ROCKWOOD SCHOOL DISTRICT BAND CURRICULUM GRADES 6 · PDF fileROCKWOOD SCHOOL DISTRICT BAND...
Transcript of ROCKWOOD SCHOOL DISTRICT BAND CURRICULUM GRADES 6 · PDF fileROCKWOOD SCHOOL DISTRICT BAND...
ROCKWOOD
SCHOOL
DISTRICT
BAND CURRICULUM
GRADES 6 – 12
“We do whatever it takes to ensure all students realize their potential”
Approved by Rockwood School District Board of Education
May 11, 2006
Revised February, 2008
Revised November 21, 2009
Revised March 10, 2010
1
Index
Rockwood School District Mission Statement ..............................................................4
Rockwood School District Learner Expectations ..........................................................5
Differentiation ................................................................................................................6
Basis and Essential Skills / Equity in Band/ MSIP Codes .............................................7
Data Driven Teaching Learning Model .........................................................................8
Band Rationale ...............................................................................................................9
Band Goals for Graduates ............................................................................................10
Implementation Guidelines .........................................................................................11
Expectations for Band Performance ............................................................................12
Care of Band Instruments .......................…………………………………………….12
Core Conceptual Objectives for Grades 6-12 .........………………………………….13
Band Scope and Sequence ...........................................................................................14
Middle School Band Curriculum .................................................................................26
Middle School Band Course Map ................................................................................27
Middle School Band Course Description Guide ..........................................................28
Grade Six Beginning Band ..........................................................................................29
Grade Seven Cadet Band .............................................................................................57
Grade Eight Concert Band ...........................................................................................78
High School Band ........................................................................................................99
High School Band Course Map .................................................................................100
High School Band Course Description Guide ...........................................................101
High School Concert Band ........................................................................................104
High School Symphonic Band ...................................................................................127
High School Jazz Band ..............................................................................................148
High School Guitar I ..................................................................................................170
High School Guitar II.................................................................................................194
Weighted Grade Advanced Placement Music Theory ...............................................218
Appendix ....................................................................................................................229
Fine Arts Resource Selection Evaluation Checklist ..................................................230
Rockwood Writing Guidelines ..................................................................................232
Missouri Show-Me Standards ....................................................................................235
Integrated Fine Arts Vocabulary ................................................................................243
Graphic Organizers ....................................................................................................252
Attendance Procedure for Secondary Music Programs .............................................264
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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.
Arts Curriculum Committee In-depth Study 2005/06
Middle School Writing Committee Band Teachers Lisa Blumhagen, Marvin Medcalf, John Menner
High School Writing Committee Band Teachers John Arata, Traci Bolton, Brad Balog, Matt Frederickson, Stan Minor, Scott Villines
Parent Review Committee
Toni Disano – Marquette High School
Donna Miller – Rockwood Summit High School
Usha Natarajan – Eureka High School
Janice Serati – Rockwood South Middle School
Mary Willis – Rockwood Valley Middle School
Student Review Committee
Luci Disano – Marquette High School
Shyam Natarajan – Eureka High School
Claire Serati – Rockwood South Middle School
Matt Willis – Rockwood Valley Middle School
Department of Curriculum and School Leadership
Dr. Kathy Peckron – Acting Superintendent
Dr. Cheryl Venet – Coordinator of Fine Arts
Support Staff
Mary Hunt – Fine Arts Department Secretary
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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.
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ROCKWOOD SCHOOL DISTRICT LEARNER EXPECTATIONS
ROCKWOOD STUDENTS
ARE LEARNERS:
•With positive self-worth •Who demonstrate critical
skills. thinking and problem-solving skills
in all areas.
•Who demonstrate verbal, •Who demonstrate the
quantitative, cultural, and adaptability necessary for
technical literacy. life in a changing world.
•Who can utilize community •Who think and express
resources to foster continual themselves creatively and
growth and development. appreciate the creativity of
others.
•With skills and attitudes •Who have a broad
necessary to become self- familiarity with the world
directed, life-long learners. of work to develop and
enhance their career
potentials and opportunities.
•Who understand the value of •Who understand and
effort in realizing their full appreciate the elements
educational, vocational, civic, and principles of the arts
and personal potential. and their influence on all areas
of life.
•Who understand the principles •Who understand and
of physical and emotional demonstrate individual, social,
health and the importance of and civic responsibility, including
maintaining them. a global concern, tolerance, and
respect for others.
•With effective skills in written •Who demonstrate individual
and oral communication. and social ethics.
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DIFFERENTIATION
The Band Department in the Rockwood School District recognizes that differentiation is an
important process that teachers use to enhance the learning of all students, building on their
individual strengths and level of knowledge. The Band Curriculum was written to facilitate the
incorporation of Differentiation strategies to enhance student learning. The Facilitating
Activities of each course provide flexibility to address the individual learning needs of all
students.
The chart below provides a comparison between the traditional classroom and the Differentiated
Classroom.
Traditional Classroom Differentiated Classroom
Student differences are masked or acted
upon when problematic
Assessment is most common at the end of
learning to see ―who got it‖
A relatively narrow sense of intelligence
prevails
A single definition of excellence exists
Student interest is infrequently tapped
Relatively few learning profile options are
taken into account
Whole-class instruction dominates
Coverage of texts and curriculum guides
are the focus of learning
Mastery of facts and skills out-of-context
are the focus of learning
Single option assignments are the norm
Time is relatively inflexible
A single text prevails
Single interpretations of ideas and events
may be sought
The teacher directs student behavior
The teacher solves problems
The teacher provides whole-class standards
for grading
A single form of assessment is often used
Student differences are studied as a basis
for planning
Assessment is ongoing and diagnostic to
understand how to make instruction more
responsive to learner need
Focus on multiple forms of intelligence is
evident
Excellence is defined in large measure by
individual growth from a starting point
Students are frequently guided in making
interest-based learning choices
Many learning profile options are provided
for students
Many instructional arrangements are used
Student readiness, interest, and learning
profile shape instruction
Use of essential skills to make sense of and
understand key concepts and principles is
the focus of learning
Multi-option assignments are frequently
used
Time is used flexibly in accordance with
student need
Multiple materials are provided
Multiple perspectives on ideas and events
are routinely sought
The teacher facilitates students‘ skills at
becoming more self-reliant learners
Students help other students and the
teacher solve problems
Students work with the teacher to establish
both whole-class and individual learning
goals
Students are assessed in multiple ways
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BASIC AND ESSENTIAL SKILLS
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 Band
Band 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 use a variety of teaching styles consistent with the learning styles of the cultural and
ethnic groups represented in their classrooms. This principle is not different from the principle
of accommodating a wide variety of learning styles. Different racial, ethnic, and cultural groups
have different learning styles and competent teachers provide for these learning styles as well as
other special learning needs in multicultural settings.
MSIP CODES
In order to promote equity, the Rockwood Department of Curriculum and School Leadership
uses the following codes to identify equity, use of technology, and research skills in all
curriculum documents:
GE = Gender Equity
RE = Racial/Ethnic Equity
T = Technology Skills
R = Research/Information Processing
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.
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Departm ent of C urriculum and School Leadership
Rockw ood School D istrict 2004
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ROCKWOOD BAND RATIONALE
The Rockwood band program provides the opportunity for students to develop the
technical performance skills, knowledge, and understanding of music necessary to make
music a part of their lives. Students will develop the critical thinking skills at every level
of band education, which will enable them to appreciate music on an independent level
throughout life. The critical thinking developed through band training will enhance the
development of thinking skills needed in other academic areas.
The band program assists students in developing knowledge of our musical heritage,
which is necessary to become a discerning listener and/or performer. Students learn to
make knowledgeable and discriminating judgments about the music that they hear.
Training received in the Rockwood band program will enable the students to feel
confident in their abilities to be a part of the community as amateur performers. They
will be prepared, should they choose music as a career, to enter a professional training
program in a college or conservatory. Aesthetic education gained throughout all levels of
participation in the program will enhance the individual‘s appreciation of the arts for life.
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ROCKWOOD BAND GOALS FOR GRADUATES
Graduates of the Rockwood Band 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.
Enjoy and appreciate musical performances within their historical and cultural context.
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IMPLEMENTATION GUIDELINES AND EXPECTATIONS
This document is externally aligned with the Missouri Show-Me Standards. There is
internal alignment between the objectives, facilitating activities, and assessments.
Teachers follow the Rockwood Data-Driven Teaching and Learning Model which is on
page 8 of this curriculum guide.
The band curriculum presents broad, recurring Core Conceptual Objectives (CCOs) along
with the specific, essential content and process skills taught at each grade or course level.
Teachers pre-assess to determine students‘ prior knowledge, and then differentiate
instruction to provide appropriate challenge for each student. The essential content and
skills are presented in student-friendly language as Learning Targets of daily instruction.
Essential Understandings place student learning in the context of life beyond schooling.
Facilitating Activities and Differentiation Suggestions offer teachers various models for
teaching the knowledge and skills. Teachers are expected to give students specific
formative feedback during the learning process. Students and teachers use Scoring
Guides to describe and improve student achievement. Required Application Level
Assessments (ALAs) provide evidence of student learning.
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 and the development of
consistent scoring.
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Expectations for Band Performance, Grades 6-12
Students will:
Wear appropriate concert attire as prescribed by director
Arrive promptly at designated time
Bring instruments, music and any other required equipment
Demonstrate proper concert etiquette: (HC 1E)
Be seated and ready to play
Listen to others play
Do not chew gum
Do not talk
Follow conductor‘s directions, cues, and baton (PP 2E)
Watch/listen to other players (PP 1, AP 2)
Expectations for Care of Band Instruments, Grades 6-12, GLE PP 2A
Students will handle, clean, and store the instrument by properly:
Cleaning out all condensation from body and mouthpiece of instrument
Keeping all corks, slides, valves, and other moving parts clean and lubricated
Removing from and replacing the instrument in its case
Cleaning and polishing the instrument
Keeping the instrument in good repair and playing condition with all moving parts
in good working order
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CORE CONCEPTUAL OBJECTIVES FOR GRADES 6-12 BAND
Core Conceptual Objectives in the band curriculum remain constant for grades 6-12
while content knowledge and techniques spiral to provide continuous refinement of basic
music skills. Components of musical performance can be demonstrated at levels ranging
from novice through professional. The Scope and Sequence Chart illustrates the way in
which knowledge and technical skills build within each CCO. Teachers select music
literature that is matched to levels of proficiency as the vehicle for student growth in
reading skills and performance skills of tone-intonation, technique-articulation, and
expression-musicianship. The level of difficulty is determined by the repertoire chosen at
each grade level. Asterisks indicate alignment with Show-Me Standards for Missouri
Schools.
Core Conceptual Objectives:
I. Students will demonstrate instrumental music performance skills (expression,
technique, repertoire, imitation, group playing, improvisation, and composition) through
a varied repertoire.
GLE: PP 2A-E, PP3, PP4, grades 6-12
A. Performance Skills *FA1, FA2, G2.5, G4.6
II. Students will apply knowledge and skills to read and notate music.
GLE: EM 1A-E, grades 6-12
A. Elements of Music *FA1, FA2, G2.5, G1.5
III. Students will analyze and evaluate music and musical performances.
GLE: AP1 A-B, AP2 A-B, grades 6-12
A. Musical Forms *FA1, FA2, FA3, G1.5, G1.6, G2.5
B. Analysis: *FA2, FA3, G1.5, G1.6, G2.4, G3.1
IV. Students will make connections between music and other subject areas.
GLE: IC1 A-B, grades 6-12
A. Integration: *FA4, G1.9, G3.3
V. Students will demonstrate knowledge of music history.
GLE: HC1 A-E, grades 6-12
A. Music History: *FA5, G1.9, G3.3
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Scope and Sequence
of
Knowledge and Skills
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Band Scope and Sequence of Knowledge and Skills for Grades 6-12
Content will be assessed at the grade level where it is indicated on this chart. It may be introduced earlier and reviewed/reinforced in
subsequent courses/grade levels.
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
I.A. Performance
Skills
Utilize characteristic
position and posture
Develop characteristic
embouchure for
woodwind and brass
Use characteristic grip
for percussion
Demonstrate singing
skills in an appropriate
range
Utilize breathing skills:
Two measure phrase
without breath at
moderato in 4/4 time
demonstrating
awareness of 4 measure
phrase structure
Perform Grade 1
Literature
Tune instrument to match
a reference pitch
Use steady air speed for
woodwind and brass
Perform consistent
execution of stroke for
percussion
Demonstrate singing
skills and match pitch in
an appropriate range
Utilize breathing skills:
Four measure phrase at
moderato in 4/4 time
without breath
demonstrating awareness
of a variety of phrase
structures
Perform Grade 1.5
Literature
Perform with steady
tone at various dynamic
levels (piano to forte)
Perform with consistent
execution of stick and
mallet placement for
percussion
Demonstrate singing
skills, match pitch in an
appropriate range with
dynamic control
Utilize breathing skills:
Six measure phrase at
¾ time without breath
demonstrating
awareness of a variety
of phrase structures
Perform Grade 2
Literature
Manipulate pitch, tone,
and dynamics to match
and balance section on
instrument
Demonstrate proper tone
quality, pitch accuracy
and intonation through
singing in unison and in
harmony with expression
Perform Grade 3
Literature
Manipulate pitch, tone, and
dynamics to match and
balance ensemble on
instrument
Demonstrate proper tone
quality, pitch accuracy,
intonation and dynamic
contrast through singing in
unison and in harmony with
expression
Perform Grade 4 Literature
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Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
(I.A. Performance
Skills Continued)
Play note patterns in
quarter notes MM=100,
scale patterns, thirds,
arpeggio, tonic triad
and dominant 7th
Perform Rhythms:
whole, half, quarter,
eighth, dotted quarter,
dotted half and
corresponding rests
Major Keys: Bb, Eb, F
Minor Keys: g
Chromatic: 1 octave
Echo five-note
combinations of half-
note and quarter-note
rhythmic and melodic
patterns of increasing
complexity on
classroom instruments
Play note patterns in
eighth notes MM=60,
scale patterns, thirds,
arpeggio, tonic triad and
dominant 7th
Perform Rhythms: Eighth
– quarter - eighth note
combinations, four
sixteenth notes, eighth
note triplets, eighth rest
on the beat, two sixteenth
- eighth note and eighth -
two sixteenth notes
combinations, duple
patterns in simple
syncopation
Major Keys: Ab, C
Minor Keys: c
Chromatic: 1.5 octave for
brasses, 2 octaves for
woodwinds
Echo half-note, quarter-
note, and eighth-note
rhythmic and melodic
patterns of increasing
complexity on classroom
instruments from notes of
major tonalities
Play note patterns in
sixteenth notes MM=
60, extended 6th
grade
and 7th
grade patterns
Perform Rhythms:
Quarter note triplets,
one sixteenth - one
eighth - one sixteenth
note combinations,
three eighth notes,
dotted eighth –
sixteenth and sixteenth
- eighth combinations
Major Keys: Db
Minor Keys: d, f
Chromatic: 2 octave
Echo half-note, quarter-
note, eighth-note, and
sixteenth-note rhythmic
and melodic patterns of
increasing complexity
on classroom
instruments from notes
of major and minor
tonalities
Play note patterns in
sixteenth notes MM=72
Perform Rhythm
Counting: Eighth and
Sixteenth combinations,
ties on the beat
Major Keys: G, D, A, E
Minor Keys: a, e, b, f#,
c#, b flat.
Chromatic: Full-Range
Play by ear simple
melodies (4-6 pitches) on
a melodic instrument or
simple accompaniments
on a harmonic instrument
Play note patterns in sixteenth
notes MM=88
Perform Rhythm Counting:
Sixteenth notes and rests in
compound meters
Major Keys: B, Gb
Minor Keys: g#, d#
Play by ear simple melodies
(6-8 pitches) on a melodic
instrument or simple
accompaniments on a
harmonic instrument
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Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
(I.A. Performance
Skills Continued)
Create and perform a
rhythm by combining
half notes, quarter
notes, and eighth notes
Improvise simple
rhythmic variations in a
consistent style and
meter
Compose or write a
rhythm by combining
half notes, quarter
notes, and eighth notes
Perform beginning level
time signatures,
dynamics, articulations,
and tempo markings on
instrument (see
Elements of Music)
found in Grade 1
Literature
Create and perform a
rhythmic variation on a
melody
Improvise simple
rhythmic variations in a
consistent meter with
varying style
Compose or write a
rhythmic variation on a
melody
Perform intermediate
level time signatures,
dynamics, articulations,
and tempo marking on
instrument (see Elements
of Music) found in Grade
1.5 Literature
Create and perform a
two measure melody
Improvise simple
rhythmic and melodic
variations in a
consistent style and
meter
Compose or write a two
measure melody within
given guidelines
Express, interpret, and
shape a musical phrase
Perform advanced level
time signatures,
dynamics, articulations,
and tempo markings on
instrument (see
Elements of Music)
found in Grade 2
Literature
Create and perform a
melodic variation
Improvise simple
rhythmic and melodic
variations in a consistent
meter with varying style
Compose or write a
melodic variation
Use tempo to express,
interpret, shape a musical
phrase
Perform various
combinations of simple or
compound meter,
dynamics, articulations
and tempo markings on
instrument (see Elements
of Music) found in Grade
3 Literature
Create and perform a melody
and melodic variation based
upon a given harmony
Compose or write a melody
based upon a given harmony
Use note emphasis and note
length to interpret a musical
phrase
Perform various combinations
of simple or compound meter,
dynamics, articulations (at
faster tempos), and tempo
markings on instrument (see
Elements of Music) found in
Grade 4 Literature
17
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
II.A. Elements of
Music
Interpret standard
duration and meter in
4/4, ¾, 2/4 time
signatures
Apply standard
symbols, terms, and
notation to musical
performance:
Dynamics: p, mf, f,
diminuendo/
decrescendo, crescendo
Articulations:
Accent, staccato,
characteristic tonal note
attacks, slurs
Tempo Markings:
Andante, moderato,
allegro, ritardando,
maestoso
Symbols and Terms:
Bar line, bass clef,
breath mark, duet,
double bar line,
fermata, flat, ledger
line, measure repeat,
multiple measure rests,
sharp, staff, tie, treble
clef, solo, soli, trio, tutti
Interpret standard
duration and meter in 6/8
time signature
Apply standard symbols,
terms, and notation to
musical performance:
Dynamics: pp, mp, ff,
subito, fp
Articulations: Legato,
clean note releases, tenuto
Tempo Markings:
Andantino, rallentando,
accelerando, Tempo I, a
tempo
Symbols and Terms:
Divisi, trill, cesura, z2, 2x
only
Interpret standard
duration and meter in
cut time and 2/2 time
signatures
Apply standard
symbols, terms, and
notation to musical
performance:
Dynamics: Sfp
Articulations:
Marcato, sforzando
Tempo Markings:
Lento, Vivace,
Allargando
Symbols and Terms:
Grace notes, 8va
Interpret standard
duration and meter in 3/8,
12/8, and duple time
signatures such as 5/4 and
6/4
Apply standard symbols,
terms, and notation to
musical performance:
Articulations:
Articulated slurs,
sixteenth note slur/tongue
combination, multiple
tonguing
Tempo Markings:
Grave, Allegretto, Presto,
Tempo Primo, Adagio
Symbols and Terms:
Tacet, segue, con sordino,
tremolo, rubato
Interpret standard duration and
meter in asymmetrical time
signatures, such as 5/8, 7/8
Apply standard symbols,
terms, and notation to musical
performance:
Articulations: All at faster
tempos
Tempo Markings: Largo,
stringendo
Symbols and Terms:
Mordents, turn
18
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
Identify musical forms
used in ensemble
repertoire:
First and second
endings, D.C. al fine,
D.S. al fine, repeat sign,
theme and variations,
AB (binary), ABA
(ternary) form
Identify musical forms
used in ensemble
repertoire:
Coda, D.S. al coda/Fine
Identify musical forms
used in ensemble
repertoire:
AABA song form,
fugue
Identify musical forms
used in ensemble
repertoire:
Sonata, rondo,
symphonic, jazz
Identify musical forms used in
ensemble repertoire:
Opera, ballet, musical theatre,
cantata, canon
III. B. Analysis
Use sixth grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
unison and octave
Use seventh grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
intervals of unison,
perfect fifth, and octave
Use eighth grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or
piece of music
Differentiate among
intervals of perfect
fourth, minor third and
Major third
Use Concert Band music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate a recorded
excerpt or piece of music
Differentiate among
diatonic intervals to the
octave
Use Symphonic Band music
terminology and
form/composition techniques
to describe, analyze, interpret,
and evaluate a recorded
excerpt or piece of music
Differentiate among chromatic
intervals to the octave
III. A. Musical
Forms
19
Grade
Course
6th
Grade Band 7th
Grade Band 8th
Grade Band High School I
Concert
High School
Symphonic Band
IV. A. Integration Connect note values
and time signatures in
music to fractions in
math
Explain the importance
of group participation,
perseverance, and
commitment in musical
and non-musical
settings within class
Connect music to other
arts and world cultures
Explain the importance of
group participation,
perseverance, and
commitment in musical
and non-musical settings
within school
Connect American
March and Jazz music
to other arts and
American History
Explain the importance
of group participation,
perseverance, and
commitment in musical
and non-musical
settings outside of
school
Connect music to science
in sound production (air
speed and frequency) and
technology (development
of instruments), and other
arts
List several skills learned
in ensembles and relate
them to those skills
needed in areas such as
the work force, church or
community group, and
other school groups
Connect the narrative function
of art and literature to the
communication of an idea in
Program Music
Explain how the roles of
creators, performers, and
others involved in the
production and presentation of
the arts are similar to and
different from those skills
needed in various vocations
V. A. Music History Identify characteristics
and context of Folk
music examples
Compare and contrast a
variety of music and
music-related vocations
and avocations
Identify characteristics
and context of Choral
Music
Spiritual,
Ritual, and /or
Ceremonial music
from various cultures
Describe the function of
music in various settings
and cultural events
Identify characteristics
and context of
American cultural
influences on
March
Jazz
Identify genre and style
from various historical
periods through
listening to selected
repertoire
Identify characteristics
and context of American
and British march styles.
Conclude possible origin
and/or historical period of
an aural example
Cite well-known
performers specific to
student‘s instrument
Identify characteristics of
early wind band literature (ex.
Grainger, Holst, Hindemith,
Persichetti, Reed, Grundman,
Erickson, Milhaud) and
contemporary wind band
literature (ex. Gillingham,
Ticheli, Stamp, Maslanka,
Melillo, Reineke)
Cite well-known composers
specific to student‘s
instrument
20
Weighted Grade Music Theory
CCO CCO I. A. Performance Skills
CCO II. A. Elements of Music
CCO III. A. Musical Forms
CCO III. B. Analysis
CCO V. A. Music History
Knowledge Improvisation
Error Detection
Sight-singing
Figured Bass realization
Melody Harmonization
Dictation
Error Detection
Sight-singing
Dictation
Literature-Based Listening
Score Study
Figured Bass Realization
Melody Harmonization
Score Study
Historical composition techniques
Literature Based Listening
21
Jazz Band Scope and Sequence
Grade
Course
High School
Jazz Band
I.A. Performance
Skills
Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone,
ghost, vibrato, and muted) to match and balance ensemble on instrument
Demonstrate singing skills (proper tone quality, pitch accuracy, intonation) and match
pitch in an appropriate range
Develop technique through performance of Grade 3-4 literature utilizing:
Full range on instruments
All major keys, all melodic minor, and modal
Rhythm counting: Double dotted note, sextuplets, duplets, mixed meter patterns
Multiple tonguing and articulations
Alternate fingerings
Proper technique and idiomatic patterns required for playing auxiliary
percussion instruments
Use note emphasis and note length to interpret a musical phrase
Play by ear simple melodies or phrases of increasing complexity, on a melodic
instrument or simple accompaniments on a harmonic instrument
Create and perform a melody or variation based upon a given harmony
Improvise harmonized accompaniment parts
Compose or write music using notation (whole, half, quarter, eighth and sixteenth notes
along with corresponding rests)
Perform various combinations of simple or compound meter, dynamics, articulations and
(faster) tempo markings on instrument (see Elements of Music)
II.A. Elements of
Music
Apply standard symbols, terms, and notation to musical performance:
Time Signatures: All compound duple and compound triple, and mixed meter
Dynamics: All dynamic levels (see Band 6-12 Elements of Music)
Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills, scoops, ghost,
subtone, muting marks
Tempos: All tempo ranges and styles (see Band 6-12 Elements of Music)
III.A. Musical Forms
Identify musical forms used in ensemble repertoire, such as D.C. al fine, coda, repeat
signs, first and second endings (see Band 6-12 Musical Forms)
III. B. Analysis Use Jazz Band music terminology and form/composition techniques to describe,
analyze, interpret, and evaluate an excerpt or piece of music
IV.A. Integration
Connect Jazz music and other arts to American History and America‘s original musical
heritage
List several skills learned in jazz ensembles and relate them to those skills needed in
areas such as the work force, church or community group, and other school groups
22
Grade
Course
High School
Jazz Band
V.A. Music History Compare and contrast examples of jazz styles and genres: Swing, Latin, Rock, Jazz
Waltz, Funk
Compare and contrast a variety of music and music-related vocations and avocations
Cite well-known jazz performers specific to student‘s instrument
23
Guitar I and Guitar II Scope and Sequence
Grade
Course
High School
Guitar I
High School
Guitar II
I.A. Performance
Skills
Demonstrate skills through performance in the following:
Proper body/hand/finger position
Singing skills and match pitch in an appropriate range in
first position
Standard tuning of the guitar
Demonstrate basic rhythmic notation, music reading skills within
1st position and correct body/hand/finger position through
performance of literature using the following:
Rhythm patterns: Whole note, half note, quarter note,
dotted half note, eighth note and corresponding rests.
Key Signatures: C, G, D Major
1st position Chromatic Scale
Articulations: Upstroke, downstroke
Play by ear simple melodies (4-6 pitches) on a melodic instrument
or simple accompaniments on a harmonic instrument
Create and perform a rhythmic and/or melodic variation on a
melodic phrase of three to five notes
Compose or write music with whole note, half note, quarter note,
dotted quarter note and eighth note, quarter rest, whole rest, half
rest, eighth rest
Perform beginning level time signatures, dynamics, articulations,
and tempo markings on instrument (see Elements of Music)
Demonstrate skills through performance in the following:
Proper right hand position for pick style and classical
style of playing
Singing skills and match pitch in an appropriate range
with expression in first and second position
Standard tuning of the guitar
Demonstrate rhythmic notation, music reading skills within 1st
and
2nd
position and correct body/hand/finger position through
performance of literature using the following:
Rhythm patterns: Dotted quarter note, eighth rest on and
off the beat
Key Signatures: A, E Major, and scales with movement
out of 1st position
Articulations: Upstroke, downstroke, rest stroke, free
stroke, hammer on/pull off
Play by ear moderately to advanced melodies (8-12 pitches) on a
melodic instrument or advanced accompaniments on a harmonic
instrument
Create and perform a melodic phrase based on a blues scale using
five to seven notes
Compose or write music based on the pitches of the blues scale
using whole note, half note, quarter note, dotted quarter note and
eighth note, quarter rest, whole rest, half rest, eighth rest
Perform intermediate level time signatures, dynamics,
articulations, and tempo markings on instrument (see Elements of
Music)
24
Grade
Course
High School
Guitar I
High School
Guitar II
II.A. Elements of
Music
Apply standard symbols, terms, and notation to musical
performance:
Time Signatures: 4/4, 3/4, 2/4
Tempo Markings: Andante, moderato, allegro, ritardando
Symbols and terms: Bar line, measure, ledger line, tie, pick-up
note, melodic guitar tablature, treble clef, staff, chords
Apply standard symbols, terms, and notation to musical
performance:
Time Signature: 2/2 (cut time)
Tempo Markings: Lento, Largo
Symbols and terms: Slur (Hammer on/Offs)
III.A. Musical Forms
Identify musical forms used in guitar repertoire, such as repeat
signs, first and second endings
Identify musical forms used in guitar repertoire, such as D.C. al
fine, theme and variations, AB (Binary), ABA (ternary), and song
form (AABA)
III.B. Analysis:
Utilize music terminology and form/composition techniques to
describe, analyze, interpret, and evaluate an excerpt or piece of
music in the folk and rock styles
Identify phrases and musical statements
Differentiate sharp and flat intonation with unison pitches
Utilize music terminology and form/composition techniques to
describe, analyze, interpret, and evaluate an excerpt or piece of
music in the folk, rock, 12 Bar Blues, and classical styles
Identify phrases, musical statements and musical forms
Differentiate sharp and flat intonation with two pitches
IV.A. Integration
Describe physical properties involved in producing a tone and
manipulating pitch
Explain the impact of technology on the development of music
instruments
Connect the social influences of the different American cultures
through the evolution of blues, rock ‗n‘ roll, R ‗n‘ B, swing styles,
and Latin music in popular music
Compare characteristics of two or more arts within a particular
historical period or style and cite examples from various cultures
Explain how the roles of creators, performers, and others involved
in the arts resemble and differ from one another in the various arts
disciplines
25
Grade
Course
High School
Guitar I
High School
Guitar II
V. A. Music History Compare characteristics and context of steel string acoustic, nylon
string and electric guitars
Identify music from various styles and historical periods by
comparing and contrasting selected elements of music within
pop/rock music genre
Discuss musical figures and their role as
composers/performers/innovators within pop/rock music genre
Compare characteristics and context of steel string acoustic, nylon
string and electric guitars and popular makers of various guitar
models
Identify music from various styles and historical periods by
comparing and contrasting selected elements of music within the
classical and multicultural styles
Discuss musical figures and their role as
composers/performers/innovators within the pop/rock, classical,
and multicultural styles
26
Middle School MIDDLE SCHOOL BAND
COURSE MAP
Grade 6 Grade 7 Grade 8 Beginning Band Cadet Band Concert Band
27
MIDDLE SCHOOL BAND
COURSE DESCRIPTION GUIDE
SIXTH GRADE BEGINNING BAND (full year elective)
This course is designed for students interested in beginning level instruction on flute,
clarinet, oboe, saxophone, bassoon, trumpet, French horn, trombone, baritone, tuba, and
percussion instruments (orchestra bells, xylophone, snare drum, bass drum, and other
percussion accessory instruments). Students will receive instruction on tone production,
music reading skills, basic music theory, and instrument care. Attendance at all
performances is required according to the Rockwood School District Fine Arts
Attendance Guidelines for Musical Performance.
The student is expected to provide his/her own instrument, book and supplies.
SEVENTH GRADE CADET BAND (full year elective)
Prerequisite: Successful beginning band experience and/or permission of the Band
Instructor.
Cadet Band is designed for the Seventh Grade student who wishes to continue instruction
on his/her instrument. Cadet Band builds on fundamentals taught in beginning
woodwinds, brass and percussion classes. An increased emphasis will be placed on
ensemble performance skills. Attendance at all performances is required according to the
Rockwood School District Fine Arts Attendance Guidelines for Musical Performance.
The student is expected to provide his/her own instrument, book and supplies.
EIGHTH GRADE CONCERT BAND (full year elective)
Prerequisite: Successful Cadet Band experience and/or recommendation of the Band
Instructor.
This class is designed for the Eighth Grade student who wishes to continue instruction on
his/her instrument. Concert Band builds on fundamentals taught in Cadet Band. Concert
Band is not an isolated class, but rather the commencement of a program, which
continues through Grade 12. Attendance at all performances is required according to the
Rockwood School District Fine Arts Attendance Guidelines for Musical Performance.
The student is expected to provide his/her own instrument, book and supplies.
28
Grade Six
Beginning Band
29
Grade Six Band CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to:
Characteristic position and posture
Development of characteristic
embouchure for woodwind and brass
Characteristic grip for percussion
How to sing in an appropriate range
How to utilize proper breathing skills
How to play Grade 1 literature
How to play note patterns in quarter
notes MM=100, scale patterns, thirds,
arpeggio, tonic triad and dominant 7th
How to perform rhythm patterns:
whole, half, quarter, eighth, dotted
quarter, dotted half and corresponding
rests
How to play scales in the keys:
Major: B flat, E flat, F
Minor: g
General chromatic: One octave
How to echo five-note combinations of
increasing complexity on instruments
How to create and perform a rhythm by
combining half notes, quarter notes, and
eighth notes
How to improvise simple rhythmic
variations
How to compose or write a rhythm using
Demonstrate characteristic position and posture for their specific
instrument
Demonstrate a characteristic embouchure for their specific
instrument
Demonstrate a characteristic matched grip for percussion
Demonstrate singing skills in an appropriate range
Play a 2 measure phrase without breath at moderato in 4/4 time
demonstrating awareness of 4 measure phrase structure
Demonstrate rhythmic, melodic, and harmonic precision while
playing Grade 1 literature
Demonstrate note patterns in quarter notes MM=100, scale
patterns, thirds, arpeggio, tonic triad and dominant 7th
.
Demonstrate rhythm patterns:
whole, half, quarter, eighth, dotted quarter, dotted half and
corresponding rests
Demonstrate scales in the keys:
Major: B flat, E flat, F
Minor: g
General chromatic: One octave
Echo five-note combinations of half-note and quarter-note
rhythmic and melodic patterns of increasing complexity on
instruments
Create and perform a rhythm by combining half notes, quarter
notes, and eighth notes
Improvise simple rhythmic variations in a consistent style and
meter
Compose or write a rhythm by combining half notes, quarter
30
half, quarter, eighth note rhythms
How to perform beginning level time
signatures, dynamics, articulations, and
tempo markings on instrument (see CCO
II. Elements of Music)
notes, and eighth notes
Perform beginning level time signatures, dynamics,
articulations, and tempo markings on instrument (see CCO II.
Elements of Music) through Grade 1 Literature
Unit Vocabulary: mouthpiece, steady air stream, buzz (brass), breathing, phrase, matched grip,
embouchure, steady foot beat, tonguing syllables (tah, dah, too) and articulations (see CCO II),
improvisation, half notes, quarter notes, eighth notes, phrase, time signatures, moderato, dynamics (see
CCO II.)
Pre-Assessment: Check for student‘s prior instrument instruction.
Perform an etude demonstrating note and rhythm patterns in above keys.
Play a two measure phrase without breath in 4/4 moderato at various dynamics.
Perform an etude demonstrating beginning level time signatures, dynamics, articulations, and
tempo markings (see CCO II).
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will produce a sound on their instrument that
mimics the teacher‘s demonstration
Students will play two measure phrase with dynamics
Identify note and rhythm patterns in the above keys
Students will play beginning level time signatures,
dynamics, articulations, and tempo markings on
instrument (see CCO II. Elements of Music) through
Grade 1 Literature
Demonstration
Verbal feedback from
teacher
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Students will critique themselves and peers on use of
embouchure to create proper tone on their instrument
Cooperative learning,
like-instrument
Scoring guide
Activity Strategy Assessment
Students will use a characteristic embouchure to produce
proper tone quality on their instrument
Students will demonstrate a two measure phrase with
half, quarter, and eighth notes using dynamics
Demonstrate the note and rhythmic patterns in the above
keys
Students will demonstrate beginning level time
signatures, dynamics, articulations, and tempo markings
on instrument (see CCO II. Elements of Music) through
Grade 1 Literature
Teacher and student
demonstration
Teacher/Student
Demonstration
Student
demonstration
Teacher/ Student
demonstration
Scoring Guide,
individual feedback
Teacher individually
listens to students and
provides feedback
using scoring guide
Verbal feedback from
teacher
Scoring Guide, Verbal
feedback
31
Students will critique themselves and peers on their
performance of an improvised musical phrase using
dynamics
Students will critique themselves and peers on the note
and rhythmic patterns in the above keys
Students will critique themselves and peers on their
performance of beginning level time signatures,
dynamics, articulations, and tempo markings on
instrument (see CCO II. Elements of Music) through
Grade 1 Literature
groups
Student/Teacher
Demonstration &
Cooperative Learning
Scoring Guide &
Teacher Verbal
Feedback
Differentiation Suggestions: Students who are having difficulty receive help from a student mentor.
Students with prior instruction can serve as models to students in their section.
Advanced students will be given supplementary materials.
Application Level Assessment CCO I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Demonstrate characteristic position and posture for a specific instrument
Demonstrate a characteristic embouchure for a specific instrument
Demonstrate a characteristic matched grip for percussion
Demonstrate singing skills in an appropriate range
Play a 2 measure phrase without breath at moderato in 4/4 time demonstrating awareness of 4 measure
phrase structure
Demonstrate rhythmic, melodic, and harmonic precision while playing grade level 1 literature
Demonstrate note patterns in quarter notes MM=100, scale patterns, thirds, arpeggio, tonic triad and
dominant 7th
Demonstrate rhythm patterns: whole, half, quarter, eighth, dotted quarter, dotted half and corresponding
rests
Demonstrate scales in the keys: B flat, E flat, F, one octave chromatic
Echo five-note combinations of half-note and quarter-note rhythmic and melodic patterns of increasing
complexity on instruments
Create and perform a rhythm by combining half notes, quarter notes, and eighth notes
Improvise simple rhythmic variations in a consistent style and meter
Compose or write a rhythm by combining half notes, quarter notes, and eighth notes
Perform beginning level time signatures, dynamics, articulations, and tempo markings on instrument (see
CCO II. Elements of Music) through Grade 1 Literature
32
Scoring Guide for Sixth Grade Band, CCO I. A. - Performance Skills, Part I
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Perform with correct body
posture
Feet flat on floor
Back straight
Shoulders relaxed
Chin level
Sitting at front of chair
Elbows are away from
body
One foot flat on floor;
one tucked underneath
Back leaning forward or
sideways
Shoulders raised in tense
manner
Chin raised
Sitting on front 3/5 of
chair
Elbows are extending
upward
Feet in front, but
unbalanced
Back hunching
Shoulders unbalanced
Chin partially raised or
tucked toward chest
Sitting with back
touching back of chair
One elbow extends
upward or touches side
of body
Feet wrapped around leg
of chair or crossed in
front
Back slouching
Shoulders drooping
Chin tucked into chest
Slouching on back of
chair
Elbows are touching
sides of body
Perform with a
characteristic Brass
embouchure
Corners of lips are firm
anchored in the middle
Relaxed center
Space between the teeth
Jaw as open as possible
for the note
Lips don‘t touch in the
middle
Control airspeed by
raising and lowering the
back of the tongue while
saying different syllables
(Daw)
Chin slightly drawn
back-teeth not directly
aligned
Not enough space
between teeth or too
much space
Wrong vowel
Shifting off-center
Changing pressure
Chin drawn back-teeth
not aligned
Pivoting
Teeth not separated
Corners turned out
without firmness
Puckered lips
Bunched chin
Off ―center‖
Tension in the middle of
the embouchure,
―squeeze‖
Press and smile
Clenched teeth
33
Perform with characteristic
Trumpet position
Left hand holds
instrument with 2nd
or
ring finger in 3rd
valve
ring and left thumb
wrapped on 1st valve
saddle
Right hand C shape with
fingertips on valves and
pressing straight down
with thumb between 1st
and 2nd
valve and
fingertips on valve and
right hand pinkie resting
on top of hook
Trumpet bell angled
straight (90◦)or at slight
downward (85◦) angle
Left hand wrapped
incorrectly around valve
casing with thumb
sticking up out of 1st
valve saddle or wrapping
too far to the right
Right hand C shape with
fingertips on valves
pressing at an angle or
right pinkie pointing up
Trumpet bell angling
slightly up (95◦) or down
(80◦)
Left hand wrapped with
index finger in 3rd
valve
ring
Right pinkie partially in
the hook with right hand
flat and knuckles on
valves with right hand
supporting instrument
Trumpet bell angling
down (75◦)
Left hand gripped around
bell section
Right pinkie wrapped
fully in the hook against
lead pipe and right hand
flat with incorrect angle
and knuckles pressing
valves
Trumpet bell angling at
extreme downward angle
(-70◦)
Perform with characteristic
French horn position
Left hand thumb in
trigger hook (single) and
left hand pinkie in hook
with fingers slightly
curved and evenly
spaced
Right hand is cupped
with fingers together
leaving about 50% of the
bell opening covered
Horn comes up to the player‘s
embouchure and angles
slightly away from the body
with rim of bell resting on
right thigh
Left hand thumb in
trigger hook and left
hand pinkie on top of
hook with fingers
straight or unevenly
spaced
Right hand is cupped
with fingers together, but
is too far out of the bell
opening
Horn comes up to the
player‘s embouchure but
is angled slightly away
from or in toward the
body
Left hand thumb severely
wrapped around trigger
hook with fingers
severely curved and
unevenly spaced
Right hand is cupped, but
placed too far in the bell
opening
Player bends neck
slightly to play horn
Left hand thumb not in
trigger hook and left
pinkie connected to ring
finger with fingers
unevenly spaced or
bunched
Right hand is holding
bell rim leaving the bell
opening uncovered
Player bends neck
severely to play horn;
horn is severely angled
away from or in toward
the player
34
Perform with characteristic
Trombone position
Left thumb around the
brace with index finger
wrapped around the lead
pipe and three other
fingers rest in between
pipe and brace
Right hand first joint of
first two fingers on
brace, thumb opposes;
inside of wrist faces body
Right arm movement
from elbow with bell
angled straight (90◦)or at
slight downward (85◦)
angle
Left thumb around the
brace with the index
finger wrapped around
the lead pipe, but left
pinkie is pointing
outward
Right hand uses all
fingers on brace, thumb
opposes
Right arm movement
from elbow with bell
angling slightly up (95◦)
or down (80◦)
Left thumb around the
brace with the index
finger wrapped around
the lead pipe and three
other fingers severely
wrapped around brace
Right hand fingers
clenched around brace;
inside of wrist faces
upward or downward
Right arm movement
from elbow with bell
angling down (75◦)
Left hand wrapped
around bell section
Right hand wrapped
around slide
Right arm movement
from shoulder with bell
angling at extreme
downward angle (-70◦)
Perform with characteristic
Euphonium position
Left arm wrapped around
and cradling instrument
Right hand C shape with
fingertips on valves and
pressing straight down
with thumb between 1st
and 2nd
valve (or in hook,
if provided) and right
hand pinkie floating
Horn comes up to the
player‘s embouchure and
sits on player‘s lap
Left hand left side of
horn tubing
Right hand C shape with
fingertips on valves
pressing at an angle or
right pinkie pointing up
Horn comes up to the
player‘s embouchure and
sits on player‘s lap, but
player is leaning forward
Left hand grabbing top of
horn tubing
Right hand flat and
knuckles on valves
Player bends neck
slightly to play horn;
horn sits chair
Left hand grabbing rim
of bell
Right hand flat with
fingers at incorrect angle
and knuckles pressing
valves
Player bends neck
severely to play horn;
horn sits on chair and
player leans severely
forward or backward
35
Perform with characteristic
Tuba position
Left arm wrapped around
and cradling instrument
Right hand C shape with
fingertips on valves and
pressing straight down
with thumb between 1st
and 2nd
valve (or in hook,
if provided) and right
hand pinkie floating
Horn comes up to the
player‘s embouchure and
instrument sits on chair
or stand
Left hand left side of
horn tubing
Right hand C shape with
fingertips on valves
pressing at an angle or
right pinkie pointing up
Horn comes up to the
player‘s embouchure and
instrument sits on chair
or stand, but player is
leaning forward
Left hand grabbing top of
horn tubing
Right hand flat and
knuckles on valves
Player bends neck
slightly to play horn
Left hand grabbing rim
of bell
Right hand flat with
fingers at incorrect angle
and knuckles pressing
valves
Player bends neck
severely to play horn;
player leans severely
forward or backward
Perform with characteristic
Flute embouchure
Tone hole aligned with
center of embouchure;
small, diamond-shape
aperture; corners of
mouth anchored; control
airspeed by raising and
lowering the back of the
tongue while saying the
syllable ―poo‖ or ―too‖
Tone hole slightly
misaligned with center of
embouchure; diamond-
shape aperture
occasionally correct, but
inconsistent; air stream
occasionally correct, but
inconsistent; attempting
to use correct tonguing
syllable
Tone hole misaligned
with center of
embouchure; diamond-
shape aperture is too
wide or round;
uncontrolled air stream;
inconsistent use of
tongue
Tone hole severely
misaligned with center of
embouchure; aperture
extremely spread;
incorrect angle of air
stream; no use of tongue
36
Perform with characteristic
Flute position Left hand fingers curved,
resting along third
knuckle and evenly
spaced; left thumb
positioned directly on
thumb key; left hand
pinkie over Ab/G# key;
fingers close to keys
when playing
Right hand C shaped
fingers on top of keys
and evenly spaced; right
thumb opposes index
finger; fingers close to
keys when playing
Head slightly tilted to the
right with correct
embouchure alignment;
flute angled slightly
downward with right arm
off chair; elbows away
from body
Left hand fingers curved;
extending slightly past
keys or unevenly spaced;
left hand pinkie floating
above Ab/G# key;
fingers floating slightly
above keys when playing
Right hand C shaped
fingers extending slightly
past keys or unevenly
spaced; fingers floating
slightly above keys when
playing
Head slightly tilted to the
right, but embouchure is
misaligned; flute angled
slightly upward with
right arm off chair;
elbows slightly raised or
away from body
Left hand fingers on top
of keys, severely
bunched; right thumb
protruding or thumb is
inverted
Right hand fingers on top
of keys, severely
bunched; right thumb
pointing sideways or
inverted
Head tilted too far to the
right; flute angled to far
downward; right arm on
chair
Left hand fingers resting
incorrectly on flute;
fingers overextend tops
of keys; left hand pinkie
tucked under Ab/G# key;
fingers pointing severely
above keys when playing
Right hand fingers flat,
overextending top of
keys; right thumb
severely protruding
forward; fingers pointing
severely above keys
when playing
Head turned to left with
chin/headjoint tucked
into shoulder or head is
raised too far upward;
elbows severely raised or
close to body
Perform with characteristic
Clarinet embouchure
Flat, pointed chin with
firm corners pulled back
and down; bottom lip
spread across teeth
(―shiny‖; half the ―red‖
covering the bottom
teeth; top teeth on
mouthpiece; say ―oh-ah-
ee‖ syllable for different
registers
Flat, pointed chin with
firm corners pulled back
and down at times;
inconsistent covering of
the bottom teeth; some
registers attainable
Lower jaw slightly
tucked back; loose at
corners; too much
mouthpiece in mouth
Bunched, pitted chin;
lower jaw drawn back;
very loose at corners;
lower lip puckered out;
top lip over the teeth; too
little mouthpiece in
mouth; no registers
attainable
37
Perform with characteristic
Clarinet position Left hand fingers C
shaped with pads of
fingers centered over
tone holes; left thumb
positioned directly on
thumb key and angled
approximately 30-45
degrees; fingers evenly
spaced and close to keys
when playing; fingers
over appropriate keys
Right hand fingers C
shaped with pads of
fingers centered over
tone holes; right
thumbnail correctly
aligned on thumb rest;
fingers close to keys
when playing; fingers
over appropriate keys
Bell angle approximately
45 degrees, centered
between knees; elbows
away from body
Left hand fingers C
shaped with pads of
fingers inconsistently
covering center of tone
holes; fingers evenly
spaced, but tends to pull
away from keys while
playing
Right hand fingers C
shaped with pads of
fingers inconsistently
covering center of tone
holes; fingers evenly
spaced, but tends to pull
away from keys while
playing
Bell angle slightly too
high; elbows slightly
raised
Left hand fingers on top
of keys, but flat and
bunched; left thumb
protruding or thumb is
inverted; fingers
inconsistently over
appropriate keys
Right hand fingers on top
of keys, but flat and
bunched; right thumb
protruding or thumb is
inverted; fingers
inconsistently over
appropriate keys
Bell angle slightly too
low or pulled toward
body; elbows drawn to
sides of body
Left hand fingers flat and
not centered or covering
tone holes; thumb angle
misaligned; fingers
severely bunched close
together and pointing
severely above keys
when playing; fingers
over wrong keys
Right hand fingers flat
and not centered or
covering tone holes;
thumb angle severely
misaligned; fingers
severely bunched close
together and pointing
severely above keys
when playing; fingers
over wrong keys
Bell angle severely too
high, too low, or on the
outside left or right side
of the knee; elbows
severely raised or close
to body
Perform with characteristic
Saxophone embouchure
Corners are firm
Chin relaxed
Upper teeth on
mouthpiece
Bottom lip on teeth
Oval-shaped embouchure
with 360 degree support
Corners are
inconsistently firm
Chin relaxed at times
Upper teeth not on
mouthpiece
Bottom lip on teeth
Inconsistent embouchure
support
Corners are loose
Chin flat
Upper teeth on
mouthpiece
Bottom lip not on teeth
Weak embouchure
support
Corners are severely
loose
Chin is severely tight and
clenched
Upper lip over teeth
Bottom lip turned out or
rolled over teeth
Severely weak
embouchure support
38
Perform with characteristic
Saxophone position Left hand fingers C
shaped and evenly
spaced; left thumb
positioned directly on
octave key; left hand
pinkie over Ab/G# key;
fingers close to keys
when playing
Right hand C shaped
fingers on top of keys
and evenly spaced; right
thumb under thumb rest;
fingers close to keys
when playing
Head straight or slightly
tilted with correct
embouchure alignment;
saxophone positioned to
right side of body; neck
strap height adjusted to
allow saxophone to come
to player; adjust
mouthpiece to match
head alignment; elbows
away from body
Left hand fingers C
shaped; extending
slightly past keys or
unevenly spaced; left
hand pinkie floating
above Ab/G# key;
fingers floating slightly
above keys when playing
Right hand C shaped
fingers extending slightly
past keys or unevenly
spaced; fingers floating
slightly above keys when
playing
Head position misaligned
with embouchure;
elbows slightly raised or
away from body
Left hand fingers on top
of keys, severely
bunched; right thumb
protruding or thumb is
inverted
Right hand fingers on top
of keys, severely
bunched; right thumb
―buried‖ under thumb
rest or inverted
Head tilted too far to the
right; left forearm rests
on thigh
Left hand fingers resting
incorrectly on
saxophone; fingers
overextend tops of keys
or hit side keys; left hand
pinkie tucked under
Ab/G# key; fingers
pointing severely above
keys when playing
Right hand fingers flat,
overextending top of
keys or hitting side keys;
fingers pointing severely
above keys when playing
Head tilted severely up,
left, or right; neck strap
severely too loose or too
tight causing neck strain;
mouthpiece severely
misaligned on
instrument; elbows
severely raised or close
to body
Perform with characteristic
Oboe embouchure
360 degree, even support
around reed
Lips over teeth
Lower lip ―ribbed‖
Reed laid downward
angle
Flat, pointed chin
Corners drawn down
360 degree, even support
around reed at times
Lips over teeth
Lower lip ―ribbed‖
Flat, pointed chin at
times
Corners inconsistently
drawn back
Uneven support around
reed
Puffed cheeks at times
Angle inconsistent
Lips slightly stretched
Corners too relaxed
Chin bunched
Biting reed
Lips stretched
Angle incorrect
Jaw clenched
Severely puffed cheeks
Air pockets in lower or
upper lip
Corners severely relaxed
39
Perform with characteristic
Oboe position Left hand fingers C
shaped with pads of
fingers centered over
keys; left thumb
positioned directly on
thumb key and angled
approximately 30-45
degrees; fingers evenly
spaced and close to keys
when playing; fingers
over appropriate keys
Right hand fingers C
shaped with pads of
fingers centered over
keys; right thumbnail
correctly aligned on
thumb rest; fingers close
to keys when playing;
fingers over appropriate
keys
Bell angle approximately
slightly above 45
degrees, centered
between knees; elbows
away from body
Left hand fingers C
shaped with pads of
fingers inconsistently
covering center of keys;
fingers evenly spaced,
but tends to pull away
from keys while playing
Right hand fingers C
shaped with pads of
fingers inconsistently
covering center of keys;
fingers evenly spaced,
but tends to pull away
from keys while playing
Bell angle slightly too
high; elbows slightly
raised
Left hand fingers on top
of keys, but flat and
bunched; left thumb
protruding or thumb is
inverted; fingers
inconsistently over
appropriate keys
Right hand fingers on top
of keys, but flat and
bunched; right thumb
protruding or thumb is
inverted; fingers
inconsistently over
appropriate keys
Bell angle slightly too
low or pulled toward
body; elbows drawn to
sides of body
Left hand fingers flat and
not centered or covering
keys; thumb angle
misaligned; fingers
severely bunched close
together and pointing
severely above keys
when playing; fingers
over wrong keys
Right hand fingers flat
and not centered or
covering keys; thumb
angle severely
misaligned; fingers
severely bunched close
together and pointing
severely above keys
when playing; fingers
over wrong keys
Bell angle severely too
high, too low, or on the
outside left or right side
of the knee; elbows
severely raised or close
to body
Perform with characteristic
Bassoon embouchure
Lower jaw drawn back
with overbite
Lips over teeth
Relaxed chin and jaw
360 degree, even support
around reed
Lower jaw drawn back
inconsistently
Lips unevenly placed
over teeth
360 degree, even support
around reed at times
Uneven support around
reed
Puffed cheeks at times
Angle inconsistent
Lips slightly stretched
Chin bunched
Biting reed
Lips stretched
Lower lip tucked in
Angle incorrect
Jaw clenched
Severely puffed cheeks
Air pockets in lower or
upper lip
40
Perform with characteristic
Bassoon position Fingers/thumbs above
keys and holds
Knuckles apart
Relaxed wrist
Angle left to right
Angle front to back
approximately 45
degrees
Seat strap situated
properly
Most fingers above keys
and holds
Some knuckles apart
Angle left to right is
instead upright
Angle front to back
approximately 60
degrees
Seat strap situated
properly, but inconsistent
Some fingers above keys
and holds
Knuckles occasionally
clenched
Angle front to back is
upright
Seat strap situated
improperly
Fingers not above keys
and holds
Knuckles clenched
Tense wrist
Angle is right to left
instead of left to right
Angle is back to front
Seat strap is missing
Perform with characteristic
Percussion grip
All fingers cupped
around stick with no gaps
Second knuckle as
fulcrum
Firm, but not tight
Top of hand up, palm
down Backs of hands flat
Hands held
approximately 2/3 back
from tip
Index finger ―dropped‖
Third knuckle as fulcrum
Backs of hands angled
down and out
Hands held ½ back from
tip
Two or three fingers and
thumb tips holding sticks
Grip too loose or
squeezing sticks at times
Hands slightly rotated
One finger and thumb
tips holding sticks
Grip consistently too
loose or squeezing stick
Pinkies out
Thumbs up, hands
rotated
Hands held too far back
or forward from tip
Perform with characteristic
Percussion position Snare drum height 3-4‖
below navel and angle at
elbow is 10-15 degrees
lower than horizontal
Front of drum 4-5‖ from
body
Knees flexed
Feet shoulder width
apart, toes slightly
outward, balanced stance
Snare drum height 1-2‖
below navel and angle at
elbow is slightly too high
Front of drum more than
5‖ from body
Knees flexed at times
Feet usually shoulder
width apart, standing on
balls of feet
Snare drum height 1-2‖
above navel and angle at
elbow is higher than
horizontal
Front of drum less than
4‖ from body
Knees locked at times
Feet shoulder width
apart, standing on heels
of feet
Snare drum height too
high or too low and angle
at elbow is severely
higher or lower than
horizontal
Front of drum is
extremely close or
extremely far away from
body
Knees locked all the time
Feet too close together or
too apart, unbalanced
stance
41
Scoring Guide for Sixth Grade Band, CCO I. A. – Performance Skills, Part 2
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Perform quarter note
patterns MM=100: scales,
thirds, arpeggios, tonic
triads, and dominant 7ths
(T)
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform rhythm patterns:
whole note, half note,
quarter note, eighth note,
dotted quarter note, dotted
half note and corresponding
rests
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform quarter note
scales: B-flat Major, E-flat
Major, F Major, and g
minor
Perform a one-octave
chromatic scale
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform beginning level
time signatures, dynamics,
articulations, and tempo
markings on instrument
(see CCO II. Elements of
Music)
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Fingerings and
articulations are
coordinated.
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Fingerings and
articulations are
frequently coordinated.
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Fingerings and
articulations are often
uncoordinated.
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
42
Perform a two-measure
phrase in Grade 1 literature
without breath at moderato
tempo in 4/4 time
demonstrating awareness of
a four-measure phrase
structure
Performs a three- or four-
measure phrase without
breath at moderato tempo
in 4/4 time
demonstrating awareness
of four- measure phrase
structure
Performs a two-measure
phrase without breath at
moderato tempo in 4/4
time demonstrating
awareness of four-
measure phrase structure
Takes one breath in the
middle of the phrase
Tone becomes
unsupported toward the
end of the phrase
Performs with shallow,
random breathing
Create and perform a
rhythm by combining half
notes, quarter notes, and
eighth notes
Improvisations are
creative and consistent
with the given material
Improvisations are
somewhat creative and
consistent with the given
material
Improvisations are
effective, but not
consistent with the given
material
Improvisations contain
incorrect note values
43
Grade Six Band CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to interpret standard duration and
meter in 4/4, 3/4, 2/4 time signatures
How to apply standard symbols, terms,
and notation to musical performance,
including dynamics, articulations,
tempo markings, and symbols/terms
Play music in Time Signatures: 4/4, 3/4, 2/4
Demonstrate knowledge of dynamics: p, mf, f,
diminuendo/decrescendo, crescendo
Demonstrate knowledge of articulations: Accent, staccato,
characteristic tonal note, attacks, slurs
Demonstrate knowledge of tempo markings: Andante, moderato,
allegro, ritardando
Demonstrate knowledge of Symbols and Terms: bar line, bass
clef, breath mark, double bar line, duet, fermata, flat, ledger
line, measure repeat, multiple measure rests, sharp, staff, tie,
treble clef, solo, soli, trio, tutti
Unit Vocabulary:
Time Signature: 4/4, 3/4, 2/4
Dynamics: p, mf, f, diminuendo/decrescendo, crescendo
Articulations: Accent, staccato, characteristic tonal note, attacks, slurs
Tempo Markings: Andante, moderato, allegro, ritardando
Symbols and Terms: bar line, bass clef, breath mark, double bar line, duet, fermata, flat, ledger line,
measure repeat, multiple measure rests, sharp, staff, tie, treble clef, solo, soli, trio,
tutti
Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and
symbols/terms.
Student counts and plays music written in 4/4, 3/4, 2/4 time.
Student writes music using half note, quarter note, and eighth note combinations.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify symbols and terms on their music Demonstrate Verbal & written
feedback
Application/Analysis
Activity Strategy Assessment
Students will use and apply symbols and terms to their
performance
Student
Demonstration
Verbal & written
feedback
44
Synthesis/Evaluation
Activity Strategy Assessment
Construct an original melody using half, quarter, and
eighth rhythm combinations
Modeling Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Play music in Time Signatures: 4/4, 3/4, 2/4
Play repertoire with varying dynamic markings: p, mf, f, diminuendo/decrescendo, crescendo
Perform music with varying articulations: Accent, staccato, characteristic tonal note, attacks, slurs
Demonstrate Tempo Markings: Andante, moderato, allegro, ritardando
Use Symbols and Terms: bar line, bass clef, breath mark, double bar line, duet, fermata, flat, ledger line,
measure repeat, multiple measure rests, sharp, staff, tie, treble clef, solo, soli, trio,
tutti
45
Scoring Guide for Sixth Grade Band, CCO II A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signature:
Perform literature in 4/4,
3/4, and 2/4
Reads and interprets time
signatures correctly in
4/4, 3/4, and 2/4
Reads time signatures
correctly, but misplace or
lack emphasis on strong
beats
Pauses at ends of
measures
Lacks a steady sense of
time
Unable to read and
interpret time signatures
Perform using dynamics to
express piano (p), mezzo-
piano (mp), mezzo-forte
(mf), forte (f), diminuendo,
decrescendo, and crescendo
Demonstrates clear
differences in volume at
dynamic changes
Demonstrates differences
in volume, but not
enough contrast between
dynamic levels
Demonstrates few
changes in volume at
dynamic levels
Does not demonstrate
any change in dynamics
Tempo Markings:
Define and perform
andante, moderato, allegro,
and ritardando
Reads and interprets
tempo markings correctly
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but is
unable to differentiate
between categories
Unable to maintain a
steady tempo
Unable to differentiate
between tempo markings
Tempo fluctuates
dramatically
Perform articulation
patterns: accent, staccato,
characteristic note attacks,
slurs
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Fingerings and
articulations are
coordinated.
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Fingerings and
articulations are
frequently coordinated.
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Fingerings and
articulations are often
uncoordinated.
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
46
Symbols and Terms:
Define and perform bar
line, bass clef, breath mark,
double bar line, duet,
fermata, flat, ledger line,
measure repeat, multiple
measure rests, sharp, staff,
tie, treble clef, solo, soli,
trio, tutti
Reads and interprets
symbols and terms
correctly in context
Demonstrates knowledge
of symbols and terms, but
some terms or symbols
are not performed in
context
Can explain the definitions
of terms, but does not
execute them correctly
while playing
Unable to read and
execute symbols and
terms
47
Grade Six Band CCO III. A. Musical Forms
Core Conceptual Objective III. A: Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire:
(first and second endings, D.C. al fine, D. S. al fine, repeat sign,
theme and variations, AB (binary) form, ABA (ternary) form.
Unit Vocabulary: first and second endings, D.C. al fine, D. S. al fine, repeat sign, theme and variations,
AB (binary) form, ABA (ternary) form
Pre-Assessment: Student defines music terminology related to musical forms
Student listens to and describes musical form or structure of short etude
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify first and second endings, D.C. al
fine, D. S. al fine, repeat sign, theme and variations, AB
(binary) form, ABA (ternary) form
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Synthesis/Evaluation
Activity Strategy Assessment
Students will improvise a short variation on a theme in
class
Modeling Verbal teacher
feedback
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Compare and contrast different variations of the same piece.
Application Level Assessment CCO III A. Musical Forms: Students will demonstrate the ability to
identify and analyze musical forms used in ensemble repertoire.
Student Task: Identify musical forms used in ensemble repertoire: (first and second endings, D.C. al fine, D. S. al fine,
repeat sign, theme and variations, AB (binary) form, ABA (ternary) form
48
Grade Six Band CCO III. B. Analysis
Core Conceptual Objective III. A: Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.5, G1.6,
G2.4, G3.1
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use Grade 6 Band terminology
and form/composition techniques to
describe, analyze, interpret, and
evaluate an excerpt or piece of music
How to differentiate among unison
and octave
Use Grade 6 Band terminology and form/composition techniques
to describe, analyze, interpret and evaluate an excerpt or piece of
music
Listen to and differentiate among unison and octave
Unit Vocabulary: interval, major, octave, unison
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes an excerpt or piece of music.
Student listens to and differentiates between unison and octave.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify unison and octave intervals played on an
instrument
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate the formal qualities of a given piece of music Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Compare and contrast a rehearsal recording to a final performance.
Compare and contrast different arrangements of the same piece.
Application Level Assessment CCO III. B. Analysis: The student will respond to and critically analyze
music and musical performances.
Student Task: Use Grade 6 terminology and form/composition techniques to describe, analyze, interpret and evaluate an
excerpt or piece of music
Listen to and differentiate among unison and octave intervals
49
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another
page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
50
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
51
Scoring Guide for Sixth Grade Band, CCO III. B. - Analysis
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Use sixth grade music
terminology and
form/compositions
techniques to describe,
analyze, interpret, and
evaluate an excerpt or piece
of music
Writes an insightful and
thoroughly supported
critique of an excerpt or
piece of music using
specific terminology and
examples
Writes a somewhat
insightful and somewhat
supported critique of an
excerpt or piece of music
using specific
terminology and
examples
Writes a critique of an
excerpt or piece of music
that occasionally uses
specific terminology and
examples
Writes an unsupported
opinion or preference
Listen to and differentiate
between unisons and
octaves
Identifies intervals with
90% accuracy
Identifies intervals with
80% accuracy
Identifies intervals with
70% accuracy
Identifies intervals with
60% accuracy
52
Grade Six Band CCO IV. A. Integration
Core Conceptual Objective IV. Integration: Students will make connections between music and other
subject areas.
Essential Understanding Missouri State Standards
Fractions in math are similar to note values and time signatures in music. FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to connect note values and time
signatures in music to fractions in
math
How to explain the importance of
group participation, perseverance, and
commitment in musical and non-
musical settings within class
Create a rhythmic pattern using 4/4 time meter then translate the
pattern into fractions
Describe the importance of group participation, perseverance, and
commitment in musical and non-musical settings within class
Unit Vocabulary: fraction, rhythm
Pre-Assessment: Student defines math and music terminology related to a counting system.
Student explains function of group participation within class setting
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define math and music terminology related to a
counting system
Compare role of student participation in band class
verses other classroom settings
Lecture
Verbal
Student/Teacher
Feedback
Written quiz
Written essay
Application/Analysis
Activity Strategy Assessment
Create a diagram that illustrates the similarities between
fractions and music notation
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Compose a rhythmic composition in various meters Class Discussion Teacher Observation
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO IV. A. Integration: The student will make connections between
music and other subject areas.
Student Task: Create a rhythmic pattern using 4/4 time meter then translate the pattern into fractions
Explain characteristic traits necessary for musical and non-musical settings within class
53
Scoring Guide for Sixth Grade Band, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Make connections between
fractions in math to note
values and time signatures
in music:
Convert quarter and half
notes in 4/4 time to
fractions
Convert fractions to time
signatures with note
values in 2/4, 3/4, 4/4
time
Compares, contrasts and
analyzes connections among
fractions in math to note
values and time signatures in
music
Compares and contrasts
connections among fractions
in math to note values and
time signatures in music
Identifies some connections
among fractions in math to
note values and time
signatures in music
Attempts to make
connections among fractions
in math to note values and
time signatures in music
54
Grade Six Band CCO V. A. Music History
Core Conceptual Objective V. Music History: Students will demonstrate knowledge of music history
Essential Understanding Missouri State Standards
Musicians identify, understand, and appreciate music from a variety of
time periods, styles, and cultures.
FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify characteristics and
context of Folk music examples
How to compare and contrast a variety
of music and music-related vocations
and avocations
Identify characteristics and context of Folk music examples
Compare and contrast a variety of music and music-related
vocations and avocations
Unit Vocabulary: Folk music, aesthetics, style
Pre-Assessment: Student listens to and describes examples of folk music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to folk music
Compare music and music-related work positions
Lecture
Lecture or
Guest Performers and
Speakers
Written quiz
Verbal
Teacher/Student
Feedback
Application/Analysis
Activity Strategy Assessment
Analyze and rehearse folk music from a diverse
historical and cultural background
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Decide upon the approximate time period of a piece of
music that has been rehearsed or studied
Lecture/Reference
Recordings
Written Quiz
Differentiation Suggestions:
Students will independently research folk music or various music vocations/avocations. (R, T)
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of
music history.
Student Task:
Compare and contrast characteristics and context of Folk music examples
Identify music and music-related vocations and avocations
55
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
56
Scoring Guide for Sixth Grade Band, CCO V. A. - Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Demonstrate knowledge
and understanding of Folk
Music characteristics (T):
folk music emerged as an
expression of national
identity pieces taught through
performance rather than
notation strophic form—music
repeats in short stanzas
with different words folk songs may be
calendric— (music
accompanies rituals that
mark major events in life
or in the year's cycles) folk songs may be work
songs (people sing work
songs as rhythmic
accompaniment to
repetitive labor)
Compares, contrasts, and
analyzes characteristics of
Folk Music
Compares and contrasts
characteristics of Folk Music Explains characteristics of
Folk Music Lists characteristics of Folk
Music
57
Grade Seven
Cadet Band
58
Grade Seven Band CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to:
How to tune an instrument to match a
reference pitch (T)
How to use steady air speed for
woodwind and brass
How to perform consistent execution of
stroke for percussion
How to sing in an appropriate range and
match pitch
How to utilize proper breathing skills
How to play Grade 1.5 literature
How to play note patterns in eighth notes
MM=60, scale patterns, thirds, arpeggio,
tonic triad and dominant 7th
(T)
How to perform rhythm patterns:
Eighth – quarter - eighth note
combinations, four sixteenth notes,
eighth note triplets, eighth rest on the
beat, two sixteenth - eighth note and
eighth - two sixteenth notes
combinations, duple patterns in simple
syncopation
How to play scales in the keys:
Major: A flat, C
Minor: c
Chromatic: 1.5 octaves for brass, 2
octaves for woodwind
How to echo half-note, quarter-note, and
eighth-note rhythmic and melodic
patterns of increasing complexity on
classroom instruments from notes of
major tonalities
Tune instrument to match a Concert Bb or F reference pitch
Use steady air speed for woodwind and brass to produce a tone.
Demonstrate consistent execution of stroke for percussion
Demonstrate singing skills and matching pitch in an appropriate
range
Play a 4 measure phrase without breath at moderato in 4/4 time
demonstrating awareness of phrase structures
Demonstrate rhythmic, melodic, and harmonic precision while
playing grade 1.5 literature
Demonstrate note patterns in eighth notes MM=60, scale
patterns, thirds, arpeggio, tonic triad and dominant 7th
.
Demonstrate rhythm patterns:
Eighth – quarter - eighth note combinations, four sixteenth
notes, eighth note triplets, eighth rest on the beat, two sixteenth -
eighth note and eighth - two sixteenth notes combinations, duple
patterns in simple syncopation
Demonstrate scales in the keys:
Major: A flat, C
Minor: c
Chromatic: 1.5 octaves for brass, 2 octaves for woodwind
Echo half-note, quarter-note, and eighth-note rhythmic and
melodic patterns of increasing complexity on classroom
instruments from notes of major tonalities
59
How to create and perform a rhythmic
variation on a melody
How to improvise simple rhythmic
variations in a consistent meter with
varying style
How to compose or write a rhythm
variation on a melody
How to perform intermediate level time
signatures, dynamics, articulations, and
tempo markings on instrument (see CCO
II. Elements of Music) through Grade
1.5 Literature
Create and perform a rhythmic variation on a melody
Improvise simple rhythmic variations in a consistent meter with
varying style
Compose or write a rhythm variation on a melody
Perform intermediate level time signatures, dynamics,
articulations, and tempo markings on instrument (see CCO II.
Elements of Music) through Grade 1.5 Literature
Unit Vocabulary: correct note fingering, correct bar on mallet percussion, single-stroke roll, multiple-
stroke roll, tuner, pitch control, timbre
Pre-Assessment: Students will match a reference pitch as demonstrated by the teacher or another student.
Perform an etude demonstrating note and rhythm patterns in above keys.
Play a four measure phrase without breath in 4/4 moderato at various dynamics.
Perform an etude demonstrating intermediate level time signatures, dynamics, articulations, and
tempo markings (see CCO II.)
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will produce a sound on their instrument using
a reference pitch
Students will play a four measure phrase without a
breath in 4/4 moderato time with dynamics
Identify note and rhythm patterns in the above keys
Students will play intermediate level time signatures,
dynamics, articulations, and tempo markings on
instrument (see CCO II. Elements of Music) through
Grade 1.5 Literature
Demonstration
Verbal feedback from
teacher
60
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Students will critique themselves and peers on their
ability to modify their playing to match a reference pitch
Students will critique themselves and peers on their
performance of an improvised four measure phrase
using dynamics
Students will critique themselves and peers on the note
and rhythmic patterns in the above keys
Students will critique themselves and peers on their
performance of intermediate level time signatures,
dynamics, articulations, and tempo markings on
instrument (see CCO II. Elements of Music) through
Grade 1.5 Literature
Cooperative learning,
like-instrument
groups
Teacher/Student
Demonstration &
Cooperative Learning
Scoring guide
Scoring Guide, Verbal
Feedback
Differentiation Suggestions: Students who are having difficulty receive help from a student mentor.
Students with prior instruction can serve as models to students in their section.
Advanced students will be given supplementary materials.
Application Level Assessment CCO I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Demonstrate ability to tune instrument to match Concert B flat or F reference pitch
Use steady air speed for woodwind and brass
Demonstrate a consistent execution of stroke for percussion.
Demonstrate singing skills and matching pitch in an appropriate range
Play a 4 measure phrase without breath at moderato in 4/4 time demonstrating awareness of phrase
structures
Demonstrate rhythmic, melodic, and harmonic precision while playing grade 1.5 literature
Demonstrate note patterns in eighth notes MM=60, scale patterns, thirds, arpeggio, tonic triad and
dominant 7th
Demonstrate rhythm patterns: Eighth – quarter - eighth note combinations, four sixteenth notes, eighth note
Activity Strategy Assessment
Students will use a characteristic embouchure to produce
proper tone quality on their instrument
Students will demonstrate a four measure phrase with
rhythmic variation
Demonstrate the note and rhythmic patterns in the above
keys
Students will demonstrate intermediate level time
signatures, dynamics, articulations, and tempo markings
on instrument (see CCO II. Elements of Music) through
Grade 1.5 Literature
Teacher and student
demonstration
Teacher/Student
Demonstration
Student
demonstration
Teacher/ Student
demonstration
Scoring Guide,
individual feedback
Teacher individually
listens to students and
provides feedback
using scoring guide
Verbal feedback from
teacher
Scoring Guide, Verbal
feedback
61
triplets, eighth rest on the beat, two sixteenth - eighth note and eighth - two sixteenth notes
combinations, duple patterns in simple syncopation
Demonstrate scales in the keys: A flat, C, c, Chromatic: 1.5 octaves for brass, 2 octaves for woodwind
Echo half-note, quarter-note, and eighth-note rhythmic and melodic patterns of increasing complexity on
classroom instruments from notes of major tonalities
Create and perform a rhythmic variation on a melody
Improvise simple rhythmic variations in a consistent meter with varying style
Compose or write a rhythm variation on a melody
Perform intermediate level time signatures, dynamics, articulations, and tempo markings on instrument (see
CCO II. Elements of Music) through Grade 1.5 Literature
62
Scoring Guide for Seventh Grade Band, CCO I. A. - Performance Skills, Part I
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Woodwinds/Brass:
Play tones that are in tune
with a specific reference
pitch (T)
Always matches
reference pitch by
making necessary
adjustments to
embouchure and
instrument
Consistently matches
pitch by making
adjustments to
embouchure and
instrument
Inconsistently matches
pitch by making
adjustments to
embouchure and
instrument
Makes adjustments that
move the instrument
farther from the
reference pitch
Woodwinds/Brass:
Perform a characteristic
sound using steady air
speed
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused sound in
extended registers of the
instrument
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused tone in a
comfortable register of
the instrument
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused tone on a limited
number of notes
Air speed is inconsistent
and does not support a
steady tone
Sound is not centered,
not clear, and not
focused on most notes
Percussion:
Performs using precise
execution of stroke
Always plays with
smooth and straight up
and down wrist action
Consistently plays with
smooth and straight up
and down wrist action
Plays with smooth wrist
action, but motion is too
high or too low
Plays with erratic wrist
motion or varied hand
/arm angles that severely
inhibit performance
63
Scoring Guide for Seventh Grade Band, CCO I. A. - Performance Skills, Part II
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Play eighth-note patterns
MM=60: scales, thirds,
arpeggios, tonic triads and
dominant 7th
(T)
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform rhythm patterns:
6/8, Eighth – quarter -
eighth note combinations,
four sixteenth notes, eighth
note triplets, eighth rest on
the beat, two sixteenth -
eighth note and eighth - two
sixteenth notes
combinations, duple
patterns in simple
syncopation
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform eighth note scales
in the keys of A-flat Major,
C Major, and c minor
Brass:
Perform a 1.5 octave
chromatic scale
Woodwinds/Percussion:
Perform a two octave
chromatic scales
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
64
Perform intermediate level
time signatures, dynamics,
articulations, and tempo
markings on instrument
(see CCO II. Elements of
Music) through Grade 1.5
Literature
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Fingerings and
articulations are
coordinated.
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Fingerings and
articulations are
frequently coordinated.
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Fingerings and
articulations are often
uncoordinated.
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform a four-measure
phrase in Grade 1.5
literature without breath at
moderato tempo in 4/4 time
demonstrating awareness of
a four-measure phrase
structure
Performs a three- or four-
measure phrase without
breath at moderato tempo
in 4/4 time
demonstrating awareness
of four- measure phrase
structure
Performs a two-measure
phrase without breath at
moderato tempo in 4/4
time demonstrating
awareness of four-
measure phrase structure
Takes one breath in the
middle of the phrase
Tone becomes
unsupported toward the
end of the phrase
Performs with shallow,
random breathing
Create and perform a
rhythmic variation on a
melody
Improvisations are
creative and consistent
with the given material
Improvisations are
somewhat creative and
consistent with the given
material
Improvisations are
effective, but not
consistent with the given
material
Improvisations contain
incorrect note values
65
Grade Six Band CCO II. A. – Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to interpret standard duration and
meter in 6/8 time signature
How to apply standard symbols, terms,
and notation to musical performance,
including dynamics, articulations,
tempo markings, and symbols/terms
Play music in Time Signature: 6/8
Demonstrate knowledge of dynamics: pp, mp, ff, subito, fp
Demonstrate knowledge of articulations: Legato, clean note
releases, tenuto
Demonstrate knowledge of tempo markings: Andantino,
rallentando, accelerando, Tempo I, a tempo
Demonstrate knowledge of Symbols and Terms: Divisi, trill,
cesura, Z2, 2x only
Unit Vocabulary:
Time Signature: 6/8
Dynamics: pp, mp, ff, subito, fp
Articulations: Legato, clean note releases, tenuto
Tempo Markings: Andantino, rallentando, accelerando, Tempo I, a tempo
Symbols and Terms: Divisi, trill, cesura, Z2, 2x only
Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and
symbols/terms.
Student counts and plays music written in 6/8 time.
Student writes music using dotted half and eighth note rhythm combinations.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify symbols and terms on their music Demonstrate Verbal & written
feedback
Application/Analysis
Activity Strategy Assessment
Students will use and apply symbols and terms to their
performance
Student
Demonstration
Verbal & written
feedback
Synthesis/Evaluation
Activity Strategy Assessment
Construct an original melody using dotted and eighth
note rhythm combinations
Modeling Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
66
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Play music in Time Signatures: 6/8
Play repertoire with varying dynamic markings: pp, mp, ff, subito, fp
Perform music with varying articulations: Legato, clean note releases, tenuto
Demonstrate Tempo Markings: Andantino, rallentando, accelerando, Tempo I, a tempo
Use Symbols and Terms: Divisi, trill, cesura, Z2, 2x only
67
Scoring Guide for Seventh Grade Band, CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signatures:
Perform literature in 6/8
Reads and interprets time
signatures correctly 6/8
Reads time signatures
correctly, but misplaces or
lacks emphasis on strong
beats
Pauses at ends of
measures
Lacks a steady sense of
time
Unable to read and
interpret time signatures
Dynamics:
Performs using dynamics to
express pianissimo (pp),
mezzo-piano (mp),
fortissimo (ff), forte-piano
(fp), and subito
Demonstrates clear
differences in volume at
dynamic changes
Demonstrates differences
in volume, but not enough
contrast between dynamic
levels
Demonstrates few
changes in volume at
dynamic levels
Does not demonstrate any
change in dynamics
Tempo Markings:
Define and perform
andantino, rallentando,
accelerando, Tempo I, and
a tempo
Reads and interprets
tempo markings correctly
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but is
unable to differentiate
between categories
Unable to maintain a
steady tempo
Unable to differentiate
between tempo markings
Tempo fluctuates
dramatically
Perform articulation
patterns: Legato, clean
notes releases, tenuto
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Fingerings and
articulations are
coordinated.
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Fingerings and
articulations are
frequently coordinated.
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Fingerings and
articulations are often
uncoordinated.
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Symbols and Terms:
Define and perform divisi,
trill, cesura, z2, 2x only
Reads and interprets
symbols and terms
correctly in context
Demonstrates knowledge
of symbols and terms, but
some terms or symbols
are not performed in
context
Can explain the
definitions of terms, but
does not execute them
correctly while playing
Unable to read and
execute symbols and
terms
68
Grade Seven Band CCO III. A. Musical Forms
Core Conceptual Objective III. A: Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire:
Coda, D. S. al coda/Fine
Unit Vocabulary: Coda, D. S. al fine/Fine
Pre-Assessment: Student defines music terminology related to musical forms
Student listens to and describes musical form or structure of short etude
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify Coda, D. S. al coda/Fine Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire: Coda, D.S. al coda/Fine
69
Grade Seven Band CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.5, G2.4
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use Grade 7 Band terminology
and form/composition techniques to
describe, analyze, interpret, and
evaluate an excerpt or piece of music
How to differentiate among intervals
of unison, perfect fifth, and octave
Use Grade 7 Band terminology and form/composition techniques
to describe, analyze, interpret and evaluate an excerpt or piece of
music
Listen to and differentiate among intervals of unison, perfect fifth,
and octave
Unit Vocabulary: perfect fifth, octave, unison
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes an excerpt or piece of music.
Student listens to and differentiates between perfect fifth, unison and octave.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify perfect fifth, unison and octave intervals played
on an instrument
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate the formal qualities of a given piece of music Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Compare and contrast a rehearsal recording to a final performance.
Compare and contrast different arrangements of the same piece.
Application Level Assessment CCO III. B. Analysis: The student will respond to and critically analyze
music and musical performances.
Student Tasks:
Use Grade 7 terminology and form/composition techniques to describe, analyze, interpret and evaluate an
excerpt or piece of music
Listen to and differentiate among perfect fifth, unison and octave intervals on an instrument
70
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another
page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
.
71
Music Criticism Scoring Guide Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the quality of the
performance
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
72
Scoring Guide for Seventh Grade Band, CCO III. B. - Analysis
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Use seventh grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or piece
of music
Writes an insightful and
thoroughly supported
critique of an excerpt or
piece of music using
specific terminology and
examples
Writes a somewhat
insightful and somewhat
supported critique of an
excerpt or piece of music
using specific
terminology and examples
Writes a critique of
excerpt or piece of music
that occasionally uses
specific terminology and
examples
Writes an unsupported
opinion or preference
Listen to and differentiate
among intervals of unison,
perfect fifth, and octave
Identifies intervals with
90% accuracy
Identifies intervals with
80% accuracy
Identifies intervals with
70% accuracy
Identifies intervals with
60% accuracy
73
Grade Seven Band CCO IV. A. Integration
Core Conceptual Objective IV. Integration: Students will make connections between music and other
subject areas.
Essential Understanding Missouri State Standards
Music is a common language that transcends cultural differences. FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to connect the characteristics and
function of music in American and
African cultures
How to explain the importance of
group participation, perseverance, and
commitment in musical and non-
musical settings within school
Compare the characteristics and functions of music in American
and African culture
Describe the importance of group participation, perseverance, and
commitment in musical and non-musical settings within school
Unit Vocabulary: ceremonial, ritual, patriotic
Pre-Assessment: List the characteristics and functions of music in America.
Student explains function of group participation within school setting.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Explain and describe the role of music in American and
Africa Cultures
Lecture Written quiz
Application/Analysis
Activity Strategy Assessment
Compare and contrast American music with African
music
Cooperative Learning
Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Critique a musical selection that relates to various world
cultures
Class Discussion Teacher Observation
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Compare American music to Asian cultures or American music to Latin American music.
Application Level Assessment CCO IV. A. Integration: The student will make connections between
music and other subject areas.
Student Task: Compare the characteristics and functions of music in American and African culture.
Explain characteristic traits necessary for musical and non-musical settings within school.
74
Scoring Guide for Seventh Grade Band, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Compare the
characteristics,
instrumentation (Western
vs. traditional African), and
functions (ceremonies,
rituals, war) of music in
American and African
culture
Compares, contrasts, and
analyzes characteristics and
functions of music in
American and African culture
Compares and contrasts
characteristics and functions
of music in American and
African culture
Explains characteristics and
functions of music in
American and African culture
Lists characteristics and
functions of music in
American and African culture
75
Grade Seven Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles and cultures.
FA 5, G1.9, G 3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify characteristics and
context of Choral Music
Spiritual,
Ritual, and /or ceremonial music
from various cultures
How to describe the function of music
in various settings and cultural events
Compare and contrast characteristics and context of Choral Music
Spiritual,
Ritual, and /or ceremonial music from various cultures
Describe the function of music in various settings and cultural
events
Unit Vocabulary: Spiritual, Ritual, Ceremonial music
Pre-Assessment: Student listens to and describes examples of Spiritual, Ritual, Ceremonial music.
Discuss functions of music in various settings and cultural events.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to Choral music
Define functions of music in various settings and
cultures
Lecture
Lecture, Student
Feedback
Written quiz
Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze and rehearse music from a diverse historical
and cultural background
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Decipher an approximate time period of a piece of music
and the cultural setting or event (when present) which
has been rehearsed or studied
Lecture/Reference
Recordings
Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment V. A. Music History: The student will demonstrate knowledge of music history.
Student Tasks
Compare and contrast characteristics and context of Choral Music in various cultures including:
Spiritual functions
Ritual functions
Ceremonial functions
Understand the functions of music in various settings and cultural events.
76
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
77
Scoring Guide for Seventh Grade Band, CCO V. A. - Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Demonstrate knowledge
and understanding of
characteristics and contexts
of Sacred or Secular Music
in regards to:
Spiritual: rhythmic
syncopation, vocal
improvisation, and call &
response music is sacred
and is usually performed
with sincerity, dignity,
and passion
Ritual
Ceremonial music from
various cultures
Music‘s role in
weddings, funerals,
patriotic events,
graduation, hunting
(various settings and
cultural events)
Compares, contrasts, and
analyzes the characteristics
and contexts of Sacred or
Secular Music
Spiritual
Ritual,
Ceremonial music from
various cultures
Compares and contrasts the
characteristics and contexts of
Sacred or Secular Music
Spiritual
Ritual
Ceremonial music from
various cultures
Explains characteristics and
contexts of Sacred or Secular
Music
Spiritual
Ritual
Ceremonial music from
various cultures
Lists characteristics and
contexts of Sacred or Secular
Music
Spiritual
Ritual
Ceremonial music from
various cultures
78
Grade Eight
Concert Band
79
Grade Eight Band CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to:
How to perform with steady tone at
various dynamic levels
How to illustrate stick and mallet
placement for percussion
How to demonstrate singing skills,
match pitch in an appropriate range with
dynamic control
How to utilize proper breathing skills
How to play Grade 2 literature
How to play note patterns in sixteenth
notes MM=60, extended sixth and
seventh grade patterns
How to perform rhythm patterns:
Quarter note triplets, one sixteenth-one
eighth-one sixteenth note combinations,
three eighth notes, dotted eighth –
sixteenth and sixteenth-eighth
combinations
How to play scales in the keys:
Major: D flat
Minor: d, f
Chromatic: 2 octaves
How to echo half-note, quarter-note, and
eighth-note rhythmic and sixteenth note
rhythmic and melodic patterns of
increasing complexity on classroom
instruments from notes of major and
minor tonalities
How to create and perform a two
measure melody
Perform with steady tone at various dynamic levels executed
over 4 counts
Demonstrate consistent execution of stick and mallet placement
for percussion
Demonstrate singing skills while matching pitch in an
appropriate range with dynamic control
Play a 6 measure phrase at ¾ time without breath demonstrating
awareness of phrase structures
Demonstrate rhythmic, melodic, and harmonic precision while
playing grade 2 literature
Demonstrate note patterns in sixteenth note notes MM=60,
extended sixth and seventh grade patterns
Demonstrate rhythm patterns:
Quarter note triplets, one sixteenth-one eighth-one sixteenth
note combinations, three eighth notes, dotted eighth – sixteenth
and sixteenth-eighth combinations
Demonstrate scales in the keys:
Major: D flat
Minor: d, f
Chromatic: 2 octaves
Echo half-note, quarter-note, and eighth-note rhythmic and
sixteenth note rhythmic and melodic patterns of increasing
complexity on classroom instruments from notes of major and
minor tonalities
Create and perform a two measure melody
80
How to improvise simple rhythmic and
melodic variations in a consistent meter
and style
How to compose or write a two measure
melody within given guidelines
How to express, interpret, and shape a
musical phrase
How to perform advanced level time
signatures, dynamics, articulations, and
tempo markings on instrument (see CCO
II. Elements of Music) through Grade 2
Literature
Improvise simple rhythmic and melodic variations in a
consistent meter and style
Compose or write a two measure melody within given
guidelines
Express, interpret and shape a musical phrase
Perform advanced level time signatures, dynamics, articulations,
and tempo markings on instrument (see CCO II. Elements of
Music) through Grade 2 Literature
Unit Vocabulary: air speed, air volume, phrase shaping, color, texture
Pre-Assessment: Students will play a Concert Bb scale using a steady tone at various dynamic levels.
Students will perform an etude demonstrating note and rhythm patterns in above keys.
Students will play a six measure phrase without breath in 3/4 moderato demonstrating awareness in phrase
structures.
Students will play a musical phrase using dynamics.
Students will perform an etude demonstrating advanced level time signatures, dynamics, articulations, and
tempo markings (see CCO II.) through Grade 2 Literature.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will produce a steady tone on the instrument
using various dynamics
Identify note and rhythm patterns in the above keys
Play a musical phrase using dynamics
Demonstration
Demonstration
Scoring Guide
Verbal Teacher
Feedback
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Students will create dynamics as dictated by the rise and
fall of the melodic line
Students will critique themselves and peers on the note
and rhythmic patterns in the above keys
Students will critique themselves and peers on their
performance of an improvised musical phrase
Cooperative learning
Scoring guide
Activity Strategy Assessment
Students will use dynamics as written in the music
Students will create and perform a two measure melody
using dynamics to shape the musical phrase
Demonstration
Teacher/Student
Demonstration
Scoring guide
Teacher individually
listens to students and
provides feedback
using scoring guide
81
Differentiation Suggestions:
Students who are having difficulty receive help from a student mentor.
Students with prior instruction can serve as models to students in their section.
Advanced students will be given supplementary materials.
Students have the option of participating in additional music performances outside of school (All-
Suburban, Solo/Ensemble).
Application Level Assessment for CCO I. A. Performance Skills: Students will demonstrate
instrumental music performance skills (expression, technique, repertoire, imitation, group playing,
improvisation, and composition) through varied repertoire.
Student Tasks: Use a steady tone at various dynamic levels
Demonstrate consistent execution of stick and mallet placement for percussion
Demonstrate note patterns in sixteenth notes MM= 60, extended 6th
and 7th
grade patterns
Demonstrate Rhythm Patterns: Quarter note triplets, one sixteenth-one eighth-one sixteenth note
combinations, three eighth notes, dotted eighth – sixteenth and sixteenth-eighth combinations
Demonstrate scales in the keys: Major: D flat, Minor: d, f, Chromatic: 2 octaves
Create and perform a two measure melody
Perform an etude demonstrating advanced level time signatures, dynamics, articulations, and
tempo markings (see CCO II.) through Grade 2 Literature
82
Scoring Guide for Eighth Grade Band, CCO I. A. – Performance Skills, Part I
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Woodwinds/Brass:
Play a characteristic sound
using steady air speed to
produce a centered, clear,
and focused sound at
various dynamic levels
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused sound in extended
registers of the instrument
at various dynamic levels
ranging from pianissimo
(pp) to fortissimo (ff)
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused sound in
comfortable registers of
the instrument at various
dynamic levels ranging
from piano (p) to forte (f)
Plays a characteristic
sound using steady air
speed to produce a
centered, clear, and
focused sound in
comfortable registers of
the instrument with slight
variations in dynamics,
but not enough contrast
Air speed is inconsistent
and does not support a
steady tone
Does not demonstrate any
change in dynamics
Percussion:
Performs with consistent
execution of stick and
mallet placement at various
dynamic levels
Performs with the sticks
or mallets hitting the
instrument one to three
inches from the node
while using various
dynamic levels ranging
from pianissimo (pp) to
fortissimo (ff)
Performs with the sticks
or mallets hitting the
instrument one to three
inches from the node
while using various
dynamic levels ranging
from piano (p) to forte (f)
Performs with the sticks
or mallets hitting the
instrument one to three
inches from the node with
slight variations in
dynamics, but not enough
contrast
Performs with the sticks
or mallets hitting the
instrument too close or far
from the node
Does not demonstrate any
change in dynamics
83
Scoring Guide for Eighth Grade Band, CCO I. A. - Performance Skills, Part II
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Play sixteenth-note patterns
MM=60; and extended sixth
and seventh grade patterns
(T)
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with
no discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo
is unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform rhythm patterns:
Quarter note triplets, one
sixteenth-one eighth-one
sixteenth note
combinations, three eighth
notes, dotted eighth –
sixteenth and sixteenth-
eighth combinations
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with
no discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo
is unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform sixteenth note
scales in D flat Major and d
and f minor
Perform a sixteenth-note
two-octave chromatic scale
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with
no discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo
is unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform Grade 2 literature
using dynamics to express,
interpret, and shape a
musical phrase
Dynamics are effectively
used to shape a musical
phrase and enhance
artistic expression
Dynamics are used to
shape a musical phrase
and elevate musical
expression
Dynamics are
occasionally used to shape
a musical phrase beyond
mere notes
Dynamics are not used to
shape a musical phrase
84
Perform advanced level
time signatures, dynamics,
articulations, and tempo
markings on instrument
(see CCO II. Elements of
Music) through Grade 2
Literature
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Fingerings and
articulations are
coordinated.
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Fingerings and
articulations are
frequently coordinated.
Tempo: unsteady
Rhythm: uneven
Note accuracy: most notes
are correct
Fingerings and
articulations are often
uncoordinated.
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform a six measure
phrase in ¾ time without
breath at moderato tempo
demonstrating awareness of
a phrase structures
Performs a six measure
phrase without breath at
moderato tempo in 3/4
time demonstrating
awareness of phrase
structure
Performs a four to five-
measure phrase without
breath at moderato
tempo in 3/4 time
demonstrating
awareness of phrase
structure
Takes one breath in the
middle of the phrase
Tone becomes
unsupported toward the
end of the phrase
Performs with shallow,
random breathing
Create and perform a two
measure melody
Improvisations are
creative and consistent
with the given material
Improvisations are
somewhat creative and
consistent with the given
material
Improvisations are
effective, but not
consistent with the given
material
Improvisations are not
effective and not
consistent with the given
material
85
Grade Eight Band CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to interpret standard duration and
meter in 2/2 and cut time signatures
How to apply standard symbols, terms,
and notation to musical performance,
including dynamics, articulations,
tempo markings, and symbols/terms
Play music in Time Signature: 2/2, cut time
Demonstrate knowledge of dynamics: sfp
Demonstrate knowledge of articulations: marcato, sforzando
Demonstrate knowledge of tempo markings: Lento, Vivace,
Allargando
Demonstrate knowledge of Symbols and Terms: grace notes, 8va
Unit Vocabulary:
Time Signature: 2/2, cut time
Dynamics: sfp
Articulations: marcato, sforzando
Tempo Markings: Lento, Vivace, Allargando
Symbols and Terms: grace notes, 8va
Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and
symbols/terms.
Student counts and plays music written in 2/2 and cut time signatures.
Student writes music using sixteenth/eighth note rhythm combinations, three eighth notes, and dotted
eighth/sixteenth combinations.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify symbols and terms on their music Demonstrate Verbal & written
feedback
Application/Analysis
Activity Strategy Assessment
Students will use and apply symbols and terms to their
performance
Student
Demonstration
Verbal & written
feedback
Synthesis/Evaluation
Activity Strategy Assessment
Construct an original melody using sixteenth/eighth note
rhythm combinations, three eighth notes, and dotted
eighth/sixteenth combinations
Modeling Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
86
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II. A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Play music in Time Signatures: 2/2, cut time
Play repertoire with varying dynamic markings: spf
Perform music with varying articulations: Marcato, sforzando
Demonstrate Tempo Markings: Lento, vivace, allargando
Use Symbols and Terms: grace notes, 8va
87
Scoring Guide for Eighth Grade Band, CCO II. A. - Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signature:
Perform literature in 2/2 or
cut time
Reads and interprets time
signatures correctly 2/2 or
cut time
Reads time signatures
correctly, but misplace or
lacks emphasis on strong
beats
Pauses at ends of
measures
Lacks a steady sense of
time
Unable to read and
interpret time signatures
Dynamics:
Perform Grade 2 literature
using dynamics to express,
interpret, and shape a
musical phrase
Dynamics are effectively
used to shape a musical
phrase and enhance
artistic expression
Dynamics are used to
shape a musical phrase
and elevate musical
expression
Dynamics are
occasionally used to shape
a musical phrase beyond
mere notes
Dynamics are not used to
shape a musical phrase
Tempo Markings:
Define and perform Lento,
Vivace, and Allargando
Reads and interprets
tempo markings correctly,
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Unable to maintain a
steady tempo
Unable to differentiate
between tempo markings
Tempo fluctuates
dramatically
Perform articulation
patterns: marcato accent
and sforzando
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with
no discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with
few mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: uneven
Note accuracy: most
notes are correct
Tempo: does not meet
target tempo and tempo
is unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Symbols and Terms:
Define and perform grace
notes, 8va
Reads and interprets
symbols and terms
correctly in context
Demonstrates knowledge
of symbols and terms, but
some terms or symbols
are not performed in
context
Can explain the
definitions of terms, but
does not execute them
correctly while playing
Unable to read and
execute symbols and
terms
Composition:
Create and write a two
measure melody within
given guidelines
Compositions are creative
and consistent with the
given guidelines
Compositions are
somewhat creative and
consistent with the given
material
Compositions are
effective, but not
consistent with the given
material
Compositions contain
incorrect note values
Does not follow the given
key
88
Grade Eight Band CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire:
AABA song form, fugue
Unit Vocabulary: AABA song form, fugue
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify AABA song form, fugue Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire: AABA song form, fugue
89
Grade Eight Band CCO III. B. Analysis
Core Conceptual Objective II. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.5, G2.4
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use Grade eight Band
terminology and form/composition
techniques to describe, analyze,
interpret, and evaluate an excerpt or
piece of music
How to differentiate among intervals
of perfect fourth, minor third and
Major third
Use Grade 8 Band terminology and form/composition techniques
to describe, analyze, interpret and evaluate an excerpt or piece of
music
Listen to and differentiate among intervals of perfect fourth, minor
third and Major third
Unit Vocabulary: perfect fourth, minor third, and Major third
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes an excerpt or piece of music.
Student listens to and differentiates between perfect fourth, minor third, and Major third.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify perfect fourth, minor third, and Major third
intervals played on an instrument
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze and diagram a piece of recorded music Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate the formal qualities of a given piece of music Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Compare and contrast a rehearsal recording to a final performance.
Compare and contrast different arrangements of the same piece.
Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to
and critically analyze music.
Student Tasks:
Use Grade 8 terminology and form/composition techniques to describe, analyze, interpret and evaluate an
excerpt or piece of music
Listen to and differentiate among perfect fourth, minor third, and Major third intervals on an instrument
90
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another
page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
91
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
92
Scoring Guide for Eighth Grade Band, CCO III. B. - Analysis
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Use eighth grade music
terminology and
form/composition
techniques to describe,
analyze, interpret, and
evaluate an excerpt or piece
of music
Writes an insightful and
thoroughly supported critique
of an excerpt or piece of
music using specific
terminology and examples
Writes a somewhat insightful
and somewhat supported
critique of an excerpt or piece
of music using specific
terminology and examples
Writes a critique of an
excerpt or piece of music that
occasionally uses specific
terminology and examples
Writes an unsupported
opinion or preference
Interval Skills:
Listen to and differentiate
among intervals of perfect
fourth, minor third, and
Major third
Identifies intervals with 90%
accuracy
Identifies intervals with 80%
accuracy
Identifies intervals with 70%
accuracy
Identifies intervals with 60%
accuracy
93
Grade Eight Band CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Students will make connections between music and
other subject areas.
Essential Understanding Missouri State Standards
American March and Jazz Music are influenced by events in American
History.
FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
Connect American March and Jazz
music to American History
How to explain the importance of
group participation, perseverance, and
commitment in musical and non-
musical settings outside of school
Relate the development of American Marches and Jazz Music to
events in American History
Describe the importance of group participation, perseverance, and
commitment in musical and non-musical settings outside of school
Unit Vocabulary: March ,Jazz, Blues, Patriotic, Spirituals, Harlem Renaissance
Pre-Assessment: Students relate American Marches and Jazz Music to events in American History.
Student explains functions of group participation outside school setting
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Explain and describe the role of American Marches and
Jazz Music in American History
Lecture Written quiz
Application/Analysis
Activity Strategy Assessment
Create a timeline of events in American History that
correspond with the creation of American Marches and
Jazz Music
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Recommend an American March or Jazz Composition
for a given time period in American History
Class Discussion Teacher Observation
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Research a composer or musician, then report how he/she was influenced by historical events.
Application Level Assessment CCO IV. A. Integration: The Student will make connections between
music and other subject areas.
Student Task: Relate the development of American Marches and Jazz Music to events in American History
Explain characteristic traits necessary for musical and non-musical settings outside of school
94
Scoring Guide for Eighth Grade Band, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Relate the development of
the American March music
to events in American
history:
Revolutionary War (music
used to rally troops, create
a sense of patriotism –
Yankee Doodle, Star
Spangled Banner)
Civil War (Battle Hymn of
the Republic, When Johnny
Comes Marching Home)
Turn of the 20th
Century
(John Philip Sousa)
Compares, contrasts, and
analyzes connections between
the American March music
and American History
Compares and contrasts
connections between
American March music and
American History
Explains some connections
between American March
music and American History
Lists connections between
American March music and
American History
Relate the development of
Jazz music to events in
American history:
Slave work songs
Blues
Mississippi River
Transportation
Compares, contrasts, and
analyzes connections between
Jazz and American History
Compares and contrasts
connections between Jazz and
American History
Explains some connections
between Jazz and American
History
Lists connections between
Jazz and American History
95
Grade Eight Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles and cultures.
FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to compare characteristics and
context of American cultural
influences on
March
Jazz
How to identify genre and style from
various historical periods through
listening to a selected repertoire
Compare and contrast characteristics and context of American
cultural influences on
March
Jazz
Identify genre and style from various historical periods through
listening to a selected repertoire
Unit Vocabulary: March, Jazz
Pre-Assessment: Student listens to and describes examples of American cultural influences on March and Jazz music.
Students will identify historical periods through listening to a selected repertoire.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to American March
and Jazz music
Lecture Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze and rehearse American March and Jazz music Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Decide upon the approximate time period of a piece of
music that has been rehearsed or studied
Lecture/Reference
Recordings
Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of music
history.
Student Task:
Compare and contrast characteristics and context of American cultural influences on March and Jazz music
Identify genre and style from various historical periods through listening to selected repertoire
96
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
97
Scoring Guide for Eighth Grade Band, CCO V. A. - Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Demonstrate knowledge and understanding of
characteristics and contexts of American cultural
influences on:
Marches
grew out of the military musical needs for
drills, troop movement, ceremonies and troop
morale following the civil war, congress
reduced the number and size of military bands
(to pay off war debts and for reconstruction) –
military leaders asked civilian bands to fill the
void
professional touring bands traveled the country
performing the latest marches
growing sense of nationalism and patriotism
(paralleled by the nationalistic movement in
Europe)
Jazz
Conceived in New Orleans and moved up the
Mississippi River to Memphis, St. Louis and
finally Chicago.
New Orleans sounds goes back to tribal African
drum beats and European musical structures.
Jazz spanned many musical forms such as
spirituals, cakewalks, ragtime and the blues.
Compares, contrasts, and
analyzes the characteristics
and contexts of American
cultural influences on
Marches
Jazz
Compares and contrasts
the characteristics and
contexts of American
cultural influences on
Marches
Jazz
Explains the
characteristics and
contexts of American
cultural influences on
Marches
Jazz
Lists the
characteristics and
contexts of American
cultural influences on
Marches
Jazz
99
HIGH SCHOOL
BAND
100
HIGH SCHOOL BAND
COURSE MAP
Grade 9 Grade 10 Grade 11 Grade 12 Concert Band
Symphonic Band
Jazz Band
Beginning Guitar
Advanced Guitar
WG Advanced Placement Music Theory
101
HIGH SCHOOL BAND
COURSE DESCRIPTION GUIDE
CONCERT BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Successful band experience and/or permission of the Band Director.
Concert Band is designed for students who wish to continue their band experience.
Enrollment in Concert Band is based on auditions and director‘s recommendation.
Concert Band provides continued instruction of ensemble skills.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
SYMPHONIC BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Successful band experience and/or permission of the Band Director.
Demonstrate skills necessary for Musical Performances. Enrollment in Symphonic Band
is based on auditions and director‘s recommendation. Symphonic Band builds on
fundamentals taught in Concert Band by providing instruction in advanced ensemble
techniques. Marching Band is integrated into the band experience as a co-curricular or
extra-curricular activity.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
102
JAZZ BAND (Grades 9, 10, 11, 12) 1 Unit, All Year
Prerequisite: Permission of the director based upon audition. If a performance based
music course IS offered during zero hour, then students enrolling in either Jazz Band or
Chamber Choir are required to enroll concurrently in another performance based music
course. If a performance based music course IS NOT offered during zero hour, then it is
recommended that students enrolling in Jazz Band or Chamber Choir should concurrently
enroll in another performance based music course. Note that if a student has a
scheduling conflict and cannot enroll in two of these courses, the student‟s class
principal will waive this requirement.
This course is designed to further develop the instrumental music student‘s interest and
ability in the area of jazz studies. Students will examine the various styles of jazz, the
harmonic structures associated with jazz, and jazz improvisation. Instrumentation for the
class will be confined to saxophones, trumpets, trombones, drums, guitar, bass guitar, and
piano.
Students performing on an extracurricular basis are expected to meet eligibility standards
as specified by the Missouri State High School Activities Association. Attendance at all
performances is required according to the Fine Arts Musical Performance Attendance
Guideline form. Attendance at all performances is required according to the Rockwood
School District Fine Arts Attendance Guidelines for Musical Performance.
Students are expected to provide their own instruments and supplies.
BEGINNING GUITAR (Grades 9, 10, 11, 12) ½ Unit
Prerequisite: None
This class is designed for the student with no previous experience in playing guitar. Basic
guitar fundamentals such as chording, picking, strumming and note reading will be
covered. Music fundamentals will be introduced to aid the student in reading music.
ADVANCED GUITAR (Grades 9, 10, 11, 12) ½ Unit
Prerequisite: None
This class is designed for students who wish to further their guitar skills. Instruction will
include various styles of guitar playing. Music reading skills will continue to be
developed.
103
WG Advanced Placement MUSIC THEORY I (Grades 10, 11, 12) 1 Unit
Prerequisite: Passing grades in Symphonic Band, Symphonic Orchestra, Chamber, or
Concert Choir with recommendation of ensemble director. Ability to fluently read large
group festival literature. Permission of AP instructor.
Note: A grade of A or B is recommended in previous music courses.
The Advanced Placement Music Theory course enables highly motivated students to do
college entry-level work. Course content emphasizes aural and visual understanding of
musical structure and compositional procedures, part writing, composition, melodic and
harmonic dictation and sight-singing. Students are encouraged to take the AP Music
Theory Exam in May. This course will benefit students who plan to study music at the
college level or who want to enhance their performance skills through knowledge of
music theory.
104
High School
Concert Band
105
Concert Band, CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to manipulate pitch, tone, and
dynamics to match and balance section
How to demonstrate proper tone quality,
pitch accuracy, and intonation through
singing in unison and in harmony with
expression
How to play Grade 3 Literature
How to play note patterns in sixteenth
notes, MM=72
How to perform rhythm counting: eighth
and sixteenth combinations, ties on the
beat
How to play scales in the keys:
Major: G, D, A, E
Minor: a, e, b, f#, c#, b flat
Chromatic: full range
How to play by ear simple melodies (4-6
pitches) on a melodic instrument or
simple accompaniments on a harmonic
instrument
How to create and perform a melodic
variation
How to improvise simple and melodic
variations in a consistent meter with
varying style
How to compose or write a melodic
variation
How to use tempo to express, interpret,
and shape a musical phrase
How to perform various combinations of
simple or compound meter, dynamics,
articulations and tempo markings on
instrument (see CCO II) found in Grade
Manipulate pitch, tone, and dynamics to match and balance
section on instrument
Demonstrate proper tone quality, pitch accuracy, and intonation
through singing in unison and in harmony with expression
Perform Grade 3 Repertoire
Play note patterns in sixteenth notes, MM=72
Demonstrate rhythm counting: eighth and sixteenth
combinations, ties on the beat
Demonstrate scales in the keys:
Major: G, D, A, E
Minor: a, e, b, f#, c#, b flat
Chromatic: full range
Play by ear simple melodies (4-6 pitches) on a melodic
instrument or simple accompaniments on a harmonic instrument
Create and perform a melodic variation
Improvise simple and melodic variations in a consistent meter
with varying style
Compose or write a melodic variation
Use tempo to express, interpret, and shape a musical phrase
Perform various combinations of simple or compound meter,
dynamics, articulations, and tempo markings on instrument (see
CCO II) found in Grade 3 Literature
106
3 Literature
Unit Vocabulary: balance, blend, intonation, sharp, flat, chord, chord tone, interval, double tonguing,
triple tonguing, sixteenth note subdivision, expression, interpret
Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,
melody, harmony, articulation, phrasing, expression.
Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the
ensemble.
Student plays an excerpt from Grade 3 Literature, demonstrating various combinations of simple and
compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision, with
appropriate phrasing and shaping in the above keys.
Student creates and performs a variation based upon a given melody.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify a characteristic sound on band instruments
Identify major and minor key signatures
Identify the phrase structure in a recorded piece of music
Give example
reference recordings
Lecture
Cooperative Learning
Written quiz
Written quiz
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate tone quality of individual band instrument
performances of self and peers tuner
Incorporate double tonguing on a repeated sixteenth note
exercise
Perform two different interpretations of the same
excerpt; compare and contrast the expressive qualities of
the interpretations
Cooperative learning
Modeling
Modeling
Scoring guide
Playing test
Scoring Guide
Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.
Teachers of peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within the section of the ensemble.
Students have the option of participating in additional music performances outside of school (All-
Suburban, solo/ensemble festival).
Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks:
Activity Strategy Assessment
Perform a characteristic sound on individual instrument
tuner
Perform Grade 3 level music with sixteenth note
subdivision
Perform a musical excerpt using an original
interpretation
Modeling
Cooperative Learning
Modeling
Playing test
Playing test
Playing test
107
Manipulate pitch, tone, and dynamics to match and balance section on instrument
Demonstrate proper tone quality, pitch accuracy, and intonation through singing in unison and in harmony
with expression
Perform Grade 3 Literature
Play note patterns in sixteenth notes MM=72
Perform rhythm counting: Eighth and sixteenth rhythm combinations, ties on the beat
Demonstrate scales in the keys: Major: G, D, A, E, Minor: a, e, b, f#, c# and b flat, and full range chromatic
Play by ear, simple melodies (4-6 pitches) on a melodic instrument or simple accompaniments on a
harmonic instrument
Create and perform a melodic variation
Improvise simple and melodic variations in a consistent meter with varying style
Compose or write a melodic variation
Use tempo to express, interpret, and shape a musical phrase
Perform various combinations of simple or compound meter, dynamics, articulations, and tempo markings
on instrument (see CCO II) found in Grade 3 Literature
108
Scoring Guide for Concert Band, CCO I A. - Performance Skills, Part I
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Manipulate pitch, tone, and
dynamics to match and
balance section on
instrument
Student plays with a
characteristic sound
throughout the entire
range of the instrument:
centered, clear and
focused
Always matches reference
pitch and adjusts
individual intonation by
comparing it to entire
section
Student plays the
indicated dynamic level
and always adjusts to
match the section volume
Student plays with a
characteristic sound in the
middle register of the
instrument: centered, clear
and focused
Consistently matches
reference pitch and
adjusts individual
intonation by comparing it
to entire section
Student plays the
indicated dynamic level
and consistently adjusts to
match the section volume
Student meets two of the
three expectations for a
characteristic sound in the
middle register of the
instrument: centered, clear
and focused
Inconsistently matches
reference pitch and
adjusts individual
intonation by comparing it
to entire section
Student plays the
indicated dynamic level
but does not adjust to
match the section volume
Student does not play
with a characteristic
sound in the middle
register of the instrument:
not centered, not clear and
not focused
Does not match reference
pitch or adjust individual
intonation by comparing it
to entire section
Student plays the opposite
of the indicated dynamic
level and does not adjust
to match the section
volume
Perform Sixteenth note
patterns, MM=72
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: irregular
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable.
Note accuracy:
unrecognizable
Rhythm counting with
eighth and sixteenth rhythm
combinations, ties on the
beat
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Counting accuracy:
accurate with no
discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Counting accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: irregular
Counting accuracy: most
counts are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Counting accuracy:
unrecognizable
Perform sixteenth note
scales in the keys:
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
Tempo: steady and target
tempo is met
Rhythm: accurate with few
Tempo: unsteady
Rhythm: irregular
Note accuracy: most notes
Tempo: does not meet
target tempo and tempo is
unsteady
109
Major: G, D, A, E
Minor: a, e, b, f#, b flat
Chromatic: full range
discernible mistakes.
Note accuracy: accurate
with no discernible flaws
mistakes
Note accuracy: accurate
with few mistakes
are correct Rhythm: unrecognizable.
Note accuracy:
unrecognizable
Execute articulated slurs,
sixteenth note slur/tongue
combination, multiple
tonguing
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: irregular
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Perform Grade 3 literature
using tempo, articulations,
and dynamic variation, to
express, interpret, and
shape musical phrases
Student demonstrates
clear, accurate differences
in speed at tempo
changes, interprets
melodic line using
articulations and dynamic
variation where
appropriate
Student demonstrates
differences in speed, but
not enough contrast
between tempo changes
and uses some
articulations and dynamic
variation
Student demonstrates few
or slight changes in speed
at tempo changes,
dynamic variation, and
little variation of
articulations within
melodic content
Dynamics do not change,
little or no interpretation
of tempo fluctuations, no
variation of articulations
within melodic content
Create and perform a
melodic variation
Improvisations are
creative and consistent
with the given material
Improvisations are
somewhat creative and
consistent with the given
material
Improvisations are
effective, but not
consistent with the given
material
Improvisation is not
effective and is not
consistent with the given
material
Compose or write a melodic
variation
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and
form as well as aesthetic
considerations
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and
form
Composition adheres to
properties of melodic line
in relation to rhythm
Composition contains
incorrect note values and
does not follow the given
tonality
110
Concert Band CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to interpret standard duration and
meter in 3/8, 12/8,and duple time
signatures such as 5/4 and 6/4
How to apply standard symbols, terms,
and notation to musical performance,
including dynamics, articulations,
tempo markings, and symbols/terms
Play music in Time Signature: 3/8, 12/8, 5/4, 6/4
Demonstrate knowledge of articulations: Articulated slurs,
sixteenth note slur/tongue combinations, multiple tonguring
Demonstrate knowledge of tempo markings: Grave, Allegretto,
Presto, Tempo Primo, Adagio
Demonstrate knowledge of Symbols and Terms: Tacet, segue, con
sordino, tremolo, rubato
Unit Vocabulary:
Time Signature: 3/8, 12/8, 5/4, 6/4
Articulations: Articulated slurs, sixteenth note slur/tongue combinations, multiple tonguring
Tempo Markings: Grave, Allegretto, Presto, Tempo Primo, Adagio
Symbols and Terms: Tacet, segue, con sordino, tremolo, rubato
Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and
symbols/terms.
Student counts and plays music written in 3/8, 12/8, 5/4, 6/4.
Student writes music using sixteenth/eighth note rhythm combinations and ties on the beat.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify symbols and terms on their music
Students will define vocabulary in a worksheet
Demonstrate
Lecture
Verbal & written
feedback
Written Quiz
Application/Analysis
Activity Strategy Assessment
Students will use and apply symbols and terms to their
performance
Student
Demonstration
Verbal & written
feedback
Synthesis/Evaluation
Activity Strategy Assessment
Construct an original melody using sixteenth/eighth note
rhythm combinations and ties on the beat
Modeling Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
111
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II. A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Play music in Time Signatures: 3/8, 12/8, 5/4, 6/4
Perform music with varying articulations: Articulated slurs, sixteenth note slur/tongue combinations,
multiple tonguing
Demonstrate Tempo Markings: Grave, Allegretto, Presto, Tempo Primo, Adagio
Use Symbols and Terms: Tacet, segue, con sordino, tremolo, rubato
112
Scoring Guide for Concert Band CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signatures: 3/8, 12/8,
and less common duple time
signatures such as 5/4 and
6/4
Reads and interprets time
signatures correctly in
3/8, 12/8 and 5/4
Reads time signatures
correctly, but misplaces or
lacks emphasis on strong
beats
Reads some rhythms
correctly within the meter,
but time is unstable with
frequent pauses
Lacks a steady sense of
time, unable to read and
interpret time signatures
Tempo markings: Grave,
Allegretto, Presto, Tempo
Primo, Adagio
Reads and interprets
tempo markings correctly,
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Student is unable to
maintain a steady tempo
consistent with the given
tempo marking
Student is unable to
differentiate between
tempo markings, tempo
fluctuates dramatically
Execute articulated slurs,
sixteenth note slur/tongue
combination, multiple
tonguing
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: irregular
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Symbols and terms: tacet,
segue, con sordino, rubato
Reads and interprets
symbols and terms
correctly in context
Demonstrates knowledge
of symbols and terms, but
some terms or symbols
are not performed in
context
Student defines terms, but
does not interpret them
correctly in playing
Student is unable to read
and interpret symbols and
terms
Compose or write a melodic
variation
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and
form as well as aesthetic
considerations
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and
form
Composition adheres to
properties of melodic line
in relation to rhythm
Composition contains
incorrect note values and
does not follow the given
tonality
113
Concert Band CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire:
Sonata, rondo, symphonic, jazz
Unit Vocabulary: Sonata, rondo, symphonic, jazz
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify sonata, rondo, symphonic, jazz
forms
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire: sonata, rondo, symphonic, jazz
114
Concert Band CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G 1.4, G 2.4
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use Concert Band terminology
and form/composition techniques to
describe, analyze, interpret, and
evaluate an excerpt or piece of music
How to differentiate among diatonic
intervals to the octave
Use Concert Band terminology and form/composition techniques
to describe, analyze, interpret and evaluate a recorded excerpt or
piece of music
Listen to and differentiate among diatonic intervals to the octave
Unit Vocabulary: aesthetics, style, interpretation, chromatic, diatonic, interval, minor, major, perfect,
augmented, diminished, octave, unison, natural/harmonic/ melodic minor
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes, analyzes, interprets, and evaluates an excerpt or piece of music.
Student listens to and differentiates between diatonic intervals to the octave.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify diatonic intervals played on a keyboard (T) Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Listen to and rehearsal and performance recordings of
the same piece of music; describe, analyze, interpret, and
evaluate the differences between the two recordings (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment for Core Conceptual Objective III. B. Analysis: Students will
demonstrate the ability to respond to and critically analyze music.
Student Tasks:
Use Concert Band terminology and form/composition techniques to describe, analyze, interpret and
evaluate an excerpt or piece of music
Listen to and differentiate among diatonic intervals to the octave
115
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical performance. You
may take as much space as you need for each paragraph. If you are completing this with pen/pencil, you
may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
116
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
117
Concert Band CCO III. B. - Analysis
Interval Recognition Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Listen to and differentiate
among diatonic intervals
within the octave
Aurally identifies
examples of diatonic
intervals within the octave
at 95% to 100%
proficiency
Aurally identifies
examples of diatonic
intervals within the octave
at 85% to 95%
proficiency
Aurally identifies
examples of diatonic
intervals within the octave
at 70% to 85%
proficiency
Aurally identifies
examples of diatonic
intervals within the octave
at 0% to 70% proficiency
118
Concert Band CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Students will make connections between music and other subject
areas.
Essential Understanding Missouri State Standards
Music and science are closely connected because of the physical properties
involved in producing sound.
FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to explain the physical properties
involved in producing a tone and
manipulating pitch
How to describe the impact of
technology on the development of
music instruments
How to list several skills learned in
ensembles and relate them to those
skills needed in areas such as the work
force, church or community group,
and other school groups
Connect music to science in sound production (air speed and
frequency)
Connect music to science in technology (development of
instruments)
Describe several skills learned in ensembles and relate them to
those skills needed in areas such as the work force, church or
community group, and other school groups
Unit Vocabulary: frequency, amplitude, wave length, beats, air column, cycles per second, intonation, tuner, air
speed, volume
Pre-Assessment: Student defines science and music terminology related to sound production.
Student writes a short description of the physical properties involved in producing sound on one‘s instrument.
Student demonstrates how their instrument works in producing sound and manipulating pitch.
Student lists several skills learned in ensemble performance and participation.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define science and music terminology related to sound
production and properties (T)
Lecture Written quiz
Application/Analysis
Activity Strategy Assessment
Create a timeline that shows major advancements or
changes in the construction of instruments (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Suggest ways for improving student intonation based on
knowledge of wave interference (T)
Class Discussion Teacher Observation
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
119
Application Level Assessment for IV. A. Integration: The student will make connections between music and
other subject areas.
Student Task:
Connect music to science in sound production (air speed and frequency) and technology (development of
instruments)
Describe several skills learned in ensembles and relate them to those skills needed in areas such as the work force,
church or community group, and other school groups
120
Scoring Guide for Concert Band CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Connections between music and
science in sound production:
Wavelength – horizontal length of
one cycle of a wave.
Period – time required for one
wavelength to pass a certain point.
Longer period, lower pitch. Shorter
period, higher pitch.
Amplitude – maximum value of the
wave function. The higher the
amplitude, the louder the sound.
Beat – when condensation meets a
rarefaction or vice versa to create a
variation in loudness.
Two sources of the same pitch
increase the amplitude.
Two sources of slightly different
pitch create wave interference or
beats (known as being out of tune in
band)
Sound moves at different speeds
through different mediums (cold air
= lowered pitch)
Analyzes,
compares and
contrasts
connections among
music and science
in sound
production
Compares and contrasts
connections among music
and science in sound
production
Identifies some
connections among music
and science in sound
production
Attempts to make
connections among music
and science in sound
production
121
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Connect music to science in
technology (development of
instruments):
Improvement of construction
materials and design leads to
instruments with more consistent
tone and intonation (ex. valved brass
instruments, Boehm clarinet key
system)
Improvement in manufacturing
technique allows for mass
production of instruments
Electronic tuners
Analyzes,
compares and
contrasts
connections among
music and science
in technology
Compares and contrasts
connections among music
and science in technology
Identifies some
connections among music
and science in technology
Attempts to make
connections among music
and science in tech
122
Concert Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles and cultures.
FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to compare characteristics and
context of American and British march
styles
How to conclude possible origin
and/or historical period of aural
example
How to cite well-known performers
specific to student‘s instrument
Compare and contrast American, British, and Passadoble march
styles
Conclude possible origin and/or historical period of aural example
Cite well-known performers specific to student‘s instrument
Unit Vocabulary: aesthetics, style, interpretation, form, British March, American quick-step March, 6/8
march, military march, concert march
Pre-Assessment: Student defines music terminology related to music history.
Student listens to and differentiates between marches of different styles and function.
Student gathers information and deduces differences between historical periods of music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to American and
British march styles (T)
Identify current artists/performers specific to student‘s
instrument
Lecture
Lecture/Student
Research
Written quiz
Paper
Application/Analysis
Activity Strategy Assessment
Analyze and rehearse marches from a diverse historical
and cultural background
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Decide upon the style and/or approximate time period of
a piece of music that has been rehearsed or studied
Lecture/Reference
Recordings
Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment for Core Conceptual Objective V. A. Music History: Students will
demonstrate knowledge of music history.
123
Student Task:
Compare and contrast American and British marches
Deduce origins and/or historical periods of aural examples
124
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
125
Scoring Guide for Concert Band, CCO V. A. – Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Characteristics of American March
Music:
follows a relatively strict form with
Introduction, 1st
and 2nd
Strains, Trio (new
key), Break Strain, and a Finale or Grandioso
(often an embellishment or variation on the
trio melody)
break strain and Finale/Grandioso are
repeated to ending, usually with a stinger as
the last note
brisk and lively tempo, usually around
120+ bpm
stronger note beginnings with decay into
release that creates space between notes
phrases are generally short and not as
lyrical as other styles
Characteristics of British March Music:
follows a relatively strict form with
Introduction, 1st
and 2nd
Strains, Trio (new
key), Break Strain, and a Finale or Grandioso
(often an embellishment or variation on the
trio melody
more moderate tempo, around 100 bpm
moderate strength attacks with slightly
more sustain than American marches.
generally lighter in articulation and style
phrases are generally longer, more lyrical
and developed
Compares, contrasts, and
evaluates American and
British marches in the
context of the ―golden
age of bands‖ (circa
1875-1930)
Compares and
contrasts American
and British marches
in the context of the
―golden age of
bands‖ (circa 1875-
1930)
Explains American
and British marches
in the context of the
―golden age of
bands‖ (circa 1875-
1930)
Lists characteristics of
American and British
marches in the context
of the ―golden age of
bands‖ (circa 1875-
1930)
126
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Context of American March Music:
grew out of the military musical needs for drills,
troop movement, ceremonies and troop morale
following the civil war, congress reduced the
number and size of military bands (to pay off war
debts and for reconstruction) – military leaders
asked civilian bands to fill the void
professional touring bands traveled the country
performing the latest marches
instrumentation grows to include orchestral
woodwinds, valved brass instruments, and
saxophones
abundance of left-over instruments from Civil
War military bands resulting in easy access to
instruments and increased numbers of people
learning to play band instruments (led to increased
demand for band music and a larger audience)
growing sense of nationalism and patriotism
(paralleled by the nationalistic movement in
Europe)
Context of British March Music:
grew out of military musical needs and out of the
brass band movement of the 19th
century
increasing popularity of American marches
during the same period
each regiment had its own performing group and
its own march
a very important part of ceremonies involving
royalty and military leaders
Compares,
contrasts, and
evaluates
American and
British marches in
the context of the
―golden age of
bands‖ (circa
1875-1930)
Compares and
contrasts American
and British marches
in the context of the
―golden age of
bands‖ (circa 1875-
1930)
Explains American
and British marches
in the context of the
―golden age of
bands‖ (circa 1875-
1930)
Lists characteristics of
American and British
marches in the context
of the ―golden age of
bands‖ (circa 1875-
1930)
127
High School
Symphonic Band
128
Symphonic Band CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to manipulate pitch, tone, and
dynamics to match and balance
ensemble
How to demonstrate proper tone quality,
pitch accuracy, intonation, and dynamic
contrast through singing in unison and in
harmony with expression
How to play Grade 4 Literature
How to play note patterns in sixteenth
notes, MM=88
How to perform rhythm counting:
sixteenth notes and rests in compound
meter
How to play scales in the keys:
Major: B, G flat
Minor: g#, d#
How to play by ear simple melodies (6-8
pitches) on a melodic instrument or
simple accompaniments on a harmonic
instrument
How to create and perform a melody and
melodic variation based upon a given
harmony
How to compose or write a melody
based upon a given harmony
How to use note emphasis and note
length to interpret a musical phrase
How to perform various combinations of
simple or compound meter, dynamics,
articulations and tempo markings on
instrument (see CCO II) found in Grade
4 Literature
Manipulate pitch, tone, and dynamics to match and balance
ensemble on instrument
Demonstrate proper tone quality, pitch accuracy, intonation,
dynamic contrast through singing in unison and in harmony with
expression
Perform Grade 4 Repertoire
Play note patterns in sixteenth notes, MM=88
Demonstrate rhythm counting: sixteenth notes and rests in
compound meter
Demonstrate scales in the keys:
Major: B, G flat
Minor: g#, d#
Play by ear simple melodies (6-8 pitches) on a melodic
instrument or simple accompaniments on a harmonic instrument
Create and perform a melody and melodic variation based upon
a given harmony
Compose or write a melody based upon a given harmony
Use note emphasis and note length to interpret a musical phrase
Perform various combinations of simple or compound meter,
dynamics, articulations (at faster tempos), and tempo markings
on instrument (see CCO II) found in Grade 4 Literature
129
Unit Vocabulary: leading tone, mode
Pre-Assessment: Student defines music terminology related to Grade 4 Literature.
Student plays an individual part in a chorale or individual part utilizing dynamics to match overall balance
and blend of the ensemble.
Student plays an excerpt from Grade 4 Literature, demonstrating various combinations of simple or
compound meter, dynamics, articulations (at faster tempos), tempo markings, rhythmic and
melodic precision, with appropriate phrasing and shaping in the above keys.
Student creates and performs a melody and melodic variation based upon a given harmony.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify major and minor key signatures
Identify the musical mode of a recorded piece of music
(T)
Lecture
Listening Lecture
Written quiz
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Incorporate multiple tonguing on a running sixteenth
note or triplet exercise
Cooperative learning Scoring guide
Differentiation Suggestions: Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Students have the option of participating in additional music performances outside of school (All-
Suburban, solo/ensemble festival).
Application Level Assessment for CCO I.A. Performance Skills: Students will demonstrate
instrumental music performance skills (expression, technique, repertoire, imitation, group playing,
improvisation, and composition) through varied repertoire.
Student Tasks: Manipulate pitch, tone, and dynamics to match and balance ensemble on instrument
Demonstrate proper tone quality, pitch accuracy, intonation, dynamic contrast through singing in unison
and in harmony with expression
Perform Grade 4 Repertoire
Play note patterns in sixteenth notes, MM=88
Demonstrate rhythm counting: sixteenth notes and rests in compound meter
Demonstrate scales in the keys: Major: B, G flat, Minor: g#, d#
Play by ear simple melodies (6-8 pitches) on a melodic instrument or simple accompaniments on a
harmonic instrument
Create and perform a melody and melodic variation based upon a given harmony
Compose or write a melody based upon a given harmony
Use note emphasis and note length to interpret a musical phrase
Perform various combinations of simple or compound meter, dynamics, articulations (at faster tempos), and
tempo markings on instrument (see CCO II) found in Grade 4 Literature
Activity Strategy Assessment
Perform Grade 4 level excerpt with precision Modeling Playing test/Scoring
Guide
130
Scoring Guide for Symphonic Band, CCO I. A. – Performance Skills
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Manipulate pitch, tone, and
dynamics to match and
balance ensemble on
instrument
Student plays with a
characteristic sound
throughout the entire range
of the instrument:
centered, clear, and
focused.
Always matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble.
Student plays the
indicated dynamic level
and always adjusts to
match the section volume.
Student plays with a
characteristic sound in
the middle register of the
instrument: centered,
clear, and focused.
Consistently matches
reference pitch and
consistently adjusts
individual intonation by
comparing it to entire
ensemble.
Student plays the
indicated dynamic level
and consistently adjusts
to match the ensemble
volume.
Student meets two of the
three expectations for a
characteristic sound in
the middle register of the
instrument: centered,
clear, and focused.
Inconsistently matches
reference pitch and
adjusts individual
intonation by comparing
it to entire ensemble.
Student plays the
indicated dynamic level
but does not adjust to
match the section
volume.
Student does not play
with a characteristic
sound in the middle
register of the
instrument: not centered,
not clear, and unfocused.
Rarely matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble.
Student plays the
opposite of the indicated
dynamic level and does
not match the ensemble
volume.
Perform sixteenth note
patterns, MM=88. Tempo: Steady and
target tempo is exceeded
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Tempo: Unsteady
Rhythm: Irregular
Note Accuracy: most
notes are correct
Tempo: Does not meet
target tempo and tempo
is unsteady
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
Rhythm counting with
sixteenth notes and rests in
compound meter
Tempo: Steady and
target tempo is exceeded
Rhythm: Accurate with
no discernible mistakes
Counting Accuracy:
accurate with no
discernible mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Counting Accuracy:
accurate with few
mistakes
Tempo: Unsteady
Rhythm: Irregular
Counting Accuracy:
most rhythms are correct
Tempo: Does not meet
target tempo and tempo
is unsteady
Rhythm: Unrecognizable
Counting Accuracy:
unrecognizable
131
Perform sixteenth note
scales:
Major: B, G flat
Minor: g#, d#
Tempo: Steady and
target tempo is exceeded
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Tempo: Steady and
target tempo is me
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Tempo: Unsteady
Rhythm: Irregular
Note Accuracy: most
notes are correct
Tempo: Does not meet
target tempo and tempo
is unsteady
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
Perform Grade 4 literature
using note emphasis and
note length to interpret
musical phrases
Note emphasis and note
length are effectively used
to enhance artistic
expression within a
musical phrase
Note emphasis and note
length are frequently used
to elevate the musical
expression of the musical
phrase
Note emphasis and note
length are occasionally
used to elevate the phrase
beyond mere notes
Note emphasis and note
length are not used to
interpret a musical phrase
Create and perform a
melody based upon a given
harmony
Improvisation is creative
and follows the given
harmonic structure
Improvisation is effective
and consistent with the
harmonic structure
Improvisation fills the
length of the assignment,
but is not consistent with
the harmonic structure
Improvisation contains
incorrect note values and
does not follow the
harmonic structure
Compose or write a melody
based on a given harmony Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and form
as well as aesthetic
considerations
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and form
Composition adheres to
properties of melodic line
in relation to rhythm
Composition contains
incorrect note values and
Does not follow the given
tonality
Perform Grade 3 literature
using tempo, articulations
(at fast tempos), and
dynamic variation, to
express, interpret, and
shape musical phrases
Student demonstrates
clear, accurate differences
in speed at tempo
changes, interprets
melodic line using
articulations and dynamic
variation where
appropriate
Student demonstrates
differences in speed, but
not enough contrast
between tempo changes
and uses some
articulations and dynamic
variation
Student demonstrates few
or slight changes in speed
at tempo changes,
dynamic variation, and
little variation of
articulations within
melodic content
Dynamics do not change,
little or no interpretation
of tempo fluctuations, no
variation of articulations
within melodic content
132
Symphonic Band CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to interpret standard duration and
meter in asymmetrical time signatures,
such as 5/8, 7/8
How to apply standard symbols, terms,
and notation to musical performance,
including dynamics, articulations,
tempo markings, and symbols/terms
Play music in Time Signature: Asymmetrical time signatures, like
5/8 and 7/8
Demonstrate knowledge of articulations: All at faster tempos
Demonstrate knowledge of tempo markings: Largo, stringendo
Demonstrate knowledge of Symbols and Terms: Mordents, turn
Unit Vocabulary:
Time Signature: Asymmetrical, such as 5/8 and 7/8
Articulations: All at faster tempos
Tempo Markings: Largo, stringendo
Symbols and Terms: Mordent, turn
Pre-Assessment: Student defines music terminology related to time signatures, dynamics, articulations, tempo, and
symbols/terms.
Student counts and plays music written in asymmetrical time signatures, such as 5/8 and 7/8
Student writes music using sixteenth notes and rests in compound meter.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify symbols and terms on their music
Students will define vocabulary in a worksheet
Demonstrate
Lecture
Verbal & written
feedback
Written Quiz
Application/Analysis
Activity Strategy Assessment
Students will use and apply symbols and terms to their
performance
Small ensembles select and perform different musical
excerpts to demonstrate dynamic changes over 1 count
Student
Demonstration
Cooperative Learning
Verbal & written
feedback
Playing Test
Synthesis/Evaluation
Activity Strategy Assessment
Construct an original melody using sixteenth notes/rests
in compound meter
Modeling Scoring Guide
133
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II. A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Play music in Time Signatures: Asymmetrical time signatures, such as 5/8 and 7/8
Perform music with varying articulations: All at faster tempos
Demonstrate Tempo Markings: Largo, stringendo
Use Symbols and Terms: Mordent, turn
134
Scoring Guide for Symphonic Band CCO II. A. Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signatures: Perform
Grade 4 literature using
asymmetrical time
signatures, 5/8 and 7/8
Reads and interprets
asymmetrical time
signatures correctly in 5/8
and 7/8
Reads time signatures
correctly, but misplaces or
lacks emphasis on strong
beats
Student reads some
rhythms correctly within
the meter, but time is
unstable with frequent
pauses
Student lacks a steady
sense of time, unable to
read and interpret time
signatures
Tempo Markings: Define
and perform Largo and
stringendo tempos
Reads and interprets
tempo markings correctly,
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Student is unable to
maintain a steady tempo
consistent with the given
tempo marking
Student is unable to
differentiate between
tempo markings, tempo
fluctuates dramatically
Symbols and Terms: Define
and perform mordents and
turns
Student reads and
interprets mordents
correctly in context
Demonstrates knowledge
of mordents, but some are
not performed in context
Student can tell the
definitions of a mordent,
but does not interpret it
correctly in playing
Student is unable to read
and interpret mordents
Execute all articulations at
faster tempos
Tempo: steady and target
tempo is exceeded
Rhythm: accurate with no
discernible mistakes
Note accuracy: accurate
with no discernible flaws
Tempo: steady and target
tempo is met
Rhythm: accurate with few
mistakes
Note accuracy: accurate
with few mistakes
Tempo: unsteady
Rhythm: irregular
Note accuracy: most notes
are correct
Tempo: does not meet
target tempo and tempo is
unsteady
Rhythm: unrecognizable
Note accuracy:
unrecognizable
Compose or write music
using sixteenth notes and
rests in compound meters
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and form
as well as aesthetic
considerations
Composition adheres to
properties of melodic line
in relation to rhythm,
tonality, cadence and form
Composition adheres to
properties of melodic line
in relation to rhythm
Composition contains
incorrect note values and
Does not follow the given
tonality
135
Symphonic Band CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire:
Opera, ballet, musical theatre, cantata, canon
Unit Vocabulary: Opera, ballet, musical theatre, cantata, canon
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify opera, ballet, musical theatre,
cantata, canon
Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire: opera, ballet, musical theatre, cantata, canon
136
Symphonic Band CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 1, FA 2, G 2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use Symphonic Band music
terminology and form/composition
techniques to describe, analyze,
interpret, and evaluate an excerpt or
piece of music
How to differentiate among chromatic
intervals to the octave
Use Symphonic Band terminology and form/composition
techniques to describe, analyze, interpret, and evaluate a recorded
excerpt or piece of music
Listen to and differentiate among chromatic intervals to the octave
Unit Vocabulary: scale degrees, whole-tone and pentatonic scales/modes, consonance, dissonance
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes, analyzes, interprets, and evaluates a recorded excerpt or piece of music.
Student listens to and differentiates chromatic intervals to the octave.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify chromatic intervals played on a keyboard (T) Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative learning Scoring learning
Synthesis/Evaluation
Activity Strategy Assessment
Listen to a rehearsal recording and the performance
recording of the same piece of music; describe, analyze,
interpret, and evaluate the differences between the two
recordings (T)
Cooperative learning Written quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers and peer leaders can provide individual tutoring sessions.
Application Level Assessment for CCO III. B. Analysis: Students will demonstrate the ability to
respond to and critically analyze music.
Student Tasks:
Use Symphonic Band terminology and form/composition techniques to describe, analyze, interpret, and
evaluate a recorded excerpt or piece of music.
Listen to and differentiate among chromatic intervals to the octave.
137
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical performance. You
may take as much space as you need for each paragraph. If you are completing this with pen/pencil, you
may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
138
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
139
Symphonic Band CCO III. B. - Analysis
Interval Recognition Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Listen to and differentiate
among chromatic intervals
within the octave
Aurally identifies
examples of chromatic
intervals within the octave
at 95 to 100% proficiency
Aurally identifies
examples of chromatic
intervals within the octave
at 85 to 95% proficiency
Aurally identifies
examples of chromatic
intervals within the octave
at 70 to 85% proficiency
Aurally identifies
examples of chromatic
intervals within the octave
at 0 to 70% proficiency
140
Symphonic Band CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Students will make connections between music and
other subject areas.
Essential Understanding Missouri State Standards
People communicate ideas and emotions in music, literature, and art. FA4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to:
How to connect the narrative function
of art to the communication of an idea
in Program Music
How to connect the narrative function
of literature to the communication of
an idea in Program Music
Explain how the roles of creators,
performers, and other involved in the
production and presentation of the arts
compare to and from those skills
needed in various vocations
Compare and Contrast the narrative function of art to the
communication of an idea in Program Music
Compare and Contrast the narrative function of literature to the
communication of an idea in Program Music
Explain how the roles of creators, performers, and other involved
in the production and presentation of the arts compare to and from
those skills needed in various vocations
Unit Vocabulary: program music, Romantic, Twentieth Century, narrative art, narration, plot,
characterization, mood, texture, Emotionalism, Imitationalism, Functionalism
Pre-Assessment: Students will explain the narrative or emotional meaning of a work of
music/art/literature and defend their judgment with references to compositional elements.
Students will list various duties of a production or presentation in the arts and define various duties of those
roles.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define vocabulary related to narrative function of art
and literature
Class Discussion Teacher Observation
Application/Analysis
Activity Strategy Assessment
Compose or improvise a melody that communicates a
narrative from literature or the mood of a work of art (T)
Modeling Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Write a short story or create a piece of art that expresses
a similar emotion or idea to a given piece of music (T)
Student Project Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers and peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO IV. A. Integration: Students will make connections between music
and other subject areas.
141
Student Tasks: Compare and Contrast the narrative function of art to the communication of an idea in Program Music.
Compare and Contrast the narrative function of literature to the communication of an idea in Program
Music.
Write essay on the various roles involved in productions and presentations in the arts and define skills
needed in various vocations with real-world application.
142
Scoring Guide for Symphonic Band CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Compare and Contrast the
narrative function of art to
the communication of an
idea in Program Music
Narrative Function of Art:
Associated with a story,
poem, idea, or scene
Uses elements and
principles of art
Format-multiple panels
or a mural
Combines scenes from
different times/places
Communicating a point
of view
Program Music:
Associated with a story,
poem, idea, or scene
Uses elements and
principles of music
(theme, form, leitmotif)
Analyzes, compares and
contrasts connection
between the narrative
function of art to the
communication of an idea
in Program Music.
Compares and contrasts
connections between the
narrative function of art to
the communication of an
idea in Program Music.
Identifies some
connections between the
narrative function of art to
the communication of an
idea in Program Music.
Attempts to make
connections between the
narrative function of art to
the communication of an
idea in Program Music.
143
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Compare and Contrast the
narrative function of
literature to the
communication of an idea
in Program Music
Narrative Function of
Literature:
Associated with a story
or poem.
Uses elements of
literature (plot,
characterization, mood,
theme)
Program Music:
Associated with a story,
poem, idea, or scene
Uses elements and
principles of music
(theme, form, leitmotif)
Analyzes, compares and
contrasts connection
between the narrative
function of literature to
the communication of an
idea in Program Music
Compare and contrast
connections between the
narrative function of
literature to the
communication of an idea
in Program Music
Identifies some
connections between the
narrative function of
literature to the
communication of an idea
in Program Music
Attempts to make
connections between the
narrative function of
literature to the
communication of an idea
in Program Music
144
Symphonic Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music history
appropriate to grade level.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles, and cultures.
FA5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to:
How to cite characteristics of early
wind band literature (ex. Grainger,
Holst, Sousa) and contemporary wind
band literature (ex. Gillingham,
Ticheli, Holsinger)
How to cite well-known composers
specific to student‘s instrument
Compare and contrast examples of early wind band literature to
that of contemporary literature
Cite well-known composers specific to student‘s instrument
Unit Vocabulary: Overture, transcription, ballad, rhapsody, fantasia, program music, aleatoric music,
chromaticism, folk music, wind band
Pre-Assessment: Student defines music terminology related to music history.
Student listens to and differentiates between examples of early 20th
Century wind band music and
contemporary wind band music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
List prominent composers of wind band music from
1910-1965 (T)
Lecture Written Quiz
Application/Analysis
Activity Strategy Assessment
Analyze an example of early or contemporary wind band
music
Cooperative learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Listen to a recorded selection and justify an opinion as
to the approximate date of composition (T)
Cooperative learning Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers and peer leaders can provide individual tutoring sessions.
Teachers can provide comparisons of additional composers (ex. Arnold, Boysen, Daugherty, Erickson,
Grundman, Hindemith, Jacob, McBeth, Melillo, Nelhybel, Nelson, Persichetti, Smith, van der
Roost, Vaughan Williams, Whitacre, etc.)
Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of
music history.
Student Task: Compare and contrast recorded examples of early wind band literature to that of contemporary literature.
145
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
146
Scoring Guide for Symphonic Band, CCO V. A. – Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Characteristics of Early Wind Band
Literature: Music as a form of ceremonial
support for both military and civic functions
as well as dance music. First pieces written
not based on transcriptions and meant for a
serious audience were folk song based or
original compositions. Smaller
instrumentations in the beginning, but as
instrument makers improved their craft, more
variety of instruments found in the ensemble.
Context of Early Wind Band Literature:
Band movement in France after the French
Revolution and the French National Guard
Band and its conductor Bernard Serrette
(1765-1858). John Adams signed an Act of
Congress establishing the United States
Marine Band (1798). Others that flourished:
Salem Brigade Band (1806) and the Militia
Band of New York (1810). The English
bands as American models. The Allentown
Band (1828) as America‘s first community
band and the Independent Band of New York
(1825) as first professional band. Patrick
Gilmore (1829-1892) and the influence of the
Frenchman Louis Antoine Jullien (1812-
1860) as band showman becoming the father
of the modern American concert band.
English contributions of composers Gustav
Holst (1874-1934), Ralph Vaughan Williams
(1872-1958), Gordon Jacob (1895-1984), and
Percy Aldridge Grainger (1882-1961).
Compares, contrasts, and
evaluates early and
contemporary wind band
literature.
Compares and contrasts
early and contemporary
wind band literature.
Explains early and
contemporary wind
band literature.
Lists characteristics of
early and contemporary
wind band literature.
147
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Characteristics of Contemporary Wind
Band Literature: A company of woodwind,
brass and percussion instruments. Wind
Band Ensemble concept as compared to the
traditional band. Bands during the mid-20th
century imitated the symphony orchestra
performing transcriptions (clarinets being
assigned the violin parts, etc). The vast
majority of wind band music created in the
last 50 years and treats instrumentalists as
individuals and the genre a unique art form
with original compositions.
Context of Contemporary Wind Band
Literature: Several festivals and bands
commissioned works with the intent to
improve the quality of military band
(Donaueschingen Music Festival Hindemith
1926, Aaron Copland for the Goldman Band
in 1941, Alfred Reed and contest held at
Columbia University in 1947). William
Schuman and Vincent Persichetti (1950)
writing music for the band medium to be
recognized artistic value instead of just
popular entertainment. Fennell creates the
Eastman Wind Ensemble (1952) and
Boudreau the Wind Symphony (1957) and
the promotion of new art music.
Development of professional level university
bands and explosion of music for the high
school band program (Nelhybel (1919-1996),
McBeth , Clifton Williams, and Warren
Benson. 1980‘s and 1990‘s finally accepted
at the university level that the band is a viable
artistic medium…..composers leading the
way such as Gillingham, Ticheli, Jack Stamp
Compares, contrasts, and
evaluates early and
contemporary wind band
literature.
Compares and contrasts
early and contemporary
wind band literature.
Explains early and
contemporary wind
band literature.
Lists characteristics of
early and contemporary
wind band literature.
148
High School
Jazz Band
149
Jazz Band CCO I. A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Jazz musicians produce characteristic sound, technique and articulation,
and communicate ideas/feelings and/or concepts through the performance
of music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to manipulate standard pitch, tone,
and dynamics along with altered
qualities (subtone, ghost, vibrato, and
muted) to match and balance ensemble
on instrument
How to demonstrate singing skills
(proper tone quality, pitch accuracy,
intonation) and match pitch in an
appropriate range
How to develop technique through
performance of Grade 3-4 Literature
utilizing:
Full range on instruments
All major, melodic minor and modal
keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns
for playing auxiliary percussion
How to use note emphasis and note
length to interpret a musical phrase
How to play by ear simple melodies or
phrases on increasing complexity, on a
melodic instrument or simple
accompaniments on a harmonic
instrument
How to create and perform a melody or
variation based upon a given harmony
How to improvise harmonized
accompaniment parts
How to compose or write music using
notation
How to perform various combinations of
simple or compound meter, dynamics,
Manipulate standard pitch, tone, and dynamics along with
altered qualities (subtone, ghost, vibrato, and muted) to match
and balance ensemble on instrument
Demonstrate singing skills (proper tone quality, pitch accuracy,
intonation) and match pitch in an appropriate range
Develop technique through performance of Grade 3-4 Literature
utilizing:
Full range on instruments
All major, melodic minor and modal keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns for playing auxiliary
percussion
Use note emphasis and note length to interpret a musical phrase
Play by ear simple melodies or phrases on increasing
complexity, on a melodic instrument or simple accompaniments
on a harmonic instrument
Create and perform a melody or variation based upon a given
harmony
Improvise harmonized accompaniment parts
Compose or write music using notation
Perform various combinations of simple or compound meter,
dynamics, articulations, and (faster) tempo markings on
150
articulations and (faster) tempo markings
on instrument (see CCO II) found in
Grade 3-4 Jazz Literature
instrument (see CCO II) found in Grade 3-4 Jazz Literature
Unit Vocabulary: subtone, ghost, vibrato, muted, bite, ride, glisses, falls, doits, lip trills, scoops, ghost,
subtone, muting marks, ballad, bar, blues, chorus, distortion, dissonance, consonance, interval, lyrics, off-
beat, progression, semitone, tone color, verse, vibrato
Pre-Assessment: Student defines music terminology related to pitch, tone, blend, and balance, rhythm,
melody, harmony, articulation, phrasing, expression, and jazz related terms.
Students play an individual part in a chorale utilizing dynamics to match overall balance and blend of the
ensemble.
Student plays an excerpt from Grade 3-4 Jazz arrangement, demonstrating various combinations of simple
and compound meter, dynamics, articulations, tempo markings, rhythmic and melodic precision,
with appropriate phrasing and shaping in the above keys.
Student plays tones to vary standard pitches and altered qualities.
Student will perform varied style properties and tendencies of jazz music.
Students will create a melody from a given harmony.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify a characteristic sound on band instruments
Identify major and minor key signatures
Identify the phrase structure in a recorded piece of music
Give example
reference recordings
Lecture
Cooperative Learning
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate tone quality of individual band instrument
performances of self and peers tuner
Evaluate a peer and give suggestions for improvement to
double tonguing on running sixteenth note exercise
Evaluate expressive styles and qualities on individual
band group performances of self and peers
Cooperative learning
Share Pair
Cooperative Learning
Scoring guide
Differentiation Suggestions: Teacher can provide supplemental materials for accelerated students.
Teachers of peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within the section of the ensemble.
Activity Strategy Assessment
Perform a characteristic sound on individual instrument
tuner
Perform Grade 3-4 music with sixteenth note
subdivision
Perform a musical excerpt using an original
interpretation
Modeling
Cooperative Learning
Modeling
Playing test
151
Students have the option of participating in additional music performances outside of school (All-
Suburban, solo/ensemble festival).
Jazz excerpts of professional recordings show style and interpretation.
Application Level Assessment, CCO I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Manipulate standard pitch, tone, and dynamics along with altered qualities (subtone, ghost, vibrato, and
muted) to match and balance ensemble on instrument
Develop technique through performance of Grade 3-4 Literature utilizing:
Full range on instruments
All major, melodic minor and modal keys
Multiple tonguing and articulations
Alternate fingerings
Proper technique/idiomatic patterns for playing auxiliary percussion
Use note emphasis and note length to interpret a musical phrase
Improvise and perform a melody based on a given harmony.
Perform various combinations of simple or compound meter, dynamics, articulations, and (faster) tempo
markings on instrument (see CCO II) found in Grade 3-4 Jazz Literature
152
Scoring Guide for Jazz Band, CCO I. A. – Performance Skills
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Manipulate pitch, tone, and
dynamics to match and
balance section and
ensemble on instrument
Student plays with a
characteristic sound
throughout the entire range
of the instrument: centered,
clear, and focused
Always matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
and always adjusts to
match the section volume
Student plays with a
characteristic sound in the
comfortable register of the
instrument: centered, clear,
and focused
Consistently matches
reference pitch and
consistently adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
and consistently adjusts to
match the ensemble
volume
Student meets two of the
three expectations for a
characteristic sound in the
comfortable register of the
instrument: centered, clear,
and focused
Inconsistently matches
reference pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the
indicated dynamic level
but does not adjust to
match the section volume
Student does not play
with a characteristic sound
in the comfortable register
of the instrument: not
centered, not clear, and
unfocused
Rarely matches reference
pitch and adjusts
individual intonation by
comparing it to entire
ensemble
Student plays the opposite
of the indicated dynamic
level and does not match
the ensemble volume
Perform sixteenth note
patterns and rhythm
counting in compound
meter at MM=88
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note/Counting
Accuracy: accurate with
no discernible mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note/Counting Accuracy:
accurate with few
mistakes
Tempo: Unsteady
Rhythm: Irregular
Note/Counting
Accuracy: most notes are
correct
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note/Counting
Accuracy:
unrecognizable
Perform sixteenth note
scales in all major, melodic
minor, and modal keys,
MM=88
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Tempo: Unsteady
Rhythm: Uneven
Note Accuracy: most
notes are correct
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
153
Perform Grade 3-4
literature using (faster)
tempo, articulations, and
dynamic variation to
express, interpret, and
shape musical phrases
Tempo: Steady and
target tempo is
exceeded.
Rhythm: Accurate with
no discernible mistakes
Note Accuracy: accurate
with no discernible
mistakes
Student demonstrates
clear, accurate
differences in speed at
tempo changes,
interprets melodic line
using articulations and
dynamic variation where
appropriate
Tempo: Steady and
target tempo is met
Rhythm: Accurate with
few mistake
Note Accuracy: accurate
with few mistakes
Student demonstrates
differences in speed, but
not enough contrast
between tempo changes
and uses some
articulations and dynamic
variation
Tempo: Unsteady
Rhythm: Uneven
Note Accuracy: most
notes are correct
Students demonstrates
few or slight changes in
speed at tempo changes,
dynamic variation, and
little variations of
articulations within
melodic content
Tempo: Does not meet
target tempo and tempo
is unsteady.
Rhythm: Unrecognizable
Note Accuracy:
unrecognizable
Dynamics do not
change, little or no
interpretation or tempo
fluctuations, no
variation of articulations
within melodic content
Adjust tempos for various
style properties and
tendencies of music
performed
Tempos at maximum
emphasis for style
properties and tendencies
of music performed.
Tempos are at effective
speed for style properties,
vary within the section of
music performed.
Tempos fluctuate, but
style properties are not
affected in the music
performed.
Tempos at incorrect and
negatively affect style
properties and tendencies
of the music performed.
Improvise and perform a
melody based on a given
harmony
Improvisations are
creative and follows the
given harmonic structure.
Improvisations are
effective and somewhat
consistent with the
harmonic structure.
Improvisations fill length
of assignment, but not
consistent with the
harmonic structure.
Contains incorrect note
values and does not follow
the harmonic structure.
Compose jazz music using
written musical notation Compositions are creative
and consistent with the
given harmonic structure
Compositions are
somewhat creative and
consistent with the given
harmonic structure
Compositions are
effective, but not
consistent with the given
harmonic structure
Contains incorrect note
values
Does not follow the given
harmonic structure
154
Jazz Band CCO II. A. Elements of Music
Core Conceptual Objective II A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Jazz musicians incorporate reading music to express the composer‘s
intentions.
FA 1, FA 2, G2.5
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to apply standard symbols, terms,
and notation to musical performance:
Time Signatures: All compound duple
and compound triple, and mixed meter
Dynamics: All dynamic levels (see 6-12
CCO II.)
Jazz Articulations: Bite, ride, glisses,
falls, doits, lip trills, scoops, ghost,
subtone, muting marks
Tempos: All tempo ranging and styles
(see 6-12 CCO II.)
Apply and perform using standard symbols, terms, and notation:
Time Signatures: All compound duple and compound triple, and
mixed meter
Dynamics: All dynamic levels (see 6-12 CCO II.)
Jazz Articulations: Bite, ride, glisses, falls, doits, lip trills,
scoops, ghost, subtone, muting marks
Tempos: All tempo ranging and styles (see 6-12 CCO II.)
Unit Vocabulary:
Compound duple, compound triple, mixed meter, notation, dotted notes sextuplets, duplets, counterpoint,
blues, lineup, mute, orchestration, refrain, riff
Pre-Assessment: Student defines musical rhythms and meters related to compound, duple, and mixed rhythms.
Student performs advanced dynamic levels in jazz literature.
Student plays an individual part of jazz arrangement utilizing identified symbols of staccato, legato,
marcato, and accent staccato.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify characteristic expressive styles and qualities on
band instruments (T)
Present examples:
reference recordings
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate expressive styles and qualities on individual
band group performances of self and peers (T)
Cooperative learning Scoring guide
Differentiation Suggestions:
Activity Strategy Assessment
Perform characteristic expressive styles and qualities on
individual instrument
Modeling Playing tests
155
Supplemental materials will be provided for varied tempos for advanced students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment for II. A. Elements of Music: Students will apply knowledge and skills to
read and notate music.
Student Tasks: Play music in various time signatures, including compound duple and compound triple, and mixed meter
Define and perform Fast Swing, Slow Ballad tempos
Demonstrate through performances, musical rhythms using various articulations (staccato, legato, marcato,
accent staccato. bite, ride, glisses, falls, doits, lip trills, scoops, ghost, subtone, muting marks) and
music terminology related to jazz.
Compose jazz music using written musical notation.
156
Scoring Guide for Jazz Band, CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signatures: Play
music in various time
signatures, including
compound duple and
compound triple, and mixed
meter
Reads and interprets
meters correctly with
proper emphasis on strong
beats
Reads time signatures
correctly, but misplaces or
lacks emphasis on strong
beats
Pauses at ends of
measures
Student lacks a steady
sense of time, unable to
read and interpret time
signatures
Tempo Markings:
Define and perform
Fast Swing, Slow Ballad
tempos
Reads and interprets
tempo markings correctly,
and is able to maintain
steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Student is unable to
maintain a steady tempo
Student is unable to
differentiate between
tempo markings, tempo
fluctuates dramatically
Demonstrate through
performances, musical
rhythms using staccato,
legato, marcato, and accent
staccato
Student plays rhythms and
articulations correctly in
context
Rhythms are played but
some articulations are not
performed in context
Student can state the
explain the definitions of
articulations, but does not
perform correctly
Student does not know the
differences in articulations
and cannot perform
correctly
157
Jazz Band CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Jazz musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in ensemble repertoire, such as D.C al
Fine, coda, repeat signs, first and second endings (see Band 6-8
CCO III. A.)
Unit Vocabulary: (see prerequisite progressive vocabulary from Band 6-8 CCO. III. A. Musical
Forms)
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify musical forms within repertoire Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in ensemble repertoire, such as D.C al Fine, coda, repeat signs, first and second
endings (see Band 6-12 CCO III. A.)
158
Jazz Band, CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Jazz musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.4, G2.4
Content and Skills:
By the end of this course students should
know:
By the end of this course students should be able to do:
How to use jazz band terminology and
form/composition techniques to analyze,
interpret and evaluate the formal,
stylistic, and aesthetic qualities of music
Introduction
Tells plan to critique. Gives information about the work: composer‘s
name, musician‘s name, title of piece, when and where it was created,
what media was used, its period, style, or culture. Description
Sentences that list everything heard or seen in the performance,
including names of instruments. Analysis
Describes pitch, melody, harmony, rhythm, dynamics
Interpretation
Explain the artist‘s use of phrasing, breathing, style, dynamic contour
and contrast and how he/she communicates an emotional mood or
attitude toward the subject, narrative, social commentary, spiritual
/religious ideas or other purpose of the work
Judgment Evaluates the quality of the composition
Evaluates the quality of the performance
Grammar, Style, Form
Unit Vocabulary: introduction, description, analysis, interpretation, judgment, grammar/style/form
(As it pertains to critique guide of performances or recordings)
Pre-Assessment: Student defines music terminology to describe, analyze, interpret, and evaluate jazz forms, styles and
aesthetic qualities of music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify styles and forms played in jazz literature (T) Present examples:
reference recordings
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate the individual performance of a recorded jazz
piece in relation to the rest of the ensemble (T)
Cooperative learning Scoring guide
Differentiation Suggestions: Supplemental materials will be provided for students at varied levels of achievement.
Activity Strategy Assessment
Analyze a piece of recorded jazz literature and make a
listening diagram (T)
Modeling Playing tests
159
Jazz excerpts of professional recordings show style and interpretation.
Application Level Assessment, CCO III. B. Analysis: Students will demonstrate the ability to respond to
and critically analyze music.
Student Task: Student will use jazz terminology and form/composition techniques to analyze, interpret, and evaluate the
formal, stylistic, and aesthetic qualities of a given excerpt or piece of music
160
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another
page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
161
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
162
Jazz Band CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Students will make connections between music and
other subject areas.
Essential Understanding Missouri State Standards
Jazz music influenced and was influenced by American history and
cultures.
FA 4, FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to connect the social influences of
the different American cultures through
the evolution of blues, rock ‗n‘ roll, R
‗n‘ B, swing styles, and Latin music in
jazz
Cite several skills learned in jazz
ensembles and relate them to those skills
needed in areas such as the work force,
church or community group, and other
school groups
Analyze influences and cultural groups that led to the
development of jazz music genres/styles
Analyze how the artist communicates an emotional mood,
attitude toward the subject, narrative, social commentary,
spiritual /religious idea or other purpose of the work through the
use of phrasing, breathing, style, dynamic contour and contrast
Compare the communication skills used in jazz band to those
skills needed in real-world scenarios for work, community
groups or school groups
Unit Vocabulary: rock ‗n roll, R ‗n B
Pre-Assessment: Explain the development of jazz music and its influences on contemporary pop music and justify with
references to cultural sentiment and diversities.
Student lists several skills learned in ensemble performance and participation
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define vocabulary of culture and geographical areas
related to blues and jazz idiom (T)
Classroom discussion Teacher observation
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Write a short essay that might depict a cultural or
geographical as related to a jazz piece of music (T)
Essay Scoring guide
Differentiation Suggestions: Supplemental material will be provided for accelerated students.
Strong students model for other students.
Activity Strategy Assessment
Compose a melody and lyrics that illustrate a cultural or
geographical influence (T)
Modeling Scoring guide
163
Application Level Assessment for CCO IV. A. Integration: Students will relate jazz music to social/
cultural history in the United States.
Student Tasks:
Analyze influences and cultural groups that led to the development of jazz music genres/styles.
Analyze how the artist communicates an emotional mood, attitude toward the subject, narrative, social
commentary, spiritual /religious idea or other purpose of the work through the
164
Scoring Guide for Jazz Band, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Analyze how the artist communicates an
emotional mood, attitude toward the
subject, narrative, social commentary,
spiritual /religious idea or other purpose
of the work through the use of phrasing,
breathing, style, dynamic contour and
contrast.
Clearly infers meaning of work
based upon analysis/
Clearly supports all statements
with detailed, specific reference to
musical elements
Relates the performer‘s choices to
personal interpretation of the
composer‘s work
Interprets the meaning of work
based upon analysis.
Supports statements with
reference to musical elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of
the work.
Supports statement
with reference to some
musical elements
Suggests
meaning of
work without
supporting
evidence
Analyze influences and cultural groups that led to
the development of jazz music genres/styles:
Analyzes and defends
statements about the
social and cultural
influences on music
of each of five
genres/styles with
specific reference to
artists and works
Analyzes and
defends statements
about the social
and cultural
influences on
music of four
genres/styles with
specific reference
to artists and works
Explains the social
and cultural
influences on music
of each of three
genres/styles
Lists the social
and cultural
influences on
music of each
of two
genres/styles
Social Influence/Culture->Blues
Memphis as the home of the blues and as the urban
center of the Delta region, place where blues
performers first brought their music to national
attention in the early decades of the 20th century.
Students should recognize that the blues is a highly
sophisticated art form rooted in folk traditions.
Students should consider how the role of the musician
and the social purpose of music might differ in rural
and urban settings. That the blues draws its strength
from hardship and pain, expressing a spirit of
affirmation in the face of adversity, often utilizing the
call and response or question and answer structure
coming from the work song (AABA form and its use
of iambic pentameter).
Social Influence/Culture->Rock „ n‟ Roll
Relate to social revolution at the time, emergence
from the blues and gospel, electrified guitar as pivotal.
165
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Analyze influences and cultural groups that led to
the development of jazz music genres/styles:
Analyzes and defends
statements about the
social and cultural
influences on music
of each of five
genres/styles with
specific reference to
artists and works
Analyzes and
defends statements
about the social
and cultural
influences on
music of four
genres/styles with
specific reference
to artists and works
Explains the social
and cultural
influences on music
of each of three
genres/styles
Lists the social
and cultural
influences on
music of each
of two
genres/styles
Social Influence/Culture->R „n‟ B
Encompasses such styles as jump blues, club blues,
black rock and roll, doo wop, soul, Motown, etc
originating from the massive social, industrial, and
technological change that took place in the United
States just prior to and during World War II.
Social Influence/Culture->Swing
Swing as America‘s mainstream popular music of the
30‘s and 40‘s derived from Dixieland music of the
black culture, now as crossover to popular culture as
dance music.
Social Influence/Culture->Latin
Musical traditions from the Caribbean and the United
States migrated and mixed giving percussionist a new
role in jazz with this new sound. Hybrid form of
integrated music as a result of movement of
individuals through several areas accelerating musical
innovation.
166
Jazz Band CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of jazz music history.
Essential Understanding Missouri State Standards
Jazz musicians understand and appreciate jazz music through various styles and
genres.
FA5, G1.9, G3.3
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
How to cite characteristics of the various
styles and genres of the jazz idiom
(swing, Latin, rock, jazz waltz, funk)
Compare a variety of jazz music and
music-related vocations and avocations
Cite well-known jazz performers specific
to student‘s instrument
Specify and demonstrate the 8th
note feel (even or uneven), in context
with the following genres of the jazz idiom (swing, blues, Latin, rock,
jazz waltz, funk, bebop) and pulse emphasis (strong or weak beat)
Compare and contrast characteristics of various styles (listed above)
Cite and reference specific jobs related to jazz performance
List well-known recording artists
Unit Vocabulary: Latin, jazz waltz, funk, ballad, bebop, blues
Pre-Assessment: Student defines music terminology related to jazz music history.
Student listens to and differentiates the various styles and genres of Jazz Music.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define terminology related to genres of jazz idiom (T) Lecture Written Test
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Support the following statement: Rock ‗ n‘ Roll, Modern
Country, and Jazz have been influenced greatly by the
foundations of the blues (T)
Constructed response
essay
Scoring guide
Differentiation Suggestions: Students independently research music history and jazz vocations/avocations based upon their interests.
Application Level Assessment for CCO V. A. Music History: Students will demonstrate knowledge of jazz
music history.
Student Tasks: Specify and demonstrate the 8
th note feel (even or uneven), in context with the following genres of the jazz idiom
(swing, Latin, rock, jazz waltz, blues, bebop, funk) and pulse emphasis (strong or weak beat).
Compare and contrast characteristics of various jazz styles (listed above).
Activity Strategy Assessment
Analyze examples of jazz styles (T) Cooperative learning Scoring guide
167
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
168
Scoring Guide for Jazz Band, CCO V. A. - Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Specify and demonstrate the 8
th note feel
(even or uneven), in context with the
following genres of the jazz idiom
(swing, Latin, rock, jazz waltz, funk)
and pulse emphasis (strong or weak
beat)
Explains and performs
correct 8th
note style
(even or uneven) and
pulse emphasis (strong
beat or weak beat)
Explains and performs
correct 8th note
subdivision with slight
fluctuation of style and
pulse emphasis
8th
note subdivision
is inconsistent and
switches between
even and uneven;
pulse emphasis is not
easy to distinguish.
Does not explain or
perform correct 8th
note
style subdivision, pulse
emphasis is on wrong
beat
Compare and contrast characteristics of swing, Latin,
rock, jazz waltz, and funk.
Swing Characteristics
Swing is defined as a sensation of momentum in which a
melody is alternately heard together with, then slightly at
variance with, the regular beat, or marked by syncopation
and a triplet subdivision of the beat. Count Basie, Nat King
Cole, Benny Goodman, Billie Holiday, Ella Fitzgerald, and
Duke Ellington are all commonly used examples.
Latin Characteristics
Latin Jazz is mainly an instrumental hybrid music defined by
more progressive harmonies used in its corresponding
rhythmic structural arrangement, combined with an
exuberant amount of improvisation, and fused with African
based rhythms that continue to develop from the entire Latin
American Diaspora. Various characteristics describe Latin
Jazz ranging from the avant garde (Emiliano Salvador,
Hermeto Pascual, etc.) to more popular forms (Poncho
Sanchez, Tito Puente, etc.).
Compares,
contrasts, and
evaluates
characteristics of
jazz genres and
styles
Compares and
contrasts
characteristics of
jazz genres and
styles
Explains
characteristics of
jazz genres and
styles
Lists characteristics
of \ jazz genres and
styles
169
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Rock Characteristics
Jazz Rock adds rhythmic complexities to the rock style (not
only individual melodic lines, but in terms of mixed and odd
meters….numerators of 5, 7, etc.), harmonic complexities
(many "extended-harmony" chords, such as 9th, 11th and
13th chords…more than the plain triads and 7th chords of
traditional rock), and melodic blues lines to the rock style.
Some examples include artists: Blood, Sweat & Tears;
Chicago; (Bill) Chase; Paul Butterfield Blues Band, Blues
Project, etc
Jazz Waltz Characteristics
The basic jazz waltz or 3/4 swing feel consists of "one, two,
and-of-two, three" or "ding ding-a ding" on the ride cymbal,
with the hi-hat on count "two". Other variations include
using the hi hat on "two" and "three", or on all three beats;
adding the snare on the "and-of-two" or on the "and-of-one"
and on "three". Some examples are: Someday My Prince
Will Come, Ju-Ju, Emily, Tenderly, Bluesette, Favorite
Things, etc.
Funk Characteristics
The term "Funky Jazz" in the 1950s should not be confused
with "Funk‖, a style of popular music pioneered in the 1970s.
Funky Jazz is characterized by its earthy, "low down,"
soulful, bluesy, and gospel flavored qualities, e.g., Moanin',
Art Blakey and the Jazz Messengers. While Funk also
combines elements of jazz, blues, and soul, it is characterized
by syncopated rock rhythms and a heavy, repetitive bass line,
e.g., Chameleon, Herbie Hancock
Compares,
contrasts, and
evaluates
characteristics of
jazz genres and
styles
Compares and
contrasts
characteristics of
jazz genres and
styles
Explains
characteristics of
jazz genres and
styles
Lists characteristics
of \ jazz genres and
styles
170
High School
Guitar I
171
Guitar I CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to
do:
How to demonstrate skills through
performance in the following:
-Proper body/hand/finger position
-Singing skills and match pitch in an
appropriate range
-Standard tuning of the guitar
How to demonstrate basic rhythm notation,
music reading skills within first position and
correct body/hand/finger position through
performance in literature using the following:
-Rhythm patterns: Whole, half quarter, dotted
half, eighth notes and corresponding rests
-Key Signatures: C, G, D Major
-First position Chromatic scale
-Articulations: Upstroke, downstroke
How to play by ear simple melodies (4-6
pitches) on a melodic instrument or simple
accompaniments on a harmonic instrument
How to create and perform a rhythmic and/or
melodic variation on a melodic phrase of
three to five notes
How to compose or write music with whole
note, half note, quarter note, dotted quarter
note and eighth note, quarter rest, whole rest,
half rest, eighth rest
How to perform beginning level time
signatures, dynamics, articulations, and
tempo markings on instrument (see Elements
of Music)
Demonstrate skills through performance in the following:
-Use proper body/hand/finger position
-Use singing skills and match pitch in an appropriate range
-Tune guitar by both standard tuning and electronic tuner
Demonstrate basic rhythm notation, music reading skills
within first position and correct body/hand/finger position
through performance in literature using the following:
-Rhythm patterns: Whole, half quarter, dotted
half, eighth notes and corresponding rests
-Key Signatures: C, G, D Major
-First position Chromatic scale
-Articulations: Upstroke, downstroke
Play by ear simple melodies or accompaniments on guitar
Create and perform a rhythmic or melodic variation on a
melodic phrase (3-5 notes)
Compose or write music with learned rhythms
Perform beginning level time signatures, dynamics,
articulation, and tempo markings on guitar (see Elements of
Music)
Unit Vocabulary: tuning peg/post, body, nut, bridge, fret, fingerboard, headstock, neck, sound hole, bridge
pin, pick, fret position, finger position, interval, pitch recognition, sharp, flat, upstroke, downstroke, first
position, whole/half/quarter note/eighth notes and corresponding rests, phrase, improvisation, variation,
tuner
Pre-Assessment: Examine students for pitch recognition.
172
Perform a 4 measure excerpt that demonstrates upstrokes and downstrokes, correct body/hand/finger
position, rhythmic (whole, half quarter, dotted half, eighth notes and corresponding rests),
melodic, and harmonic precision.
Student plays scales and exercises in the key of C Major, G Major, D Major.
Students will perform an excerpt of music and identify phrases.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will produce a sound on the guitar that mimics
the teacher demonstration
Students will produce a sound on the guitar that matches
the unison pitch produced on the coordinating string (T)
Students will identify, in music, upstroke and
downstroke notation
Students will identify a basic melodic, rhythmic passage
in 1st position
Students will identify musical phrase within a larger
piece of music
Demonstration
Self-observation
Teacher
demonstration
Teacher
demonstration
Demonstration
Verbal feedback
Verbal feedback from
teacher and peers
Written quiz
Verbal feedback from
teacher
Written quiz
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Students will critique themselves and peers on proper
playing position to create proper tone on the guitar
Students will critique themselves and peers on
performance of upstrokes and downstrokes
Students will critique themselves and peers on
performance of a basic melodic, rhythmic passage in 1st
position (T)
Students will critique themselves and peers on their
performance of an improvised musical phrase (T)
Cooperative learning
Scoring guide
Differentiation Suggestions: Students who are having difficulty receive help from a student mentor.
Students with prior instruction can serve as models to other students.
Activity Strategy Assessment
Students will use proper body/hand/finger position to
produce a proper tone quality on the guitar
Students will perform an upstroke and downstroke that
mimics the teacher‘s demonstration
Students will perform a basic melodic, rhythmic passage
in 1st position (T)
Students will play a musical phrase
Modeling, Student
demonstration
Student
demonstration
Teacher/Student
Demonstration
Teacher checks
position using scoring
guide
Verbal feedback from
teacher
Scoring Guide
173
Advanced students will be given supplementary materials.
Application Level Assessment for I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Tune the guitar by both standard tuning and an electronic tuner
Demonstrate characteristic position and posture for a specific instrument
Demonstrate upstrokes and downstrokes on the guitar
Demonstrate the ability to perform basic melodic, rhythmic passage on the guitar, utilizing: Rhythm
patterns (whole, half quarter, dotted half, eighth notes and corresponding rests), key Signatures
(C, G, D), first position chromatic scale, and articulations (upstroke, downstroke)
Play a musical phrase
Play by ear simple melodies or accompaniments on guitar
Create and perform a rhythmic or melodic variation on a melodic phrase (3-5 notes)
Compose or write music with learned rhythms
Perform beginning level time signatures, dynamics, articulation, and tempo markings on guitar (see
Elements of Music)
174
Scoring Guide for Guitar I, CCO I. A. - Performance Skills, Part I
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Posture:
Sitting position
Back straight
Shoulders relaxed
Right leg slightly elevated.
Waist of guitar resting on right
thigh.
Guitar body parallel to body
vertically and resting on the
right side of the chest
Guitar pivoted forward 35º
with left hand
Neck of guitar with a slight
upward slant (10%)
Posture:
Sitting position:
Shoulders relaxed
Right leg slightly
elevated.
Waist of guitar resting on
right thigh
Guitar body parallel to
body vertically and
resting on the right side of
the chest.
Guitar pivoted forward
35º with left hand.
Neck of guitar with a
slight upward slant (10%)
Posture:
Sitting position:
Shoulders tensed.
Guitar body slanted
slightly back towards
the body vertically.
Guitar pivoted
forward more than
35º with left hand.
Neck of guitar
parallel to the ground
Posture:
Sitting position:
Both feet flat on the
floor
Neck of guitar with a
slight downward
slant (10%)
Posture:
Sitting position:
Back slumped
Upper bout of guitar
resting on right thigh
Guitar body slanted
almost perpendicular to
body on the vertical
plane
Guitar pivoted forward
90º with left hand
Neck of guitar with a
downward slant
Left elbow resting on the
left knee
175
Posture:
Classical position
Posture:
Classical position:
Back straight
Lean slightly forward
Shoulders relaxed
Foot stand on floor approx. 6
in. in from left front chair leg
Foot stand between 4-8 in.
depending on leg length
Waist of guitar over the left
thigh
Head of guitar pivoted about
15º forward and at approx.
eye level
Neck of guitar at 45º angle to
floor
Left forearm is horizontal to
the floor when in 1st position
Posture:
Classical position:
Body straight up and
down
Shoulders tense
Left leg not elevated
high enough
Upper bout sitting on
left thigh
Head of guitar
pivoted more than
15º forward
Posture:
Classical position:
Back curved.
Lean forward
significantly
Shoulders rounded.
Foot stand more than
6 inches away from
the front of the chair
Head of guitar below
eye level
Neck of guitar less
than a 45º angle to
floor
Posture:
Classical position:
Back curved forward
dramatically
No foot stand or left leg
elevation
Waist of guitar over the
right thigh
Left Hand position:
Left Hand position:
Wrist straight
Thumb on back of neck
aligned between 1st and
2nd
finger
Fingers relaxed and
curved slightly
Fingers evenly spaced
over 4 consecutive frets
Left Hand position:
Thumb on back of
neck aligned in front
of 1st finger
Fingers bunched
together
Left Hand position:
Wrist arched
Thumb over the top
of the neck
Tension in the fingers
Fingers straight and
aimed away from the
fingerboard
Left Hand position:
Wrist at 90º angle
Thumb parallel to neck
Fingers tucked behind
the neck
176
Holding the pick: Pick placed between thumb and 1
st
knuckle of 1st finger of right hand
Point of pick perpendicular to
thumbnail
¼ in. of the tip showing
Holding the pick:
Pick placed between
thumb and 1st
knuckle of
1st finger of right hand
Point of pick
perpendicular to
thumbnail
¼ in. of the tip showing
Holding the pick:
Point of pick at a 45º
angle to thumbnail
Holding the pick:
Pick placed between
thumb and 2nd
finger
of right hand
1/2 in. of the tip
showing
Holding the pick:
Holding the pick with the
fingertips
Point of pick parallel to
thumbnail
More than ½ in. of the tip
showing
Tuning guitar
Match electronic
reference pitch by making
necessary adjustments
with the tuners
Match reference pitch by
fretted guitar note with
open string pitch by
making necessary
adjustments with the
tuners.
Matches electronic or
fretted guitar
reference pitch on the
1st or 2
nd attempt.
Matches electronic or
fretted guitar
reference pitch on the
3rd
or 4th
attempt
Cannot match reference
pitch within 5 attempts.
177
Scoring Guide for Guitar I, CCO I. A. – Performance Skills, Part II
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Playing Skills
Technique
Plays note patterns in quarter
notes MM=100, scale
patterns, primary and
secondary chords.
Plays note patterns in quarter
notes MM=100, Scale
patterns, primary and
secondary chords with 1-2
mistakes.
Plays note patterns in quarter
notes MM=100, Scale
patterns, primary and
secondary chords with 3
mistakes.
Tempo varies with Note
patterns in quarter notes
MM=100, Scale patterns,
primary and secondary
chords.
Playing Skills
Technique
Plays Rhythm patterns:
whole, half, quarter, eighth,
dotted quarter, dotted half and
corresponding rests
Plays Rhythm patterns:
whole, half, quarter, eighth,
dotted quarter, dotted half and
corresponding rests with 2 or
fewer mistakes.
Plays Rhythm patterns:
whole, half, quarter, eighth,
dotted quarter, dotted half and
corresponding rests with 3 or
fewer mistakes.
Plays Rhythm patterns:
whole, half, quarter, eighth,
dotted quarter, dotted half and
corresponding rests with 4 or
more mistakes.
Playing Skills
Technique
Scales in the Major Keys: C,
G, D.
General chromatic: One
octave
Plays correct notes for the
scales in the keys of: C
Major, G Major and D Major
and a chromatic scale in 1st
position.
Plays correct notes for the
scales in the keys of: C
Major, G Major and D Major
and a chromatic scale in 1st
position with 2 or fewer
mistakes per scale.
Plays correct notes for the
scales in the keys of: C
Major, G Major and D Major
and a chromatic scale in 1st
position with 3 or fewer
mistakes per scale.
Plays correct notes for the
scales in the keys of: C
Major, G Major and D Major
and a chromatic scale in 1st
position with 4 or more
mistakes per scale.
Playing Skills
Articulation
Downstroke, upstroke
Correctly plays downstrokes
and upstrkes as notated in the
music.
Plays downstrokes and
upstrokes as notated with 2 or
fewer mistakes.
Plays primarily downstrokes
with few upstrokes or vice
versa.
Plays only downstrokes or
only upstrokes.
Expression and
Musicianship
Identification of 4 measure
phrases
Performs 4 measure phrase
structure within a given piece
of music.
Performs 75% of the 4
measure phrase structure
within a given piece of music.
Performs 50% of the 4
measure phrase structure
within a given piece of music.
Unable to perform 4 measure
phrase structure within a
given piece of music.
Composition: Create or write music with
whole, half, quarter, dotted
quarter, and eighth notes, and
corresponding rests
Compositions are creative
and consistent with the given
guidelines
Compositions are creative but
with 1 or 2 inconsistencies
with the given guidelines.
Compositions are effective,
but not consistent with the
given material
Contains incorrect note
values.
Does not follow the given key
178
Guitar I CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to apply standard symbols, terms,
and notation to musical performance:
Time Signature: 4/4, 3/4, 2/4
Tempo Markings: Andante, moderato,
allegro, ritardando
Symbols and terms: bar line, measure,
ledger line, tie, pick-up note, treble
clef, staff, chords, melodic guitar
tablature
Apply standard symbols, terms, and notation to musical
performance:
Play music in 4/4, 3/4, 2/4.
Demonstrate Tempo Markings: Andante, moderato, allegro,
ritardando
Use symbols and terms: barline, measure, ledger line, tie,
pick-up note, treble clef, staff, chords, melodic guitar
tablature
Unit Vocabulary:
Time signature: 4/4, 3/4, 2/4
Tempo marking: Andante, Moderato, allegro, ritardando.
Symbols and terms: barline, measure, ledger line, tie, pick-up note, treble clef, staff, chords, melodic guitar
tablature
Pre-Assessment:
Student defines music terminology related to time signatures, dynamics, articulations, tempo and
symbols/terms.
Student counts and plays music in 4/4, 3/4, 2/4.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Student will identify musical terms and symbols, and
signatures in musical selection
Demonstration Verbal and written
feedback
Application/Analysis
Activity Strategy Assessment
Students will use musical terms, symbols and signatures
to perform a musical selection
Student
demonstration
Verbal and written
feedback
Synthesis/Evaluation
Activity Strategy Assessment
Students will analyze symbols and terms as presented in
their music
Performance Scoring guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
179
Application Level Assessment CCO II A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
Student reads and plays related to time signatures (4/4, 3/4, 2/4), dynamics, articulations (upstroke,
downstroke), tempo (andante, moderato, allegro, ritardando), and symbols/terms (barline,
measure, ledger line, tie, pick-up note, treble clef, staff, chords, melodic guitar tablature)
180
Scoring Guide for Guitar I, CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signature: 4/4, 3/4, 2/4
Reads and interprets time
signatures correctly in 4/4,
3/4, 2/4
Reads time signatures
correctly, but misplace or
lack emphasis on strong beats
Pauses at ends of measures Student lacks a steady sense
of time, unable to read and
interpret time signatures
Tempo Markings:
Andante, moderato, allegro,
ritardando
Reads and interprets tempo
markings correctly, and is
able to maintain steady tempo
Demonstrates knowledge of
tempo markings, but unable
to differentiate between
categories
Student is unable to maintain
a steady tempo
Student is unable to
differentiate between tempo
markings, tempo fluctuates
dramatically
Symbols and terms: barline, measure, ledger line,
tie, pick-up note, treble clef,
staff, chords, melodic guitar
tablature
Student reads and interprets
symbols and terms correctly
in context
Demonstrates knowledge of
symbols and terms, but some
terms or symbols are not
performed in context
Student can tell the
definitions of terms, but does
not interpret them correctly in
playing
Student is unable to read and
interpret symbols and terms
181
Guitar I CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and
musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in guitar repertoire, such as repeat
signs, and first and second endings
Unit Vocabulary: repeat signs, first and second endings, form
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify musical forms within repertoire Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms
and composition techniques.
Student Task: Identify musical forms used in guitar repertoire, such as repeat signs and first and second endings
182
Guitar I CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3, G1.4, G2.4
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use music terminology and
form/composition techniques to
describe, analyze, interpret, and
evaluate an excerpt or piece of music
How to differentiate sharp and flat
intonation with unison pitches
How to identify phrases and musical
statements
Use music terminology and form/composition techniques to
describe, analyze, interpret and evaluate an excerpt or piece of
music (in the folk or rock styles)
Listen to and differentiate sharp and flat intonation with unison
pitches
Identify phrases and musical statements
Unit Vocabulary: aesthetics, style, interpretation, intonation, sharp, flat, unison
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes, analyzes, interprets, and evaluates an excerpt or piece of music.
Student listens to and differentiates between sharp and flat intonation with unison pitches.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify sharp and flat pitches played on guitar Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Listen to a rehearsal recording and the performance
recording of the same piece of music; describe, analyze,
interpret, and evaluate the differences between the two
recordings (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to
and critically analyze music.
Student Tasks:
183
Use music terminology and form/composition techniques to describe, analyze, interpret and evaluate an
excerpt or piece of music
Listen to and differentiate among sharp and flat intonation as it applies to tuning the guitar
184
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
185
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
186
Scoring Guide for Guitar I, CCO III. B. Analysis
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Aural Skills:
Differentiate sharp and flat
intonation with unison pitches
Student can differentiate
between sharp or flat
intonation with unison
pitches.
Student can differentiate
between sharp or flat
intonation with unison pitches
75% of the time.
Student can differentiate
between sharp or flat
intonation with unison pitches
50% of the time.
Student can differentiate
between sharp or flat
intonation with unison pitches
less than 50% of the time.
187
Guitar I CCO IV. A. Integration
Core Conceptual Objective IV. A. Integration: Student will make connections between music and other
subject areas.
Essential Understanding Missouri State Standards
Music and science are closely connected because of the physical properties
involved in producing sound.
FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to describe the physical
properties involved in producing a
tone and manipulating pitch
The impact of technology on the
development of music instruments
Connect music to science in sound production (sound wave
frequency)
Relate guitar design to advancement in technology
Unit Vocabulary: frequency, amplitude, wave length, beats, air column, cycles per second, air speed,
volume
Pre-Assessment: Student defines science and music terminology related to sound production.
Student writes a short description of the physical properties involved in producing sound on one‘s
instrument.
Student demonstrates how their instrument works in producing sound and manipulating pitch.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define science and music terminology related to sound
production and properties (T)
Lecture Written quiz
Application/Analysis
Activity Strategy Assessment
Create a timeline that shows major advancements or
changes in the construction of guitars (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Suggest ways for improving student intonation based on
knowledge of wave interference (T) tuner
Class Discussion Teacher Observation
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO IV. A. Integration: The student will make connections between
music and other subject areas.
Student Task:
Connect music to science in sound production (air speed and frequency) and technology (development of
instruments).
188
Scoring Guide for Guitar I, CCO IV. A. - Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Connects guitar design with
advancements in technology.
Early guitars dated back to the
16th
century.
Mid 18th
Century,
6 strings became standard.
1910-1920, the flat top steel string
was introduced by Martin and
Gibson.
1930‟s, the electric guitar was
introduced.
1940‟s Les Paul created polarized
pickups.
1957, Seth Lover invented the
Humbucker pickup for electric
guitar, designed to alleviate the
hum created by the single coil
polarized pick-ups.
Student creates a timeline or
essay which includes all the
major technological
developments with the guitar
citing specific examples
Student creates a timeline or
essay which includes major
technological developments
but missing specific
examples or failed to clarify
examples
Student creates a timeline or
essay which includes only
select technological
developments and examples
Student creates a timeline
missing several major
developments and failed to
include any specific
examples
189
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Connect sound production and
sound wave frequency as it
relates to intonation.
Wavelength – horizontal length
of one cycle of a wave.
Period – time required for one
wavelength to pas a certain point.
Longer period, lower pitch.
Shorter period, higher pitch.
Amplitude – maximum value of
the wave function. The higher the
amplitude, the louder the sound.
Beat – when condensation meets
a rarefaction or vice versa to
create a variation in loudness.
Two sources of the same pitch
increase the amplitude.
Two sources of slightly different
pitch create wave interference or
beats.
Adjusting string tension to
alleviate beats and achieve
intonation on the guitar.
Student can apply
scientific terminology to
an analysis of sound
created by the guitar
strings.
A detailed analysis uses
all scientific terminology
and concepts
Student can apply
scientific terminology
to an analysis of sound
created by the guitar
strings
A detailed analysis uses
most of the scientific
terminology and
concepts
Student can relate a few
scientific terms to
sound created by the
guitar strings.
The explanation is
general and lacks detail
Student identify a few
scientific terms related
to sound created by the
guitar strings.
The relationship
between sound and
science is unclear.
190
Guitar I CCO V. A. Music History
Core Conceptual Objective III. Music History: Students will demonstrate knowledge of music history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles and cultures.
FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to compare characteristics and
context of Steel string acoustic, nylon
string and electric guitars
How to identify music from various
styles and historical periods by
comparing and contrasting selected
elements of music within pop/rock
music genre
How to analyze musical figures and
their role as composers or
performers/innovators within pop/rock
music genre
Compare and contrast steel string acoustic, Classical nylon string
and electric guitar sounds and style
Identify music from various styles and historical periods by
comparing selected elements of music within pop/rock genre
Discuss musical figures and their roles as composers/performers
and or innovators within pop/rock music genre
Unit Vocabulary: steel string acoustic, Classical nylon string, electric
Pre-Assessment: Student defines music terminology related to music history.
Student listens to and differentiates between steel string acoustic, Classical nylon string, electric.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to steel string
acoustic, Classical nylon string and electric
Identify artists/musical figures throughout pop/rock
genre and compare elements of music contributed
Lecture
Lecture/Demonstration
Written quiz
Paper
Application/Analysis
Activity Strategy Assessment
Listen and analyze recordings and live performances of
steel string acoustic, Classical nylon string and electric
guitars (T)
Perform music from a wide range of historical genres
Cooperative Learning
Teacher/student
demonstration
Scoring Guide
Scoring Guide/Verbal
feedback from teacher
Synthesis/Evaluation
Activity Strategy Assessment
Decide upon the style of music and type of guitar
performing based on recording (T)
Lecture/Reference
Recordings
Written Quiz
191
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of
music history.
Student Task:
Compare and contrast steel string acoustic, Classical nylon string, and electric guitars
Identify music from various styles and historical periods by comparing selected elements of music within
pop/rock genre
Discuss musical figures and their roles as composers/performers and or innovators within pop/rock music
genre
192
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
193
Scoring Guide for Guitar I, CCO V. A. – Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Flattop Steel String Acoustic:
Uses: tradition folk, blues,
country and contemporary rock
Physical characteristics:
hollow wooden body, round
soundhole, pick guard, steel core
wire strings with the bottom 4
wrapped in metal
Classical Nylon String:
Uses: Classical music, Latin
music, Spanish music
Physical characteristics:
hollow wooden body, lightweight
construction, round sound hole,
no pick guard, nylon core strings
with the bottom 3 strings wrapped
in metal, wide neck and tuning
pegs on headstock
Solid Body Electric:
Uses: rock, blues, jazz
Physical Characteristics:
solid body, steel core strings,
magnetic pickups, six-on-a-side
tuners
Compares, contrasts,
and evaluates sets of
musical works
Addresses the most
significant
characteristics of the
work
Defends statements
with detailed reference
to the work
All information is
correct and specific.
Compares, contrasts,
and evaluates sets of
musical works
Addresses important
characteristics of the
work
Defends statements
with reference to the
work
All information is
correct
Compares and contrasts
sets of musical works
Addresses less
important
characteristics of the
work
Supports some
statements with
reference to the work
Some important
comparisons are
missing.
Some information may
be incorrect
Lists characteristics of
the musical works
Information may be
incomplete
Many pieces of
information may be
incorrect.
194
High School
Guitar II
195
Guitar II CCO I.A. Performance Skills
Core Conceptual Objective I.A. Performance Skills: Students will demonstrate instrumental music
performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through a varied repertoire.
Essential Understanding Missouri State Standards
Musicians produce characteristic sound, technique and articulation, and
communicate ideas/feelings and/or concepts through the performance of
music.
FA 1, FA 2, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to
do:
How to demonstrate skills through
performance in the following:
-Proper body/hand/finger position
-Singing skills and match pitch in an
appropriate range
-Standard tuning of the guitar
How to demonstrate basic rhythm notation,
music reading skills within first position and
correct body/hand/finger position through
performance in literature using the following:
-Rhythm patterns: Dotted quarter note, eighth
rests on and off the beat
-Key Signatures: A, E Major, and scales with
movement out of 1st position
-Articulations: Upstroke, downstroke, rest
stroke, free stroke, hammer on/pull off
How to play by ear moderately to advanced
melodies (8-12 pitches) on a melodic
instrument or advanced accompaniments on a
harmonic instrument
How to create and perform a melodic phrase
based on a blues scale using five to seven
notes
How to compose or write music based on the
pitches of the blues scale using whole note,
half note, quarter note, dotted quarter note
and eighth note, quarter rest, whole rest, half
rest, eighth rest
How to perform intermediate level time
signatures, dynamics, articulations, and
tempo markings on instrument (see Elements
of Music)
Demonstrate skills through performance in the following:
-Perform with proper right hand position for pick style and
classical style of playing
-Use singing skills and match pitch in an appropriate range
with expression in first and second position
-Standard tuning of the guitar
Demonstrate rhythmic notation, music reading skills within
first and second position and correct body/hand/finger
position through performance of literature using the
following:
-Rhythm patterns: Dotted quarter note, eighth rests on and
off the beat
-Key Signatures: A, E Major, and scales with movement
out of 1st position
-Articulations: Upstroke, downstroke, rest stroke, free
stroke, hammer on/pull off
Play by ear moderately to advanced melodies (8-12 pitches)
on a melodic instrument or advanced accompaniments on a
harmonic instrument
Create and perform a melodic phrase based on a blues scale
using five to seven notes
Compose or write music based on the pitches of the blues
scale using whole note, half note, quarter note, dotted
quarter note and eighth note, quarter rest, whole rest, half
rest, eighth rest
Perform intermediate level time signatures, dynamics,
articulations, and tempo markings on instrument (see
Elements of Music)
Unit Vocabulary: (p)ollex, (i)ndex, (m)edius, (a)nnularis, second position, rest stroke, free stroke, blues
scale
Pre-Assessment: Tune the guitar using standard and electric tuner tuning.
196
Demonstrate proper right hand positions.
Perform a 4 measure excerpt that demonstrates upstrokes, downstrokes, rest strokes and free strokes with
correct body/hand/finger position, rhythmic (dotted quarter and eighth rests on and off beat),
melodic, and harmonic precision.
Student plays scales and exercises in the key of A and E Major.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify, in music, rest strokes and free
strokes in notation
Students will identify a basic melodic, rhythmic passage
in 1st position and 2
nd position
Teacher
demonstration
Teacher
demonstration
Written quiz
Verbal feedback from
teacher
Application/Analysis
Synthesis/Evaluation
Activity Strategy Assessment
Students will critique themselves and peers on
performance of rest and free strokes
Students will critique themselves and peers on
performance of a basic melodic, rhythmic passage in 1st
and 2nd
positions (T)
Students will critique themselves and peers on their
performance of an improvised musical phrase (T)
Cooperative learning
Scoring guide
Differentiation Suggestions: Students who are having difficulty receive help from a student mentor.
Students with prior instruction can serve as models to other students.
Advanced students will be given supplementary materials.
Application Level Assessment for I.A. Performance Skills: Students will demonstrate instrumental
music performance skills (expression, technique, repertoire, imitation, group playing, improvisation, and
composition) through varied repertoire.
Student Tasks: Demonstrate the ability to perform basic melodic, rhythmic passage on the guitar, utilizing: Rhythm
patterns (dotted quarter note and eighth rests on or off beat), key Signatures
(A, E), moveable scales, and articulations (rest/free strokes)
Play by ear moderate to advanceed melodies or accompaniments on guitar
Create and perform a rhythmic or melodic variation on a melodic phrase (5-7 notes)
Compose or write music based on the pitches of a blues scale, using learned rhythms
Perform intermediate level time signatures, dynamics, articulation, and tempo markings on guitar (see
Elements of Music)
Activity Strategy Assessment
Students will perform an rest strokes and free strokes
that mimics the teacher‘s demonstration
Students will perform a basic melodic, rhythmic passage
in 1st position and 2
nd position (T)
Student
demonstration
Verbal feedback from
teacher
197
Scoring Guide for Guitar II, CCO I. A. – Performance Skills
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Tuning guitar
Match electronic
reference pitch by
making necessary
adjustments with the
tuners
Match reference pitch by
fretted guitar note with
open string pitch by
making necessary
adjustments with the
tuners.
Matches electronic or
fretted guitar reference
pitch on the 2nd
attempt.
Matches electronic or
fretted guitar reference
pitch on the 3rd
attempt.
Cannot match reference
pitch within 4 attempts.
Holding the pick:
Pick placed between
thumb and 1st knuckle of
1st finger of right hand
Point of pick is
perpendicular to
thumbnail (90°)
¼ in. of the tip showing
Holding the pick: All criteria are correctly
displayed
Holding the pick: Point of pick at a 45º angle to
thumbnail
Holding the pick: Pick placed between thumb
and 2nd
finger of right hand.
1/2 in. of the tip showing
Holding the pick: Holding the pick with the
fingertips
Point of pick parallel to
thumbnail
More than ½ in. of the tip
showing
Classical right hand
position:
Forearm horizontal on
the front edge of the
guitar
Wrist relaxed and flat
Thumb relaxed and
resting on a string or
freely above lower
strings
Index, middle, and ring
fingers are relaxed and
curved
All criteria are correctly
displayed
Wrist and/or fingers
tense
Thumb hooked or bent
Wrist bent outward or to
the right
Fingers tense or flat
Thumb hooked or bent
Forearm angled
downward
Student does not
demonstrate knowledge
of any of these
characteristics
198
Scoring Guide for Guitar II, CCO I. A. – Performance Skills
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Demonstrate rhythmic, note
recognition and location
within 1st and 2
nd position,
and harmonic precision
Student correctly
identifies and performs
all notes in first and
second position
Hand shapes for chords
are articulated clearly
and without pauses
Student identifies and
performs notes on the
guitar with 90% accuracy
or better
Hand shapes are
articulated without
pauses, but some notes
may be muted
Student identifies and
locates at least 70% of
the notes on the guitar
with 70% accuracy or
better
Hand shapes for chords
are correct, but have
pauses in between chords
Student identifies and
locates less than 70% of
the notes on the guitar
Hand shapes for chords
are incorrect
Pick Style
Demonstrate upstrokes and
downstrokes as they apply
to the literature.
Classical Style
Demonstrate rest strokes and
free strokes as they apply to
the literature
Student uses
downstrokes on beats
and upstrokes on the
―ands‖
Student correctly
executes rest strokes in
scales and melody
passages and free strokes
in unaccented passages
Student uses
downstrokes and
upstrokes in an
alternating fashion, but
not necessarily on the
correct beats
Student executes mostly
reststrokes but switches
to free strokes when
switching strings
Student can distinguish
between a downstroke
and an upstroke but is
unsure where to use in
music
Student fails to follow all
the way through to the
next string on a rest
stroke
Student cannot
distinguish between
downstrokes and
upstrokes
Students cannot use both
rest and free strokes
Expression and
Musicianship
Identification of musical
phrases of varying length
within a piece of music
Performs 2, 4, 6 or 8 measure
phrase structure within a
piece of music.
Performs 3 of the 4 phrase
structures within a piece
of music.
Performs 2 of the 4 phrase
structures within a piece
of music.
Performs 1 or less of the
phrases structures within
a piece of music.
Improvisation:
Create and perform a
melodic phrase based on
a blues scale.
Created and performed a
melodic phrase based on
a blues scale.
Created and performed a
melodic phrase using 5
of the 7 notes within the
blues scale.
Created and performed a
melodic phrase using 3
of the 7 notes within the
blues scale.
Created and performed a
melodic phrase using less
than 3 notes of the blues
scale.
199
Composition:
Compose or write music
based on the pitches of
the blues scale using
dotted quarter, eighth
rests on/off beat, or other
learned rhythms
Compositions are
creative and original
All note types were
included
Use of rhythmic patterns.
Use of all 7 pitches of the
blues scale
Compositions are
creative and original
All but 2 note types used.
Use of 5 pitches from the
blues scale
Composition is a
variation of another‘s
work
Use of 3 pitches from the
blues scale
Composition is copy of
another‘s work
Use of only 2 pitches
from the blues scale
200
Guitar II CCO II. A. Elements of Music
Core Conceptual Objective II. A. Elements of Music: Students will apply knowledge and skills to read
and notate music.
Essential Understanding Missouri State Standards
Musicians utilize reading skills to accurately convey a composer‘s musical
ideas and intent.
FA 1, FA 2, G2.5, G1.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to apply standard symbols, terms,
and notation to musical performance:
Time Signature: 2/2, cut time
Tempo Markings: Lento, largo
Symbols and terms: slur (hammer
on/offs)
Apply standard symbols, terms, and notation to musical
performance:
Play music in 2/2, cut time
Demonstrate Tempo Markings: Lento, Largo
Use symbols and terms: slur (hammer on/offs)
Unit Vocabulary:
Time Signature: 2/2, cut time
Tempo Markings: Lento, largo
Symbols and terms: slur (hammer on/offs)
Pre-Assessment:
Student defines music terminology related to time signatures, dynamics, articulations, tempo and
symbols/terms.
Student counts and plays music in 2/2, cut time.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Student will identify musical terms and symbols, and
signatures in musical selection
Demonstration Verbal and written
feedback
Application/Analysis
Activity Strategy Assessment
Students will use musical terms, symbols and signatures
to perform a musical selection
Student
demonstration
Verbal and written
feedback
Synthesis/Evaluation
Activity Strategy Assessment
Students will analyze symbols and terms as presented in
their music
Performance Scoring guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Teachers can rotate part assignments within each section of the ensemble.
Application Level Assessment CCO II A. Elements of Music: Students will apply knowledge and skills
to read and notate music.
Student Tasks:
201
Student reads and plays related to time signatures (2/2, cut time), dynamics, articulations (rest stroke, free
stroke), tempo (lento, largo), and symbols/terms (slur, hammer on/offs)
202
Scoring Guide for Guitar II, CCO II. A. – Elements of Music
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Time Signature: 2/2 (cut time)
Reads and interprets time
signatures correctly in
2/2 (cut time)
Reads time signatures
correctly, but misplaces
or lack emphasis on
strong beats
Pauses at ends of
measures
Student lacks a steady
sense of time, unable to
read and interpret time
signatures
Tempo Markings:
Largo, Lento
Reads and interprets
tempo markings
correctly, and is able to
maintain steady tempo
Demonstrates knowledge
of tempo markings, but
unable to differentiate
between categories
Student is unable to
maintain a steady tempo
Student is unable to
differentiate between
tempo markings, tempo
fluctuates dramatically
Symbols and terms: Slur (hammer on/offs)
Student reads and
interprets symbols and
terms correctly in context
Demonstrates knowledge
of symbols and terms,
but some terms or
symbols are not
performed in context
Student can tell the
definitions of terms, but
does not interpret them
correctly in playing
Student is unable to read
and interpret symbols
and terms
203
Guitar II CCO III. A. Musical Forms
Core Conceptual Objective III. A. Musical Forms: Students will analyze and evaluate music and musical
performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques. FA1, FA 2, FA 3, G1.5,
G1.6, G2.5
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to identify and analyze musical
forms
Identify musical forms used in guitar repertoire, such as D.C. al
fine, theme and variations, AB (binary), ABA (ternary), and song
form (AABA)
Unit Vocabulary: D.C. al fine, theme and variations, AB (binary), ABA (ternary), and song form (AABA)
Pre-Assessment: Student defines music terminology related to musical forms.
Student listens to and describes musical form or structure of short etude.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Students will identify musical forms within repertoire Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Students will analyze a piece of recorded music and
make inferences on musical form (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials or composition assignments can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III A. Musical Forms: Students will identify and analyze forms and
composition techniques.
Student Task: Identify musical forms used in guitar repertoire, such as D.C. al fine, theme and variations, AB (binary), ABA
(ternary), and song form (AABA)
204
Guitar II CCO III. B. Analysis
Core Conceptual Objective III. B. Analysis: Students will analyze and evaluate music and musical performances.
Essential Understanding Missouri State Standards
Musicians analyze, evaluate, and respond to the formal, stylistic, and
aesthetic qualities of music.
FA 2, FA 3. G1.4, G2.4
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to use music terminology and
form/composition techniques to
describe, analyze, interpret, and
evaluate an excerpt or piece of music
How to identify phrases, musical
statements, and musical forms
How to differentiate sharp and flat
intonation with two pitches
Use music terminology and form/composition techniques to
describe, analyze, interpret and evaluate an excerpt or piece of
music in the folk, rock, 12-bar blues, and classical styles
Identify phrases, musical statements, and musical forms
Listen to and differentiate sharp and flat intonation with two
pitches
Unit Vocabulary: diatonic, major, minor, secondary/primary chords, 12-bar blues, interval
Pre-Assessment: Student defines music terminology related to music critique and interval recognition.
Student listens to and describes, analyzes, interprets, and evaluates an excerpt or piece of music.
Student listens to and differentiates between sharp and flat intonation with two pitches.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify sharp and flat pitches played on guitar Modeling Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze a piece of recorded music by making a listening
diagram (T)
Cooperative Learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Listen to a rehearsal recording and the performance
recording of the same piece of music; describe, analyze,
interpret, and evaluate the differences between the two
recordings (T)
Cooperative Learning Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO III. B. Analysis: Students will demonstrate the ability to respond to and
critically analyze music.
Student Task:
Use music terminology and form/composition techniques to describe, analyze, interpret and evaluate an excerpt or
piece of music in various styles
205
Identify phrases, musical statements, and musical forms
Listen to and differentiate among sharp and flat intonation as it applies to tuning the guitar
206
Music Criticism Worksheet
Name________________________________ Class_________________ Date:______
Using the Music Criticism Scoring Guide, write a five-paragraph critique of a musical
performance. You may take as much space as you need for each paragraph. If you are
completing this with pen/pencil, you may continue answers on the back or on another page.
1. Introduction
2. Description
3. Analysis
4. Interpretation
5. Judgment
207
Music Criticism Scoring Guide
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name,
musician‘s name, title of
piece, when and where it
was created, how it was
used, its period, style, or
culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s name or
title of work
listed
Description
Sentences that list
everything heard or seen in
the performance, including
names of instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of one
or two details
seen/heard in the
work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and
contrast and how he/she
communicates an emotional
mood or attitude toward the
subject, narrative, social
commentary, spiritual
/religious ideas or other
purpose of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique model
may be missing or out of
order
208
Scoring Guide for Guitar II, CCO III. B. - Analysis
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Aural Skills:
Differentiate sharp and flat
intonation with two pitches
Student differentiates
between sharp or flat
intonation with two pitches.
Student differentiates
between sharp or flat
intonation with two pitches
75% of the time.
Student differentiates
between sharp or flat
intonation with two pitches
50% of the time.
Student differentiates
between sharp or flat
intonation with two pitches
less than 50% of the time.
209
Guitar II CCO IV. A. Integration
Core Conceptual Objective IV. Integration: Students will make connections between music and other
subject areas.
Essential Understanding Missouri State Standards
Popular music is influenced by American history and cultures FA 4, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
Connect the social influences of the
different American cultures through
the evolution of blues, rock ‗n‘ roll, R
‗n‘ B, swing styles, and Latin music in
popular music
Compare characteristics of two of
more arts within a particular historical
period or style and cite examples from
various cultures
Explain how the roles of creators,
performers, and others involved in the
arts resemble and differ from one
another in the various arts disciplines
Compare and contrast cultural sentiment to the evolution of music
in America
Compare and contrast the influences of the blues in relation to the
American culture through the rock, R ‗n‘ B, swing styles, and
Latin music eras
Describe other arts within historical period and cite examples from
various cultures
Compare roles of music production to that of other various arts
disciplines
Unit Vocabulary: blues, R ‗n B, rock ‗n roll, Latin, folk, alternative (grunge)
Pre-Assessment: Explain the development of popular music and justify with references to cultural
sentiment and diversities.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define vocabulary of culture and geographical areas
related to blues and jazz idiom (T)
Cite other arts in various historical periods
Classroom discussion Teacher observation
Application/Analysis
Activity Strategy Assessment
Compose a melody and lyrics that illustrate a cultural or
geographical influence (T)
Modeling Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Write a short essay that might depict a cultural or
geographical as related to a popular piece of music(T)
Evaluate how the roles of any music production compare
to those in other arts disciplines
Student project
Discussion
Scoring Guide
Essay
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
210
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO IV. A. Integration: Students will make connections between
popular music and societal and cultural changes in America.
Student Tasks:
Compare and contrast cultural sentiment to the evolution of music in America
Compare and contrast the influences of the blues in relation to the American culture through the rock, R ‗n‘
B, swing styles, and Latin music eras
Compare characteristics of two of more arts within a particular historical period or style and cite examples
from various cultures
Explain how the roles of creators, performers, and others involved in the arts resemble and differ from one
another in the various arts disciplines
211
Scoring Guide for Guitar II, CCO IV. A. Integration
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Compare and contrast cultural sentiment to the
evolution of music in America
Compare and contrast the influences of the blues
in relation to the American culture through the
rock, R „n‟ B, swing styles, and Latin music eras
Compares,
contrasts, and
evaluates sets of
music selections
Addresses the most
significant
characteristics of
the works
Defends statements
with detailed
reference to the
works
All information is
correct and specific
Compares,
contrasts, and
evaluates sets of
music selections
Addresses
important
characteristics of
the works
Defends statements
with reference to
the work
All information is
correct
Compares and
contrasts sets of
music selections.
Addresses less
important
characteristics of
the works
Supports some
statements with
reference to the
works.
Some important
comparisons are
missing
Some information
may be incorrect
Lists characteristics
of the music
selections
Information may
be incomplete
Many pieces of
information may be
incorrect
Blues: 1920‟s-30‟s
slow sad music from Mississippi
Rooted deeply in the African-American Culture
Players – John Lee, Hooker, Howlin Wolf, Robert
Johnson, Bessie Smith
Rhythm and Blues: 1930‟s
R ‗n B labels in a broad sense, black pop music
Rooted in swing jazz and blues vocals
Rockabilly: 1950‟s
Hybrid of blues and Country.
Players: Elvis Presley, Carl Perkins, Johnny Cash,
Jerry Lee Lewis, Roy Orbison
1st wave of popular music to first generation of
teens with money to spend on music.
212
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Rock „n Roll: 1955- present
1960‟s – electric rock
Electric guitar centered. Electronic effects,
distortion used
Players: Jimmy Hendrix, Eric Clapton
Compares,
contrasts, and
evaluates sets of
music selections
Addresses the most
significant
characteristics of
the works
Defends statements
with detailed
reference to the
works
All information is
correct and specific
Compares,
contrasts, and
evaluates sets of
music selections
Addresses
important
characteristics of
the works
Defends statements
with reference to
the work
All information is
correct
Compares and
contrasts sets of
music selections.
Addresses less
important
characteristics of
the works
Supports some
statements with
reference to the
works.
Some important
comparisons are
missing
Some information
may be incorrect
Lists characteristics
of the music
selections
Information may
be incomplete
Many pieces of
information may be
incorrect
1960‟s – Rolk rock
Acoustic guitar centered, poetic, political protest
songs against war and for civil rights
Peace and love movement.
Players: Bob Dylan, Joan Baez, Peter, Paul & Mary,
Mama‘s & the Papa‘s, Simon and Garfunkel
1970‟s – Dance
Electric guitar based, effects pedals used on guitar,
music designed for nightclubs.
Players: Bee Gee‘s, Gloria Gaynor, ABBA.
1970‟s – Rock/Heavy
Electric based, Heavy distortion, guitar dominant.
Players: Kiss, Queen, Aerosmith
213
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
1980‟s - Pop
Loss of acoustic instruments, most all sounds
created by electronic keyboards, not much guitar
used
British groups dominate American radio
Players: Tears for Fears, Wang Chung, Howard
Jones, Culture Club
Compares, contrasts,
and evaluates sets of
music selections
Addresses the most
significant
characteristics of the
works.
Defends statements
with detailed reference
to the works.
All information is
correct and specific.
Compares, contrasts,
and evaluates sets of
music selections.
Addresses important
characteristics of the
works
Defends statements
with reference to the
work
All information is
correct
Compares and contrasts
sets of music selections.
Addresses less
important
characteristics of the
works.
Supports some
statements with
reference to the works.
Some important
comparisons are
missing.
Some information may
be incorrect
Lists characteristics of
the music selections.
Information may be
incomplete
Many pieces of
information may be
incorrect.
1990‟s - Alternative
Reintroduction of classic instrumentation (2 guitars,
bass and drums), very distorted electric guitar
music of the angry disgruntled young man revolting
against ―Happy‖ America
Players: Nirvana, Pearl Jam, Soundgarden
214
Guitar II CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music
history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles and cultures.
FA 5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to do:
How to compare characteristics and
context of steel string acoustic, nylon
string and electric guitars and popular
makers of various guitar models
How to identify music from various
styles and historical periods by
comparing and contrasting selected
elements of music within the classical
and multicultural styles
How to discuss musical figures and
their role as
composers/performers/innovators
within the pop/rock, classical, and
multicultural styles
Compare and contrast steel string acoustic, Classical nylon string
and electric guitar sounds and style throughout music history
Identify music from various historical periods, then compare
elements of music to classical and multicultural styles
Explain musical figures‘ roles within the pop/rock, classical, and
multicultural styles
Unit Vocabulary: world/ethnic music, Western-European history
Pre-Assessment: Student defines music terminology related to music history.
Student listens to and differentiates between steel string acoustic, Classical nylon string, and electric.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Define music terminology related to steel string
acoustic, Classical nylon string, and electric
Identify artists/musical figures throughout pop/rock
genre and compare elements of music contributed
Lecture
Lecture/Demonstration
Written quiz
Paper
Application/Analysis
Activity Strategy Assessment
Listen and analyze recordings and live performances of
steel string acoustic, Classical nylon string and electric
guitars (T)
Perform music from variety of historical periods/genres
Cooperative Learning
Demonstration
Scoring Guide
Playing test
Synthesis/Evaluation
Activity Strategy Assessment
215
Evaluates sound of the guitar using recorded steel string
acoustic, classical nylon string and electric guitar
performances (T)
Lecture/Reference
Recordings
Written Quiz
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers or peer leaders can provide individual tutoring sessions.
Application Level Assessment CCO V. A. Music History: Student will demonstrate knowledge of music
history.
Student Task:
Compare and contrast steel string acoustic, Classical nylon string, and electric guitar sounds and style
throughout music history
216
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
217
Scoring Guide for Guitar II, CCO V. A. – Music History
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Flattop Steel String Acoustic:
Time/Place:1910-present, USA
Uses: tradition folk, blues,
country and contemporary rock
Physical characteristics: hollow wooden body, round
soundhole, pick guard, steel core
wire strings with the bottom 4
wrapped in metal
Classical Nylon String:
Time/Place: 18th
Century, Europe
Uses: Classical music, Latin
music, Spanish music
Physical characteristics:
originally used gut strings
hollow wooden body, lightweight
construction, round sound hole,
no pick guard, nylon core strings
with the bottom 3 strings wrapped
in metal, wide neck and tuning
pegs on headstock.
Solid Body Electric:
Time/Place:1930‘s-present, USA
Uses: rock, blues, jazz
Physical Characteristics:
solid body, steel core strings,
magnetic pickups, six-on-a-side
tuners
Compares, contrasts,
and evaluates sets of
musical works
Addresses the most
significant
characteristics of the
work
Defends statements
with detailed reference
to the work
All information is
correct and specific.
Compares, contrasts,
and evaluates sets of
musical works
Addresses important
characteristics of the
work
Defends statements
with reference to the
work
All information is
correct
Compares and contrasts
sets of musical works
Addresses less
important
characteristics of the
work
Supports some
statements with
reference to the work
Some important
comparisons are
missing.
Some information may
be incorrect
Lists characteristics of
the musical works
Information may be
incomplete
Many pieces of
information may be
incorrect.
218
High School
Weighted Grade
Advanced Placement
Music Theory
219
Music Theory CCO I. A. Performance Skills and CCO. II. A. Elements of Music
Core Conceptual Objective I. A. Performance Skills and CCO. II. A. Elements of Music: Students
will demonstrate instrumental music performance skills (expression, technique, repertoire, imitation, group
playing, improvisation, and composition) through a varied repertoire; and, will apply knowledge and skills
to read and notate music.
Essential Understanding Missouri State Standards
Musicians communicate ideas/feelings and/or concepts through
performance of music; and, utilize reading skills to accurately convey a
composer‘s musical intent.
FA 1, FA 2, G1.5, G2.5, G4.6
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
Improvisation
Error Detection
Sight-Singing
Figured Bass/Roman Numeral
Realization
Melody Harmonization
Score Study
Improvise melodies and harmonies
Self-evaluate and improve performance
Sight-sing an eight measure diatonic melody
Given a figured bass or Roman numeral analysis, compose a
work in four-part harmony
Given a melody, write a bass line and analyze the implied
harmonies
Given a melody, compose a work in four-part harmony
Analyze the melodies, harmonies, and form of a composition
Unit Vocabulary:
Sight-Singing Vocabulary: Interval, major, minor, diminished, augmented, perfect, melody,
diatonic, chromatic, scale degrees, solfege, step, leap, tonic, supertonic, mediant, subdominant, dominant,
submediant, leading tone
Rhythm Vocabulary: rhythm, duple, triple, quadruple, simple meter, compound meter,
syncopation, augmentation, diminution, hemiola
Harmony Vocabulary: harmony, major, minor, diminished, augmented, dominant seventh, major
seventh, minor seventh, half-diminished seventh, diminished seventh, modulation, pivot chord, secondary
dominant, figured bass, soprano, alto, tenor, bass, inversion, root, third, fifth, seventh, open/close/neutral
structure, doubling, parallel fifths, cross voicing,
Melody Vocabulary: melody, diatonic, chromatic, non-harmonic tones, passing tone, neighboring
tone, appoggiatura, suspension, anticipation, pedal point, escape tone/échappée,
Compositional Vocabulary: texture, orchestration, Alberti bass, monophonic, homophonic,
polyphonic, ostinato,
Musical Forms Vocabulary: contour, similar, parallel, contrary motion, binary, ternary, strophic,
rondo, theme and variations, sonata allegro, exposition, development, recapitulation, coda, codetta, sonata,
concerto, symphony, through composed/tone poem
Pre-Assessment:
Create and then either play or sing an improvisation based upon a line of music.
Self-evaluate a performed excerpt.
Sight-sing a four measure diatonic melody.
Class checklist and discussion of figured bass vocabulary and inversions.
Write an accompanying bass line and Roman numeral analysis for a four-measure melody.
Provide a Roman numeral analysis of a phrase from standard literature.
Compose a phrase in four-part harmony.
220
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
Identify errors in a musical performance (T)
Name standard doublings of root position and inversion
voicings in four-part harmony(T)
Pair review
Modeling
Worksheet
Written quiz
Application/Analysis
Activity Strategy Assessment
Sight-sing a variety of excerpts (T)
Analyze the harmonies of a musical phrase using Roman
numerals(T)
Modeling
Modeling
Scoring Guide
Written test
Synthesis/Evaluation
Activity Strategy Assessment
Self-evaluate and improve a sight-singing performance
(T)
Compose a piece of music in four parts (T)
Modeling, formative
feedback with guided
and repetitive
practice
Modeling
Audio taped
performance, scoring
guide
Score guide
Differentiation Suggestions:
Acceleration of rhythmic difficulty through increased variation of beat subdivision and rests.
Acceleration of melodic difficulty through wider variety of intervals, less reliance on tonic and dominant
pitches, and chromaticism.
Differentiation for learning styles by adding written use of solfege, neutral syllables, and/or scale degree
numbers. Students select work to analyze.
Students compose more or less complex works.
Application Level Assessment CCO I. A. Performance Skills and CCO. II. A. Elements of Music:
Students will demonstrate knowledge of instrumental music performance skills (expression, technique,
repertoire, imitation, group playing, improvisation, and composition) through a varied repertoire; and, will
apply knowledge and skills to read and notate music.
Student Tasks:
Improvise melodies and harmonies
Self-evaluate and improve performance
Sight-sing an eight measure diatonic melody
The student will compose a work in four-part harmony using a given figured bass
Write a bass line and analyze the implied harmonies using a given melody
Compose a work in four-part harmony using given a melody
Analyze the melodies, harmonies, and form of a composition
Compose music based upon historical composition techniques
221
Scoring Guide for Music Theory, CCO I. A. (Performance Skills) and CCO II. A. (Elements of Music)
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Improvise melodies and
harmonies.
Melody notes and motives
demonstrate internal
relationships to one another
through parallel or
contrasting antecedent and
consequent, sequence,
modified repetition, melodic
inversion, even and matching
numbers of measures
Imperfect authentic or half
cadence for antecedent,
imperfect or perfect authentic
cadence for consequent.
Scalewise passages do not
exceed 6 tones, and are
approached or left by
contrary motion
High note and low note are
used only once in the period
leaps outline the implied
harmony a majority of the
time
Improvisation represents
all of the criteria
characteristics within the
guidelines of the assignment.
Improvisation represents
all of the criteria
characteristics within the
guidelines of the assignment
with one or two errors.
Improvisation represents
omissions of one or two
sections of the criteria
characteristics.
Improvisation represents
one or none of the sections of
the criteria characteristics.
Self-evaluate and improve
performance.
Student correctly identifies
errors and corrects rhythmic
and note errors to 100% with
correct intonation
Student correctly
identifies errors, but is unable
to correct 1 or more errors.
Student incorrectly
identifies 1 or more errors or
misses 1 or more errors and is
unable to correct.
Student is unable to
identify errors.
Sight-sing an eight measure
diatonic melody.
0 or 1 measures with note
or rhythmic errors
2 or 3 measures with note
or rhythmic errors
4 or 5 measures with
note or rhythmic errors
6 or more measures with
note or rhythmic errors
222
Evaluate recorded
performances from a variety
of genres.
Music criteria scoring guide found in CCO IV
Given a figured bass/Roman
numeral analysis, compose a
work in four-part harmony.
Permission granted through
the College Entrance
Examination Board © 2004
Score 24-25 on the AP
Music Theory College Board
scoring guide for figured bass
Score 17-18 points on the
AP Music Theory College
Board scoring guide for
Roman numerals
Score 19-23 on the AP
Music Theory College Board
scoring guide for figured bass
Score 14-16 on the AP
Music Theory College Board
scoring guide for Roman
numerals
Score 15-22 on the AP
Music Theory College Board
scoring guide for figured bass
Score 12-15 on the AP
Music Theory College Board
scoring guide for Roman
numerals
Score 14 or less than on
the AP Music Theory College
Board scoring guide for
figured bass
Score 11 or less on the AP
Music Theory College Board
scoring guide for Roman
numerals
Given a melody, write a bass
line and analyze the implied
harmonies.
Score 8-9 on the AP Music
Theory College Board
scoring guide
Score 6-7 on the AP
Music Theory College Board
scoring guide
Score 4-5 on the AP
Music Theory College Board
scoring guide
Score 0-3 on the AP
Music Theory College Board
scoring guide
Given a melody, compose a
work in four-part harmony. Score 8-9 on the AP Music
Theory College Board
scoring guide
Score 6-7 on the AP
Music Theory College Board
scoring guide
Score 4-5 on the AP
Music Theory College Board
scoring guide
Score 0-3 on the AP
Music Theory College Board
scoring guide
Analyze the melodies,
harmonies, cadences, and
form of a composition.
Student correctly identifies
harmonies, harmonic and
non-harmonic tones,
cadences, and the form
represented by the
composition
Student demonstrates a
thorough knowledge of three
of the four categories of the
criteria.
Elements of analysis are
often mis-labeled or incorrect
in two or more categories of
the criteria.
Analysis demonstrates a
lack of understanding of
musical structure.
223
Music Theory, CCO III. A. Musical Forms and III. B. Analysis
Core Conceptual Objective III. A. Musical Forms and III. B. Analysis: Students will analyze and
evaluate music and musical performances.
Essential Understanding Missouri State Standards
Musicians identify and analyze forms and composition techniques, as well
as analyze, evaluate, and respond to the formal, stylistic, and aesthetic
qualities of music.
FA 1, FA 2, FA 3, G1.4,
G1.5, G1.6, G2.4, G2.5
Content and Skills:
By the end of this grade/course students
should know:
By the end of this grade/course students should be able to do:
Error Detection
Sight-Singing
Dictation
Literature-Based Listening
Score Study
Figured Bass Realization
Melody Harmonization
Analyze a musical performance to detect errors and then correct
them in written form
Self-evaluate intervals and intonation in a sight-singing
performance
Notate played rhythms, melodies, and harmonies
Evaluate recorded performances from a variety of historical
periods
Evaluate literature (aural and written) on stylistic, formal, and
aesthetic qualities
Interpret and evaluate figured bass and Roman numeral
reductions
Unit Vocabulary: Sight-Singing Vocabulary: Intonation, sharp/flat (relative to intonation), interval
Scale Vocabulary: major, minor, natural minor, harmonic minor, melodic minor, diminished,
augmented, perfect, melody, diatonic, chromatic, scale degrees, solfege, step, leap, church modes, Ionian,
Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, pentatonic, whole-tone scale
Four Part Harmony Vocabulary: soprano, alto, tenor, bass, inversion, root, third, fifth, seventh,
figured bass, open/close/neutral structure, cadence, authentic (perfect and imperfect), Plagal cadence, half
cadence, Phrygian cadence, doubling, contour, similar, parallel, contrary motion, Alberti bass
Compositional Forms Vocabulary: binary, ternary, strophic, rondo, theme and variations, sonata
allegro, sonata, concerto, symphony, through composed/tone poem, fugue, subject, answer, countersubject,
episode
Melody Vocabulary: phrase, motive, period, antecedent, consequent, masculine/feminine phrase
endings, anacrusis
Compositional Techniques Vocabulary: sequence, melodic imitation, melodic inversion,
fragmentation, augmentation, diminution, repetition, retrograde
Pre-Assessment: Identify rhythmic or melodic errors in a four-measure single line melody.
Sing a four measure single line melody.
Analyze and notate a four measure single line melody.
Respond verbally to recorded performances of music.
Class checklist and discussion of figured bass vocabulary and inversions.
Write an accompanying bass line and Roman numeral analysis for a four-measure melody.
Provide a Roman numeral analysis of a phrase from standard literature.
Compose a phrase in four-part harmony.
Facilitating Activities:
224
Knowledge/Comprehension
Activity Strategy Assessment
Identify errors in a musical performance (T)
Name standard doublings of root position and inversion
voicings in four-part (T)
Pair review
Modeling, lecture
Worksheet
Written quiz
Application/Analysis
Activity Strategy Assessment
Analyze and notate the performance of a musical phrase
(T)
Analyze the harmonies of a musical phrase using Roman
numerals (T)
Modeling
Modeling
Scoring Guide
Written test
Synthesis/Evaluation
Activity Strategy Assessment
Evaluate a musical performance (T)
Evaluate a composition on its stylistic, formal, and
aesthetic qualities
Modeling, formative
feedback with guided
and repetitive
practice
Group discussion,
lecture
Audio taped
performance, scoring
guide
Scoring Guide
Differentiation Suggestions: Acceleration of rhythmic difficulty through increased variation of beat subdivision.
Acceleration of melodic difficulty through wider variety of intervals, less reliance on tonic and dominant
pitches, and chromaticism.
Differentiation for learning styles by use of board or worksheet to add visual stimulus.
Students choose works to evaluate and present their analysis to the class.
Application Level Assessment CCO III. A. Musical Forms and CCO III. B. Analysis: Students will
demonstrate the ability to identify and analyze musical forms; and the ability to respond to and critically
analyze music.
Student Tasks:
Analyze a musical performance to detect errors and then correct them in written form
Self-evaluate intervals and intonation in a sight-singing performance
Notate played rhythms, melodies, and harmonies
Evaluate recorded performances from a variety of genres
The student will evaluate literature (aural and written) on stylistic, formal, and aesthetic qualities
Interpret and evaluate figured bass and Roman numeral reductions
Analyze musical works/excerpts on the basis of their formal, stylistic, and aesthetic qualities
225
Scoring Guide for Music Theory, CCO III. A. (Musical Forms) and CCO III. B. (Analysis)
Criteria
4
Advanced
3
Proficient
2
Nearly Proficient
1
Progressing
Analyze a musical
performance to detect errors
and then correct them in
written form
Student correctly identifies
errors and corrects rhythmic
and note errors to one00%.
Student correctly
identifies errors, but is unable
to correct one or more errors.
Student incorrectly
identifies one or more errors
or misses one or more errors
and is unable to correct.
Student is unable to
identify errors.
Self-evaluate intervals and
intonation in a sight-singing
performance
Student correctly identifies
errors and corrects rhythmic
and note errors to one00%
with correct intonation
Student correctly
identifies errors in rhythm,
notes, or intonation, but is
unable to correct one or more
errors or demonstrates
incorrect intonation.
Student incorrectly
identifies more than one error
or misses more than one
error.
Student is unable to
identify errors.
Notate played rhythms,
melodies, and harmonies 0 or 1 measures with note
or rhythmic errors
2 or 3 measures with note
or rhythmic errors
4 or 5 measures with
note or rhythmic errors
6 or more measures with
note or rhythmic errors
Evaluate literature (aural and
written) on stylistic, formal,
and aesthetic qualities
Scoring guide for this
CCO criteria found in CCO I
Interpret and evaluate figured
bass and Roman numeral
reductions
Score 24-25 on the AP
Music Theory College Board
scoring guide for figured bass
Score 17-18 points on the
AP Music Theory College
Board scoring guide for
Roman numerals
Score 19-23 on the AP
Music Theory College Board
scoring guide for figured bass
Score 14-16 on the AP
Music Theory College Board
scoring guide for Roman
numerals
Score 15-22 on the AP
Music Theory College Board
scoring guide for figured
bass
Score 12-15 on the AP
Music Theory College Board
scoring guide for Roman
numerals
Score 14 or less than on
the AP Music Theory
College Board scoring guide
for figured bass
Score 11 or less on the AP
Music Theory College Board
scoring guide for Roman
numerals
226
Music Criticism Scoring Guide
Introduction
Tells plan to critique. Gives
information about the work:
composer‘s name, musician‘s
name, title of piece, when and
where it was created, how it was
used, its period, style, or culture.
Clearly states plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
All available information
given
States plan to critique
another artist‘s work or to
explain the goal of a
personal piece of music
Most available information
given
Artist‘s work or a personal
piece mentioned
Tells artist‘s name and
title
Artist‘s
name or title
of work
listed
Description
Sentences that list everything
heard or seen in the
performance, including names of
instruments.
Logical, coherent, complete,
detailed description of what
is seen/heard in the
performance
Logical, coherent, complete
description of what is
seen/heard in the work
Complete description of
what is seen/heard in the
work but slightly
unorganized
Random
mention of
one or two
details
seen/heard
in the work
Analysis
Describes pitch, melody,
harmony, rhythm, dynamics
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
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
Lists elements used
Tells how or where some
elements and principles
are used in the work
Partially lists
elements
Interpretation
Explain the artist‘s use of
phrasing, breathing, style,
dynamic contour and contrast
and how he/she communicates
an emotional mood or attitude
toward the subject, narrative,
social commentary, spiritual
/religious ideas or other purpose
of the work
Clearly infers meaning of
work based upon analysis/
Clearly supports all
statements with detailed,
specific reference to musical
elements
Relates the performer‘s
choices to personal
interpretation of the
composer‘s work
Interprets the meaning of
work based upon analysis.
Supports statements with
reference to musical
elements
Connects most of the
performer‘s choices to a
general interpretation of the
composer‘s work
Suggests a meaning of the
work.
Supports statement with
reference to some musical
elements
Suggests
meaning of
work.
Judgment Evaluates the quality of the
composition
Evaluates the quality of the
performance
Evaluates the composition
on the basis of information
about the composer‘s life,
times, and intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports all statements with
specific, detailed reference to
the work
Evaluates the composition
on the basis of information
about the composer‘s
intentions
Evaluates the quality of the
performance on musician‘s
tone/intonation, technique
articulation, and
expression/musicianship.
Supports most statements
with reference to the work
Explains information
about the composer‘s life
without connecting it to
the meaning of the
composition
Discusses the musician‘s
tone/intonation, technique
articulation, or
expression/musicianship.
Few references to the
work that support
statements
States
personal
opinion
Grammar, Style
Form
Free of errors
Consistently uses third
person in other artist‘s work
or first person if own piece
Uses sophisticated sentence
variety, precise vocabulary
References last name only
after introductory paragraph
All steps of critique model in
correct order
Few minor errors in spelling or
grammar
Uses third person in other
artist‘s work or first person if
own piece
Some sentence variety,
appropriate vocabulary
References last name only after
introductory paragraph
All steps of critique model in
correct order
Errors in grammar and
spelling without affecting
clarity
Some use of first or
second person
Little sentence variety
First and/or last name of
artist used throughout
essay
All steps of critique model
present but out of order
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
Steps of critique
model may be
missing or out of
order
227
Music Theory CCO V. A. Music History
Core Conceptual Objective V. A. Music History: Students will demonstrate knowledge of music
history.
Essential Understanding Missouri State Standards
Musicians understand and appreciate music from a variety of time periods,
styles, and cultures.
FA5, G1.9, G3.3
Content and Skills:
By the end of this grade/course
students should know:
By the end of this grade/course students should be able to:
Score Study
Historical composition techniques
Literature Based Listening
Evaluate literature (aural and written) on stylistic, formal, and
aesthetic qualities through varied historical examples
Analyze the melodies, harmonies, and form of compositions
throughout Western-European history
Evaluate recorded performances from a variety of historical
periods
Unit Vocabulary: Middle Ages/Medieval music, Renaissance, Baroque, Classical, Romantic,
Impressionism, 20th
century music, 12-tone music, Serialism, Neo-classicism
Pre-Assessment: Student defines music terminology related to music history.
Student listens to and differentiates between examples of Western-European music through history.
Facilitating Activities:
Knowledge/Comprehension
Activity Strategy Assessment
List prominent composers throughout history music
from 400-1950‘s (T)
Lecture Written Quiz
Application/Analysis
Activity Strategy Assessment
Analyze an example of early or more recent music Cooperative learning Scoring Guide
Synthesis/Evaluation
Activity Strategy Assessment
Listen to a recorded selection and justify an opinion as
to the approximate date of composition (T)
Cooperative learning Scoring Guide
Differentiation Suggestions:
Supplemental materials can be provided for accelerated students.
Teachers and peer leaders can provide individual tutoring sessions.
Teachers can provide comparisons of additional composers
Application Level Assessment CCO V. A. Music History: Students will demonstrate knowledge of
music history.
Student Task: Evaluate literature (aural and written) on stylistic, formal, and aesthetic qualities through varied historical
examples
Analyze the melodies, harmonies, and form of compositions throughout Western-European history
Evaluate recorded performances from a variety of historical periods
228
Music History Reflective Writing Worksheet
Name: Class:
Watch or listen to two performances of music. Based on what you learned in class, complete the chart below to compare/contrast the works.
Who do you think composed Work A?
When do you think it was composed?
Where do you think it was composed?
Who do you think composed Work B?
When do you think it was composed?
Where do you think it was composed?
Which musical characteristics helped you determine the composer, time period, and place where the work was created? WHY? Work A
Work B
Explain how the composer‟s life and times influenced his/her composition
Work A
Work B
On the next page, write an essay comparing the importance of these works in the history of music. Support your opinions with information from the
charts you just completed.
229
Appendix
230
Fine Arts Resource Selection
Evaluation Checklist
Course:______________________________________________________
Title of Text:__________________________________________________
Publisher:____________________________________________________
Copyright:____________________________________________________
Please use the scoring guidelines to assess the following items:
Student Textbook:
1. ______ Objectives for lessons are clear.
2. ______ Objectives represent various levels of Bloom‘s.
3. ______ Includes historical/cultural information.
4. ______ Emphasizes fine arts process skills and inquiry.
5. ______ Develops problem solving and critical thinking skills.
6. ______ Performance assessments with scoring guides are provided and
match objectives.
7. ______ Makes the connection among fine arts and with core subjects,
technology, and society.
8. ______ Appropriate reading level.
9. ______ Is gender-fair, multicultural and disability aware.
Scoring Guidelines:
+ 3 = Excellent
2 = Good
1 = Poor or Not at All
NA = Not Applicable
231
10. ______ Text meets District CCOs (percent covered______%).
Overall Rating
Teacher Resources:
1. _______ Contains clearly written, easy-to-use plans.
2. _______ Includes enough background information for teacher.
3. _______ Provides extension ideas for differentiating instruction.
4. _______ Integrates writing in lessons.
5. _______ Incorporates technology in lessons (provides lesson examples, web
sites, etc.).
6. _______ Provides quality supplemental materials.
Overall Rating
Check one
_____This textbook would be a great choice.
_____This textbook should be considered.
_____I would not recommend this textbook.
Other Comments:
232
Rockwood
Writing Guidelines
While the emphasis of the Rockwood drama program is on the elements of performance and production of dramatic works,
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.
Six-Trait Assessment for Middle School Writers* 1
EXPERIMENTING
2
EMERGING
3
DEVELOPING
4
CAPABLE
5
EXPERIENCED
IDEAS
- Attempts a story or
to make a point
- Meaning of the
general idea is recognizable
- Some ideas clear but
most still fuzzy
IDEAS
- Writing tells a story or
makes a point with some
but loses control at times
- Meaning is recognizable
with close read
- Some ideas clear but
some still fuzzy
IDEAS
- Writing tells a story or
makes a point
- Idea generally stays on
topic
- Details are present but
not completely developed
or are not strong
- Attempts commentary,
where needed
IDEAS
- Writing clearly tells
a story or makes a point
- Idea and focus stay
on topic
- Concrete details are
important and
developed
- Commentary, when
present, is true
commentary
IDEAS
- Topic is narrowed and
focused
- Presents a fresh and original
idea or complex story
- Develops the main idea with
critical concrete details which is
fully developed
- Uses strong commentary
where needed
ORGANIZATION
- Format is attempted
Beginning is attempted but
no ending (possibly “The
End”)
- Attempts at
sequencing and transitions
- Attempts transitions
ORGANIZATION
- Format is correct
some of the time
- Attempts transition
from sentence to
sentence
- Beginning works well
and attempt at ending
- Logical sequencing
- Key ideas begin to
surface
ORGANIZATION
- Format is correct most
of the time
- Transitions work to
connect sentences
- Strong beginning with
clear ending
- Easy to follow most
times
- Commentary is
connected to the concrete
detail
ORGANIZATION
- Format is correct
- Varied transitions
connect sentences
- Strong beginning
- Ending summarizes
the paragraph
- Easy to follow
- In-depth
commentary
ORGANIZATION
- Format is not needed for
organization
- Transitions connect sentence
to sentence, though to thought,
paragraph to paragraph
- Easy to follow
- Important ideas stand out
CONVENTIONS
- Uses phonetic
spelling
- Correctly spells high
frequency words some of
the time
- Uses capitals at the
beginning of sentences
- Usually uses end
punctuation correctly
- Experiments with
other punctuation
- Longer paper is one
long paragraph with run-
ons
- Attempts standard
grade-level grammar;
sometimes must be re-read
CONVENTIONS
- Transitional spelling
on less frequent words
- Correctly spells high
frequency words
- Capitals at sentences
beginnings and variable
use of other capitals
- End punctuation is
correct and other grade-
level punctuation is
attempted
- Paragraphing variable
but present
- Basic noun/pronoun
agreement
- Some run-ons and
fragments
CONVENTIONS
- Spelling is correct on
most words
- Capitals used for proper
nouns and sentence
beginnings most of the time
- Basic grade-level
punctuation, including
commas, is correct
- Indents consistently to
show paragraphs
- Shows control of
standard grammar most of
the time
- Some run-ons but few, if
any, fragments
CONVENTIONS
- Spelling is correct
- Capitals are used
for proper nouns and
sentence beginnings
- Grade-level
punctuation is correct
and complex
punctuation is
attempted
- Paragraphing is
clear
- Shows control of
standard grammar
- Few run-ons but no
fragments
CONVENTIONS
- Spelling is correct
- Capitals are correct
- Grade-level punctuation is
corrected
- Complex punctuation is often
successful
- Sentences are varied in
length, beginning, and complexity
- No run-ons or fragments
*Used with permission and modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon
234
. Six-Trait Assessment for High School Writers
Ideas Organization Conventions Word
Choice
Sentence
Fluency
Voice
4
__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
__Uses effective cohesive devices (transitions,
repetition, pronouns, parallel structure) between and within paragraphs
__Successfully follows assigned format
__Contains few errors in
grammar/usage,
punctuation, capitalization,
and/or spelling
__Intentional or clever use of
atypical sentence structure __Correct pronoun/antecedent
agreement and subject/verb
agreement; consistent verb tense
__Uses precise and
vivid language
__Effective use of
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
__ Shows individual
perspective; personality comes
through
__Clearly shows an
awareness of audience and
purpose
__Writer‘s enthusiasm for the
topic is evident
__Effectively uses writing
techniques (such as humor,
point of view, tone) that evoke
a strong emotional response
3 __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
__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
__May contain errors in
grammar/usage,
punctuation, capitalization,
and/or spelling that are not
distracting to the reader
__Fragments or run-ons are rare (unless stylistic)
_Very few errors in
agreement and tense
__Uses precise
language
__Uses writing
techniques such as
imagery and/or
figurative language if appropriate
__Avoids redundancy
__Contains sentences
that are clear and
show some variety in length and structure
__Not all sentences
begin with the same pattern
__Sections of writing
have rhythm and flow
__ Shows some individual
perspective; personality 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
2 __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
freshness of thought
__Weak commentary
__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
__Inconsistent use of cohesive devices
__Attempts assigned format
__Contains errors in
grammar/usage,
punctuation, capitalization,
and/or spelling that may be
distracting to the reader
__Some run-ons and/or
sentence fragments __Inconsistent subject/verb
agreement and or verb tense
__May use imprecise
language
__ Attempts to use
some writing
techniques such as
imagery and/or
figurative language if appropriate
__ Some obvious
redundancy
__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
__May lack individual
perspective
__Shows some awareness of
audience and purpose
__Writer shows limited
connection to the topic
__Attempts to use some
writing techniques (humor,
point of view, tone) to evoke a
response
1 __Is difficult to follow and lacks
focus
__May address the topic, but
lacks details
__Lacks complexity and
freshness of thought
__Attempts commentary
unsuccessfully
__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
__Contains repeated errors
in grammar/ usage,
punctuation, capitalization,
and/or spelling that are
distracting
__Numerous run-ons and/or fragments
__Frequent errors with
agreement and/or tense
__Uses imprecise
language
__Shows little or no
evidence of writing
techniques such as
imagery or figurative language
__Obvious and/or
distracting redundancy
__Contains sentences
that lack variety and
clarity
__Most sentences begin
the same way
__Writing is choppy; needs rereading to
follow the meaning
__Lacks individual
perspective
__Shows little or no
awareness of audience or
purpose
__Treatment of topic is predictable
__Shows little or no evidence
of writing techniques to evoke a response
Modified based on the work of the Northwest Regional Educational Laboratory, Portland, Oregon Bold descriptor s= MAP criteria
Missouri Show-Me Standards
The Missouri Department of Elementary and Secondary Education has issued a set of standards that are intended to define
what students should learn by the time they graduate from high school. These guidelines are titled ―The Show-Me
Standards‖.
The Rockwood School District Band Curriculum is referenced to the Missouri Show-Me Standards. You will find the
references explained below.
Example from Grade Six Beginning Band:
Core Conceptual Objective I.A. Playing Skills: Tone-Intonation: Students will demonstrate knowledge of tone and
intonation through musical performance.
Essential Understanding Missouri State Standards
Musicians produce characteristic tone and accurate intonation in order to
perform high quality music.
FA 1, 2.5
FA I refers to the Content Standard for Fine Arts
Students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. process and techniques for the production, exhibition, or performance of one or more of the visual or performed arts
2.5 refers to the Process Standard Two
Students will acquire the knowledge and skills to communicate effectively within and beyond the classroom.
5. perform or produce works in the fine and practical arts
236
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 one‘s 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 Missouri‘s 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 Missouri‘s 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.
KNOWLEDGE + PERFORMANCE = ACADEMIC SUCCESS
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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. develop questions and ideas to initiate and refine research
2. conduct research to answer questions and evaluate information and ideas
3. design and conduct field and laboratory investigations to study nature and society
4. use technological tools and other resources to locate, select, and organize information
5. comprehend and evaluate written, visual, and oral presentations and works
6. discover and evaluate patterns and relationships in information, ideas, and structures
7. evaluate the accuracy of information and the reliability of its sources
8. 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.
Students will demonstrate within and integrate across all content areas the ability to
1. plan and make written, oral, and visual presentations for a variety of purposes and audiences
2. review and revise communications to improve accuracy and clarity
3. exchange information, questions, and ideas while recognizing the perspectives of others
4. present perceptions and ideas regarding works of the arts, humanities, and sciences
5. perform or produce works in the fine and practical arts
6. apply communication techniques to the job search and to the workplace
7. use technological tools to exchange information and ideas
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GOAL 3
Students in Missouri public schools will acquire the knowledge and skills to recognize and solve problems.
Students will demonstrate within and integrate across all content areas the ability to
1. identify problems and define their scope and elements
2. develop and apply strategies based on ways others have prevented or solved problems
3. develop and apply strategies based on one‘s own experience in preventing or solving problems
4. evaluate the processes used in recognizing and solving problems
5. reason inductively from a set of specific facts and deductively from general premises
6. examine problems and proposed solutions from multiple perspectives
7. evaluate the extent to which a strategy addresses the problem
8. 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.
Students will demonstrate within and integrate across all content areas the ability to
1. explain reasoning and identify information used to support decisions
2. understand and apply the rights and responsibilities of citizenship in Missouri and the United States
3. analyze the duties and responsibilities of individuals in societies
4. recognize and practice honesty and integrity in academic work and in the workplace
5. develop, monitor, and revise plans of action to meet deadlines and accomplish goals
6. identify tasks that require a coordinated effort and work with others to complete those tasks
7. identify and apply practices that preserve and enhance the safety and health of self and others
8. explore, prepare for, and seek educational and job opportunities
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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. speaking and writing standard English (including grammar, usage, punctuation, spelling, capitalization)
2. reading and evaluating fiction, poetry, and drama
3. reading and evaluating nonfiction works and material (such as biographies, newspapers, technical manuals)
4. writing formally (such as reports, narratives, essays)
5. comprehending and evaluating the content and artistic aspects of oral and visual presentations (such as story-telling,
debates, lectures, multi-media productions)
6. participating in formal and informal presentations and discussions of issues and ideas
7. identifying and evaluating relationships between language and culture
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Mathematics
In Mathematics, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. 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
2. geometric and spatial sense involving measurement (including length, area, volume), trigonometry, and similarity and
transformations of shapes
3. data analysis, probability, and statistics
4. patterns and relationships within and among functions and algebraic, geometric, and trigonometric concepts
5. mathematical systems (including real numbers, whole numbers, integers, fractions), geometry, and number theory
(including primes, factors, multiples)
6. discrete mathematics (such as graph theory, counting techniques, matrices)
Science
In Science, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. properties and principles of matter and energy
2. properties and principles of force and motion
3. characteristics and interactions of living organisms
4. changes in ecosystems and interactions of organisms with their environments
5. processes (such as plate movement, water cycle, air flow) and interactions of earth‘s biosphere, atmosphere,
lithosphere, and hydrosphere
6. composition and structure of the universe and the motions of the objects within it
7. processes of scientific inquiry (such as formulating and testing hypotheses)
8. impact of science, technology, and human activity on resources and the environment
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Social Studies
In Social Studies, students in Missouri public schools will acquire a solid foundation which includes knowledge of
1. principles expressed in the documents shaping constitutional democracy in the United States
2. continuity and change in the history of Missouri, the United States, and the world
3. principles and processes of governance systems
4. economic concepts (including productivity and the market system) and principles (including the laws of supply and
demand)
5. the major elements of geographical study and analysis (such as location, place, movement, regions) and their
relationships to changes in society and environment
6. relationships of the individual and groups to institutions and cultural traditions
7. 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. process and techniques for the production, exhibition, or performance of one or more of the visual or performed
arts
2. the principles and elements of different art forms
3. the vocabulary to explain perceptions about and evaluations of works in dance, music, theater, and visual arts
4. interrelationships of visual and performing arts and the relationships of the arts to other disciplines
5. visual and performing arts in historical and cultural contexts
242
Health/Physical Education
In Health/Physical Education, students in Missouri public schools will acquire a solid foundation which includes
knowledge of
1. structures of, functions of, and relationships among human body systems
2. principles and practices of physical and mental health (such as personal health habits, nutrition, stress management)
3. diseases and methods for prevention, treatment, and control
4. principles of movement and physical fitness
5. methods used to assess health, reduce risk factors, and avoid high-risk behaviors (such as violence, tobacco, alcohol,
and other drug use)
6. consumer health issues (such as the effects of mass media and technologies on safety and health)
7. responses to emergency situations
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Missouri Department of Elementary & Secondary Education
Integrated (Interdisciplinary/Cross Discipline) Fine Arts Vocabulary
HISTORY STRAND
DANCE MUSIC THEATRE VISUAL ARTS
STYLES:
Ballet – European style of dance;
traditionally performed en pointe by
ladies and having a story line
Folk – native dances of different
cultures
Jazz – dance with African-American
roots performed with soft sole shoes
Modern – style of dance
characterized by freedom of form and
performed barefoot
Tap – dance with African-American
roots performed with steel taps on the
dances shoes
Ballroom/Social – form of dance
used in social settings
Recreation – moving with or without
partners for the sheer enjoyment of
moving through space
Exercise – choreographed
movements designed to build up body
and maintain general health and well-
being
STYLES:
Classical Music – in its broadest sense,
refers to a style of ―art‖ music as
distinguished from folk, jazz, or popular
music
(See Historical Periods for further
definition)
Folk Music – music from a specific
culture
Folk Song – uncomplicated music that
speaks directly of everyday matters
Jazz – a style of American music
originated in the South by African-
Americans; it is characterized by strong,
prominent meter, improvisation, and
dotted or syncopated patterns
Long Ago – music from the past
Modern – music that is current;
generally, 20th
century music
Popular Style (Music) – American
music that has wide appeal, is
immediately communicative and
relatively short
STYLES:
Comedy – a funny or amusing play
with a happy ending
Improvisation – short scenes made
up on the spur of the moment
following generated guidelines
Melodrama – a serious play with
an unhappy ending; the major
characters are predictable
Musical – a play with songs
supporting the plot
Tragedy/Drama – a serious play
with an unhappy ending; major
characters are unpredictable
STYLES:
Abstract – art that exaggerates,
simplifies, or distorts reality
Fantasy – art showing imaginary or
unreal people, places or things
Realistic – art showing life as it is
Non-objective – based on elements of
art rather than on recognizable people,
places or things
Modern – 20th
century art with a focus
on abstraction
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DANCE MUSIC THEATRE VISUAL ARTS
FUNCTIONS:
Education – dance intended to teach
Entertainment – dance intended for
audience enjoyment
Sacred – dance dealing with religious
themes
FUNCTIONS:
Accompaniment – music that adds
texture to a melody or melodies
Ceremonial – an established custom or
formal actions connected with an
occasion
Functional Music – wedding,
graduation, funeral, parade,
entertainment
Lullaby – sleep song
March – music with a steady beat
suitable for a parade or processional.
Popular Style – American music that
has wide appeal, is immediately
communicative and relatively short
Sacred – religious music
Secular –non-religious music
Spiritual – a sacred song that evolved
from the period of slavery in the U. S.
Waltz – dance in triple meter
Work Song – songs in which the text
describes the task of the worker
FUNCTIONS:
Education – theatre intended for
instruction
Entertainment – theatre intended
for audience enjoyment
Sacred – theatre dealing with
religious themes
FUNCTIONS:
Ceremonial – art serving a symbolic
function in a culture, e.g., flag
Commercial/Popular – art used for
business purposes, e.g., advertising,
fashion design, architecture, product
design, cartooning
Expressive – art that conveys
emotion or feeling
Formalism – art for art‘s sake
Functional – decorated objects for
everyday use, e.g., pottery, jewelry,
fibers
Representational – art
showing real life Sacred – art dealing with religious
themes
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DANCE MUSIC THEATRE VISUAL ARTS
TRADITIONAL CULTURES:
Asian/Chinese – usually ceremonial;
used during theatrical productions;
uses mime and head and eye
movements; generally, tells a story or
depicts activities in everyday life
African – movements generally low
and grounded, using body
contractions, foot stamping,
percussive and swinging head and
arm movements; always rhythmic,
often energetic; ceremonial; religious
and secular events occurring in
everyday life; may use
costumes/masks
TRADITIONAL CULTURES:
Asian – representational, stylized sound
images of people and nature;
identifiable sound characteristics
include artisan-made acoustical bamboo
and string instruments and drums,
pentatonic scales, narrow melodic
range, and a bright and nasal vocal
quality
African – functional music that is
participatory; instruments include a
variety of bells, drums, and rattles;
characterized by percussive and
polyrhythmic sounds that often use
improvisation
TRADITIONAL CULTURES:
Asian – characters wear white and
elaborately patterned makeup along
with colorful embroidered robes to
perform stylized plays with stories
of long ago, or about family life
African – actors wear carved
masks and perform rituals based on
everyday activities
TRADITIONAL CULTURES:
Asian – superior craftsmanship,
representational, stylized images of
people and nature created to match an
ideal; narrative depiction of history
and culture; may emphasize line and
flat areas of color
African – ceremonial and functional
objects; handmade with natural
materials; masks/sculptures show
exaggerated, stylized features of
people and animals, jewelry and
printed cloth use bright, bold,
geometric designs
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DANCE MUSIC THEATRE VISUAL ARTS
Native American – dances may vary
in movement from tribe to tribe;
generally, dances affecting people in
everyday life use large groups; use
simple, repetitive steps and
music/singing; women dance for
women‘s activities, e.g., birth,
marriage, planting; men dance for
men‘s activities, e.g., coming of age,
war, hunting; dances usually tell
stories and can be narrated
simultaneously; solo work can explain
a tribal myth or tradition or carry on a
history of the tribe; solos are usually
performed with costumes and make-
up
Native American – functional music
that celebrates the cultural heritage of
the Native American; drums and rattles
are the predominant instruments that
accompany the voice; the only pure
instrumental music is for flutes and
whistles; the steady beat of the drum
does not always match the beat of the
song; there is no harmony
Native American – story
tellers/dancers may wear traditional
Regalia while performing for an
audience; Regalia may include
beadwork, feathers, and body
painting depending on region or
tribal affiliation
Native American – functional art
celebrating the cultural heritage of the
Native American; regional
characteristics: southwest (geometric,
Kachina); plains (narrative symbols);
northwest coast (animal totems)
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DANCE MUSIC THEATRE VISUAL ARTS
HISTORICAL PERIODS:
American/Colonial – dances adapted
from European culture to the new
environment; examples of dances
include gavottes, minuets, marches,
jigs, circle group dances, and folk
dances
American/Western Expansion –
square and reel dance forms evolved;
the Grand March and the Polonaise
were used at ceremonial balls; the
mazurka and polka were danced in
couples
American/Civil War –waltz and
country dances were popular
Classical – tap and soft-shoe dances
were developed during the 1750 to
1820 time period
Modern – 20
th century dance
characterized by freedom of
movement and performed barefoot
HISTORICAL PERIODS:
American/Colonial–folk songs adapted
from European cultures
American/Western Expansion –
cowboy songs, work songs and folk
songs
American/Civil War – spirituals and
work songs
Classical – specifically refers to
European music composed from about
1750 to 1820 that borrows from Art
History‘s neoclassical period focusing
on unity, balance and ideas of realism
Modern – 20th
century innovative forms
and combinations of sounds
HISTORICAL PERIODS:
American/Colonial – Began with
British companies touring the
colonies with English-style plays;
developed into plays written by
Americans with typically American
characters
American/Western Expansion –
troupes of actors traveled by
wagons and showboats to perform
for people in the expanding
American West
American/Civil War–melodramas
became the predominant theatrical
form; American themes and/or
spectacular plays once again
became popular
Classical – the first formal theatre
came from ancient Greece; Thespis
was the first actor to step from a
chorus of actors to speak individual
lines
Modern – the director emerged as
the dominant force; realism is the
predominant style with most theatre
being very lifelike
HISTORICAL PERIODS:
American/Colonial –Real looking
paintings/sculptures of portraits and
history based on European art.
Architecture: styles brought by
colonists from European villages
American/Western Expansion –
Idealized, symbolic landscapes show
images of American wilderness;
architecture: rebellion against English
styles, Roman domes and columns
symbolize democracy
American/Civil War – realistic
painting/ sculpture/ photography
document current history;
architecture: industrial barons base
homes on European castles
Classical – realistic figure sculpture
based on ancient Greek and Roman
art; architecture: Greek and Roman,
elements: columns, arch, and dome
Modern – 20th
century abstract and
non-objective styles; the subject
matter is the elements and principles
of art; architecture: reaction against
historical styles, form follows
function
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Criticism and Analysis Strand
DANCE MUSIC THEATRE VISUAL ARTS
Composition – a grouping of
movements to form a dance
Composition – an original work or
―opus‖
Book – play manuscript; in musical
productions the libretto without the
music
Manuscript (Script) – written or
typed play, or the book of a musical
(usually used in rehearsal)
Composition – arrangement of
elements and principles
Forms – methods of choreography; 2-
part form (AB), 3-part form (ABA),
Rondo (ABACA), theme and
variations, free sequential forms
Form – overall structure or organization
of a musical composition may
incorporate repetition, contrast, unity
and variety
Call and response – a song style that
follows a simple question and answer
pattern in which a soloist ―calls‖ out the
melody and a group ―responds‖
Canon – composition for two or more
voices in which one voice enters after
another in exact imitation of the first,
similar to a round
Form – structure of a play, e.g.,
scenes and acts
Form – three-dimensional or illusion
of 3D
Geometric – forms with
mathematical names
Organic – living things forms
Balance – ability to remain upright
Balance – sounds adjusted to create
desired effect
Balance – equalization of stage
picture including placement of
characters and set pieces on the
stage
Balance – arrangement with equal
visual weight on both sides of a
position
Asymmetrical/Informal – two sides
of a composition have the same visual
weight but the lines, shapes and
colors are not the same
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DANCE MUSIC THEATRE VISUAL ARTS
Space – a dancer moves in and
through space
Space –
a) relationship between sound and
silence
b) lines and spaces on a staff
Space – where the actors are
located on the stage
Symmetrical/Formal – 2 sides of a
composition are identical, mirror
images
Proportion – the size relationships of
parts to a whole and to each other
Space – the distance around and
between things; area that can be filled
with an art element
Perspective – a way of making a flat
surface look as if it goes back in
space; illusion of depth
Foreground – area in two-
dimensional artwork that appears
closest to the viewer, usually
positioned at the bottom of the
artwork
Background – the part of a two-
dimensional artwork farthest from the
viewer, usually closest to the horizon
line
Positive space – the object itself; is
there
Negative space – the areas around the
object; is not there
Dynamics – movements determined
by the amount of energy, e.g.,
sustained, percussive, vibratory
Dynamics –the volume of sound; the
loudness or softness of a musical
passage
Dynamics – relationship of loud to
soft in the actor‘s speech, intensity
Color Intensity – brightness or
dullness of hue
Contrast – the use of different
elements of movement, e.g., high
movement versus low levels; fast
versus slow actions
Contrast – referring to extremes in each
element, e.g., pitch, rhythm, dynamics,
timbre
Contrast – variation used to
heighten interest in dramatic
construction and acting
Contrast – a difference between
elements in a work of art
Tempo – speed of the movements Steady beat – a consistent and regular
pulse
Tempo – speed of the underlying beat
Ritardando/Ritard – a gradual slowing
of tempo; abbreviate as rit
Accelerando – to gradually accelerate
Pace – the timing of lines and stage
business (not to be confused with
speed)
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(get faster) in tempo
DANCE MUSIC THEATRE VISUAL ARTS
Rhythm – the movement with or
against sound in time
Rhythm – combinations of long and
short sounds and silences that convey a
sense of movement
Beat – change of interpretation in a
thought process; the ending of one
thought process and the beginning
of another
Rhythm – visual movement created
by repetition
Line – linear motion, unspoken (sing
the line)
Line – linear motion, speech to
speeches in a play
Line – path of a moving dot
Melody – horizontal, linear aspect of
music; organized succession of pitches
Movement – stage movement;
blocking; moving from one stage
area to another
Movement – path of viewer‘s eye as
it travels around a composition
Pitch – measured and named number of
vibrations per second; heard as a sound
from high to low; wave lengths in sound
Scale – the series of steps from one
pitch to another
Timbre – unique quality of a voice or
instrument
Tone Quality – dark or light quality of
sound
Pitch – raise or lower the voice
according to the musical scale
Inflection – vocal modulation,
variety in pitch
Acoustics – the quality of sound
transmission within a theater
Quality – unique sound of the
actor‘s voice
Voice projection – control of the
voice so that even those in the last
row of the house can hear and
understand every word
Hue - measured and named qualities
of light
Color - reflected quality of asurface
based on pigment or light,
wavelengths in light
Value – steps from white through
gray to black; value scales are regular
intervals of values
Tint – light value of a color, made by
mixing white with the color
Shade – the dark value of a color,
made by mixing black with the color
Color intensity – brightness or
dullness of a hue
Color Wheel – colors of the rainbow
turned into a circle
Cool Colors – colors around blue on
the color wheel; green, blue, violet
Warm colors – colors around orange
on the color wheel; red, orange,
yellow
Primary colors – the first colors from
which others are mixed; red, yellow,
blue
Secondary colors – colors made
when two primary colors are mixed;
orange, violet, green
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DANCE MUSIC THEATRE VISUAL ARTS
Texture – the density or scarcity of
movement in a dance; it can also be
used to describe movements such as
rough, smooth, etc.
Texture – the character of the different
layers of sound in music
Solo – one person only plays or sings
Duet – two people play or sing
Trio – three people play or sing
Quartet – a combination of four voices
or instruments; also music written for
such an ensemble
Texture – to add depth and tactile
qualities to scenery pieces
Texture – the way a surface feels or
looks like it would feel.
Symbols – signs for parts of the body
used in dance notation
Notation – written symbols used to
identify the musical elements
Symbols – abbreviations for stage
directions, movement and vocal
inflection
Symbol – an image that stands for an
idea
Harmony – the sounding together of
two or more tones
Harmony – two or more pitches
occurring simultaneously; used in
musical theatre
Harmony/Unity – elements work
together in an artwork
Shape – interesting and interrelated
arrangement of body parts of one
dancer; the overall visible appearance
of a group of dancers
Shape – to perform a phrase musically Shape – design of the structure that
is the set for a play
Shape – two-dimensional or flat
Geometric – mathematical
Organic – living things
Pattern – repetition – principle of
choreographic form based upon using
movements or phrases again in a work
Ostinato – a rhythmic or melodic
passage that is repeated continuously
Pattern/Stage Picture – the
arrangement of actors on the stage
Repetition – repeating a word,
phrase, movement or design
Pattern – repetition of line, shape,
and/or color
Accent – an emphasized movement Accent – the emphasis placed on a beat Accent – use of a dialect
Emphasis – a stressed word in a
line
Emphasis/Center of Interest – part
of a composition that gets the most
attention
Product/Performance Strand
Students will demonstrate the application of knowledge (see terms in History and Criticism sections of this document).
252
Graphic
Organizers
253
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? 6. Why did it happen?
254
Compare and Contrast
Transition Words: different from, same as, instead of, on the other hand
255
TOPIC: _____________________________________________________________________
MAIN IDEA: ________________________________________________________________
_____________________________________________________________________________
MAJOR SUPPORTING DETAILS
1.
2.
3.
4.
5.
256
Suggested Graphic Organizer for Cause and Effect
Transition Words: because, since, so that, if/then
Cause
Effect
Effect Effect
Effect
257
Chronological/Sequence
Event 1 Event 2 Event 3 Event 4
Transition Words: First, second, then, after, next etc.
258
Problem/Solution
Problem
Transition Words: One answer is, the question is, the problem,
the solution
259
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:
260
SEQUENCE CHAIN
261
Essay Organizer - Standard Outline
Thesis Statement:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Introductory Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
Topic Sentence:
______________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Detail_________________________________________________________________
Support Paragraph
(Emphasize Thesis)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Conclusion
(Note: You are NOT limited to only 3 support paragraphs!)
262
Paragraph Organizer
Topic Sentence:
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concrete Detail
Commentary
Commentary
Concluding sentence:
263
Essay Organizer – Standard Outline
Paragraph 1 – Introduction:
Main Idea/ Thesis:
Paragraph 2 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 3– Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 4 – Concrete Detail
commentary: ______________________________________________
commentary: ______________________________________________
commentary: ______________________________________________
Paragraph 5 – Conclusion
264
Rockwood School District
Attendance Procedure for Secondary Music Programs
A performance schedule will be announced in a timely manner, usually during the first two
weeks of a semester. Additional performances to the schedule will be announced as far in
advance as possible.
After the performance schedule is distributed, students will be given 48 hours to indicate any
previous commitments that conflict with scheduled performance dates. To request an excused
absence for a performance, the students must have a written parental request. The parental
request should include student name, performance date, and prior commitment. This request
must be submitted within the 48 hour time frame.
Students may be excused from a performance commitment, without penalty, for an excused
absence from school.
Students may be excused from a performance commitment, without penalty, for emergency
reasons. Emergencies will be dealt with on an individual basis.
Students will not be excused from a performance commitment for work.
Students who receive an unexcused absence for a performance may have their quarter grade
affected by no more than 20% of the total points.
In the event of an unexcused absence from a performance commitment, the future eligibility of
the student in the performance ensemble will be assessed.
In the event of multiple excused absences from a performance commitment, the future eligibility
of the student in the performance ensemble will be assessed.
Student Signature: ______________________________________________________________
Parent Signature: _______________________________________________________________
Date: _______________________