g, c, f
Pre-Assessment:
Students play three-octave scales in each designated key.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Flash cards
Teaching Strategy:
Direct instruction,
Modeling
Assessment:
Identify the key
paper.
Teaching Strategy:
Guided Practice
Teaching Strategy:
Guided Practice
Assessment:
Play three-octave scales
using appropriate
patterns: Majors: C, G,
D, A, E, F, B-flat;
Minors: a, e, b, f-sharp,
c-sharp, a-flat, d, g, c, f
Assessment:
Perform pieces that
require a three-octave
range in the following
keys: Majors: C, G, D,
A, E, F, B-flat; Minors:
a, e, b, f-sharp, c-sharp,
a-flat, d, g, c, f
Students practice using internet-based software and SmartMusic.
292
Level 4
Extended Thinking
Student Activity:
that includes a threeoctave range in one of
the following keys:
Majors: C, G, D, A, E,
F, B-flat; Minors: a, e, b,
f-sharp, c-sharp, a-flat,
d, g, c, f
Teaching Strategy:
Guided Practice
Assessment:
assess an original
composition.

Student Task(s):
Play three-octave scales using appropriate fingerings and finger patterns: Majors: C, G, D, A, E, F, B-flat;
Minors: a, e, b, f-sharp, c-sharp, a-flat, d, g, c, f
293
Scoring Guide for Symphonic Orchestra, CCOIIB: Finger Patterns and Scales
Learning Target
Learning Target:
Play three-octave scales
using appropriate
patterns: Majors: C, G, D,
A, E, F, B-flat; Minors: a,
e, b, f-sharp, c-sharp, a-flat,
d, g, c, f.
4
Advanced
correct fingers
correct pitch
3
Proficient
2
Basic

correct fingers
correct pitch

correct fingers
correct pitch
294
1
Below Basic
correct fingers
correct pitch
Symphonic Orchestra
C. Composition
Essential Question
Content and Skills:

should know:
Write an eight-measure melody in the
key of A-minor, in a compound duple or
triple meter, using a variety of bowing
skills and shifting skills.

FA1, PP2A9-12, PP4A9-12, EP1A912, EP1B9-12
Learning Target
Student will write an eight-measure melody in the key of Aminor, in a compound duple or triple meter, using a variety of
bowing skills and shifting skills.
Unit Vocabulary: meter, duple meter, triple meter, quadruple meter, simple meter, compound meter
Pre-Assessment: Students compose a short phrase in F Major.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, read a
Take notes, read a
of a good melody.
of a good melody.
Discuss examples.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Guided Practice
Modeling
Assessment:
Assessment:
Assessment:
a good melody line.
qualities of a good
melody.
minor, in a compound
duple or triple meter,
using a variety of
bowing skills and
shifting skills.
Level 4
Extended Thinking
Student Activity:
peers.
Teaching Strategy:
Guided Practice
Assessment:
Write an extended
composition with a
harmonized melody.
Advanced students could write in two parts or write a longer composition.
Advanced students could modulate to another key within their melody.
Students with less readiness could write shorter pieces or pieces with limited pitch range or a simple meter.
Student Task(s):
Write an eight-measure melody in the key of A minor, in a compound duple or triple meter, using a variety
of bowing and shift markings.
295

Students who use elements appropriately will have enhanced reading skills.
296
Scoring Guide for Symphonic Orchestra, CCO IIC: Composition

Learning Target
4
Advanced
3
Proficient
Learning Target:
minor, in a compound
duple or triple meter, using
a variety of bowing and
shift markings.
eight-measures
Strong tonal center of A minor
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
Dynamic markings
Expressive symbols
eight-measures
Strong tonal center of A minor
Complete phrases
Single focal point
Consistent meter
Shifting
Bowing
297
2
Basic
eight-measures
Strong tonal center of A
minor
Incomplete phrases
Consistent meter
Shifting
Bowing
1
Below Basic
Lacks A minor tonal center
Incomplete phrases
Inconsistent meter
Symphonic Orchestra
A. Music Criticism
Essential Question
Content and Skills:
should know:
How to critique musical performance
addressing: individuality of style and
expression.
Missouri State Standards & GLEs,

FA2, G1.5, AP2A9-12, AP2B9-12
Learning Target
Respond to and critique a performance of music of the
Romantic period addressing individuality of style and
expression.
Unit Vocabulary: Romanticism, nationalism, chromaticism, dissonance, consonance, modulation, tone

poem, programme music
Pre-Assessment:
Students will critique a recording or live performance of Romantic repertoire.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Look up definitions,
take notes
performance of
performance of
Romantic music. Group Romantic music. Group
Practice writing a
Discuss personal
critique.
responses referencing
vocabulary and
characteristics of the
music.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
class discussion, Guided class discussion on
Practice
Assessment:
Assessment:
Assessment:
Vocabulary test over
Romantic terminology.
of Romantic music
referencing the
of the Romantic period
individuality of style
addressing individuality
and expression.
of style and expression.
Use online and library resources to research Romantic music.
298
Level 4
Extended Thinking
Student Activity:
Independent research
works. Prepare a
presentation.
Teaching Strategy:
Modeling, Guided
Practice
Assessment:
Research Romantic
of the Romantic period
addressing individuality
of style and expression.
Present the results to the
class.
Advanced students research and compare Romantic music to another genre.
Student Task(s):
Respond to and critique a performance of music of the Romantic period addressing individuality of style
and expression.
The understanding of Romantic style will help students play with more stylistic accuracy.
299

Criteria
Introduction
culture.
Description
of instruments
Analysis
Describes pitch, tempo, and
dynamics
Interpretation
purpose of the work
4
Advanced
3
Proficient
2
Basic
1
Below Basic

work. All available

Most available
Artists work is
mentioned. Tells
artists name and
title.
Artists name or
title of work
listed.

performance.
Logical, coherent,
complete description of
work.

used in the work.
the composers work.
determine which are
used in the work.
work based upon
analysis. Supports
statements with
elements. Connects
composers work.
Evaluates the
the performance on
musicians
tone/intonation,
and expression or
Complete
description of what
work but slightly
unorganized.
Tells how or where
some elements and
principles are used
in the work.
Random
mention of one
or two details
seen/heard in the
work.
Partially lists
elements.
Suggests a meaning
of the work.
Supports statement
with reference to
some musical
elements.
Suggests
meaning of the
work.
Explains
information about
the composers life
without connecting
it to the meaning of
the composition.
Discusses the
musicians
tone/intonation,
technique
articulation, or
expression/musician
-ship. Few
references to the
work to support
statements.
Errors in grammar
affecting clarity.
Some use of first
person. Little
sentence variety.
First and/or last
name of artist used
throughout writing.
model present but
out of order.
States personal
opinion.
Judgment
composition

work.
Mechanics

after introductory
order.
Few minor errors in

sentence variety,
order.
300
Multiple
grammatical
errors interfere
with content and
readability.
Uses first,
second, and/or
third person.
First and/or last
name of artist
used throughout
essay.
Symphonic Orchestra
B. Form
Essential Question
Content and Skills:
should know:
Characteristics of musical forms

FA3, G1.5, AP1A9-12
Learning Target
Compare and contrast programme music and absolute music
forms.
Programme Music
Imitation of sounds of nature
Rich harmonies
Sudden changes of mood or
character
Repeated motifs
Absolute Music
Adherence to classical forms
Expanded classical forms
Rich harmonic texture
Multi-movement works
Unit Vocabulary: programmatic music, absolute music, tone poem, symphony, sonata, scene, image,
mood, incidental music
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Student Activity:
Student Activity:
Take notes, look up
Listen and/or watch
Practice composing
definitions
performances. Score
analysis.
Teaching Strategy:
Teaching Strategy:
Teaching Strategy:
Direct Instruction
Direct Instruction,
Direct Instruction,
Modeling
Modeling, Guided
Practice
Assessment:
Assessment:
Assessment:
Compose an eightprogramme music and
programme music and
absolute music forms.
programmatic style.
Use computer-based and library sources to research Romantic forms.
301
Level 4
Extended Thinking
Student Activity:
Research. Practice
composing.
Teaching Strategy:
Direct Instruction,
Modeling, Guided
Practice
Assessment:
Compose a single
movement in the
programmatic style.
Compose an eight- measure melody in the Romantic style.
Compose a single movement in the Romantic style.
Student Task(s):
Compare and contrast programme music and absolute music forms.
302
Scoring Guide for Symphonic Orchestra, CCO IIIB: Form

Learning Target
Learning Target:
programme music and
4
Advanced
programme music and
3
Proficient
characteristics of programme
music and absolute music
forms.
303
2
Basic
programme music and
1
Below Basic
programme music and
Symphonic Orchestra
disciplines.
Essential Question
Content and Skills:
know:
Romantic Music:
Individualism
Emotion
Imagination
Interest in supernatural
Grandiose
Larger ensembles

FA4, IC1A9-12
Learning Target
able to do:
Compare and contrast Romantic music and drama.
Romantic drama
Melodrama, Comedy of Manners
Good vs. Evil
Gas lights/industrial revolution
Unified stage picture
Elaborate fashion and sets reflecting the time
For adults and later redone for children
Bloody, gory
Trust in natures goodness
Middle and wealthy classes attended
Unit Vocabulary: grand opera, incidental music, lieder, chanson, gothic, exoticism, individualism,
supernatural
Pre-Assessment: List characteristics of Romantic music and drama.
304

Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student
Student Activity:
Student Activity:
Activity:
Students will
Student will
Take notes.
investigate
Romantic music
Romantic music and
and drama in
drama using online and
cooperative groups. library resources. Student
will give an audio-visual
presentation.
Teaching
Teaching Strategy: Teaching Strategy:
Strategy:
Cooperative
Guided Practice
Direct
Learning
Instruction
Model
Assessment:
Assessment:
Assessment:
List
Compare and
Audio-visual presentation
characteristics
contrast Romantic
to class.
of Romantic
music and drama.
music and
drama.
Level 4
Extended Thinking
Student Activity:
Student will independently research
Romantic music and drama using
online and library resources.
Teaching Strategy:
Modeling, Collaboration with
Theatre Arts teacher, Guided
Practice
Assessment:
Compose a piece of dramatic
incidental music in the Romantic
style and design the scene set of the
stage on which it would be
performed.
Students will use online and library resources to research Romantic music and drama.
Create a poster that compares and contrasts Romantic music and drama.
Complete a Venn diagram comparing and contrasting Romantic music and drama.
Create examples of Romantic music and drama.
Student Task:
Compare and contrast Romantic music and drama.
Students will understand that Romantic music and drama created in the same time and place are related.
305
Scoring Guide Symphonic Orchestra, CCO IVA: Connections between Romantic music and drama
Learning Target
Learning Target:
Romantic music and
drama.
4
Advanced
evaluates Romantic music and
drama.
3
Proficient
Romantic music and drama.
306
2
Basic
1
Below Basic
Symphonic Orchestra
disciplines.
Essential Question
Content and Skills:
should know:
Romantic Music:
Individualism
Emotion
Imagination
Grandiose
Larger ensembles

FA4, G1.10, IC1B9-12
Learning Target
Students will make connections between Romantic literature
and music
Romantic Literature:
Individualism
Emotion
Imagination
Interest in Shakespeare
supernatural
Pre-Assessment: List characteristics of Romantic music and literature.
Level 1
Level 2
Level 3
Recall
Skill/Concept
Strategic Thinking
Student Activity:
Take notes.
Student Activity:
connections between
Romantic literature and
music.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
connections between
music.
Assessment:
connections between
music.
Student Activity:
research connections between
literary writing styles of
imagination, emotion, and
individualism with Romantic
music using online and library
resources. Student will give an
audio-visual presentation.
Teaching Strategy:
Guided Practice
Assessment:
class.
307
Level 4
Extended
Thinking
Student
Activity:
Not Applicable
Teaching
Strategy:
Not Applicable
Assessment:
Not Applicable
Use online and library resources to research connections between Romantic literature and music.
Create a poster that compares and contrasts connections between literary writing styles of imagination,
emotion, and individualism with Romantic music.
Complete a Venn diagram comparing and contrasting connections between literary writing styles of
imagination, emotion, and individualism with Romantic music.
Student Task:
Compare and contrast connections between Romantic literature and music..
Students will understand that literary writing and Romantic music are related.
308
Symphonic Orchestra, CCO IVB: Connections between literary Romantic literature and music.
Learning Target
Learning Target:
connections between
music.
4
Advanced
3
Proficient

evaluates connections between
Romantic literature and music.

connections between
Romantic literature and music.
309
2
Basic
Explains characteristics
connections between
music.
1
Below Basic
connections between
Romantic literature or music.
Symphonic Orchestra, CCO V

cultural contexts.
Essential Question

FA5, G1.9, HC1A9-12, HC1B9-12,
HC1C9-12, HC1D9-12
Style/Genre/Period
Programme Music
Absolute Music
19th century Europe
19th century Europe
Composer(s)
Tchaikovsky, Berlioz, R. Strauss
Brahms, Schumann
Form
Tone poem, Opera, Ballet
Symphony, Sonata

Imitation of sounds of nature

Rich harmonies
Sudden changes of mood or
character
Repeated motifs
Entertainment
Function in society
Historical Context
science, technology, type of
government)
played today?
Composers and musicians

become free lance artists.
Numerous political
revolutions instilled a sense
of freedom and liberation.
Music education became
more formalized.
Anyone who could afford to
buy a ticket could enjoy
concerts.
Adherence to classical forms

Expanded classical forms
Rich harmonic texture
Multi-movement works
Entertainment
Composers and musicians
become free lance artists.
Numerous political
revolutions instilled a sense
of freedom and liberation.
Music education became
more formalized.
Anyone who could afford to
buy a ticket could enjoy
concerts
Students will compare and contrast programme and absolute music in the Romantic era.
supernatural
Pre-Assessment: Student will list characteristics of programmatic and absolute music.
310

Level 1
Recall
Student Activity:
Take notes.
Level 2
Skill/Concept
Student Activity:
programmatic and
absolute music of the
Romantic period in
cooperative groups.
Teaching Strategy:
Direct Instruction
Teaching Strategy:
Model
Assessment:
programmatic and
Romantic period
Assessment:
programmatic and
absolute music.
Level 3
Strategic Thinking
Student Activity:
Student will
programmatic and
Romantic period using
online and library
presentation.
Teaching Strategy:
Guided Practice
Level 4
Extended Thinking
Student Activity:
Not Applicable
Assessment:
Audio-visual
Assessment:
Not Applicable
Teaching Strategy:
Not Applicable
presentation).
Create a poster that compares and contrasts programmatic and absolute music of the Romantic period.
Complete a Venn diagram comparing and contrasting programmatic and absolute music of the Romantic
period.
Student Task:
Students will compare and contrast programmatic and absolute music of the Romantic period.
Students will understand that contemporary music is influenced by music from the Romantic period.
311
Scoring Guide for Symphonic Orchestra, CCO V: Music in historical and cultural context
Learning Target
Learning Target:
contrast programme and
absolute music in the
Romantic era
4
Advanced
evaluates programme and
absolute music in the
Romantic era
3
Proficient
programme and absolute
music in the Romantic era.
312
2
Basic
music in the Romantic era
1
Below Basic
music in the Romantic era
Appendix
313
Fine Arts Resource Selection Evaluation Scoring Guide

Use a value from 1 through 4 to indicate the quality of the text resource on each
criterion. 4=highest quality, 1=lowest quality, 0=not included.
Course:______________________________________________
Title of Text:__________________________________________________
Publisher:____________________________________________________
Copyright:____________________________________________________
Student Textbook:
______
Objectives for lessons are clear.
______
Activities address Knowledge/Recall level of thinking
______
Activities address Skill/Concept/Application level of thinking
______
Activities address Strategic/Analysis level of thinking
______
Activities address Extended/Synthesis/Evaluation level of thinking
______
Historical/cultural information matches curriculum content.
______
Emphasizes fine arts process skills and inquiry.
______
Performance assessments include high quality scoring guides.
______
Makes connections among the arts.
______
Makes connections with non-arts disciplines.
______
Incorporates computer technology.
_______
Appropriate reading level.
_______
Addresses equity: gender, racial, disability.
______
Text meets District CCOs (percent covered______%).
_______
Total Textbook Points divided by 14 = _________Overall Rating
314
Use a value from 1 through 4 to indicate the quality of the text resource on each criterion.
4=highest quality, 1=lowest quality, 0=not included.
Teacher Resources:
_______
Contains clearly written, easy-to-use plans.
_______
Includes enough background information for teacher.
_______
Includes differentiation by student readiness, learner profile, and interest.
_______
Integrates writing in lessons.
_______
Incorporates technology in lessons (provides lesson examples, websites).
_______
Provides quality supplemental materials.
_______
Total Teacher Resource Points divided by 6 = _________
Check one
_____This textbook would be a great choice.
_____This textbook should be considered.
_____I would not recommend this textbook.
Other Comments:
315
Rockwood
Writing Guidelines
While the emphasis of the Rockwood orchestra program is on music performance, formal writing is a portion of the
class grade. At least one formal writing assignment from any of the listed categories will be a part of the grade of
each course. Below are the minimum standards for formal writing assignments:
Content:
Critiques should be based on specific criteria supported by observations referenced to the artwork.
Expository Writing should include a thesis backed by supporting details.
Form:
Critiques should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate
grammar, usage, and mechanics rules per Rockwood scoring guide.
Analyses should follow organizational pattern as directed by the teacher. Writing will follow grade appropriate
grammar, usage, and mechanics rules per Rockwood scoring guide.
Expository Writing should follow multi-paragraph essay format. Students should document sources as necessary.
Writing will follow grade appropriate grammar, usage, and mechanics rules per Rockwood scoring guide.
316
Ideas
4
Six-Trait Assessment for Intermediate Writers* (3-5 Writing)

Organization
Conventions
Word Choice Sentence Fluency
Voice
__ Clear controlling idea;

stays on topic
__ Clearly addresses the topic
and provides specific and
relevant concrete details or
examples; commentary
supports CDs (4th & 5th)
__ Narrowed focus tells a lot
about a little
__ Develops key ideas with
showing rather than
telling sentences
__ Contains a controlling
idea; stays on topic
__ Addresses the topic with
relevant concrete details or
examples; commentary
supports CDs (4th & 5th)
__ Attempts to narrow the
focus by telling a lot about
a little
__ Both shows and tells
ideas
__ Effective beginning,
middle, and end
__ Exemplifies assigned
format
__ Sequence is logical and
enhances writing
__ Transitions effectively
connect ideas, sentences,
and/or paragraphs
__ Contains few errors in:

o grammar/usage
o punctuation
o capitalization
o spelling
__ Sound paragraphing (when
present) reinforces the
organizational structure
__ Contains words that

are well-suited to the
topic
__Avoids repetition
(except for effect)
__ Uses new vocabulary
well
__ Interesting and
memorable words used
__ Consistently has
complete sentences without
fragments or run-ons (unless
for effect)
__ Consistently uses a variety
of effective sentence lengths
and structures
__ Sentences begin in
different ways
__ Natural rhythm and flow;
easy to read aloud
__ Original point of view

is evident
__ Clearly shows an
awareness of audience
and purpose
__ Shows a strong
commitment to the topic
__ Thoroughly engages
reader
__ Has a beginning,
middle, and end
__ Accurately follows
assigned format
__ Logically sequenced
__ Transitions connect
ideas, sentences and/or
paragraphs
__ May contain some errors that

are not significantly distracting
to the reader:
o grammar/usage
o punctuation
o capitalization
o spelling
__ Paragraphing (when
present) is developed around
key ideas
__ Contains some
words that are related
to the topic
__ Minimal repetition
(except for effect)
__ Tries to use new
vocabulary
__ Some words are
interesting and
memorable
__ Has complete sentences

without fragments or run-ons
(unless for effect)
__ Some variety in sentence
length and structure
__ Most sentences begin in
different ways
__ Sections of writing have
rhythm and flow; are easy to
read aloud
__ Writing sounds like an

individual wrote it
__ Shows an awareness
of audience and purpose
__ Shows commitment to
the topic
__ Somewhat engages
reader
__ Contains a general sense of

direction; not completely on
topic
__ Attempts to address the
topic, but may lack relevant
details; commentary doesnt
support CDs (4th & 5th)
__ Needs to narrow focus
and tell a lot about a little
__ Tends to tell rather
than show ideas
__ Missing a controlling idea;
not on topic
__ Attempts to address topic
but lacks support from
concrete details; commentary
is ineffective (4th & 5th)
__ Broad focus that tells
little about a lot
__ Tells rather than
shows ideas
__ Evidence of beginning,
middle, and end
__ Attempts assigned
format
__ Sequencing may have
some flaws
__ Attempts transitions
between ideas, sentences
and/or paragraphs
__ Contains errors that may be

distracting to the reader:
o grammar/usage
o punctuation
o capitalization
o spelling
present) is attempted but may
run together or begin in the
wrong places
__ Contains some fragments

or run-ons that may be
distracting to the reader
__ Uses simple sentences
correctly; attempts some
variety
__ Many sentences begin the
same
__ Some sections difficult to
read aloud
__ Writing displays
individuality in a few
parts
__ Shows some
and purpose
__ Lacks consistent
engagement with topic
__ Inconsistently engages
reader
__ May lack evidence of a

beginning, middle, and end
__ Minimal evidence of
assigned format
__ Sequencing is illogical
__ Transitions awkward
or nonexistent
__ Contains repeated errors that

are distracting to the reader:
o grammar/usage
o punctuation
o capitalization
o spelling
present) is irregular, too
frequent, or incorrectly
developed
__ Contains words that

are too general or not
related to the topic
__ Repetition is common
(not used for effect)
__ Limited use of grade
level vocabulary
__ Uses many
nonspecific words
common (ex. thing, stuff,
nice)
__ Words are not
related to the topic and
may distract the reader
__Repetition is common
(not used for effect)
__Limited or incorrect
use of grade level
vocabulary
__ Nonspecific or
incorrectly used words
may detract from
meaning
__ Includes fragments or
run-ons that are distracting
to the reader
__ Sentences may be choppy,
rambling, or awkward
__ Repetitive sentence
beginnings
__ Difficult to read aloud
__ Writing is similar to
everyone elses
*Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
Bold descriptors = MAP criteria
__ Shows little or no
and purpose
__ Limited engagement
with topic
__ Mechanical writing
Revised Nov. 2007
Six-Trait Assessment for Middle School Writers
Ideas
Organization
__Strong controlling idea

based on an interesting and
meaningful thesis narrows
focus
__Clearly addresses topic and
provides specific and relevant
concrete details/examples
__Effective, insightful
commentary connects concrete
detail to thesis
__Effective beginning, middle, and

end; engaging introduction; strong sense
of closure
__A clear, strong thesis statement
governs entire essay; the writer skillfully
emphasizes important ideas
__Use paragraphing appropriately
__Progresses in a logical order
__Controlling idea based on a

meaningful thesis begins to
narrow focus
__Addresses the topic using
relevant details/examples
__Strong commentary relates
concrete detail to thesis
__Contains some sense of

direction, but may lack focus
__Addresses the topic, but
may contain some details that
are irrelevant or vague
__Weak commentary
__Is difficult to follow and

lacks focus
__May address the topic, but
lacks details
__Attempts commentary
__Uses effective cohesive devices (transitions,

repetition, pronouns, parallel structure)
between and/or within paragraphs
__Successfully follows assigned format

__Has a beginning, middle and end
with an effective introduction and
conclusion
__A clear thesis statement governs the
entire essay; important ideas stand out
__Uses paragraphing
__Generally progresses in a logical
order
__May use cohesive devices
__Accurately follows assigned format
__Has evidence of a beginning, middle
and end
__Thesis statement attempted, but may
not govern the entire essay; some
important ideas begin to surface
__Shows evidence of paragraphing
__Flaws in logical order
__At times seems awkward and lacks
cohesion
__Attempts assigned format
__Little or no evidence of a beginning,
middle, and/or end
__Thesis statement unclear
__Little or no evidence of paragraphing
__Does not progress in a logical order
and may digress to unrelated topics
__Is awkward and lacks cohesion
__No evidence of format
Sentence Fluency
Conventions
Word Choice
__Contains few errors in

grammar/usage,
punctuation,
capitalization, and/or
spelling
__No fragments or runons
__Correct
pronoun/antecedent
agreement and
subject/verb agreement;
consistent verb tense
__Contains some errors
in grammar/usage,
punctuation,
spelling that are not
__Few fragments or runons
_Few errors in agreement
and tense
__Uses precise and

vivid language
__Effectively uses
writing
techniques such
as imagery and
figurative language
if appropriate
__Consistently
avoids redundancy
__Contains sentences
that are clear and varied
in length and structure
__Variety of sentence
beginnings
__Natural rhythm,
cadence and flow
__ Individual perspective
comes through
__Clearly shows an
awareness of audience and
purpose
__Writers enthusiasm for the
topic is evident
__Effectively uses writing
techniques (such as humor,
point of view, tone) that evoke
a strong emotional response
__Uses language
that is usually
precise
__Uses writing
techniques such
as imagery and/or
figurative language
if appropriate
__Little
redundancy
that are clear and
show some variety in
__Not all sentences
begin with the same
pattern
__Sections of writing
have rhythm and flow
__ Individual perspective
begins to show
__Shows an awareness of
audience and purpose
__Writer cares about topic
__Uses writing techniques
(such as humor, point of view,
tone) that may evoke an
emotional response
__Contains errors in
grammar/usage,
punctuation,
spelling that may be
__Some run-ons and/or
sentence fragments
__Some errors in
agreement and tense
__Contains repeated
errors in grammar/
usage, punctuation,
spelling that are
distracting
__Numerous run-ons
and/or fragments
__Frequent errors with
agreement and/or tense
__May use
imprecise language
__ Attempts to
use writing
techniques such
as imagery and/or
figurative language
if appropriate
__ Some obvious
redundancy
__Uses imprecise
language
__Does not use
writing
techniques such
as imagery or
figurative language
__ May contain
obvious and
distracting
that are generally
clear, but lack variety
in structure
__Some sentences
begin the same
__An occasional section
of writing has rhythm
and flow
__Attempts to develop
individual perspective
__Shows some awareness of
__Writer shows limited
connection to the topic
__May use some writing
techniques (humor, point of
view, tone) to evoke a response
that are unclear and lack
variety in structure
__Sentences tend to
begin the same
__Writing is choppy;
reader may have to
reread to follow the
meaning
__Lacks individual perspective

__Shows little or no
awareness of audience or
purpose
__Treatment of topic is
predictable
__Does not use writing
techniques to evoke a response
Voice
Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
Revised Aug. 2004
Ideas
Organization
__Strong controlling idea

based on interesting and
meaningful thesis narrows
focus
__Clearly addresses topic and
provides specific and relevant
concrete details and/or reasons
__Shows complexity and
freshness of thought
__Effective, insightful
commentary connects concrete
detail to thesis
__Effective beginning, middle, and

end; engaging introduction; strong sense
of closure
__A clear, strong thesis statement
governs entire essay; the writer skillfully
emphasizes important ideas
__Use paragraphing effectively
__Progresses in a logical order
__Controlling idea based on a

meaningful thesis begins to
narrow focus
__Addresses the topic using
relevant details and/or
reasons
__Shows some complexity
and/or freshness of thought
__Strong commentary relates
concrete detail to thesis
__Contains some sense of

direction, but may lack focus
__Addresses the topic, but
relies on generalities (lists)
rather than specifics
(development)
__Limited complexity and/or
__Weak commentary
__Clear beginning, middle and end

with an effective introduction and
conclusion
__A clear thesis statement governs the
entire essay; important ideas stand out
__Uses paragraphing appropriately
__Generally progresses in a logical
order
__Uses cohesive devices between and
within paragraphs
__Accurately follows assigned format
__Evidence of a beginning, middle and
end
__Thesis statement attempted, but may
not govern the entire essay; some
important ideas begin to surface
__Shows evidence of paragraphing
__Inconsistency in logical order
__Is difficult to follow and

lacks focus
__May address the topic, but
lacks details
__Lacks complexity and
__Attempts commentary
unsuccessfully
__Uses effective cohesive devices (transitions,

repetition, pronouns, parallel structure)
between and within paragraphs
__Successfully follows assigned format
__Inconsistent use of cohesive devices
__Attempts assigned format

__Little or no evidence of a beginning,
middle, and/or end
__Thesis statement unclear
__Little or no evidence of paragraphing
__Does not progress in a logical order
and may digress to unrelated topics
__Lacks cohesion
__No evidence of format
Sentence Fluency
Conventions
Word Choice
__Contains few errors in

grammar/usage,
punctuation,
spelling
__Intentional or clever use
of atypical sentence
structure
__Correct
pronoun/antecedent
agreement and
subject/verb agreement;
consistent verb tense
__May contain errors in
grammar/usage,
punctuation,
spelling that are not
__Fragments or run-ons
are rare (unless stylistic)
_Very few errors in
agreement and tense
__Uses precise and

vivid language
__Effective use of
writing techniques
such as imagery and
figurative language if
appropriate
__Consistently
avoids redundancy
that are clear and
varied in length and
structure
__Variety of
sentence beginnings
__Natural rhythm,
cadence and flow
__Uses precise
language
__Uses writing
techniques such as
imagery and/or
appropriate
__Avoids
redundancy
__Contains
sentences that are
clear and show
some variety in
__Not all sentences
begin with the same
pattern
__Sections of writing
have rhythm and
flow
__Contains
sentences that are
generally clear, but
lack variety and
complexity
__Some sentences
begin the same
__An occasional
section of writing has
rhythm and flow
__Contains errors in
grammar/usage,
punctuation,
spelling that may be
__Some run-ons and/or
sentence fragments
__Inconsistent
subject/verb agreement
and or verb tense
__Contains repeated
errors in grammar/
usage, punctuation,
spelling that are
distracting
__Numerous run-ons
and/or fragments
__Frequent errors with
agreement and/or tense
Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
Voice
__May use imprecise

language
__ Attempts to use
some writing
techniques such as
imagery and/or
appropriate
__ Some obvious
redundancy
__Uses imprecise
language
evidence of writing
techniques such as
imagery or figurative
language
__Obvious and/or
distracting
redundancy
__ Shows individual
perspective; personality comes
through
__Clearly shows an
awareness of audience and
purpose
__Writers enthusiasm for the
topic is evident
__
that lack variety and
clarity
__Most sentences
begin the same way
__Writing is choppy;
needs rereading to
follow the meaning
Effectively uses writing

techniques (such as humor,
point of view, tone) that evoke
a strong emotional response
__ Shows some individual
perspective; personality begins
to show
__Shows an awareness of
__Writer cares about topic
__Uses writing techniques
(such as humor, point of view,
tone) that may evoke an
emotional response
__May lack individual
perspective
__Shows some awareness of
__Writer shows limited
connection to the topic
__Attempts to use some
writing techniques (humor,
point of view, tone) to evoke a
response
__Lacks individual
perspective
awareness of audience or
purpose
__Treatment of topic is
predictable
__Shows little or no evidence
of writing techniques to evoke
a response
Revised Aug. 2004
KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS

Note to Readers: What should high school graduates in Missouri know and be able to do? The Missourians
who developed these standards wrestled with that question. In the end, they agreed that knowing and doing
are actually two sides of the same coin. To perform well in school or on the job, one must have a good
foundation of basic knowledge and skills. Equally important, though, is the ability to use and apply ones
knowledge in real-life situations.
These standards (73 in all) are intended to define what students should learn by the time they graduate
from high school. There are 33 Performance standards, listed under four broad goals. There are also 40
knowledge standards, listed in six subject areas. Taken together, they are intended to establish higher
expectations for students throughout the Show-Me State. These standards do not represent everything a student
will or should learn. However, graduates who meet these standards should be well-prepared for further
education, work, and civic responsibilities.
All Missourians are eager to ensure that graduates of Missouris public schools have the knowledge, skills, and
competencies essential to leading productive, fulfilling and successful lives as they continue their education,
enter the workforce and assume their civic responsibilities. Schools need to establish high expectations that will
challenge all students to reach their maximum potential. To that end, the Outstanding Schools Act of 1993
called together master teachers, parents, and policy-makers from around the state to create Missouri academic
standards. These standards are the work of that group.
The standards are built around the belief that the success of Missouris students depends on both a
solid foundation of knowledge and skills and the ability of students to apply their knowledge and skills to the
kinds of problems and decisions they will likely encounter after they graduate.
The academic standards incorporate and strongly promote the understanding that active, hands-on
learning will benefit students of all ages. By integrating and applying basic knowledge and skills in practical
and challenging ways across all disciplines, students experience learning that is more engaging and motivating.
Such learning stays in the mind long after the tests are over and acts as a springboard to success beyond the
classroom.
These standards for students are not a curriculum. Rather, the standards serve as a blueprint from
which local school districts may write challenging curriculum to help all students achieve their maximum
potential. Missouri law assures local control of education. Each school district will determine how its
curriculum will be structured and the best methods to implement that curriculum in the classroom.
Authority for the Show-Me Standards: Section 160.514, Revised Statutes of Missouri, and the Code of State
Regulations, 5 CSR 50-375.100.
320
GOAL 1
Students in Missouri public schools will acquire the knowledge and skills to gather, analyze, and apply
information and ideas.
Students will demonstrate within and integrate across all content areas the ability to
1.
2.
3.
4.
5.
6.
7.
8.
develop questions and ideas to initiate and refine research

conduct research to answer questions and evaluate information and ideas
design and conduct field and laboratory investigations to study nature and society
use technological tools and other resources to locate, select, and organize information
comprehend and evaluate written, visual, and oral presentations and works
discover and evaluate patterns and relationships in information, ideas, and structures
evaluate the accuracy of information and the reliability of its sources
organize data, information, and ideas into useful forms (including charts, graphs, outlines) for analysis or
presentation
9. identify, analyze, and compare the institutions, traditions, and art forms of past and present societies
10. apply acquired information, ideas, and skills to different contexts as students, workers, citizens, and
consumers
GOAL 2
Students in Missouri public schools will acquire the knowledge and skills to communicate effectively
within and beyond the classroom.
1.
2.
3.
4.
5.
6.
7.
plan and make written, oral, and visual presentations for a variety of purposes and audiences
review and revise communications to improve accuracy and clarity
exchange information, questions, and ideas while recognizing the perspectives of others
present perceptions and ideas regarding works of the arts, humanities, and sciences
perform or produce works in the fine and practical arts
apply communication techniques to the job search and to the workplace
use technological tools to exchange information and ideas
321
GOAL 3
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve
problems.
1.
2.
3.
4.
5.
6.
7.
8.
identify problems and define their scope and elements

develop and apply strategies based on ways others have prevented or solved problems
develop and apply strategies based on ones own experience in preventing or solving problems
evaluate the processes used in recognizing and solving problems
reason inductively from a set of specific facts and deductively from general premises
examine problems and proposed solutions from multiple perspectives
evaluate the extent to which a strategy addresses the problem
assess costs, benefits, and other consequences of proposed solutions
GOAL 4
Students in Missouri public schools will acquire the knowledge and skills to make decisions and act as
responsible members of society.
1.
2.
3.
4.
5.
6.
7.
8.
explain reasoning and identify information used to support decisions

understand and apply the rights and responsibilities of citizenship in Missouri and the United States
analyze the duties and responsibilities of individuals in societies
recognize and practice honesty and integrity in academic work and in the workplace
develop, monitor, and revise plans of action to meet deadlines and accomplish goals
identify tasks that require a coordinated effort and work with others to complete those tasks
identify and apply practices that preserve and enhance the safety and health of self and others
explore, prepare for, and seek educational and job opportunities
322
Missouri students must build a solid foundation of factual knowledge and basic skills in the traditional content
areas. The statements listed here represent such a foundation in reading, writing, mathematics, world and
American history, forms of government, geography, science, health/physical education, and the fine arts. This
foundation of knowledge and skills should also be incorporated into courses in vocational education and
practical arts. Students should acquire this knowledge base at various grade levels and through various courses
of study. Each grade level and each course sequence should build on the knowledge base that students have
previously acquired.
These concepts and areas of study are indeed significant to success in school and in the workplace.
However, they are neither inclusive nor are they likely to remain the same over the years. We live in an age in
which knowledge grows at an ever-increasing rate, and our expectations for students must keep up with that
expanding knowledge base.
Combining what students must know and what they must be able to do may require teachers and
districts to adapt their curriculum. To assist districts in this effort, teachers from across the state are developing
curriculum frameworks show how others might balance concepts and abilities for students at the elementary,
middle, and secondary levels. These models, however, are only resources. Missouri law assures local control
of education. Each district has the authority to determine the content of its curriculum, how it will be organized,
and how it will be presented.
Communication Arts
In Communication Arts, students in Missouri public schools will acquire a solid foundation which includes
knowledge of and proficiency in
1.
2.
3.
4.
5.
6.
7.
speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)
reading and evaluating fiction, poetry, and drama
reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)
writing formally (such as reports, narratives, essays)
comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as
story-telling, debates, lectures, multi-media productions)
participating in formal and informal presentations and discussions of issues and ideas
identifying and evaluating relationships between language and culture
Mathematics
In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge
of
1.
2.
3.
4.
5.
6.
addition, subtraction, multiplication, and division; other number sense, including numeration and
estimation; and the application of these operations and concepts in the workplace and other situations
geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and
similarity and transformations of shapes
data analysis, probability, and statistics
patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts
mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number
theory (including primes, factors, multiples)
discrete mathematics (such as graph theory, counting techniques, matrices)
323
Science
In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
6.
7.
8.
properties and principles of matter and energy

properties and principles of force and motion
characteristics and interactions of living organisms
changes in ecosystems and interactions of organisms with their environments
processes (such as plate movement, water cycle, air flow) and interactions of earths biosphere,
atmosphere, lithosphere, and hydrosphere
composition and structure of the universe and the motions of the objects within it
processes of scientific inquiry (such as formulating and testing hypotheses)
impact of science, technology, and human activity on resources and the environment
Social Studies
In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge
of
1.
2.
3.
4.
5.
6.
7.
principles expressed in the documents shaping constitutional democracy in the United States
continuity and change in the history of Missouri, the United States, and the world
principles and processes of governance systems
economic concepts (including productivity and the market system) and principles (including the laws of
supply and demand)
the major elements of geographical study and analysis (such as location, place, movement, regions) and
their relationships to changes in society and environment
relationships of the individual and groups to institutions and cultural traditions
the use of tools of social science inquiry (such as surveys, statistics, maps, documents)
Fine Arts
In Fine Arts, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1.
2.
3.
4.
5.
process and techniques for the production, exhibition, or performance of one or more of the visual or
performed arts
the principles and elements of different art forms
the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and
visual arts
interrelationships of visual and performing arts and the relationships of the arts to other disciplines
visual and performing arts in historical and cultural contexts
324
Health/Physical Education
In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which
includes knowledge of
1.
2.
3.
4.
5.
6.
7.
structures of, functions of, and relationships among human body systems
principles and practices of physical and mental health (such as personal health habits, nutrition, stress
management)
diseases and methods for prevention, treatment, and control
principles of movement and physical fitness
methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco,
alcohol, and other drug use)
consumer health issues (such as the effects of mass media and technologies on safety and health)
responses to emergency situations
325
Graphic Organizers
326
Easy Start Herringbone
1. Who is it about?
2. Where did it happen?
3. When did it happen?
MAIN IDEA
4. What happened?
5. How did it happen?
327
6. Why did it happen?
Compare and Contrast
Transition Words: different from, same as, instead of, on the other hand
328
TOPIC: _____________________________________________________________________
MAIN IDEA: ________________________________________________________________
_____________________________________________________________________________
MAJOR SUPPORTING DETAILS
1.
2.
3.
4.
5.
329
Suggested Graphic Organizer for Cause and Effect
Cause
Effect
Effect
Effect
Effect
Transition Words: because, since, so that, if/then
330
Chronological/Sequence
Event 1
Event 3
Event 2
Transition Words: First, second, then, after, next etc.
331
Event 4
Problem/Solution
Problem
Transition Words: One answer is, the question is, the problem,
332
STORY MAP (CHART)

(Isabel Beck)
The Character:
The setting:
Statement of the Problem:
Event 1:
Event 2:
Event 3:
Event 4:
Event 5:
Event 6:
Event 7:
Statement of the Solution:

Story Theme: (What is this story REALLY about?)
Values brought out in the story:
333
SEQUENCE CHAIN
334
Essay Organizer - Standard Outline

Introductory Paragraph
Thesis Statement:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
(Note: You are NOT limited to only 3 support paragraphs!)
Conclusion
(Emphasize Thesis)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
335
Paragraph Organizer
Topic Sentence:
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concluding sentence:
336
Essay Organizer Standard Outline

Paragraph 1 Introduction:
Main Idea/ Thesis:
Paragraph 2 Concrete Detail

commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________

commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 5 Conclusion
337
Rockwood School District

Fine Arts Department
Procedures for
New Rockwood
String Teachers
Helpful hints and how to advice . . .
338
Dear new orchestra teacher,

Welcome to Rockwood! We are glad you are here and hope this packet will be a help to you as you
plan your first year. Please dont hesitate to ask any fellow string teacher or the Fine Arts Office for
help or advice. We are all here to help and work as a team. These hints have not been updated since
third grade strings started so there may be some changes, please ask the other string teachers.
Good luck on a great first year in Rockwood.
Sincerely,
The Rockwood Strings Staff
What Every Rockwood String Teacher Needs To Know

Faculty Vertical Teams
The string faculty is divided into 4 geographical quadrant teams. The high school orchestra teacher
leads each quadrant. For example, the Lafayette Quadrant consists of Lafayette High School, its feeder
middle school Rockwood Valley and the feeder elementary schools, Green Pines, Babler, and
Chesterfield. The Lafayette High School orchestra teacher leads this team.
The string faculty within each quadrant works as a team. The string team plans together for the annual
Music In Our Schools Concert(s). This vertical teaming approach has proven very successful for
collaboration of teacher planning, use of teacher instrument specialties, and retention of students to the
next grade level.
Substitutes
It is very important to be responsible about any absence. Rockwood policy requires employees to
phone any absence into RASCAL, a computerized absence system. See your building secretary for
RASCAL information.
When you know you will need to be absent:
1. Call RASCAL and request a sub. If you know of a string sub, you may request him/her. You must
know his/her phone number and be ready to enter it into Rascal.
2. Build positive relations with your principal and classroom teacher staff by being well prepared for
an absence. Have emergency sub plans in a place where the building secretary can find them in all
of your schools. They should include:
A. Seating charts for each class.
B. A class schedule for the building.
C. Your daily schedule, including travel directions to other schools.
D. Two general lesson plans with materials, one for a music sub and the other for a
non-music sub. You might want to purchase a movie and keep it with student
response or note-taking forms for the non-music sub.
3. If you know in advance that you will be absent, write a sub plan tailored to what your students are
currently studying.
4. Call ALL your scheduled buildings for each date you will be absent.
5. It is very important to handle all plans for a substitute professionally.
Mentors
You will be provided with a district mentor teacher if you are in your first year of teaching. The home
school principal, in collaboration with the Fine Arts coordinator, assigns this mentor. If your official
mentor is a non-string teacher, you will be paired with a string teacher in your quadrant for content
specific questions. Use those people for any help you need. The mentors have no evaluative
responsibilities.
339
Music In Our Schools Concerts - MIOS

Each quadrant schedules a MIOS concert or concerts. Team planning for the year includes setting the
date and location, as well as repertoire. 4th graders are not included in MIOSM concerts. 5th grade
strings are optional and models include:
5th grade beginning orchestra ( if concert is in late winter or spring)
5th grade performing memorized Suzuki repertoire
5th grade Honors/String orchestra to perform (rehearsing outside of school)
The middle school and high school orchestras also perform at these concerts.
Supplies
String supplies are available from the Fine Arts Office. There is a string storage area at the annex.
Key can be obtained from the Fine Arts secretary. Strings, rosin, bows, and sponges are kept in stock.
Budgets
Each building has a string budget from the Fine Arts Coordinator. Information on your individual
budget should be obtained at the beginning of the school year. Check with the Fine Arts Office on
budget amount if you do not receive this information. Procedures for purchasing supplies or music
must be followed. Keep an individual record of each schools budget. DO NOT purchase anything
without a PO number. Money may also be available through your principal or the PTO. Check with
your building principal to see if there is any building money available for you.
Testing/Assessment
Teachers must use Application Level Assessments with Scoring Guides for each Core Conceptual
Objectives in the curriculum.
Report Cards
Middle and high school orchestra teachers use electronic grade reporting.
Fourth and fifth grade teachers use a district template. They may use it on the computer. Strings
report cards are issued at the end of each quarter. Check with your building principal about due dates
for specialists. Most of the building principals will ask to review your report card comments before the
cards are given to the classroom teachers. Check with your principal regarding the procedure.
Concert Checklist
1) Type program, including all student names and turn it into your school secretary to proofread
and run.
2) Send home permission slips/concert reminder notes
3) VTS student arrangements including host family and cab (if necessarycheck with your
building)
4) Reserve 4th grade instruments from other schools arrange for pickup and return
5) Give the custodial staff a sketch of your concert set-up
6) Arrange for setup and equipment for concert
7) Order risers and other needed district equipment at least three weeks ahead of your concert
date through the districts Community Education-- Technical Theater department.
Elementary String Concerts
At least one elementary string concert per year is presented in each building, generally in the spring.
This date is usually scheduled the previous year and put on the school calendar. You will need to
check on this date and put it on the school calendar, if not already scheduled. Extra violins will need to
be brought in for the concert, so it is important not to schedule the elementary concert to close to the
school from which you are going to get the extra violins. Be careful to coordinate dates with other
string faculty on your team. Contact other Strings teachers for sample concert programs.
340
Emergency Procedures
Know each of your buildings emergency procedures, such as fire, tornado, and intruder drills. Be
aware what you should do in your teaching location in each of these events.
Summer Camps
Brochures are available in the spring for all teachers to share with students and their parents. The
district offers these summer camps for students entering the following grades: Fifth/Sixth grade String
Camp and Middle school String Camp.
Honor Orchestra
Rockwood sponsors an All-District Honor Intermediate Honor Orchestra for grades 4-8. If elementary
string teachers have students who are advanced players for their age and who read well, the honor
orchestra program is recommended. Audition material is available the first week of school and
auditions are in late September. The Honor Orchestra season runs from October to March.
Information Specific to Fourth Grade Suzuki Violin Classes
Elementary Building Lead Teachers
One string teacher is designated as the lead teacher in each elementary building. Each 4th grade
classroom will be scheduled to take violin instruction as an entire class. You will have students of all
abilities.
The lead teacher is responsible for all planning in that building as follows:
1.
2.
3.
4.
5.
6.
Recruiting for 5th grade classes in February of the preceding school year.
Assignment of 5th grade classes to other string teachers on team
Assignment of 5th grade students to classes (based on low strings and high strings)
Planning of concerts, including: repertoire, facilities, program, parent notes, school
newsletters
The lead teacher is the facilitator for the string faculty team in that building.
The lead teacher is in charge of the budget at the lead schools.
Before School Starts

In the week before school starts, it is very important to prepare the school set of violins for class.
These things need to be done (unless done in May by the former teacher).
1. 4th Grade Violin Instrument Preparation
Check violins and prepare as needed including the use of violin polish or Goo Gone for
adhesive removal
Replace worn strings (can be obtained from Fine Arts Office)
Gather a set of replacement strings to have on hand for emergency breakage. Strings can be
obtained from Fine Arts Office.
Check bows for screw tightening
Identify any needed repairs. Obtain a purchase order number from the Fine Arts secretary (92332) and call for pick-up or take the instrument to the Rockwood authorized vendor.
Finger tape each instrument (district practice is to tape for 1-2-3). Car striping tape from car
stores such as Auto Zone is recommended.
Put rosin in each case (can be obtained from Fine Arts Office)
Place a shoulder sponge in each violin case ( sponges can be obtained from Fine Arts office)
Develop a storage plan- either a cart or rack and label violin spots on cart or rack
If any violin is beyond repair, send it to the Orchestra room (502) at Crestview Middle School
and order a replacement (if necessary) from your instructional budget.
Place a dusting cloth in each case.
341
2. Class Schedule confirmation review your class schedule with your principals and classroom
teachers. Check with the school secretary or 4th grade teachers for classroom rosters. Be ready to
begin class on the first scheduled Strings day for your school.
3. Prepare a first week flyer (be sure to have principal approval before sending it home) to go home
with 5th grade students to include:
Welcome and introduction of yourself
Overview of year string class schedule including which days of week to bring instruments to
school
Registration form for new students only
A list including the book information and supplies to buy
Where to obtain rental instruments
How to contact you
4. First week lesson plans
5. Temporary grade book - Wait to do the permanent grade book until class lists are finalized, usually
by the 3rd or 4th week of school. Helpful hint - you will always need your grade book with you during
a fire drill*
6. Secure supplies you will need to prepare the 5th grade rental instruments:
Striping tape
Cleaner (Goo Gone recommended)
Rubber bands
Chin rest adjuster tool
Find the building keyboard for your use. Can go on a cart if necessary.
7. As a suggestion, you may want to assemble the following items in a tool box at each of your schools
for use during the school year:
Peg dope
Peg drops
Screwdrivers (Philips and flathead)
Polish
Sandpaper (extra fine)
My Peg Pal (gives extra torque to turn tight pegs without strain and can be ordered at
www.mypegpal.com)
Tweezers
Pliers with a wire cutter
Alcohol pads
Pencil
Sponges
Scissors
Strategies for teaching Fourth Grade Violin:
1. Goals for the 4th Grade Year1. NUMBER 1 a love of violin playing
2. Good instrument setup
3. Good bow hold
4. A concept of good tone
2. GO SLOWLY at the beginning. The most important thing in the first month is to establish class
procedure.
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3. First week ideas:

Measure the students for the correct size violin (this is essential)
No violins - do a personal introduction and tell about the violin
Teach parts of the instrument.
Perform for the class.
Perhaps show a movie about the violin (suggestion: Nurtured by Love the story of Dr.
Suzuki or The sounding Tree)
Use these types of activities to establish class routine:
Enter the classroom quietly.
Assign seats on the floor (chairs are not recommended).
Have students sitting.
Wait for students to become quiet before going on.
Emphasize respect and self-control before violins are ever brought out.
Invite students to learn.
Learn students names.
If you want to use a Suzuki style to teach lessons, perhaps ask them to stand and bow to
indicate the beginning and ending of the lesson.
4. When the violin is brought out, stress it should be only yours! GO SLOWLY! Demonstrate what
you want them to do on the day before they get their violin. Begin echo type rote exercises such as
clapping, singing, etc.- to establish rote-teaching routine. Remember to insist on appropriate behavior
as you go through these opening weeks. It gets harder when they get the violins in their hands.
5. The first day they get violins, the only objective should be establishing the class routine of getting
out and putting away the violin. Go one step at a time and make sure everyone understands what to do.
Establish a routine of you walking up and down the rows to make sure all are doing and understanding.
Do not use the bow for approximately the first month. You may start with guitar position in a seating
or standing position and just teach the names of open strings or you may begin with violin on the
shoulder after putting on sponges. Go slowly. Insist that students respect people and instruments.
6. Other ideas:
Vary class activities between sitting & standing, playing & rote activities, doing & listening
Write songs for transition times, such as Tighten your bow when you want to play, loosen
your bow when you put it away. The students can sing while they work!
Get out violins and dismiss class by rows
Invite students to open their cases. Cannot open until invited
You are invited to tighten your bow and put on your sponges
You are invited to quietly stand and show me you are ready for class
I am waiting to see that everyone is ready to start
Feet, V, Violin foot forward
You should stand at the end of the first row where they can see you over the end of their
violin- for better posture
A sample number routines for violin position1.
Rest position, bow at side
2.
violin out to side
3.
turn up
4.
look at it
5.
set it on the top of your shoulder
6.
set your chin up and over
Use a seating chart use post it notes with each name are good for switching it up.
Use giant finger charts- on wall or board. Contact the Fine Arts Coordinator to request these.
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7. Instructional Methods: use a rote method in 4th grade. Use finger charts on the board/wallTeach songs by sections (I.E., Twinkle burger). Continuous review is essential to building solid skills.
Practice Routines:
Echo fingerings
Sing fingerings
Silent fingerings
Bow in air
Bow on open string
Pizzicato
Suggested Time Line for Fourth Grade Violin
September
Pizzicato the open strings
Pop Goes the Weasel*
Teach first Twinkle rhythms (variations A, C and D) on E and A without bow.
Introduce bow hold
Im a Little Monkey Song (on E string first, then A)
Open String Hoedown*
October
Bow on the string
String crossings
Im a Little Monkey on A and E
Continue bow hold work
Bow rhythms
Twinkle variations with bow added
Completion of the A Major scale
November
Thanksgiving- Is a good benchmark to have all Twinkle Variations learned (Mississippi stop- stop,
Mississippi- Mississippi, Run Pony, and theme)
Continue work with bow rhythms
French Folk Song (in key of A)
December
Jingle Bells*
Hot Cross Buns
January
When returning from winter break, a review of all songs already learned is recommended
Lightly Row
Review of all Twinkle variations and theme
February
Hot Cross Buns *on all four strings
French Folk Song *(in key of D)
Recruitment for fifth grade Strings classes
March
Lightly Row
Happy Fiddlin*
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April
Concert preparation
Add fun songs to repertoire*
(Flintstones, simple fiddle tune such as Bile em Cabbage)
May
Concert preparation
Review of all songs learned
Final student assessments
*Optional repertoire
Textbook: Essential Elements 2000, Book 1 (students purchase their own)
In 5th grade, Rockwood offers the second year of violin instruction and the first year of viola, cello, and
bass. The 5th grade program is an elective for the students. However, participation is very high in
most schools. The program is taught with 2 or 3 string teachers in the building, dividing the classes by
high strings and low strings. Each teacher should have their own teaching space.
The 2 or 3 string classes taught should be divided into same instruments. A sample model would be:
5th grade violin class teacher A
5th grade combined violin/viola class teacher B
5th grade cello/bass class- teacher C
This division may depend on the number of students enrolled for each instrument. The lead teacher in a
building makes the decision regarding class assignments, in collaboration with team members.
The 5th grade violin/viola class will proceed with learning more advanced Suzuki repertoire in Suzuki
Book 1, which may include Perpetual Motion and Minuet 1. The violin class also proceeds to the
Essential Elements Book in early fall to teach music reading skills.
The 5th Grade viola, cello, and bass classes are taught with a combined Suzuki Essential Elements
book approach because the students are beginners on their instruments. The skills and repertoire
learned in 4th grade violin are taught in an accelerated manner to these students in the fall of 5th grade,
while the use of the Essential Elements book may be postponed until later in the fall when basic
playing concepts and beginning Suzuki repertoire have been mastered.
Practicing outside of the class is an important component and it is suggested that students practice a
minimum of 60 minutes per week.
Flash Cards are highly recommended for note reading.
Other pearls of wisdom
Give all vital telephone numbers and schedules to each school secretary
Fill out and sign emergency (green) cards for nurse at every building
Check out keys to your room from the school secretary
If you are having any travel problems, be sure to phone ahead to your next building.
You may need a parking sticker if you assist at one of the high schools.
Be on time with your classes. It is very important to be professional about this.
Dont run over time you must stop promptly. Be sure to allow enough time for the students to put
their instruments away. Classroom teachers appreciate this. It will help build positive
relationships.
Read the school calendar each week in the staff bulletin. Note assemblies or special programs that
will affect your class schedule. Sometimes your classes will be cancelled for special events.
345
If an assembly is to take place during your Strings time, you take your class to the assembly and
remain with them through the duration of your class time. Be positive about this. Support all
school activities.
If you can, have a full size instrument for yourself at each school to use instead of carrying your
own instrument. This will minimize what you have to carry and Rockwood will not cover repair
of your personal instrument.
Communication with parents is VITAL! You may want to initiate a Strings newsletter to go home
monthly or bi-monthly. Be sure to communicate often about class expectations and upcoming
events. Make good news phone calls as well as concern calls. Write a String article of the
month for school newsletters.
Get permission slips well in advance for any trip or concert that takes students off the school
campus.
Follow-up on students who want to quit. Talk with the student, classroom teacher, and parent.
Encourage participation for the full year. Work with principal on building policy on this issue.
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Infinite Campus Report Cards for Grades 3, 4, and 5

Each student will receive formal assessment scores in four categories during second and
fourth quarters. Infinite Campus report card prompts will be:
Demonstrates music performance techniques

May include assessments from CCO I
Demonstrates an understanding of the elements of music

May include assessments from CCO II, CCO III
Responds to music, its history, and relates it to other disciplines

May include assessments from CCO III, CCO IV, CCO V
Non-Academic Indicators
Follows directions, completes work, cares for equipment
The Infinite Campus system will allow the input of individual student comments.
347
Student
Name
Sing Rep.
Improvise - rhythm
Improvise - melody
Ensemble
Repertoire
Bowing
Bow Hold
Left Hand
Violin Position
Stance
Tone
Total
Composition
Total
Musical Form
Personal Response
Critique
Total
Folk Music/Art
CCO IV
Total
History/Culture
CCO III
Sound Science
CCOII
Final Grade
348
Reading/Charts
CCOI
A scale
3rd Grade Violin Learning Targets

CCO V
Total
Student
Name
Sing-P5, M2, m2
Improvisation
Ensemble Playing
Repertoire
Bow Hold
Bowing
Left Hand/Arm
Instrument Position
Sitting/Standing
Tone
Total
Total
Musical Form
Personal Response
Critique
Total
Music//Science
CCO IV
Total
History/Culture
CCO III
Music/Art
CCOII
Final Grade
349
Composition
CCOI
Music Reading
D Scale
4th Grade Orchestra Learning Targets

CCO V
Total
Student Name
Sing Scale
Improvise
Ensemble
Repertoire
Bowing
Bow Hold
Left Hand/Arm
Instrument Position
Sitting/Standing
Tone
Total
Composition
Total
Musical Form
Personal Response
Critique
Total
Music/Language Arts
CCO IV
Total
History/Culture
CCOIII
Music/Art
CCO II
Final Grade
350
Music Reading
CCOI
C, G, D scales
5th Grade Orchestra Learning Targets

CCOV
Total

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ROCKWOOD

May, 2003 Orchestra Curriculum 4-12 Approved by Board of Education

Elementary School Orchestra Writing Committee

Parent and Student Review Committee

ROCKWOOD SCHOOL DISTRICT MISSION STATEMENT

ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS

With positive self-worth

Who demonstrate critical thinking and

Who demonstrate verbal,

Who demonstrate the

Who can utilize community

Who think and express

With skills and attitudes

Who have a broad

Who understand the value of

Who understand and

Who understand the principles

Who understand and

With effective skills in written

Who demonstrate individual

DIFFERENTIATION AND ORCHESTRA

ACCELERATION AND ORCHESTRA

BASIC AND ESSENTIAL SKILLS

EQUITY IN TEACHING ORCHESTRA

Data Driven Teaching Learning Model

Department of Curriculum and School Leadership

ROCKWOOD ORCHESTRA RATIONALE

Graduates of the Rockwood Orchestra Program will:

Recognize through aesthetic awareness that music is a part of all humanity.

Acquire skills necessary for life-long music learning and application.

Prepare and present a musically proficient performance, alone or in an ensemble.

Make knowledgeable and discriminating judgments about music.

Understand the relationship of music to other arts and to non-arts disciplines.

Expectations for Care of Stringed Instruments, Grades 3-12, CCO I

Expectations for Rehearsal, Grades 3-12, CCO I and CCO II

Expectations for Independent Practice, Grades 4-12

CORE CONCEPTUAL OBJECTIVES FOR GRADES 3-12 ORCHESTRA

Scope and Sequence

CCO I. Students will use performance skills to express musical ideas.

CCO I. Students will use performance skills to express musical ideas.

Grade Seven - Cadet

Grade EightConcert Orchestra

CCO II. Students will demonstrate elements of music.

Reading skills: adagio, con sordino, fortissimo, largo, marcato, martel,

CCO II. Students will demonstrate elements of music.

Reading skills: allargando, agitato, attaca, cadenza, concertino, ripieno, dolore,

CCO II. Students will demonstrate elements of music.

Grade EightConcert Orchestra

CCO II. Students will demonstrate elements of music.

Respond to and critique a performance based on playing position, sound quality,

ABA, Theme and Variations

Baroque Suite, Fugue, Concerto Grosso

Students will make connections between music and visual art.

Compare and contrast music and art of the Baroque period.

Students will compare and contrast Romantic music and dance.

Students will compare and contrast Baroque music and architecture.

B. Connections with non-arts disciplines

Compare and contrast 17th century music and technological/scientific ideas.

Students will compare and contrast Baroque and Classical music.

Students will compare and contrast Classical and Romantic music.

Third Grade Violin

Overview of Content and Skills for Third Grade Violin