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MUSIC 512

FULL YEAR
CURRICULUM

Madison Hines
Fall 2019

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Table of Contents

Middle School Program Goals ........................................................................................................ 3

8th Grade Band ................................................................................................................................. 4

Course Description ...................................................................................................................... 4

Course Goals ............................................................................................................................... 4

Course Objectives ........................................................................................................................ 4

Scope and Sequence ........................................................................................................................ 5

Unit 1 ........................................................................................................................................... 5

Unit 2 ........................................................................................................................................... 5

Unit 3 ........................................................................................................................................... 5

Unit 4 ........................................................................................................................................... 6

Performance 1 Overview – Welcome Back Concert ....................................................................... 7

Sample Lesson for Unit 1 ............................................................................................................ 8

Performance 2 Overview – Holiday Concert ................................................................................ 10

Sample Lesson for Unit 2 .......................................................................................................... 11

Performance 3 Overview – Festival and Chamber Ensembles...................................................... 13

Sample Lesson for Unit 3 .......................................................................................................... 15

Performance 4 – End of Year Concert .......................................................................................... 17

Sample Lesson for Unit 4 .......................................................................................................... 18

Assessment Overview ................................................................................................................... 20

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Middle School Program Goals
1. Achieve a high level of performance from all ensembles at various stages of musical
learning.
2. Provide students with a strong musical foundation – through performing, listening, and
creating – that prepares them to continue to be successful in high school band.
3. Expose students to a variety of music styles and genres through performance and
listening to allow them to gain a more well-rounded knowledge base of music.
4. Promote the development of musical literacy through the use of warm-ups, full band
pieces, chamber ensemble music, and instrumental etudes.
5. Develop practice skills that allow students to improve as individual musicians and
ensemble members.
6. Develop student abilities to self-assess and error detect in order to make improvements
on an individual, section, and ensemble level.
7. Provide a variety of opportunities for performance, including formal performances,
informances, community outreach, small ensembles, and solo opportunities.
a. Development of performance etiquette and performance preparation
8. Develop beginning skills in improvisation, arranging, and composing.
9. Promote awareness of the social, emotional, and cultural impacts of music through the
study of music history and music theory.
10. Develop important personal skills through musical experiences, including respect,
responsibility, teamwork, work-ethic, communication, and personal expression.
11. Promote a safe learning environment that is based in the growth mindset that promotes
continual learning through both successes and failures.

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8th Grade Band

Course Description
8th grade band is the final course offered to students in the middle school band program. This
course is largely focused on preparing students for high school band and providing them with
the skills that they need to be successful before moving onto this stage in their middle school
career. Students are expected to have their parts prepared for rehearsals using the practice
skills that they have developed through 6th and 7th grades. Students will begin to examine more
in-depth concepts of music history and theory, and will be expected to perform in at least one
additional small ensemble.

Course Goals
1. Prepare students with the skills that they need to be ready for and successful in high
school band.
2. Develop musical literacy in all twelve major keys, and both simple and compound meter.
3. Familiarity with multiple musical styles, including marches, ballads, jazz, Latin, and
multi-movement works.
4. Continued development of practice skills and methods in order to prepare adequately
for performance.
5. Experience playing in both large and small ensembles.
6. Develop listening skills that allow students to identify tonality, style, and instrument
timbres.

Course Objectives
1. Students will achieve a high level of technical proficiency and musical literacy on their
instrument to perform selected repertoire
2. Students will analyze different musical styles and their effect on the listener through
chosen literature for performance and listening units (Unit 1).
3. Students will develop a fundamental routine for their instrument that promotes
productive, effective, and relevant practice.
4. Students will develop independent playing skills, leadership skills, and musical
awareness through participation in small ensembles.
5. Students will develop strategies to effectively evaluate individual and ensemble
performances in order to promote growth.
6. Students will create the repertoire list for their final concert based on their knowledge
of musical styles, listening units, and personal preferences.

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Scope and Sequence

Unit 1
• Review of 7th grade concepts
• Fundamentals
o Tone: Remington exercises, Saucedo exercises, Chorales
o Technique: Scales (Bb, F, C, G), Chromatics
o Articulation: Review articulation syllables,
• Practice Skills
o Developing a routine
o Techniques for breaking down challenging passages
• Performing contrasting sections with the appropriate style
• Balance and blend within the ensemble

Unit 2
• Fundamentals
o Tone: Chorales, Intro to Breathing Gym, Saucedo exercises
o Technique: Scales (add D, A, Eb, Ab), Chromatics
o Articulation: Jazz articulations, light articulation over technical passages
• Self-reflection on past concert block
• Introduction to the jazz style within concert band
o Opportunities for student-led activities and student leadership
o Basic improvisation
• Practice skills
o Managing a schedule
o Practicing with others

Unit 3
• Fundamentals
o Tone: Chorales, breathing techniques, Remingtons, Saucedo exercise
o Technique: Scales (add E, Db), exercises developed from pieces
o Articulation:
• Chamber music skills
o Choosing appropriate literature
o Working with others
o Independent preparation without a conductor
• Expression through sacred-influenced music
• Part independence and ensemble awareness
• Practice skills
o Developing technical and physical endurance over long passages
o Recording practice sessions and listening to them

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Unit 4
• Fundamentals
o Tone: Chorales, Saucedo exercises, Breathing techniques
o Technique: Scales (add B, F#), exercises developed from pieces
o Articulation: Various exercises based on the literature that students select
• Self-reflection on chamber ensembles and festival performance
• Supporting reasoning for musical tastes
• Student leadership through choosing and leading certain sections of the music
• Practice techniques
o Maintaining your skills over the summer for HS band
o Balancing preparation for many challenging pieces

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Performance 1 Overview – Welcome Back Concert
Blue Ridge Celtic Air and Gently Touch Pink Lemonade -
Pieces Impressions – Dance – arr. the Sky – Weidt, arr.
Balmages Sweeney Sheldon Conorno
• Performing • Performing • Performing • Independent
contrasting styles contrasting with part playing
within one piece (C, styles expression (P, C)
A) within a through • Form and
Skills/Elements • Blending with piece (C, long style
Addressed different sections in A) phrases (P, characteristics
(Physical, the ensemble (P, A) • Playing in A) of a circus
Cognitive, • Chromatic scale major and • Blending march (K)
Affective, work (K, P) minor keys with • Chromatic
Knowledge) • Variety of stylistic (K, P, C) different scale (K, P)
playing (P, C) sections in
• Form (C) the
ensemble
(P, A)
Styles, • Thematic/Cinematic • Music • Ballad • Circus March
Historical music from the • Originally
Celtic composed for
Periods, and
culture banjo in 1921
Cultures • Folk
addressed melodies
• MU:Pr4.1.E.8a
National • MU:Pr5.3.E.8a
Standards • MU:Re7.2.E.5a
• MU:Pr4.3.E.5a

Rationale
The primary purpose of this concept is to use pieces that will review 7th grade concepts and also
provide a foundation for what is going to be learned in 8th grade band. I chose the piece, Pink Lemonade,
for this concert since one of the styles that will be emphasized in 8th grade band is marches. This will
introduce students to the circus march form, characterized by fast tempos, chromatic passages, and
independent playing. This arrangement provides students with exposure to this style in a way that is both
challenging and achievable. Pink Lemonade continue to develop students’ technical facility on their
individual instruments. Through discussion and journaling, students will describe the circus march style
and its characteristics to their peers. They will also engage in listening activities that provide them with
further examples of pieces in the circus march style.

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Sample Lesson for Unit 1
8th Grade Band
Unit 1
Celtic Air and Dance (Sweeney)
Lesson #1

Objectives
1. Students will sing the unknown melody, The Parting Glass, on solfege with less than two errors
in pitch and rhythm.
2. Students will us Warm-Up #1 to perform The Parting Glass melody on their instruments with
80% accuracy in pitch and rhythm.
3. Students will play measures 6-24 of Celtic Air and Dance with 80% accuracy in pitch and
rhythm.

Standards
• MU:Pr4.1.E.8a
• MU:Pr6.1.E.8a

Materials
• Smartboard/Projector
• The Parting Glass melody written/projected on the board
• Warm-Up #1
• Sheet music for Celtic Air and Dance

Sequence
• Warm-Up
o Ss will begin by playing Remington exercises to focus on good tone and using the correct
air.
o Scale of the Day: Eb Major/C minor
§ Students will play the scale in the “slur up, tongue down” pattern. Draw
connections between the key signatures in both and connect it to relative minor.
• Activity 1 – Learn the melody on solfege
o T will display melody on the screen and will ask students to come write in the solfege on
the different measures (some measures repeat the same syllables so ask them to fill in
both to save time). T will lead with these questions:
Solfege for "The Parting Glass"
§ What key are we in? How do you know? (C minor – ends on C)
§ What syllables change in minor keys? (Me, Te/Ti)

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Ms. Hines

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 o Once the solfege is complete, T will ask if any changes need to be made
o Ss will sing through the melody on their respective line after all of the solfege has been
filled in.
o T will isolate any measures that present struggles
o Once the class has sung through with less than two errors, T will ask students if any of
them know this melody
o Ask what they know about it, where they have heard it, what it makes them think of
o Assessment: Can Ss sing through The Parting Glass melody with accurate rhythm and
solfege with less than 2 errors?

• Activity 2 – Play Warm-Up #1 for Celtic Air and Dance

o Ss will ready from Warm-Up #1 which has the same melody that they sang written out
for their instrument. Percussion will also have rhythms in their warm-ups that can be
found in the piece
o Ss perform with accurate pitch and rhythm, but also good ensemble sound and a full tone
(connect to tone exercises done at the beginning of the lesson)
o Assessment: Can Ss perform Warm-Up #1 with 80% accuracy in pitch and tone?

• Activity 3 – Perform mm. 6-24 in Celtic Air and Dance

o Ask Ss to pull out Celtic Air and Dance and go to mm. 6
o Play through the first phrase and ask Ss what they notice
§ Ss should respond that the melody is the same
o Continue to play through the passage, asking all of the non-melody parts to support the
melody with their lines
§ Clarify any non-melody rhythmic issues by asking Ss to sing or count aloud
o Assessment: Can Ss play through measures 6-24 with 80% accuracy in pitch and rhythm?

Assessment
During this process, the teacher will be using observation and listening to determine if students are
correctly playing the pitches and rhythms for this piece. Through the solfege activity, the teacher will
assess if students understand solfege for minor keys as they write the responses on the board. As the
students sing through the activity, the teacher should walk around the room to make sure that all students
are singing with correct pitch and rhythm.

Evaluation
1. Was my instruction clear for the solfege syllables?
2. Did I model good singing using solfege?
3. Was my pacing appropriate for the group?

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Performance 2 Overview – Holiday Concert
March of the Belgian
Call of the Wild - Good King Swings! –
Pieces Paratroopers – Leemans,
Balmages arr. Hodges
arr. Swearingen
• Articulations • Performing in the • Performing in the
necessary for European march style (K, swing style (K, P)
fanfare passages (P) P) • Jazz articulations and
• Knowing your role • Performing contrasting scales (K, P)
Skills/Elements as melody or styles within one piece (C, • How arrangements
Addressed harmony (P, C, A) P) can change the way
(Physical, • Using a storyline as • Performing in a light, that we perceive
Cognitive, a foundation for the delicate style (P) music (A)
Affective, form of the piece • Using dynamic contrast to • Improvisation
Knowledge) (C, A) contribute to the character techniques (C, P)
of the music (P, A) • Opportunities for
student leadership
teaching concepts (C,
K)
Styles, • Fanfare • European March • Holiday Music (folk
Historical • Thematic/Cinematic • Composed in 1934 melodies)
Periods, and music • Belgian composer • Jazz style
Cultures
addressed
• MU:Pr4.3.E.8a
National • MU:Cr3.2.E.8a
Standards • MU:Re7.2.E.8a
• MU:Pr6.1.E.8a

Rationale
This concert will most likely occur during December for a winter concert. Even though it features
fewer pieces, it will tackle more challenging pieces with different styles and technical demands. The
holiday piece that will be featured by this ensemble will be, Good King Swings!, which is a jazz
arrangement of two Christmas tunes, “Good King Wenceslas” and “While Shepherds Watched their
Flock.” This will provide students with exposure to the jazz style. During rehearsals, students will spend
time with warm-ups and exercises that address the various components of jazz, including jazz scales,
swing style, articulations, and improvisation. Students will be given the opportunity to improvise solos
over 8-bars in an inserted section of the piece. Leadership opportunities will be provided to those students
that are already in jazz band when teaching this piece. They will have the opportunities to teach or
demonstrate concepts to help their fellow band members become proficient in a new musical style.

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Sample Lesson for Unit 2
8th Grade Band
Unit 2
March of the Belgian Paratroopers (Leemans/arr. Swearingen)
Lesson #5

Objectives
1. Students will perform with contrasting dynamics throughout the sections of March of the Belgian
Paratroopers.
2. Students will provide feedback to their peers about the effectiveness of their dynamic contrast
from outside the ensemble using a scale of 1 – 5 with reasoning.
3. Students will listen to different recordings of the piece, March of the Belgian Paratroopers, and
journal about their use of dynamic contrast using a bulleted list or short paragraph.

Standards
• MU:Pr4.1.E.8a
• MU:Pr6.1.E.8a

Materials
• March of the Belgian Paratroopers sheet music
• Chorale Books (for Warm-Ups)

Sequence
• Warm-Up
o Scale work: Ss will play their Eb, Bb, and Ab scales on patterns that focus on light
articulation (staccato articulation)
o Chorales: From the Chorale books, Ss will perform a Chorale that focuses on dynamic
contrast
• Activity 1 – Identify contrasting sections of the piece
o If not completed already, Ss will give names/rehearsal markings to the contrasting
sections of the piece.
o T will ask them to identify the dynamics in the first section after the introduction
§ Ss will mark any dynamics that they were not previously aware of by circling or
writing in the markings
o After identifying the sections, Ss will perform these sections with appropriate dynamic
contrast
o Continue to do this process with the remainder of the sections in the piece. Discuss the
following:
§ How do we heighten our dynamic contrast? (Louds louder, softs softer; sudden
changes; not telegraphing)
§ How do we create dynamic contrast and maintain balance at the same time?
o Assessment: Can students perform with noticeably contrasting dynamic shifts that are
musically appropriate for the piece?
• Activity 2 – Student evaluation of ensemble dynamics
o T will ask Ss two at a time to step out of the ensemble and listen
o The ensemble will perform two sections of the piece and Ss will listen to see how they do
with dynamic contrast

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 o T asks student listeners, “On a scale of 1 – 5 (1 being no dynamic contrast to 5 being
exceptional dynamic contrast), where did we fall? Justify your rating.”
§ Ss will respond and justify their reasons.
§ T will ask for suggestions on how the student listeners think that they can
improve
o Repeat this process for 2-3 rounds of student listeners to provide feedback
o Assessment: Do students provide constructive and justified feedback about dynamic
contrast? Does the ensemble respond to their suggestions and make adjustments
afterward?

• Activity 3 – Listen to different recordings of the piece with dynamic contrast

o https://open.spotify.com/track/3WHfEa2sBgzcAe6hetsm2F?si=FoTxMJSzQGmMc6voks
HmBQ
o https://open.spotify.com/track/60C2N68gDrko0SlJuh7P33?si=iBSa0u1OTD-
XgLfktjz5Ag
o https://open.spotify.com/track/6ggTlsQW3IZ2cSgh9H7wg8?si=H62G9ApKRMK3ntHF
Q1pmJw
o Using their band journals, Ss will write down observations about dynamic contrast in the
various ensembles. They are also welcome to write about other musical characteristics or
stylistic choices that they observed.
o At the end of the listening, Ss will determine which of the recordings best demonstrated
dynamic contrast and reasons behind their choice.
o Assessment: Do students write observations and reasoning for their chosen recording’s
demonstration of dynamic contrast?

Assessment
Throughout this lesson, student assessment and journaling are used as the primary form of assessment.
Both of these focus on encouraging the students to make musical decisions and support their reasoning
with evidence. This is done through speaking and writing. The teacher will use listening and observation
to determine if the ensemble is accurately applying student comments and suggestions to performance.

Evaluation
1. What vocabulary do students still need to help them justify their musical decisions?
2. Were students engaged in the listening process and actively writing down observations?
3. What other analogies can I use to help describe dynamic contrast?
4. Did I support all learning styles through the description of dynamic contrast?

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Performance 3 Overview – Festival and Chamber Ensembles
American Folk
Into the Clouds! - Salvation is Created -
Pieces Rhapsody No. 1 -
Saucedo Chesnokov, arr. Brown
Grundman
• Driving rhythmic • Theory elements and how • Performing
ostinatos (P) the contribute to the mood contrasting styles
• Advanced ensemble and message (C, A) within one piece (C,
independence (P, C) • Sustained lyrical playing P)
• Musical expression with powerful dynamic • Technical and
Skills/Elements while maintaining contrast (P) physical endurance
Addressed vertical alignment • Ensemble balance and throughout an
(Physical, (P) blend (C, P) extensive piece (P)
Cognitive, • Percussion blend • Connections between this
Affective, and alignment with arrangement and the
Knowledge) the ensemble (P) original work (C, A)
• Self-evaluation and error detection as an individual and a section (P, C)
• Historical significance as it relates to style, musical decisions, and instrumentation
(C, A)
• Student driven musical choices, approaches, and interpretations are communicated
in small and large ensemble settings (C, A)
Styles, • Concert Opener • Music from the Russian • American Folk Songs
Historical culture (1912) • Standard Band
Periods, and • Music with sacred Repertoire (1948)
Cultures influences
addressed • Choral transcription
• MU:Pr6.1.E.8a
National • MU:Pr5.3.E.8a
Standards • MU:Re9.1.E.8a
• MU:Re8.1.E.8a

Chamber Ensemble Pieces

Skills/Elements • Advanced part independence (P, C)
Addressed • Student leadership through chamber playing (C, A)
(Physical, • Professional music skills (C, A)
Cognitive, • Student driven musical choices, creative approaches, and interpretation ideas (C,
Affective, A)
Knowledge)
Styles, • Depending on the repertoire that is chosen, students will cover a variety of
Historical historical periods (baroque to modern) and styles. This can be found through brass
Periods, and quintet/ensemble music, woodwind quartet/ensemble, percussion ensemble, or
Cultures mixed ensembles determined by the students
addressed
National • MU:Re7.1.E.8a
Standards • MU:Pr4.1.E.8a

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Rationale
During this concert block, the ensemble will be preparing for festival by playing a variety
of works that demonstrate different styles and genres of music. One of the pieces that I chose is
American Folk Rhapsody No. 1 by Clare Grundman. This is a major work that would give
students the experience performing and preparing a multi-movement like work to prepare them
for the pieces that they would play in high school. The piece addresses many technical skills and
the importance of changing musical character as each folk song changes. Students would gain
historical knowledge about American folk music and how it is arranged into this work. In
addition, they would also gain knowledge about the history of modern school bands, since
Grundman wrote many pieces designed specifically for this type of ensemble.
Since festival is often a tedious period, I felt that this would be a good opportunity to
introduce chamber ensemble works as well. This will give students the chance to express their
own creativity and develop leadership groups by working in a small ensemble. Students will be
responsible for choosing their ensemble members and then will be guided by the teacher in
selecting music that is appropriate for the instrumentation and skill level of the group. Students
will be given class time to work in their small ensembles and a day will be dedicated for
allowing them to perform for each other after contest. Some of the most impactful musical
experiences that I have had have been in chamber ensembles, and I believe that it is important for
students to have exposure to this early so they can learn and benefit from all that small
ensembles have to offer.

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Sample Lesson for Unit 3
8th Grade Band
Unit 3
Salvation is Created (Chesnokov, arr. Brown)
Lesson #6 (close to performance)

Objectives
4. Students will perform a full run of Salvation is Created, focusing on 90% accuracy in all
musical elements and simulating all aspects of the contest performance.
5. Students will listen to a recording of their performance and critically reflect on the
performance through class discussion.
6. Students will write about what this piece means to them and how they can transfer their
emotions through their performance at contest in at least one paragraph.

Standards
• MU:Pr6.1.E.5b
• MU:Cn11.0.T.8a

Materials
• Recording device
• Student Band Journals

Sequence
• Warm-Up
o Simulate the warm-up that will happen at contest
§ Remington exercises
§ Articulation exercises on scales
§ Basic chorale
• Activity 1 – Perform a performance run of Salvation is Created
o T will ask students to pull up Salvation is Created and treat the following run like
a performance
o T will simulate all aspects of a performance, including entering the stage, stepping
onto the podium, playing the piece, and bowing afterwards
o T will record their performance so that students can listen to it in activity 2
o Assessment: Does this performance run almost exactly the same as the contest
procedures?

• Activity 2 – Listen to the recording and provide verbal feedback

o T will play recording for students and ask them to reflect on their run through
using the following questions:
§ What went well?
§ What needs to be improved?
§ What needs to be done to get to the next level?

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 o T asks Ss to share their responses in pairs
o Ss will share their responses to these questions in a discussion with the whole
class. T will engage as many students as possible through these discussions.
o Assessment: Do students provide meaningful feedback in pairs and large group
discussion?

• Activity 3 – Write about emotional connections and how these can be transferred
through the performance
o Using their journals, Ss will respond to the following question:
§ What does this piece mean to you and what emotional connections do you
draw to it?
§ How can you communicate your emotions through your performance of
this piece?
o Ss will be evaluated on the quality of their responses.
o Assessment: Do students provide at least one-paragraph responses to these two
prompts that relate to the piece and their individual performance?

Assessment
In the final stages of performance preparation, it is important for students to remain focused
about continually improving and not stagnating. Through reflective listening and writing,
students will focus on what they are doing well and what still needs to improve. The writing
activity will hopefully remind them of their purpose and the power of music, which will then
further fuel their performance and final preparations. This piece has a rich, meaningful history
and I hope that students will find inspiration through that if nothing else (previous lessons will
make sure to touch on the history and it’s significance)

Evaluation
4. Are my activities keeping students engaged through the final stretch of performance
preparation?
5. What can I do to take my conducting and teaching to the next level to prepare for the
performance?
6. Are my writing prompts the right balance of open-ended and constructive?

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Performance 4 – End of Year Concert
Opener Ballad Major Work March
• Forest Brook • Colors of a • American • Midway March
Overture New Day Riversongs (Williams, arr.
Pieces (Students
(Morales) (Meacham) (La Plante) Moss)
will choose one
• Winter on • Cajun Folk • Burma Patrol
piece from each
Emerald Bay Songs I (King/arr.
of the following
categories) (Silva) (Ticheli) Swearingen)
• Sun Cycles • Amparito Roca
(Balmages) (Texidor/arr.
Fagan)
Skills/Elements • Choosing a variety of pieces based on developed musical preferences (C, A)
Addressed • Justifying musical selections using appropriate musical vocabulary (C, P)
(Physical, • Advanced listening skills (C, P)
Cognitive, • Texture and how it contributes to the mood of the piece (C, A)
Affective, • Developing a practice techniques to address specific areas of need (P, C)
Knowledge) •
• Thematic • Ballad • Multi- • Eastern European
music • Piano movement March
Styles, • Overture transcription work • Spanish March
• Classic band • Thematic
Historical
literature American March
Periods, and
• Folk Songs
Cultures • Cajun
addressed Culture
• Egyptian
culture
• MU:Cn10.0.H.8a
National • MU:Re7.1.E.8a
Standards • MU:Pr5.3.E.8a
• MU:Pr4.1.E.8a

Rationale
For their final performance of middle school, I believe that it is important for the students to have
a say in what they will play on this concert. We will spend time listening to a variety of tunes from the
four major categories to determine the program for our final concert. Students will advance their sight
reading and listening skills through this process and begin to support their musical decisions using
musical terms and reasoning based on experience.
One of the tunes that will be pre-selected for this concert is Colors of a New Day. This is a
simpler ballad (since many of the other pieces that the students will be choosing from will present them
with a challenge) that focuses on creating soaring, hymn-like melodies within a simple texture of the
ensemble. Different sections get the opportunity to sing out the melody, starting out with clarinets and
horns and then moving to flutes. The affective reasoning for choosing this piece is based on the title –
since this will be the students’ last concert of middle school before they start their “new day”, I would
want them to use the music to draw connections and reflect on their time in middle school band as they
prepare for the next stage in their life.

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Sample Lesson for Unit 4
8th Grade Band
Unit 4
Sun Cycles (Balmages)
Lesson #2

Objectives
1. Students will analyze the story that the composer intended for the music through their
own research outside of class.
2. Students will perform with more dynamic contrast and sense of direction in the middle
sections
3. Students will perform the opening solo section with confidence and understanding of new
parts at 80% accuracy in notes and rhythms.

Standards
• MU:Pr5.3.E.8a
• MU:Re7.2.E.8a

Procedures (times written in minutes)

• 5:15-5:17 – Students share what they learned about Ra and Nut.
Share portion of the program notes that elaborates on their information
• 5:17-5:30 - Start at m. 36 – everyone playing
Ask, “So where are we in our journey?”
Ask, “Who is going to take us there?” – Melody
§ Work m. 36-43, connecting the melody between the two groups to make
one unified line
Ask, “Who is driving our flight?” – Percussion and low voices
§ Emphasize accenting the off beats in low voices
§ Percussion driving the groove
Ask, “Who makes the scenery more interesting?” Accompaniment
§ Don’t run separately, just add them in with everyone
Run m. 36-53
§ Can you hear the melody? Where are we going?
• 5:30-5:43 – Work on opening section with soloists (confidence and forming an overall
line)
Play m. 3-10 at a comfortable volume – focus on vertical alignment and creating a
cohesive phrase
Where are we going?

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 Add dynamic shaping, other voices balance underneath melody
• 5:43-5:45 – Reflect on what improved today, make note of what still needs work

Assessment
1. Did students provide correct information in their research about Ra and Nut that will
contribute to the musical interpretation of the piece?
2. By understanding the journey, students will begin to make more music out of the
“Journey” section instead of just notes/rhythms.
3. Soloists will play with more confidence to create a cohesive opening through accuracy in
notes and rhythms, as well as understanding of the other parts around them.

Evaluation/Reflection
1. Do we know where we’re going (and do we sound like we know where we’re going)?
2. Was I more concerned with keeping time or showing expression?
3. Was I able to keep “the drum major” out of my conducting?
4. Did I give the students the opportunities to take responsibility for the music?

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Assessment Overview
A variety of assessment tools and methods will be used throughout this course to measure student
learning and musical performance. These forms of assessment will be completed by both the teacher and
the student throughout the course.

Performance Based Assessments (Formal)

• Playing Tests
o Completed by students as assigned by the teacher. Some will be done in person and
others will be recorded.
o Purpose: Measure student development on their instrument and proficiency in important
skills/passages
o Scoring device: Rubric or checklist depending on the assignment
• Chamber Ensemble class performance
o Each student will perform in at least one small ensemble during the beginning of the
spring semester. All students will perform for their classmates and be respectful audience
members.
o Purpose: Measure student development in the chamber ensemble setting and their ability
to be a musical leader in a small setting.
o Scoring device: Rubric

Reflective Assessments
• Band Journals
o Each student will have a band journal that will be used for reflective writing prompts on
various musical topics.
o Purpose: Develop the student’s ability to define, explain, and justify musical opinions and
processes. Allow the teacher to get a more in-depth perspective of each student’s
motivation and creative thinking in band.
o Scoring device: Checklist and teacher feedback
• Student Self-Assessment
o Throughout the semester, students will be encouraged to assess themselves and the
ensemble. These will occur informally through rehearsals and personal practice.
o Purpose: Develop problem solving skills, communicate musical suggestions, develop
methods for improvement, and discuss the impacts of music through reflection.
Observation
• Throughout the course, the teacher will be observing student’s progress on their instruments, as
well as the development of their attitude and musical understandings. Student progress will be
documented through checklists and written observations made by the teacher. This process will
occur informally.

Other forms of assessment

• Paper and pencil tests: To assess student knowledge of certain concepts, such as rhythm,
articulation, musical markings, and musical styles.

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