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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
2
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
3
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.
4
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.
5
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
6
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.
7
Departm ent of C urriculum and School Leadership
Rockw ood School D istrict 2004
8
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.
9
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.
10
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.
11
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
12
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
13
Scope and Sequence
of
Knowledge and Skills
14
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
15
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
16
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
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
237
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
238
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
239
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
240
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
241
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
243
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
244
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)
250
(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: _______________________