MILITARY BAND – ADVANCED MUSICIAN QUALIFICATION...

NationalDefence

Défensenationale

A-CR-CCP-906/PG-001

Issued on Authority of the Chief of the Defence Staff

Canada

CANADIAN CADET ORGANIZATIONS

MILITARY BAND – ADVANCED MUSICIANQUALIFICATION STANDARD AND PLAN

(ENGLISH)

Cette publication est disponible en français sous le numéro A-CR-CCP-906/PG-002.

NationalDefence

Défensenationale

A-CR-CCP-906/PG-001

Issued on Authority of the Chief of the Defence Staff

OPI: D Cdts 3 – Senior Staff Officer Youth Programs Development 2009-01-15

Canada

CANADIAN CADET ORGANIZATIONS

MILITARY BAND – ADVANCED MUSICIANQUALIFICATION STANDARD AND PLAN

(ENGLISH)

Cette publication est disponible en français sous le numéro A-CR-CCP-906/PG-002.

A-CR-CCP-906/PG-001

LIST OF EFFECTIVE PAGES

Contact Officer: D Cdts 3-2-7 – Staff Officer Common Cadet Program Development© 2009 DND/MDN Canada

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Insert latest changed pages and dispose of superseded pages in accordance with applicable orders.

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FOREWORD AND PREFACE

1. Issuing Authority. This Qualification Standard and Plan (QSP) A-CR-CCP-906/PG-001 was developedunder the authority of the Director Cadets and Junior Canadian Rangers (D Cdts & JCR) in accordancewith CATO 11-03, Cadet Program Mandate, CATO 11-04, Cadet Program Outline, CATO 31-03, Sea CadetProgram Outline, CATO 40-01, Army Cadet Program Outline, and CATO 51-01, Air Cadet Program Outline,and issued on the authority of the Chief of Defence Staff.

2. Development. Development of this QSP was in accordance with the performance-oriented concept oftraining outlined in the Canadian Forces Individual Training and Education System A-P9-050 Series, Manual ofIndividual Training and Education, with modifications to meet the needs of the Canadian Cadet Organizations(CCO).

3. Purpose of the QSP. The QSP is to be used by Cadet Summer Training Centres to conduct theMilitary Band – Advanced Musician qualification course, as outlined in CATO 11-04, Cadet Program Outline,CATO 31-03, Sea Cadet Program Outline, CATO 40-01, Army Cadet Program Outline, and CATO 51-01, AirCadet Program Outline.

4. Suggested Changes. Suggested changes to this document shall be forwarded through the normalchain of command to National Defence Headquarters (NDHQ) Attention: Staff Officer Common Cadet ProgramDevelopment (D Cdts 3-2-7) or by e-mail to [email protected]. Suggested changes shall be in tabularformat with three columns to capture; the page number, the paragraph/sub-paragraph number and suggestedtext amendment.

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TABLE OF CONTENTS

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PAGE

CHAPTER 1 GENERAL 1-1

AIMS 1-1PROGRAM MISSION AND PARTICIPANT OUTCOMES 1-1OUTLINE OF TRAINING 1-1PROGRAM DESIGN 1-2COURSE COMPONENTS 1-2PERFORMANCE OBJECTIVES 1-2METHOD OF ACHIEVING OBJECTIVES 1-6TRAINING PREREQUISITES 1-7USE OF THE QSP 1-7

CHAPTER 2 TRAINING MANAGEMENT DETAILS 2-1

RESPONSIBLE AGENCY AND TRAINING ESTABLISHMENTS 2-1TRAINING DETAILS 2-1TRAINING CAPACITY 2-3TRAINING STAFF REQUIREMENTS 2-4RESOURCE REQUIREMENTS 2-6TRAINING ADMINISTRATION 2-6QUALIFICATION 2-7RELATED DOCUMENTS 2-7REFERENCES 2-7Annex A – MILITARY BAND – ADVANCED MUSICIAN SUMMARY AND TIMEALLOCATION 2A-1Annex B – SAMPLE SCHEDULE 2B-1Annex C – RESOURCE REQUIREMENTS 2C-1Annex D – REFERENCES 2D-1

CHAPTER 3 CADET EVALUATION 3-1

PURPOSE 3-1LEARNER EVALUATION 3-1CADET EVALUATION DESIGN AND DEVELOPMENT 3-1CP DEVELOPMENTAL PERIODS (DPs) 3-2CADET ASSESSMENT OF LEARNING PLAN 3-2ASSESSMENT INSTRUCTIONS AND ASSESSMENT INSTRUMENTS 3-3ADDITIONAL ASSESSMENT OF LEARNING ACTIVITIES 3-3MILITARY BAND – ADVANCED MUSICIAN QUALIFICATION STANDARD 3-3RECOGNITION OF ENHANCED PROFICIENCY ACHIEVEMENT 3-3CADETS NOT MEETING THE QUALIFICATION STANDARD 3-3RECORDING AND REPORTING CADET ACHIEVEMENT 3-4MILITARY BAND – ADVANCED MUSICIAN CERTIFICATE OFQUALIFICATION 3-4MONITORING CADET PROGRESS 3-4TRAINING COUNSELLING SESSION 3-4TRAINING REVIEW BOARD (TRB) 3-4Annex A – CHARACTERISTICS OF CP DPs 3A-1Annex B – ASSESSMENT OF LEARNING PLAN – MILITARY BAND –ADVANCED MUSICIAN 3B-1Appendix 1 – SAM20 PC – ASSESSMENT INSTRUCTIONS 3B1-1

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PAGEAppendix 2 – SAM21 PC – ASSESSMENT INSTRUCTIONS 3B2-1Appendix 3 – SAM22 PC – ASSESSMENT INSTRUCTIONS 3B3-1Appendix 4 – SAM26 PC – ASSESSMENT INSTRUCTIONS 3B4-1Appendix 5 – SAM27 PC – ASSESSMENT INSTRUCTIONS 3B5-1Annex C – MILITARY BAND – ADVANCED MUSICIAN QUALIFICATIONRECORD 3C-1Annex D – CADET INTERVIEW GUIDELINES 3D-1Appendix 1 – CADET INTERVIEW FORM 3D1-1Annex E – TRAINING COUNSELLING SESSION GUIDELINES 3E-1Appendix 1 – TRAINING COUNSELLING SESSION FORM 3E1-1Annex F – TRAINING REVIEW BOARD (TRB) GUIDELINES 3F-1Appendix 1 – TRAINING REVIEW BOARD FORM 3F1-1

CHAPTER 4 PERFORMANCE OBJECTIVES 4-1-1

SECTION 1 PERFORMANCE OBJECTIVES (POs), TRAINING PLAN AND ON-THE-JOBTRAINING (OJT) 4-1-1PURPOSE 4-1-1PERFORMANCE OBJECTIVES 4-1-1TRAINING PLAN 4-1-1ENABLING OBJECTIVES 4-1-1LESSON SPECIFICATIONS 4-1-1INSTRUCTIONAL METHODOLOGIES AND THEIR APPLICATION 4-1-2ASSESSMENT FOR LEARNING 4-1-2OJT – OVERVIEW 4-1-2OJT – DPO/Pl WO/FSgt DUTIES 4-1-2OJT – MILITARY BAND PERFORMANCES 4-1-2OJT – PERFORM THE DUTIES OF AN ADVANCED MUSICIAN 4-1-2

SECTION 2 PO S313 – MAINTAIN A PRIMARY INSTRUMENT 4-2-1EO SAM13.01W – MAINTAIN A PRIMARY WOODWIND INSTRUMENT 4-2-2EO SAM13.01B – MAINTAIN A PRIMARY BRASS INSTRUMENT 4-2-5EO SAM13.01P – MAINTAIN A PRIMARY PERCUSSION INSTRUMENT 4-2-8EO SAM13.02 – DESCRIBE MILITARY BAND INSTRUMENT MAINTENANCE 4-2-11

SECTION 3 PO S315 – APPLY MUSIC THEORY 4-3-1EO S315.01 – REVIEW MUSIC PROFICIENCY LEVEL TWO THEORY 4-3-2EO S315.02 – TRANSPOSE A MELODY BY AN OCTAVE 4-3-4EO S315.03 – WRITE MELODIC MINOR SCALES 4-3-6EO S315.04 – ANALYZE A PIECE OF MUSIC 4-3-8EO S315.05 – WRITE INTERVALS 4-3-10EO S315.06 – WRITE MAJOR AND MINOR CHORDS 4-3-12EO S315.07 – DEFINE MUSIC SYMBOLS AND TERMS 4-3-14EO S315.08 – REVIEW MUSIC PROFICIENCY LEVEL THREE THEORY 4-3-16

SECTION 4 PO S415 – APPLY MUSIC THEORY 4-4-1EO S415.01 – REVIEW MUSIC PROFICIENCY LEVEL THREE THEORY 4-4-2EO S415.02 – IDENTIFY ELEMENTS OF RHYTHM 4-4-4EO S415.03 – TRANSPOSE A MELODY BY A GIVEN INTERVAL 4-4-6

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PAGEEO S415.04 – INVERT INTERVALS 4-4-8EO S415.05 – WRITE CHORDS 4-4-10EO S415.06 – WRITE CADENCES 4-4-12EO S415.07 – ANALYZE A PIECE OF MUSIC 4-4-14EO S415.08 – DEFINE MUSIC SYMBOLS AND TERMS 4-4-16EO S415.09 – REVIEW MUSIC PROFICIENCY LEVEL FOUR THEORY 4-4-18

SECTION 5 PO S515 – APPLY MUSIC THEORY 4-5-1EO S515.01 – REVIEW MUSIC PROFICIENCY LEVEL FOUR THEORY 4-5-2EO S515.02 – WRITE COMPOUND INTERVALS 4-5-5EO S515.03 – WRITE CHORDS 4-5-7EO S515.04 – WRITE CADENCES 4-5-9EO S515.05 – TRANSPOSE A MELODY FROM ONE INSTRUMENT TOANOTHER INSTRUMENT 4-5-12EO S515.06 – ARRANGE MUSIC FOR AN ENSEMBLE 4-5-15EO S515.07 – DEFINE MUSIC SYMBOLS AND TERMS 4-5-17EO S515.08 – REVIEW MUSIC PROFICIENCY LEVEL FIVE THEORY 4-5-19

SECTION 6 PO X16 – DEMONSTRATE RHYTHM AND AURAL SKILLS 4-6-1EO SAM16.01 – DEMONSTRATE RHYTHM SKILLS 4-6-2EO SAM16.02 – REPRODUCE A MELODY 4-6-4EO SAM16.03 – IDENTIFY INTERVALS 4-6-6EO S416.04 – IDENTIFY CHORDS AURALLY 4-6-8EO S516.04 – IDENTIFY CHORDS AURALLY 4-6-10

SECTION 7 PO X17 – PLAY SCALES AND/OR RUDIMENTS 4-7-1EO SAM17.01 – ANALYZE MUSIC PROFICIENCY LEVEL SCALES AND/ORRUDIMENTS 4-7-2EO SAM17.02 – PLAY MUSIC PROFICIENCY LEVEL SCALES AND/ORRUDIMENTS 4-7-4

SECTION 8 PO X18 – SIGHT-READ MUSIC 4-8-1EO SAM18.01 – EMPLOY SIGHT-READING STRATEGIES 4-8-2EO SAM18.02 – SIGHT-READ MUSIC 4-8-4

SECTION 9 PO X19 – PERFORM LEVEL MUSIC 4-9-1EO SAM19.01 – ANALYZE MUSIC PROFICIENCY LEVEL MUSIC 4-9-2EO SAM19.02 – PARTICIPATE IN MASTER CLASSES 4-9-4EO SAM19.03 – PERFORM MUSIC PROFICIENCY LEVEL MUSIC 4-9-7

SECTION 10 PO SAM20 – PERFORM THE LEADERSHIP ROLE OF AN ADVANCEDMUSICIAN 4-10-1PO SAM20 – PERFORM THE LEADERSHIP ROLE OF AN ADVANCEDMUSICIAN 4-10-2EO SAM20.01 – DESCRIBE THE MILITARY BAND – ADVANCED MUSICIANCOURSE 4-10-4EO SAM20.02 – DESCRIBE MILITARY BAND REHEARSAL TECHNIQUES 4-10-6

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PAGEEO SAM20.03 – PERFORM THE ROLE OF A MUSIC CONDUCTOR 4-10-8EO SAM20.04 – PRACTICE SELF-ASSESSMENT 4-10-12

SECTION 11 PO SAM21 – EXECUTE DRILL AS A MEMBER OF A BAND 4-11-1PO SAM21 – EXECUTE DRILL AS A MEMBER OF A BAND 4-11-2EO SAM21.01 – EXECUTE BAND DRILL 4-11-4EO SAM21.02 – PERFORM BAND DRILL IN SUPPORT OF A CEREMONIALEVENT 4-11-7

SECTION 12 PO SAM22 – PERFORM ENSEMBLE MUSIC AS A MEMBER OF A BAND 4-12-1PO SAM22 – PERFORM ENSEMBLE MUSIC AS A MEMBER OF A BAND 4-12-2EO SAM22.01 – PARTICIPATE IN INDIVIDUAL PRACTICE AND PRIVATEINSTRUCTION 4-12-3EO SAM22.02 – PARTICIPATE IN SECTIONAL REHEARSALS 4-12-5EO SAM22.03 – PARTICIPATE IN ENSEMBLE REHEARSALS 4-12-7EO SAM22.04 – ATTEND A MUSICAL PERFORMANCE 4-12-10

SECTION 13 PO SAM23 – DESCRIBE MILITARY BAND COMPOSERS 4-13-1PO SAM23 – DESCRIBE MILITARY BAND COMPOSERS 4-13-2EO SAM23.01 – DESCRIBE MILITARY BAND COMPOSERS 4-13-3

SECTION 14 PO SAM25 – PARTICIPATE IN MILITARY BAND ELECTIVE TRAINING 4-14-1PO SAM25 – PARTICIPATE IN MILITARY BAND ELECTIVE TRAINING 4-14-2

SECTION 15 PO SAM26 – INSTRUCT BAND DRILL 4-15-1PO SAM26 – INSTRUCT BAND DRILL 4-15-2EO SAM26.01 – DELIVER DRILL COMMANDS 4-15-3EO SAM26.02 – PLAN A BAND DRILL ROUTINE 4-15-6EO SAM26.03 – PLAN A 15-MINUTE BAND DRILL LESSON 4-15-8EO SAM26.04 – INSTRUCT A 15-MINUTE BAND DRILL LESSON 4-15-10

SECTION 16 PO SAM27 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON 4-16-1PO SAM27 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON 4-16-2EO SAM27.01 – PLAN A PRIVATE MUSIC LESSON 4-16-3EO SAM27.02 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON 4-16-5

Annex A – INSTRUCTIONAL METHODOLOGIES AND THEIR APPLICATIONS 4A-1Annex B – ON-THE-JOB TRAINING (OJT) DIVISIONAL PETTY OFFICER(DPO)/PLATOON WARRANT OFFICER (Pl WO)/FLIGHT SERGEANT (FSgt)DUTIES 4B-1Appendix 1 – OJT – DPO/Pl WO/FSgt DUTIES CHECKLIST 4B1-1Annex C – ON-THE-JOB TRAINING (OJT) – SPECIALTY (MILITARY BANDPERFORMANCE) 4C-1Appendix 1 – OJT – SPECIALTY (MILITARY BAND PERFORMANCE) 4C1-1Annex D – ON-THE-JOB TRAINING (OJT) – SPECIALTY (ADVANCEDMUSICIAN DUTIES) 4D-1Appendix 1 – OJT – SPECIALTY (ADVANCED MUSICIAN DUTIESCHECKLIST) 4D1-1

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CHAPTER 1GENERAL

AIMS

1. The aim of the Cadet Program (CP) is to develop in youth the attributes of good citizenship andleadership, promote physical fitness, and stimulate the interest of youth in the sea, land and air activities ofthe Canadian Forces (CF).

2. The aim of the training resulting from this Qualification Standard and Plan (QSP) is to develop the musicproficiency of cadets and prepare them to support their corps/squadron bands and related music activities.

PROGRAM MISSION AND PARTICIPANT OUTCOMES

3. The mission of the CP is to contribute to the development and preparation of youth for the transitionfrom adolescence to adulthood, enabling cadets to meet the challenges of modern society, through a dynamic,community-based program.

4. CP participant outcomes are the benefits for the cadet during and/or after their involvement with theprogram that relate to knowledge, skills, attitudes, values, behaviour, condition, or status. The five outcomesof the CP are:

a. emotional and physical well-being,

b. social competence,

c. cognitive competence,

d. proactive citizenship, and

e. understanding the CF.

5. The program mission and participant outcomes are explained in greater detail in CATO 11-03, CadetProgram Mandate.

OUTLINE OF TRAINING

6. The CSTC Program provides training that is integral to the CP and focuses on giving a set portion ofthe cadet population instruction and opportunities to develop Military Band – Advanced Musician knowledgeand skills in specialized activities and to develop instructors/leaders for these activities for all components ofthe CP. Additionally, it provides these cadets further opportunities to develop, practice, and employ the generalknowledge and skills obtained through the corps/squadron program.

7. Description of Need. Cadet corps/squadrons require training opportunities that reinforce andsupplement music training conducted during the corps/squadron program’s optional program and/or duringregionally directed activities. Based on the training resulting from this QSP, cadets will achieve the MilitaryBand – Advanced Musician qualification and will be able to further develop music, drill and ceremonial,and leadership knowledge and skills learned during the corps/squadron program and/or regionally directedactivities.

8. Each CSTC qualification requires completion of a series of performance objectives (POs) and associatedenabling objectives (EOs).

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PROGRAM DESIGN

9. Training associated with the Military Band – Advanced Musician qualification has been designed:

a. assuming that the cadets attending are between 15 and 16 years of age;

b. assuming that the cadets have an interest in and aptitude for music training;

c. assuming that cadets have not yet attained the Music Proficiency Level Five qualification;

d. assuming that cadets have successfully completed Phase Four/Gold Star/Proficiency Level Fourqualification;

e. using age appropriate learning strategies;

f. using a typical training day consisting of eight 40-minute periods conducted during the daytimewith the evening dedicated to extracurricular activities and free time;

g. using a week that typically begins on Monday and ends the following Sunday consisting of amaximum of six training days and a minimum of one day dedicated to extracurricular activitiesand free time;

h. including training which is experiential and skills-based, with a lesser focus on theoreticalknowledge; and

i. assuming that learning will take place through a combination of programmed periods of instruction,unstructured discussions, teachable moments, coaching/mentoring opportunities and structuredreflection.

COURSE COMPONENTS

10. Mandatory Training. Mandatory training consists of those activities outlined in this QSP that CSTCs arerequired to conduct. These activities are comprised of the following two sub-components:

a. Standard Components. Standard components are periods allocated to provide the basicadministrative structure required to conduct a CSTC qualification course. These components aredescribed in more detail in Chapter 2.

b. Specialty Training. Specialty training are those periods allocated in support of a specificqualification aim and described in the requisite POs.

11. Extracurricular Activities. Extracurricular activities are active and passive opportunities offered tocadets daily from the end of formal training to lights-out and during “Sunday routine”. Ancillary in nature,extracurricular activities add value to the CSTC experience by enhancing what is learned during the day, offeringfun recreational opportunities that encourage socialization, and allowing cadets to pursue personal interests.Specific direction regarding extracurricular activities can be found in CATO 11-04, Cadet Program Outline.

PERFORMANCE OBJECTIVES

12. The following identifies the PO numbering system used within this QSP:

a. All CSTC PO numbers begin with the letter “S” to denote “Summer” and are usually followed bythree digits, to include:

(1) the first digit which denotes the Music Proficiency Level associated with the PO (ie, MusicProficiency Level Basic is represented by the digit 0, Music Proficiency Level One isrepresented by the digit 1, etc);

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(2) the second and third digits which denotes the music topic area associated with the PO takendirectly from A-CR-CCP-910/PG-001, Military Band – Music Levels Qualification Standard,and include:

(a) 00–12 – Allocated to topics within the corps/squadron program,

(b) 13 – Instrument Maintenance,

(c) 14 – Allocated to the Pipe Band – Music Proficiency Levels Qualification Standard,

(d) 15 – Music Theory,

(e) 16 – Rhythm and Aural Skills,

(f) 17 – Scales and Rudiments,

(g) 18 – Sight-Reading, and

(h) 19 – Level Music;

(3) certain POs use letters at the end of the three digits to provide further differentiation, toinclude:

(a) W – Woodwind,

(b) B – Brass,

(c) P – Percussion,

(d) M – Melodic,

(e) G – Mallet Percussion, and

(f) D – Snare Drum; and

(4) additional Military Band – Advanced Musician POs begin with SAM (“S” for “Summer” and“AM” for “Advanced Musician”) and are proceeded by the following numbers which relateto the corresponding topic area, to include:

(a) 20 – Leadership,

(b) 21 – Drill and Ceremonial,

(c) 22 – Ensemble Music,

(d) 23 – Military Band History,

(e) 25 – Elective Training,

(f) 26 – Drill Instruction, and

(g) 27 – Private Music Lesson Instruction.

13. The following are the POs that form the content of the Military Band – Advanced Musician qualification:

a. Instrument Maintenance. PO SAM13 – Maintain a Primary Instrument (Chapter 4, Section 2):

(1) The aim of PO SAM13 (Chapter 4, Section 2) is to provide cadets with the knowledge andskills of instrument maintenance associated with Music Proficiency Level Three.

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(2) This PO supports music training by providing the skill set to accept personal responsibilityand accountability for an assigned resource. Music training contributes directly to theachievement of the program aim of developing in youth the attributes of good citizenshipand leadership and stimulating the interest of youth in the sea, land, and air activities of theCanadian Forces and also contributes to the participant outcomes of social competence,cognitive competence, and understanding the Canadian Forces.

b. Music Theory. PO S315 – Apply Music Theory (Chapter 4, Section 3), PO S415 – Apply MusicTheory (Chapter 4, Section 4), and PO S515 – Apply Music Theory (Chapter 4, Section 5):

(1) The aim of POs S315 (Chapter 4, Section 3), S415 (Chapter 4, Section 4) and S515(Chapter 4, Section 5) is to provide cadets with the knowledge of music theory associatedwith Music Proficiency Level Three, Four and Five qualifications.

(2) This PO supports music training by providing the cadets the theoretical foundation tosupport practical music training. Music training contributes directly to the achievement ofthe program aim of developing in youth the attributes of good citizenship and leadershipand stimulating the interest of youth in the sea, land, and air activities of the CanadianForces and also contributes to the participant outcomes of cognitive competence andunderstanding the Canadian Forces.

c. Rhythm and Aural Skills. PO SAM16 – Demonstrate Rhythm and Aural Skills (Chapter 4,Section 6):

(1) The aim of PO SAM16 (Chapter 4, Section 6) is to provide cadets with the knowledge andskills to demonstrate the rhythm and aural skills associated with Music Proficiency LevelThree, Four and Five qualifications.

(2) This PO supports music training by providing the cadets the practical skills to supportadditional practical music training. Music training contributes directly to the achievement ofthe program aim of developing in youth the attributes of good citizenship and leadershipand stimulating the interest of youth in the sea, land, and air activities of the CanadianForces and also contributes to the participant outcomes of cognitive competence andunderstanding the Canadian Forces.

d. Scales and Rudiments. PO SAM17 – Play Scales and/or Rudiments (Chapter 4, Section 7):

(1) The aim of PO SAM17 (Chapter 4, Section 7) is to provide cadets with the knowledgeand skills to play the required scales or rudiments associated with Music Proficiency LevelThree, Four and Five qualifications.

(2) This PO supports music training by providing the cadets the practical skills to supportadditional practical music training. Music training contributes directly to the achievement ofthe program aim of developing in youth the attributes of good citizenship and leadershipand stimulating the interest of youth in the sea, land, and air activities of the CanadianForces and also contributes to the participant outcomes of cognitive competence andunderstanding the Canadian Forces.

e. Sight-Reading. PO SAM18 – Sight-Read Music (Chapter 4, Section 8):

(1) The aim of PO SAM18 (Chapter 4, Section 8) is to provide cadets with the skills to sight-read music in support of Music Proficiency Level Three, Four and Five qualifications.

(2) This PO supports music training by providing the cadets the practical skills to supportadditional practical music training. Music training contributes directly to the achievement ofthe program aim of developing in youth the attributes of good citizenship and leadership

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and stimulating the interest of youth in the sea, land, and air activities of the CanadianForces and also contributes to the participant outcomes of cognitive competence andunderstanding the Canadian Forces.

f. Level Music. PO SAM19 – Perform Level Music (Chapter 4, Section 9):

(1) The aim of PO SAM19 (Chapter 4, Section 9) is to provide cadets with the knowledge andskills to play the required Music Proficiency Level music associated with Music ProficiencyLevel Three, Four and Five qualifications.

(2) This PO supports music training by providing the practical skills to perform music. Musictraining contributes directly to the achievement of the program aim of developing in youththe attributes of good citizenship and leadership and stimulating the interest of youth in thesea, land, and air activities of the Canadian Forces and also contributes to the participantoutcomes of social competence, cognitive competence, and understanding the CanadianForces.

g. Leadership. PO SAM20 – Perform the Leadership Role of an Advanced Musician (Chapter 4,Section 10):

(1) The aim of PO SAM20 (Chapter 4, Section 10) is to provide cadets with knowledge andskills to practice leadership during naturally occurring leadership opportunities.

(2) This PO supports leadership training by providing the skill set to perform the leadership roleof an advanced musician. Leadership training contributes directly to the achievement of theprogram aim of developing in youth the attributes of good citizenship and leadership andthe participant outcomes of social competence and cognitive competence.

h. Drill and Ceremonial. PO SAM21 – Execute Drill as a Member of a Band (Chapter 4, Section 11):

(1) The aim of PO SAM21 (Chapter 4, Section 11) is to provide cadets with the knowledge andskills to execute drill as a member of a band.

(2) This PO supports drill and ceremonial training by introducing the skill set required to executeband drill. Drill and ceremonial training contributes directly to the program aims of promotingphysical fitness, and stimulating the interest of youth in the sea, land, and air activities of theCanadian Forces and also contributes to the participant outcomes of physical well-being,social competence, cognitive competence, and understanding the Canadian Forces.

i. Ensemble Music. PO SAM22 – Perform Ensemble Music as a Member of a Band (Chapter 4,Section 12):

(1) The aim of PO SAM22 (Chapter 4, Section 12) is to provide cadets with the knowledge andskills to perform ensemble music as a member of a band.

(2) This PO supports music training by providing an opportunity for the cadets to apply thepractical skills of music through performance. Music training contributes directly to theachievement of the program aim of developing in youth the attributes of good citizenshipand leadership and stimulating the interest of youth in the sea, land, and air activities of theCanadian Forces and also contributes to the participant outcomes of social competence,cognitive competence, and understanding the Canadian Forces.

j. Military Band History. PO SAM23 – Describe Military Band Composers (Chapter 4, Section 13):

(1) The aim of PO SAM23 (Chapter 4, Section 13) is to provide cadets with the knowledge ofthe military band composers.

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(2) This PO supports music training by providing the historical foundation for military bandtraining. Music history contributes directly to the achievement of the program aim ofdeveloping in youth the attributes of good citizenship and leadership and stimulating theinterest of youth in the sea, land, and air activities of the Canadian Forces and alsocontributes to the participant outcomes of social competence, cognitive competence andunderstanding the Canadian Forces.

k. Military Band Elective Training. PO SAM25 – Participate in Military Band Elective Training(Chapter 4, Section 14):

(1) The aim of PO SAM25 (Chapter 4, Section 14) is to provide cadets the opportunity to exploreadditional areas of music training.

(2) This PO supports music training by providing additional opportunities for the cadetsto develop practical skills of music training. Music training contributes directly to theachievement of the program aim of developing in youth the attributes of good citizenshipand leadership and stimulating the interest of youth in the sea, land, and air activities of theCanadian Forces and also contributes to the participant outcomes of social competence,cognitive competence, and understanding the Canadian Forces.

l. Drill Instruction. PO SAM26 – Instruct Band Drill (Chapter 4, Section 15):

(1) The aim of PO SAM26 (Chapter 4, Section 15) is to provide the cadet with the knowledgeand skills to instruct a 15-minute period of peer instruction in drill.

(2) This PO supports music training by providing the skill set to instruct band drill. Instructingband drill contributes directly to the achievement of the program aim of developing theattributes of good citizenship through the ability to express thoughts and ideas and to theparticipant outcomes of social competence through effective interpersonal communicationskills.

m. Private Music Lesson Instruction. PO SAM27 – Instruct a 20-Minute Private Music Lesson(Chapter 4, Section 16):

(1) The aim of PO SAM27 (Chapter 4, Section 16) is to provide the cadet with the knowledgeand skills to instruct a 20-minute period of peer instruction.

(2) This PO supports music training by providing the skill set to instruct private music lessons.Instructing private music lessons contributes directly to the achievement of the program aimof developing the attributes of good citizenship through the ability to express thoughts andideas and to the participant outcome of social competence through effective interpersonalcommunication skills.

METHOD OF ACHIEVING OBJECTIVES

14. The majority of Military Band – Advanced Musician POs are skills-related. Skills are acquired throughpractical periods of instruction and practice. In order to achieve the POs, a hands-on learning approach isessential. The following guidance may assist in the implementation of training:

a. Some theory is required for safety purposes and for introducing new material. However, mostmaterial can be taught using hands-on practical methods.

b. Ensure training is well organized and planned for in advance to allow instructors adequate timeto prepare for the delivery/conduct of training. This includes reviewing lesson specifications andinstructional guides and creating instructional materials as required.

A-CR-CCP-906/PG-001

1-7

c. Schedule training such that the material is presented in a manner to ensure a smooth flow fromone activity to the next.

d. Take adequate time for cadets to reflect upon and be debriefed on experiential training activities,to include discussing the ways that experience can benefit them in the future.

TRAINING PREREQUISITES

15. To participate in the Military Band – Advanced Musician qualification course, a youth must be a memberof a cadet corps/squadron, as specified in A-CR-CCP-950/PT-001, Queen’s Regulations and Orders for theCanadian Cadet Organization, Article 4.01, and be eligible to attend CSTC training as outlined in A-CR-CCP-950/PT-001, Article 5.03, and in accordance with CATO 31-03, Sea Cadet Program Outline, CATO 40-01, ArmyCadet Program Outline, and CATO 51-01, Air Cadet Program Outline.

USE OF THE QSP

16. This QSP shall be used as the primary authority governing the development, implementation, conduct,and evaluation of the training and standards for the Military Band – Advanced Musician qualification. This QSPshall also be used by D Cdts & JCR as the primary reference for validation of Military Band – Advanced Musicianqualification training.

17. Military Band – Advanced Musician qualification training shall be conducted using this QSP as the trainingcontrol document in conjunction with the following publications:

a. A-CR-CCP-906/PF-001, Canadian Cadet Organizations, Military Band – Advanced Musician,Instructional Guides,

b. A-CR-CCP-910/PG-001, Canadian Cadet Organizations, Military Band – Music ProficiencyLevels Qualification Standard,

c. A-CR-CCP-910/PX-001, Canadian Cadet Organizations, Military Band – Music ProficiencyLevels, Theory Assessments, and

d. A-CR-CCP-910/PY-001, Canadian Cadet Organizations, Military Band – Music ProficiencyLevels, Theory Assessments – Answer Keys.

18. Any deviation from the requirements detailed in this publication due to training limitations must beapproved by D Cdts 3, Senior Staff Officer Youth Programs Development, NDHQ.

A-CR-CCP-906/PG-001


1-8

A-CR-CCP-906/PG-001

2-1

CHAPTER 2TRAINING MANAGEMENT DETAILS

RESPONSIBLE AGENCY AND TRAINING ESTABLISHMENTS

1. The Managing Authority for the Military Band – Advanced Musician qualification is D Cdts & JCR. Theconduct of training is the responsibility of the Regional Cadet Support Units (RCSUs) through authorizedCSTCs.

TRAINING DETAILS

2. In accordance with CATO 11-04, Cadet Program Outline, CATO 31-03, Sea Cadet Program Outline,CATO 40-01, Army Cadet Program Outline, and CATO 51-01, Air Cadet Program Outline, the Military Band –Advanced Musician qualification course is conducted over a six-week period consisting of thirty-five trainingdays.

3. Standard Components. Standard components are activities that form part of all CSTC courses. Theseactivities take place during the training day but are normally not directly related to POs or achieving thequalification. The standard component activities are:

a. In Routine. Four periods scheduled at the beginning of the course for administrative in routine.While most administrative matters may have been dealt with prior to the first training day, theseperiods have been allocated to allow for scheduling flexibility at the beginning of a course.

b. Briefings. Two periods allocated to a combination of introductory briefings, such as:

(1) CO briefing,

(2) department briefing,

(3) fire and safety briefing,

(4) MIR briefing, etc.

c. Divisional Officer (DO)/Platoon Commander (Pl Comd)/Flight Commander (Flt Comd)Periods. One period per week provided to the DO/Pl Comd/Flt Comd to do such things as teambonding and/or building activities, debriefings, reflecting, or to address any issues related to qualityof life.

d. Life Skills. One period per week for moral and/or spiritual instruction.

e. Recreational Sports/Swim. Four periods per week (not including the last week which has two).

f. CO’s Discretion. Two periods per week to be scheduled at the CO’s discretion. The intention ofthese periods is to provide the opportunity to have cadets participate in such things as:

(1) special ceremonies,

(2) additional CF familiarization activities, or

(3) local community events.

g. Spare Periods. Two periods per week to be used at the discretion of the Course Officer (Crse O)allowing flexibility to account for things such as weather or availability of facilities.

h. Weekly Parade. Two periods per week (not including the last week of a course) for a CSTC-level parade.

A-CR-CCP-906/PG-001

2-2

i. Course Administration. Two periods per week for routine matters, such as:

(1) initial cadet interviews,

(2) Divisional/Platoon/Flight senior briefing,

(3) cadet banking,

(4) supply,

(5) course critiques, and

(6) course reports/final cadet interviews.

j. Graduation Parade Practice. Two periods to be scheduled in the last week of a course forrehearsal of the graduation parade.

k. Graduation Parade. Two periods to carry out a graduation parade.

l. Out Routine. Four periods scheduled at the end of the course for administrative out routine. Whilemost administrative matters are usually dealt with after the last training day, these periods havebeen allocated to allow for scheduling flexibility at the end of a course.

4. Period Allocation. There are a total of eight 40-minute periods allocated each day based on a six-daytraining week. A detailed period allocation of specialty training is located in Annex A. Total period allocationby PO is as follows:

Standard Components No. of pdIn Routine 4Briefings 2DO/Pl Comd/Flt Comd Periods 6Life Skills 6Recreational Sports 22CO’s Discretion 12Spare Periods 12Weekly Parade 10Course Administration 12Graduation Parade Practice 2Graduation Parade 2Out Routine 4

Total 94

SPECIALTY TRAININGTopic PO Performance Objective No. of pd

Instrument Maintenance SAM13 Maintain a Primary Instrument 3S315 Apply Music Theory 13S415 Apply Music Theory 14

Music Theory

S515 Apply Music Theory 1515

Rhythm and Aural Skills SAM16 Demonstrate Rhythm Skills 4Scales and Rudiments SAM17 Play Scales and/or Rudiments 1Sight-Reading SAM18 Sight-Read Music 1Music Proficiency Level Music SAM19 Perform Music Proficiency Level Music 9

A-CR-CCP-906/PG-001

2-3

SPECIALTY TRAININGTopic PO Performance Objective No. of pd

Leadership SAM20 Perform the Leadership Role of an AdvancedMusician

7

Drill and Ceremonial SAM21 Execute Drill as a Member of a Band 10Ensemble Music SAM22 Perform Ensemble Music as a Member of a Band 84Military Band History SAM23 Describe Military Band Composers 2Military Band Electives SAM25 Participate in Military Band Elective Training 6Drill Instruction SAM26 Instruct Band Drill 11Instructional Technique SAM27 Instruct a 20-Minute Private Music Lesson 5CSTC Specific Activity N/A N/A 4On the Job Training (OJT) N/A OJT – DPO/Pl WO/FSgt Duties 8On the Job Training (OJT) N/A OJT – Participate in Military Band Performances 8On the Job Training (OJT) N/A OJT – Perform the Duties of an Advanced Musician 8

Total 186

5. Scheduling. When planning training, the lesson specifications found in Chapter 4 shall be consulted fordetailed information. While a sample schedule is located in Annex B, it does not account for the many variablesCSTCs face when developing course schedules. Some of the things the training staff should consider whendeveloping the course schedule include, but are not limited to:

a. the training environment required for each activity;

b. the availability of technical specialists to conduct the activity, if required;

c. the availability of shared facilities and the requirements of other courses that use those facilities;and

d. the availability of shared equipment and the requirements of other courses that use thatequipment.

TRAINING CAPACITY

6. Training capacity will be directed annually by NDHQ/D Cdts & JCR. The optimum division/platoon/flight(band) size is 28 cadets. The number of cadets per division/platoon/flight (band) should not exceed 35.

7. The following is a suggested instrumentation breakdown for a band consisting of 28 cadets that can beused as a guide when course loading each Military Band – Advanced Musician serial. Regions can adapt thisbreakdown to suit any specific regional purpose. Furthermore, regions may request to conduct tri-elementalMilitary Band – Advanced Musician qualification course serials to enhance course loading:

a. Flute x 4,

b. Clarinet x 4,

c. Saxophone x 4,

d. Trumpet x 6,

e. Trombone/Euphonium x 4,

f. Tuba x 1, and

g. Percussion x 5.

A-CR-CCP-906/PG-001

2-4

8. Other instruments (eg, oboe, bassoon, French horn) can be substituted within this suggestedinstrumentation breakdown as required.

TRAINING STAFF REQUIREMENTS

9. The training staff is directly involved in the delivery of training and supervision of cadets during thedesignated training day. The training staff structure is primarily comprised of positions from both the standardcompany organizational system and instructional or training support cadre(s). The following reflects theminimum requirements for training staff but does not reflect the additional support and supervisory staff (eg,administration, supply, logistics, barracks supervision, extracurricular activities, etc) at the CSTC.

a. Course Officer (Crse O):

Rank MOSID Number Qualification

Minimum:

Captain QualificationorDP2 Junior Officer – CIC CommonQualification.

Preferred:

Senior Instructor CourseorCIC Training Officer Course.

Preferred Music Qualification/Experience:

Lt(N)/Capt00232-0100232-0200232-03

1

Music education (eg, B Mus, DEC)or equivalent music experience, andMusic instruction experience.

A-CR-CCP-906/PG-001

2-5

b. Divisional Officer (DO)/Platoon Commander (Pl Comd)/Flight Commander (Flt Comd):


Minimum:

Basic Officer QualificationorBasic Military Officer Qualification(CIC Common).

Preferred:

Military Occupation Course (Sea/Army/Air)orBasic Military Officer Qualification.


SLt/Lt, A/SLt/2Lt, orNCdt/OCdt

00232-0100232-0200232-03

1 per Division/Platoon/Flight(Band)


c. Assistant Instructors/Staff Cadets:


Minimum:

Phase Four, Gold Star orProficiency Level Four, andMusic Proficiency Level Three.

Preferred:

PO1/WO/FSgt,or PO2/Sgt N/A

3-4 perDivision/Platoon/Flight (Band)(1 Woodwind/1 Brass/1 PercussionInstructor) Military Band – Advanced Musician.

d. Staff cadet positions may be organized in different manners based on the requirements of theCSTC. The flexibility is intended to allow the CSTC to balance instruction and supervision ofcadets between the divisional/company/flight/squadron staff and instructional or training supportcadre(s) staff positions. If one or two staff cadet positions are designated as divisional/company/flight/squadron staff, the remaining staff resources should be used to offset instructional or trainingsupport cadre(s) requirements. A minimum of one staff cadet position per division/platoon/flightshall be designated as Divisional Petty Officer (DPO)/Platoon Warrant Officer (Pl WO)/FlightSergeant (FSgt).

10. Technical Specialists. Technical specialists possess specific specialty qualifications and typicallysupport a variety of courses conducted at the CSTC. The number of technical specialists required is influencedby policy documentation specific to the activity (eg, CATOs, Water Safety Orders, etc) and by local CSTCcircumstances, as is the structure for instructional or training support cadre(s). The technical specialists requiredin support of Military Band – Advanced Musician are:

A-CR-CCP-906/PG-001

2-6

a. Fitness and Sports Instructor(s) as required in support of recreational sports,

b. Air Rifle Marksmanship Instructor(s)/Range Safety Officers (RSOs) as required in support ofrecreational marksmanship and summer biathlon, and

c. Music Instructor(s) as required in support of PO SAM13 (Chapter 4, Section 2), PO S315(Chapter 4, Section 3), PO S415 (Chapter 4, Section 4), PO S515 (Chapter 4, Section 5),PO SAM16 (Chapter 4, Section 6), PO SAM17 (Chapter 4, Section 7), PO SAM19 (Chapter 4,Section 9), PO SAM20 (Chapter 4, Section 10), PO SAM22 (Chapter 4, Section 12), PO SAM25(Chapter 4, Section 14) and PO SAM27 (Chapter 4, Section 16), to include:


Minimum:

Basic Officer QualificationorBasic Military Officer Qualification(CIC Common).

Preferred:

Military Occupation Course (Sea/Army/Air)orBasic Military Officer Qualification.


SLt/Lt, A/SLt/2Lt, orNCdt/OCdt

00232-0100232-0200232-03

3(1 Woodwind/1 Brass/1 PercussionInstructor)


Note: These music instructors can be used to support other music training (eg, BasicMusician, Intermediate Musician).

RESOURCE REQUIREMENTS

11. RCSU COs are responsible for ensuring that required equipment and supplies are available. A detailedlist of material, audiovisual equipment, and training/learning aids required to conduct the training is located inAnnex C.

TRAINING ADMINISTRATION

12. Cadet Evaluation. Details on cadet evaluation are found in Chapter 3.

13. Records and Reports. Training staff shall maintain records and reports as required in accordance withChapter 3. Upon completion of training, the Military Band – Advanced Musician Qualification Record (Chapter 3,Annex C) shall be returned to the cadet corps/squadron to be recorded on the cadet’s DND 2399, CadetPersonnel Record. A copy shall also be forwarded to the RCMA.

A-CR-CCP-906/PG-001

2-7

QUALIFICATION

14. The Military Band – Advanced Musician qualification and associated badge is awarded to cadets forparticipation in training activities in accordance with Chapter 3.

RELATED DOCUMENTS

15. This QSP is to be used in conjunction with:

a. Cadet Administrative and Training Orders (CATOs),

b. A-CR-CCP-906/PF-001,

c. A-CR-CCP-910/PG-001,

d. A-CR-CCP-910/PX-001, and

e. A-CR-CCP-910/PY-001.

REFERENCES

16. A list of references used in this QSP is located in Annex D.

A-CR-CCP-906/PG-001


2-8

A-CR-CCP-906/PG-001Chapter 2, Annex A

2A-1

MILITARY BAND – ADVANCED MUSICIAN SUMMARY AND TIME ALLOCATION

PERIOD ALLOCATION

PO Performance Objective EO Enabling Objective No.of pd

SAM13.01W Maintain a Primary Woodwind Instrument 1Maintain a PrimaryInstrument SAM13.01B Maintain a Primary Brass Instrument 1 SAM13.01P Maintain a Primary Percussion Instrument 1

1

SAM13.02 Describe Military Band InstrumentMaintenance

2

SAM13 PC 0

SAM13

PO SAM13 – Total 3S315.01 Review Music Proficiency Level Two

Theory2SX15

S315.02 Transpose a Melody by an Octave 1 S315.03 Write Melodic Minor Scales 1 S315.04 Analyze a Piece of Music 1 S315.05 Write Intervals 1 S315.06 Write Major and Minor Chords 1 S315.07 Define Music Symbols and Terms 1 S315.08 Review Music Proficiency Level Three

Theory2

S415.01 Review Music Proficiency Level ThreeTheory

2

Apply Music Theory (onlythe EOs required for thecadet to achieve the levelthey are working on arescheduled. 15 periods aregiven, which exceeds theperiod allotment for anyindividual level.)

S415.02 Identify Elements of Rhythm 1 S415.03 Transpose a Melody by a Given Interval 1 S415.04 Invert Intervals 1 S415.05 Write Chords 2 S415.06 Write Cadences 1 S415.07 Analyze a Piece of Music 2 S415.08 Define Music Symbols and Terms 1 S415.09 Review Music Proficiency Level Four

Theory2

S515.01 Review Music Proficiency Level FourTheory

2

S515.02 Write Compound Intervals 1 S515.03 Write Chords 1 S515.04 Write Cadences 2 S515.05 Transpose a Melody From One Instrument

to Another Instrument2

S515.06 Arrange Music for an Ensemble 3 S515.07 Define Music Symbols and Terms 1 S515.08 Review Music Proficiency Level Five

Theory2


2A-2


S315 PC 1 S415 PC 1 S515 PC 1 PO SX15 – Total 15

SAM16 Demonstrate Rhythm andAural Skills

SAM16.01 Demonstrate Rhythm Skills 1

SAM16.02 Reproduce a Melody 1 SAM16.03 Identify Intervals (Level Four and Five) 2 (1) S416.04 Identify Chords Aurally 1 S516.04 Identify Chords Aurally 1

1

SAM16 PC 0 PO SAM16 – Total 4

SAM17.01 Analyze Music Proficiency Level Scalesand/or Rudiments

1Soma Play Scales and/orRudiments

SAM17.02 Play Music Proficiency Level Scales and/orRudiments

0

SAM17 PC 0 PO SAM17 – Total 1

SAM18.01 Employ Sight-Reading Strategies 1SAM18.02 Sight-Read Music 0SAM18 PC 0

SAM18 Sight-Read Music

PO SAM18 – Total 1SAM19.01 Analyze Music Proficiency Level Music 1SAM19.02 Participate in Master Classes 8SAM19.03 Perform Music Proficiency Level Music 0SAM19 PC 0

SAM19 Perform Level Music

PO SAM19 – Total 9SAM20.01 Describe the Military Band – Advanced

Musician Course1

SAM20.02 Describe Military Band RehearsalTechniques

1

SAM20.03 Perform the Role of a Music Conductor 4SAM20.04 Practice Self-Assessment 1SAM20 PC 0

SAM20 Perform the LeadershipRole of an AdvancedMusician

PO SAM20 – Total 7SAM21.01 Execute Band Drill 8SAM21.02 Perform Band Drill in Support of a

Ceremonial Event2

SAM21 PC 0

SAM21 Execute Drill as a Memberof a Band

PO SAM21 – Total 10


2A-3


SAM22 SAM22.01 Participate in Individual Practice andPrivate Instruction

35

SAM22.02 Participate in Sectional Rehearsals 11

Perform Ensemble Music asa Member of a Band

SAM22.03 Participate in Ensemble Rehearsals 36 SAM22.04 Attend a Musical Performance 2 SAM22 PC 0 PO SAM22 – Total 84

SAM23.01 Describe Military Band Composers 2SAM23 PC 0

SAM23 Describe Military BandComposers

PO SAM23 2SAM25 Participate in Military Band Elective Training

PO SAM25 6Instruct Band Drill SAM26.01 Deliver Drill Commands 1 SAM26.02 Plan a Band Drill Routine 2 SAM26.03 Plan a 15-Minute Band Drill Lesson 1 SAM26.04 Instruct a 15-Minute Band Drill Lesson 7

SAM26

SAM26 PC 0 PO SAM26 11

SAM27.01 Plan a Private Music Lesson 1SAM27SAM27.02 Instruct a 20-Minute Private Music Lesson 4

SAM27 PC 0

Instruct a 20-Minute PrivateMusic Lesson

PO SAM27 5CSTC Specific Activity 4N/A

CSTC Specific Activity Total 4Perform the Duties of a Divisional Petty Officer/Platoon Warrant Officer/Flight Sergeant 8Participate in Military Band Performances 8

OJT

Perform the Duties of an Advanced Musician 8 OJT Total 24 Specialty Training 186 Standard Components 94 Total 280



2A-4

A-CR-CCP-906/PG-001Chapter 2, Annex B

2B-1

SAMPLE SCHEDULE


2B-2


2B-3


2B-4


2B-5


2B-6

A-CR-CCP-906/PG-001Chapter 2, Annex C

2C-1

RESOURCE REQUIREMENTS

Note: Resource allocation is based on a division/platoon/flight (band) of 28 cadets and 5 staff and, dependingon the item and duration of use, may be drawn on an as required basis, allowing the sharing ofresources within the CSTC.

Item Qty PO/EO

Concert Snare Drum 1 Concert Percussion

Concert Bass Drum 1 Concert Percussion

Crash Cymbals 1 Concert Percussion

Suspended Symbol 1 Concert Percussion

Concert Snare Drum Stand 1 Concert Percussion

Concert Bass Drum Stand 1 Concert Percussion

Crash Cymbals Stand 1 Concert Percussion

Suspended Symbol Stand 1 Concert Percussion

Triangle 1 Concert Percussion

Cowbell 1 Concert Percussion

Woodblock 1 Concert Percussion

Tambourine 1 Concert Percussion

Xylophone 1 Concert Percussion

Flute With Case 1 per Flute Player Primary Instrument

Oboe With Case 1 per Oboe Player Primary Instrument

Bassoon With Case 1 per Bassoon Player Primary Instrument

Clarinet With Case 1 per Clarinet Player Primary Instrument

Saxophone With Case 1 per Saxophone Player Primary Instrument

Trumpet With Case 1 per Trumpet Player Primary Instrument

French Horn With Case 1 per FrenchHorn Player

Primary Instrument

Trombone With Case 1 per Trombone Player Primary Instrument

Euphonium With Case 1 per Euphonium Player Primary Instrument

Tuba With Case 1 per Tuba Player Primary Instrument

Snare Drum With Case 1 per Snare Drummer Primary Instrument


2C-2

Item Qty PO/EO

Glockenspiel 1 per MalletPercussion Player

Primary Instrument

Keyboard or Piano 1 S315, S415, S515, SAM16

Manuscript Paper 5 Sheets per Cadet SAM315,SAM415, SAM515

Pencil With Eraser 1 per Cadet SAM315,SAM415, SAM515

Instrument Polishing Cloth 1 per Brass Instrument SAM13.01 W/B

Primary Instruments 1 per Cadet SAM13.01 W/B/P,SAM13.02, SAM16.02,SAM18.02, SAM19.02,SAM19.03, SAM21.01,SAM21.02, SAM22.01,SAM22.02, SAM22.03,

SAM26.04,SAM27.02 & OJT

Rotary Valve Oil 1 per French Horn SAM13.02

Slide Cream 1 per Trombone SAM13.02

Slide Grease 1 per Trombone SAM13.02

Valve Oil 1 per Trumpet,Euphonium, and Tuba

SAM13.02

Drum Key 1 per Percussion Player SAM13.01P

Glockenspiel Slings 1 per GlockenspielPlayer

SAM13.01P, SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Drum Slings 1 per Percussion Player SAM13.01P, SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT


2C-3

Item Qty PO/EO

Drumsticks (Pair) 1 per Percussion Player SAM13.01P, SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.03,SAM21.01, SAM21.02,SAM22.01, SAM22.02,SAM22.03, SAM26.04,

SAM27.02 & OJT

Mallets (Pair) 1 per Percussion Player SAM13.01P, SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.03,SAM21.01, SAM21.02,SAM22.01, SAM22.02,SAM22.03, SAM26.04,

SAM27.02 & OJT

Cloth 1 per Cadet SAM13.01P/W

Bassoon Swabs – Large 1 per Bassoon SAM13.02

Bassoon Swabs – Small 1 per Bassoon SAM13.02

Clairnet Swabs 1 per Clarinet SAM13.02

Cork Grease 1 per Clarinet,Saxophone, Oboe

and Bassoon

SAM13.02

Flute Cleaning Rod 1 per Flute SAM13.02

Oboe Swabs 1 per Oboe SAM13.02

Saxophone Swabs 1 per Saxophone SAM13.02

Pad Papers 1 per Woodwind Player SAM13.01W

Reed 1 per ApplicableInstrument

SAM16.02,SAM17.02, SAM18.02,SAM19.02, SAM19.03,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Instrument Fingering Charts 1 per Cadet SAM17.02, SAM18.02,SAM19.02, SAM19.03,SAM20.02, SAM21.01,SAM21.02, SAM22.01,SAM22.02, SAM22.03,

SAM26.04,SAM27.02 & OJT


2C-4

Item Qty PO/EO

Flute Lyre 1 per Flute Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Oboe Lyre 1 per Oboe Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Bassoon Lyre 1 per Bassoon Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Clarinet Lyre 1 per Clarinet Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Saxophone Lyre 1 per Saxophone Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Trumpet Lyre 1 per Trumpet Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

French Horn Lyre 1 per FrenchHorn Player


SAM22.03, & OJT


2C-5

Item Qty PO/EO

Trombone Lyre 1 per Trombone Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Euphonium Lyre 1 per Euphonium Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Tuba Lyre 1 per Tuba Player SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.03,SAM22.01, SAM22.02,

SAM22.03, & OJT

Saxophone Neckstrap 1 per Alto Saxophoneand Tenor

Saxophone Player


SAM22.03, & OJT

Saxophone Harness 1 per BaritoneSaxophone Player


SAM22.03, & OJT

Conductor’s Baton 5 SAM20.03, SAM22.02,SAM22.03 & OJT

Mace 1 SAM21.01, SAM21.02,SAM26.04 & OJT

Parade Bass Drum 1 SAM21.01, SAM21.02,SAM26.04 & OJT

March Pack With Pages 1 per Cadet SAM21.01, SAM21.02,SAM26.04 & OJT

Bass Drum Harness 1 SAM21.01,SAM21.02 & OJT

Conductor’s Music Stand 1 SAM22.02,SAM22.03 & OJT


2C-6

Item Qty PO/EO

Tuner 1 per 4 Cadets SAM22.01,SAM22.02, SAM22.03

Metronome 1 per 4 Cadets SAM22.01,SAM22.02, SAM22.03

Concert Percussion (Set) 1 SAM22.01,SAM22.02, SAM22.03

Music Stand 1 per Cadet SAM13.01P, SAM17.02,SAM18.02, SAM19.02,SAM19.03, SAM20.02,SAM21.01, SAM21.02,SAM22.01, SAM22.02,SAM22.03, SAM26.04,

SAM27.02 & OJT

Conductor’s Podium 1 SAM22.03 & OJT

Water Key Cork 1 per Brass Player SAM13.01B

Low Temperature Glue Stick 1 per Brass Player SAM13.02

Glue Gun 1 per Brass Player SAM13.01B

Snare Cord As Required SAM13.02

Snare Drum Batterhead 1 per Percussion Player SAM13.01P

Crochet Hook 1 per Woodwind Player SAM13.01W

A-CR-CCP-906/PG-001Chapter 2, Annex D

2D-1

REFERENCES

TEXTS HELD BY UNIT

A0-002 A-PD-201-000/PT-000 DHH 3-2 (2005). The Canadian Forces Manual of Drill and Ceremonial.Ottawa, ON: Department of National Defence.

A0-031 A-PD-202-001/FP-000 DC (1993). Canadian Forces Military Bands and Marches: BandInstructions. Ottawa, ON: Department of National Defence.

A0-100 A-CR-CCP-910/PG-001 Directorate Cadets and Junior Canadian Rangers (2008). MilitaryBand – Music Levels Qualification Standard. Ottawa, ON: Department of National Defence.

A0-108 A-CR-CCP-910/PX-001 Director Cadets and Junior Canadian Rangers (2008). Canadian CadetOrganizations, Military Band – Music Prociency Levels, Theory Assessments. Ottawa, ON:Department of National Defence.

A0-109 A-CR-CCP-910/PY-001 Director Cadets and Junior Canadian Rangers (2008). Canadian CadetOrganizations, Military Band – Music Prociency Levels, Theory Assessments – Answer Keys.Ottawa, ON: Department of National Defence.

Note: IAW A-CR-CCP-910/PG-001, CSTCs conducting training and/or assessment related to PO X19(Perform Level Music, Chapter 4, Section 9) must have the applicable method book from the RubankEducational Library published by Hal Leonard Corporation available for use by each cadet.

1. Best in Class: Book One series of method books,

2. Modern School for Xylophone Marimba Vibraphone,

3. 16 Studi Giornalieri di Perfezionamento,

4. Rubank Elementary Method series of method books,

5. Rubank Intermediate Method series of method books,

6. Rubank Advanced Method Volume I series of method books,

7. Rubank Advanced Method Volume II series of method books, and

8. Rubank Concert and Contest Collection series of method books.

ADDITIONAL TEXTS REFERENCED DURING DEVELOPMENT

A0-031 A-PD-202-001/FP-000 DC (1993). Canadian Forces Military Bands and Marches: BandInstructions. Ottawa, ON: Department of National Defence.

A0-055 A-P9-050-000/PT-006 Director Training and Education Policy (2002). Canadian Forces Manualof Individual Training and Education (Vol. 6). Ottawa, ON: Department of National Defence.

A0-100 A-CR-CCP-910/PG-001 Directorate Cadets and Junior Canadian Rangers (2008). MilitaryBand – Music Levels Qualification Standard. Unpublished manuscript.

C0-022 (ISBN 0-02864-207-4) Cole, Kris (2002). The Complete Idiot’s Guide to Clear Communication.Indianapolis, IN: Alpha Books.


2D-2

C0-067 (ISBN 1-844-77190-3) Wade-Matthews, Max, Thompson, Wendy (2005). The Encyclopedia ofMusic: Instruments of the Orchestra and the Great Composers. London, England: HermesHouse.

C0-237 (ISBN 0-19-541816-6) Barber, K. (Ed.) (2004). Oxford Dictionary (2nd ed.). Don Mills, ON: OxfordUniversity Press Canada.

C0-242 (ISBN 978-0-9682160-2-1) Gregory, K. (2000). Knowing What Counts: Self-Assessment andGoal Setting. Courtenay, BC: Building Connections Publishing Inc.

C0-250 (ISBN 0-697-04392-4) Westphal, F.W. (1990). Guide to Teaching Woodwinds (5th Edition).Sacramento, CA: McGraw-Hill.

C0-257 (ISBN 1-55440-011-2) Wharram, B. (2005). Elementary Rudiments of Music. Mississauga, ON:The Frederick Harris Music Co.

C0-258 (ISBN 978-1-59869-450-5) Nigro, N. (2008). The Everything Coaching and Mentoring Book.Avon, MA: F+W Publications Company.

C0-276 (ISBN 0-88284-075-4) Stanley, Burton (1978). Instrument Repair for the Music Teacher. VanNuys, CA: Alfred Publishing CO., Inc.

C0-302 (ISBN 0-534-50990-8) Cook, G. (2006). Teaching Percussion. Belmont, CA: Thomson HigherEducation.

C0-303 (ISBN 0-495-09575-3) Whitener, Scott (2007). A Complete Guide to Brass (3rd Edition). Belmont,CA: Thomson Higher Education.

C0-353 (ISBN 0-8497-7020-3) William R, King J, & Logozzo D (2001). The Complete Instrument Guidefor Band Directors. San Diego, California: Neil A. Kjos Music Company.

C0-354 (ISBN 0-9624308-0-3) Lisk, E (1991). The Creative Director: Alternative Rehearsal Technique.USA: Meredith Music Publishing.

C0-355 (ISBN 0-8020-281-0) Kallmann, H., Gilles, P., Winters, K. Miller, M., & Elliot, R. (1992).Encyclopedia of Music in Canada. Toronto: ON: University of Toronto Press.

C0-356 (ISBN 1-57999-467-9) Hansen R (2005). The American Wind Band- A Cultural History. Chicago,IL: GIA Publications, Inc.

C0-358 (ISBN 0-19-861459-4) Kennedy, M. (2006). The Oxford Dictionary of Music. New York, USA:Oxford University Press.

C0-359 (ISBN 0-634-03044-22) Lisk, E. (2001). The Creative Director: Beginning and IntermediateLevels. Milwaukee, WI: Meredith Music Publishing.

C0-360 (ISBN 1-57999-261-7) Chevallard, C. (R. Miles, Ed.) (2003). Teaching Music ThroughPerformance. Chicago, IL: GIA Publications, Inc.

C0-361 (ISBN 0-13-182656-5) Green, E., & Gibson, M. (2004). The Modern Conductor (7th Edition). NewJersey, USA: Pearson Education Inc.

C0-362 (ISBN 0-13-020689-X) Colwell, J., & Goolsby, T. (2002). The Teaching of Instrumental Music(3rd Edition). New Jersey, USA: Pearson Education Inc.


2D-3

C0-372 (ISBN 978-0-19-536651-8) Bailey, W. (2009). Conducting: The Art of Communication. Oxford,NY: Oxford University Press.

WEBSITES

C0-241 Optimal Breathing. (2006). Retrieved February 12, 2008, from http://breathing.com/articles/posture.htm.

C0-260 The Ten Rules of Concert Etiquette. (2006). Retrieved February 26, 2008, from http://www.menc.org/guides/etiquette/students.pdf.

C0-261 Attending the Concert: What You Need to Know. (2006). Retrieved February 26, 2008, fromhttp://www.wso.mb.ca/attend.asp.

C0-306 Overview of the Technique. (2006). Retrieved April 2, 2008, from http://www.jigsaw.org/overview.htm.

C0-307 Doing CL Jigsaw. (2006). Retrieved April 2, 2008, from http://www.wcer.wisc.edu/archive/cl1/CL/doingcl/jigsaw.htm.

C0-323 Introduction to Solfege. (2006). Retrieved September 29, 2008, from www.ibreathemusic.com/article/44.

C0-325 Tips for Effective Sight Reading. (2006). Retrieved September 30, 2008, from www.kjt.glis.net/tealflutestudio/sightreading.html.

C0-326 Woodwinds Frequent Maintenance. (2006). Retrieved September 30, 2008, fromwww.yamaha.co.jp/english/product/winds/product/others/access/wood_fm/main.htm.

C0-327 Brass Frequent Maintenance. (2006). Retrieved September 30, 2008, from www.yamaha.co.jp/english/product/winds/product/others/access/brass_fm/main.htm.

C0-330 How to Replace and Adjust Snares. (2006). Retrieved October 1, 2008, fromwww.pearldrum.com/2002_techspeak/snares.asp.

C0-331 Musical Instrument Repair Terminology. (2006). Retrieved October 1, 2008, fromwww.davidbaileymusicstudio.com/repairdefs.html.

C0-332 Band Instrument Repair – Basic Repair Procedures. (2006). Retrieved October 1, 2008, fromwww.davidbaileymusicstudio.com/pdf/RepairProceduresHandbook.pdf.

C0-340 Cadences. (2006). Retrieved October 7, 2008, from http://smu.edu/totw/cadences.htm.



2D-4

A-CR-CCP-906/PG-001

3-1

CHAPTER 3CADET EVALUATION

PURPOSE

1. The purpose of this chapter is to outline the specific evaluation requirements for achievement of MilitaryBand – Advanced Musician qualification.

LEARNER EVALUATION

2. A-P9-050-000/PT-Z01, Manual of Individual Training and Education, Volume 1, defines learnerevaluation as, “the assessment of progress made by participants during an instructional programme (formativeevaluation) and of their achievement at the end of the programme (summative evaluation).”

3. Formative evaluation, or assessment for learning, takes place during a phase of instruction and helps thecadet and instructor recognize progress or lapses in learning. Through formative evaluation, the instructor can:

a. identify when corrective or remedial action is required;

b. plan the next steps in instruction, provide the cadet with feedback so they can improve; and

c. reinforce learning to aid the cadet in retaining information.

4. Formative evaluation may also incorporate the Performance Checks (PCs) employed in summativeevaluation, allowing the cadet opportunities for practice prior to the PC. Details for assessment for learning areoutlined within the applicable lesson specifications found in Chapter 4.

5. Summative evaluation, or assessment of learning, takes place to determine whether learners haveachieved POs, or critical EOs (those deemed prerequisites to further individual training and education) and areused at the end of a phase of instruction. Details for assessment of learning are detailed within this chapter.

CADET EVALUATION DESIGN AND DEVELOPMENT

6. Cadet evaluation is designed and developed incorporating contemporary professional practices from thefields of education and youth development as well as considering best practices in use within the CanadianCadet Organizations (CCO).

7. Cadet evaluation is designed and developed so that all cadets are capable of achieving all POs andassociated EOs. To motivate the cadet to learn, cadet evaluation builds on success and confidence rather thandemotivating them with failure and defeat.

8. The following fundamental assessment principles shall guide the design, development and conduct ofMilitary Band – Advanced Musician assessment activities:

a. in advance of training, the instructor shall inform the cadet of POs and EOs associated with thequalification;

b. in advance of training, the instructor shall inform the cadet of the assessment plan for thequalification and provide the cadet with an opportunity to review the applicable forms used inassessment;

c. assessment information shall be shared between the instructor and the cadet and used to reviseand guide instruction and learning;

d. the instructor shall provide feedback that is descriptive, constructive, frequent, and timely; helpingthe cadet identify strengths and address areas requiring improvement;

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3-2

e. the cadet shall be actively, consistently and effectively involved in assessment, including learningto manage their own learning through the skills of self-assessment; and

f. the cadet shall be encouraged to actively, consistently and effectively communicate with othersabout their learning progress.

CP DEVELOPMENTAL PERIODS (DPs)

9. The CP is designed across adolescent DPs adapted to suit the CP target population. Outlined in eachDP are specific philosophies and approaches to learning and assessment that influence design, developmentand conduct of cadet training and assessment.

10. A DP is a time frame, during a cadet’s progression through the CP, in which the cadet participates intraining and is provided opportunities to develop desired knowledge, skills and attitudes that support the aimof the CP and contribute to the achievement of the CP outcomes.

11. Progressive training levels, and associated learning objectives, distinguish each DP; ensuring trainingis relevant, achievable and age-appropriate for the cadet population. DPs and associated training levels aredesigned to be completed in a sequential manner and are also fluid, which allows a cadet to progress to thenext training level or DP while still working on completion of learning objectives from the previous level or DP.

12. The design and development of cadet training and evaluation is based on the basic overview of the DPcharacteristics located at Annex A.

CADET ASSESSMENT OF LEARNING PLAN

13. The Assessment of Learning Plan located at Annex B provides an overall strategy for using assessmentactivities to determine if the cadet meets the requirements for the Military Band – Advanced Musicianqualification. The Assessment of Learning Plan will:

a. provide an outline of each assessment of learning activity; including its purpose, when it will occurand details the assessment instrument(s) used to support cadet evaluation;

b. identify the learning target(s) associated with the PO and/or EO being assessed, to include:

(1) Knowledge Mastery. The facts, concepts and theory a cadet needs to know;

(2) Reasoning Proficiency. A cadet uses what they know to solve a problem, make a decision,make a plan, think critically, set goals, or self-assess;

(3) Skills. Performance demonstration; where the cadet demonstrates their ability to performa skill. To be assessed, these performances must be demonstrated by the cadet andobserved by an assessor;

(4) Ability to Create Products. A cadet uses their knowledge, reasoning and skills to createa concrete product; and/or

(5) Attitudinal/Dispositional Changes. A cadet’s attitude about learning, safety, conduct, etc.Targets in this realm reflect attitude and feeling. They represent important affective goalswe hold for a cadet as a by-product of their CP experience, and as such are not generallyassessed for the purpose of attaining a qualification; and

c. identify the assessment method(s) that best matches PO and/or EO learning targets, to include:

(1) Selected Response. A cadet selects the correct or best response from a list provided.Formats include multiple choice, true/false, matching, short answer, and fill-in-the-blankquestions. Although short answer and fill-in-the-blank questions do require the cadet to

A-CR-CCP-906/PG-001

3-3

generate an answer, they call for a very brief answer that is counted as right or wrong, sothese have been included in the selected response category;

(2) Extended Written Response. A cadet is required to construct a written answer in responseto a question or task rather than select one from a list. An extended written response is onethat is at least several sentences in length;

(3) Performance Assessment. This assessment method is based on observation andjudgment; a performance or product is observed and a determination is made as to itsquality; and/or

(4) Personal Communication. Gathering information about a cadet through personalcommunication; learning is assessed through interpersonal interaction with the cadet.

ASSESSMENT INSTRUCTIONS AND ASSESSMENT INSTRUMENTS

14. Specific assessment instructions and assessment instruments have been designed to support eachassessment activity within the Assessment of Learning Plan. These are meant to standardize assessmentactivities and cadet evaluation for all cadets attempting the qualification. Assessment instructions andassessment instruments are located at Annex B, Appendixes 1 to 5.

ADDITIONAL ASSESSMENT OF LEARNING ACTIVITIES

15. No additional cadet evaluations, eg, theory tests or performance checks, are to be used to determineMilitary Band – Advanced Musician qualification. Therefore, these national standards are not to besupplemented with additional CSTC standards.

MILITARY BAND – ADVANCED MUSICIAN QUALIFICATION STANDARD

16. The standard for the Military Band – Advanced Musician qualification is successful completion of eachPO as outlined in the Military Band – Advanced Musician Qualification Record.

RECOGNITION OF ENHANCED PROFICIENCY ACHIEVEMENT

17. Certain POs within the Assessment of Learning Plan allow for recognition of an enhanced proficiencylevel of achievement. The assessment instructions for the applicable PCs outline how proficiency levels areachieved and recorded on the Qualification Record. This information highlights the cadet’s strength(s) withinthe achievement of the qualification. The following definitions differentiate baseline proficiency and enhancedproficiency levels of achievement:

a. Baseline Proficiency. A cadet achieves baseline proficiency by demonstrating the performancestandard outlined in the applicable PO; and

b. Enhanced Proficiency. A cadet achieves enhanced proficiency by exceeding the performancestandard outlined in the applicable PO.

CADETS NOT MEETING THE QUALIFICATION STANDARD

18. A cadet who does not meet the qualification standard for any PO shall be given a reasonable opportunityto achieve the standard. Unless otherwise specified in the Assessment of Learning Plan and associatedassessment instructions, there is no limit to the number of additional opportunities that may be afforded to thecadet, provided it is within the time and resource limitations of the CSTC.

19. If, by the end of the course, a cadet has yet to successfully complete any PO, they will be assessedas incomplete.

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3-4

20. CATO 15-22, Conduct and Discipline – Cadets, and CATO 13-26, Return to Unit – Cadets, providedirection on dealing with cadets not meeting the qualification standard due to:

a. attendance at mandatory training,

b. conduct, or

c. medical reasons.

RECORDING AND REPORTING CADET ACHIEVEMENT

21. The progress of each cadet shall be recorded on the Military Band – Advanced Musician QualificationRecord, located at Annex C. The Military Band – Advanced Musician Qualification Record for each cadetshall be forwarded to the applicable corps/squadron, through the appropriate chain of command. CommandingOfficers are responsible for ensuring the results are recorded on each cadet’s DND 2399, Cadet PersonnelRecord.

MILITARY BAND – ADVANCED MUSICIAN CERTIFICATE OF QUALIFICATION

22. A CF 558, Cadet Certificate of Qualification (NSN 7530-21-870-7685), shall be awarded to each cadetupon successful completion of the Military Band – Advanced Musician qualification.

MONITORING CADET PROGRESS

23. An initial interview shall be conducted with each cadet at the start of the course to discuss qualificationobjectives, schedule, and assessment activities. Course staff should take this opportunity to get to know thecadet and to help the cadet set personal course goals. Guidelines for conducting cadet interviews are locatedin Annex D and the Cadet Interview Form is located in Annex D, Appendix 1.

24. Course staff will be required to meet with each cadet throughout the course to discuss learning progresstoward qualification. These feedback interviews are related to the assessment for learning activities outlinedwithin the applicable lesson specifications located in Chapter 4.

25. A final interview shall be conducted with each cadet at the end of the course to discuss:

a. the completed Military Band – Advanced Musician Qualification Record;

b. the cadet’s goals that were discussed during the initial interview; and

c. new goals for returning to the corps/squadron.

26. Guidelines for conducting cadet interviews are located in Annex D and the Cadet Interview Form islocated in Annex D, Appendix 1.

TRAINING COUNSELLING SESSION

27. A training counselling session is used when a cadet is having difficulties progressing toward qualificationand an intervention is required to set goals for corrective action and/or remedial instruction. These counsellingsessions focus on training related-issues. The Divisional Officer/Platoon Commander/Flight Commanderis responsible for conducting training counselling sessions. Guidelines for conducting training counsellingsessions are located in Annex E and the Training Counselling Session Form is located in Annex E, Appendix 1.

TRAINING REVIEW BOARD (TRB)

28. When a cadet continues to have difficulties or has significant difficulty progressing toward qualification,the Divisional Officer/Platoon Commander/Flight Commander should meet with the Crse O to determine whatadditional intervention is required to ensure improvement or determine if another course of action is more

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3-5

appropriate considering the circumstances, eg, Return to Unit (RTU). The Crse O is responsible for conductinga TRB and may include other staff, eg, Specialty Instructors, Medical Staff, Standards Staff. Normally, the cadetis not present during the TRB, but the cadet’s perspective and participation can help determine the best courseof action. Guidelines for conducting a TRB are located in Annex F and the Training Review Board Form islocated in Annex F, Appendix 1.

A-CR-CCP-906/PG-001


3-6


3A-1

CHARACTERISTICS OF CP DPs



3A-2


3B-1

ASSESSMENT OF LEARNING PLAN – MILITARY BAND – ADVANCED MUSICIAN


3B-2


3B-3



3B-4

A-CR-CCP-906/PG-001Chapter 3, Annex B, Appendix 1

3B1-1

SAM20 PC – ASSESSMENT INSTRUCTIONS

PREPARATION

PRE-ASSESSMENT INSTRUCTIONS

Review the assessment plan, assessment instructions, and SAM20 PC Assessment Checklist and becomefamiliar with the material prior to conducting the assessment.

There is no time allotted for this assessment. Cadets who are consistently demonstrating the applicable skillsmay be assessed during the end of lesson confirmation for EO SAM22.03 (Participate in Ensemble Rehearsals,Chapter 4, Section 12). This time may be allotted for the cadet’s initial attempt to achieve the performancestandard. Additional opportunities throughout the course should also be used as assessment opportunities.

Photocopy the SAM20 PC Assessment Checklist for each cadet.

PRE-ASSESSMENT ASSIGNMENT

N/A.

ASSESSMENT METHOD

Performance assessment was chosen as it allows the assessor to observe the cadet’s ability to lead anensemble rehearsal and make a judgment on the quality of the performance.

CONDUCT OF ASSESSMENT

PURPOSE

The purpose of this PC is to assess the cadet’s ability to lead an ensemble rehearsal as a member of a band.

RESOURCES

SAM20 PC Assessment Checklist,

Self-Assessment Form,

Primary instrument,

Conductor’s baton,

Conductor’s music stand,

Tuner,

Metronome,

Music accessories,

Sheet music, and

Music score.

ASSESSMENT ACTIVITY LAYOUT

N/A.


3B1-2

ASSESSMENT ACTIVITY INSTRUCTIONS

While reflecting on the cadet’s performance while conducting an ensemble rehearsal,assess the quality of each criterion by indicating on the Assessment Checklist, thedescriptive statement that best represents the judgment. Criteria for this performance areassessed as:

Incomplete.

Completed With Difficulty.

Completed Without Difficulty.

Exceeded Standard.

Make notes of observations to provide descriptive post-assessment feedback.

1. Discuss the ensemble rehearsal format with the cadet, to include:

a. the goal of the ensemble rehearsal,

b. which resources are required for the sectional rehearsal, and

c. the timeline of the sectional rehearsal.

2. Have the cadet lead an ensemble rehearsal.

3. Evaluate the cadet’s performance. Record the result for each criterion on the Assessment Checklist foreach criterion.

POST ASSESSMENT INSTRUCTIONS

RECORDING ASSESSMENT RESULTS

1. Indicate the overall performance assessment on the Assessment Checklist. The overall performanceassessment is determined by reviewing the performance assessment and considering the frequency ofassessment ratings obtained for all criteria and the observational notes made during the performance.If any of the criterion is assessed as “incomplete” then the overall performance assessment will beassessed as “incomplete”. If no criterion has been assessed as “incomplete” make a judgment on thequality of the overall performance by indicating on the Assessment Checklist the statement that bestrepresents this judgment. The overall performance is assessed as:

a. Incomplete. The cadet has not achieved the performance standard;

b. Completed With Difficulty. The cadet has achieved the performance standard with difficulty;

c. Completed Without Difficulty. The cadet has achieved the performance standard withoutdifficulty; or

d. Exceeded Standard. The cadet has exceeded the performance standard.

2. Record notes made in the assessor’s feedback section of the Assessment Checklist.

3. Sign and date the Assessment Checklist.


3B1-3

4. After the cadet has completed the assessment, record the results on the Advanced Musician QualificationRecord, Annex C.

5. File the Assessment Checklist so that it may be referred to as necessary.

PROVIDING ASSESSMENT FEEDBACK

Discuss the results of the Assessment Checklist and the Self-Assessment Form with each cadet during afeedback session following the completion of the assessment.


3B1-4


3B1-5


3B1-6


3B2-1


PREPARATION


Review the assessment plan, assessment instructions and SAM21 PC Group Checklist and SAM21 PCAssessment Checklist and become familiar with the material prior to conducting the assessment.

There is no time allotted for this assessment. Cadets who are consistently demonstrating the applicable skillsmay be assessed during the end of lesson confirmation of EO SAM21.01 (Execute Band Drill, Chapter 4,Section 11). This time may be allocated for the cadet’s initial attempt to achieve the performance standard.Additional opportunities throughout the course should also be used as assessment opportunities.

Additional staff may be required to assess or fill the role of drum major or bass drummer. Cadets are encouragedto assume the role of the drum major.

Photocopy the SAM21 PC Group Checklist for the group and SAM21 PC Assessment Checklist for each cadet.


N/A.

ASSESSMENT METHOD

Performance assessment was chosen as it allows the assessor to observe the cadet’s ability to execute drillas a member of a band and make a judgment on the quality of the performance.


PURPOSE

The purpose of this PC is to assess the cadet’s ability to execute band drill as a member of a band.

RESOURCES

SAM21 PC Group Checklist,


Primary instrument,

Bass drum,

Bass drum mallets,

Bass drum harness,

Snare drum slings,

Glockenspiel slings,

March pack with music,

Snare drum,

Drumsticks, and

Mace.


3B2-2


N/A.


While reflecting on the cadets’ performance while executing band drill, assess the quality ofeach criterion by indicating on the Assessment Checklist, the descriptive statement that bestrepresents this judgment. Criteria for this performance are assessed as:

Incomplete.



Exceeded Standard.

Make notes on observations to provide descriptive post-assessment feedback.

1. Have the cadet execute band drill.

2. Assess the correctness of each movement. Evaluate the cadet’s performance. Record the result on theAssessment Checklist for each criterion.



1. A group checklist has been provided for ease of use while conducting the assessment. Upon completionof the assessment of the cadets’ ability to execute band drill, the results shall be recorded on theAssessment Checklist, to be completed for each cadet.

2. Indicate the overall performance assessment on the Assessment Checklist. The overall performanceassessment is determined by reviewing the performance assessment and considering the frequency ofassessment ratings obtained for all criteria and the observational notes made during the performance.If any of the criterion is assessed as “incomplete” then the overall performance assessment will beassessed as “incomplete”. If no criterion has been assessed as “incomplete” make a judgment on thequality of the overall performance by indicating on the Assessment Checklist the statement that bestrepresents this judgment. The overall performance is assessed as:





If an overall performance of “incomplete” is given to a cadet, record as many notes asnecessary to substantiate the results.


3B2-3


4. Record the results on the Military Band – Advanced Musician Qualification Record, Annex C.

5. File the Group Checklist and Assessment Checklist so that it may be referred to as necessary.


Discuss the results with each cadet during a feedback session following the completion of the AssessmentChecklist.


3B2-4


3B2-5


3B2-6


3B3-1


PREPARATION


Review the assessment plan, assessment instructions and SAM22 PC Assessment Checklist and becomefamiliar with the material prior to conducting the assessment.

There is no time allotted for this assessment. Cadets who are consistently demonstrating the applicable skillsmay be assessed during the end of lesson confirmation for EOs SAM22.01 (Chapter 4, Section 12) – SAM22.03(Chapter 4, Section 12). This time may be allotted for the cadet’s initial attempt to achieve the performancestandard. Additional opportunities throughout the course should also be used as assessment opportunities.



N/A.

ASSESSMENT METHOD

Performance assessment was chosen as it allows the assessor to observe and evaluate the cadets’performance in individual practice, private instruction, sectional rehearsal and ensemble rehearsal.


PURPOSE

The purpose of this PC is to assess the cadet’s ability to perform ensemble music as a member of a band.

RESOURCES


Primary instrument,

Music stand,

Chair, and

Ensemble music.


N/A.


Rehearsal Type

Make a judgment and indicate on the Assessment Checklist whether the task was:

Incomplete. The cadet was not an active participant during the rehearsal type.

Complete. The cadet was an active participant during the rehearsal type.



3B3-2

1. Have the cadet perform ensemble music as a member of a band.

2. Indicate the cadet’s participation in each of the rehearsal types.

3. Evaluate the cadet’s performance. Record the result on the Assessment Checklist.

Individual Practice and Private Instruction

While reflecting on the cadets’ performance during individual practice, assess the quality ofeach criterion by indicating on the Assessment Checklist, the descriptive statement that bestrepresents this judgment. Criteria for this performance are assessed as:

Incomplete.



Exceeded Standard.


1. Have the cadet participate in individual practice and private instruction.


Sectional/Ensemble Rehearsal

While reflecting on the cadets’ performance during sectional/ensemble practices, assessthe quality of each criterion by indicating on the Assessment Checklist, the descriptivestatement that best represents this judgment. Criteria for this performance are assessed as:

Incomplete.



Exceeded Standard.


1. Have the cadet participate in sectional/ensemble rehearsal.




1. Indicate the overall performance assessment on the Assessment Checklist as:




3B3-3



If an overall performance of “incomplete” is given to a cadet, record as many notes asnecessary to substantiate the results.



4. Record the overall result on the Military Band – Advanced Musician Qualification Record, Annex C.



Discuss the results with each cadet during a feedback session following the completion of the assessment.


3B3-4


3B3-5



3B3-6


3B4-1


PREPARATION



This PC will occur during SAM26.04 (Instruct a 15-Minute Band Drill Lesson, Chapter 4, Section 15). Sevenperiods have been allotted for this assessment.

The band may have to be divided into groups of no less than nine cadets to allow for maximum assessment time.

Additional staff may be required to assess or fill the role of a drum major or bass drummer.

Additional resources may be required to accommodate the groups (eg, mace, bass drums, bass drumharnesses).



Have the cadets create a lesson plan IAW EO SAM26.03 (Plan a 15-Minute Band Drill Lesson, Chapter 4,Section 15).

ASSESSMENT METHOD

Performance assessment was chosen as it allows the assessor to observe the cadet’s ability to instruct a 15-minute band drill lesson and make a judgment on the quality of the performance.


PURPOSE

The purpose of this PC is to assess the cadet’s ability to instruct a 15-minute band drill lesson.

RESOURCES


Primary instrument,

Bass drum,

Bass drum harness,

Mace, and

A band.


N/A.


3B4-2


While reflecting on the cadets’ performance while instructing a 15-minute band drill lesson,assess the quality of each criterion by indicating on the Checklist, the descriptive statementthat best represents this judgment. Criteria for this performance are assessed as:

Incomplete.



Exceeded Standard.


1. Have the cadet instruct a 15-minute band drill lesson.

2. Evaluate the cadet’s performance. Record the result on the Assessment Checklist for each criterion.



1. Indicate the overall performance assessment on the Assessment Checklist. The overall performanceassessment is determined by reviewing the analytical performance assessment and considering thefrequency of assessment ratings obtained for all criteria and the observational notes made during theperformance. If any of the criterion is assessed as “incomplete” then the overall performance assessmentwill be assessed as “incomplete”. If no criterion has been assessed as “incomplete” make a judgment onthe quality of the overall performance by indicating on the Assessment Checklist the statement that bestrepresents this judgment. The overall performance is assessed as:

a. Incomplete. Overall, the cadet has not achieved the performance standard;

b. Completed With Difficulty. Overall, the cadet has achieved the performance standard withdifficulty;

c. Completed Without Difficulty. Overall, the cadet has achieved the performance standard withoutdifficulty; or

d. Exceeded Standard. Overall, the cadet has exceeded the performance standard.



4. After the cadet has completed the assessment, record the results on the Military Band – AdvancedMusician Qualification Record, Annex C.



Discuss the results with each cadet during a feedback session following the completion of the PC.


3B4-3


3B4-4


3B5-1


PREPARATION





N/A.

ASSESSMENT METHOD

Performance assessment was chosen as it allows the assessor to observe the cadet’s ability to instruct a 20-minute private music lesson and make a judgment on the quality of the performance.


PURPOSE

The purpose of this PC is to assess the cadet’s ability to instruct a 20-minute private music lesson.

RESOURCES

SAM27 PC Assessment Checklist.


N/A.


While observing the task being performed, make a judgment and indicate on theAssessment Checklist whether the task was:

Incomplete. The task was not attempted or not completed even with assistance.

Completed With Difficulty. The task was completed with difficulty and/or assistance.

Completed Without Difficulty. The task was completed without difficulty and/orassistance.

Exceeded Standard. The task was completed with enhanced proficiency.


1. Have the cadet instruct a 20-minute private music lesson.

2. Evaluate the cadet’s performance. Record the result on the Assessment Checklist for each criterion.


3B5-2



1. Indicate the overall performance assessment on the Assessment Checklist. The overall performanceassessment is determined by reviewing the performance assessment and considering the assessmentratings obtained for all criteria and the observational notes made during the performance. If any ofthe criteria is assessed as “incomplete” then the overall performance assessment will be assessed as“incomplete”. If no criterion has been assessed as “incomplete” make a judgment on the quality of theoverall performance by indicating on the Assessment Checklist the statement that best represents thisjudgment. The overall performance is assessed as:

a. Incomplete. Overall, the cadet has not achieved the performance standard;

b. Completed With Difficulty. Overall, the cadet has achieved the performance standard withdifficulty;

c. Completed Without Difficulty. Overall, the cadet has achieved the performance standard withoutdifficulty; or

d. Exceeded Standard. Overall, the cadet has exceeded the performance standard.

If an overall performance of incomplete is given to a cadet, record as many notes asnecessary to substantiate the results.



4. After the cadet has completed the assessment, record the results on the Advanced Musician QualificationRecord, Annex C.



During the feedback session, have a discussion on what the cadet felt went well and went poorly and what theywould do differently if the same 20-minute private music lesson were assigned to them again.

Discuss the results of each section of the Assessment Checklist with the cadet and provide them with a copyof the completed form.


3B5-3


3B5-4


3C-1

MILITARY BAND – ADVANCED MUSICIAN QUALIFICATION RECORD



3C-2


3D-1

CADET INTERVIEW GUIDELINES

PREPARATION FOR INITIAL INTERVIEW

PRE-INTERVIEW INSTRUCTIONS

Review the interview guidelines and the cadet interview form in Appendix 1 and become familiar with thematerial prior to conducting the interview.

Make copies of the course schedule, Assessment of Learning Plan located in Annex B and associated PCassessment instruments located in Annex B, Appendixes 1 to 5, and make them available to each cadet a dayprior to the interview.

Schedule interviews to allow approximately 10–15 minutes per cadet.

PRE-INTERVIEW ASSIGNMENT

Have the cadets review the course objectives, schedule and assessment activities and come to the interviewprepared to discuss these aspects of the course and expectations and personal goals they may have for thecourse.

CONDUCT OF INITIAL INTERVIEW

PURPOSE

The purpose of the initial interview is to discuss course objectives, schedule and assessment activities. This isalso an opportunity to get to know the cadet and help the cadet set personal goals.

RESOURCES

Cadet Interview Form,

Pen/pencil, and

Suitable interview location.

INTERVIEW LAYOUT

Set up the interview location so that both the interviewer and cadet will be comfortable.

INTERVIEW INSTRUCTIONS

Tips for a successful interview:

Ask questions that will provoke thought; in other words avoid questions with a yes orno answer.

Manage time by ensuring the cadet stays on topic.

Listen and respond in a way that indicates you have heard and understood the cadet.This can be done by paraphrasing their ideas.

Give the cadet time to respond to your questions.

1. Have the cadet enter the area of the interview.

2. Ask the cadet the questions on the Cadet Interview Form, Section 1.


3D-2

3. Have the cadet sign the Cadet Interview Form, Section 2.

4. Sign the Cadet Interview Form, Section 2.

POST-INTERVIEW INSTRUCTIONS

Meet with each cadet throughout the course to discuss their progress toward achieving the qualification. Thesefeedback interviews should be directly related to the assessment for learning activities outlined within theapplicable lesson specifications located in Chapter 4.

PREPARATION FOR FINAL INTERVIEW

PRE-INTERVIEW INSTRUCTIONS

Review the interview guidelines and Cadet Interview Form and become familiar with the material prior toconducting the interview.

Review the cadet’s completed Qualification Record and related assessment instruments as well as thecompleted Cadet Interview Form, Sections 1 and 2.

Schedule interviews to allow approximately 10–15 minutes per cadet.

PRE-INTERVIEW ASSIGNMENT

Have the cadets review the personal goals they established at the beginning of the course and come to theinterview prepared to discuss their success in reaching those goals. Have cadets think about their personalgoals for returning to their corps/squadron.

CONDUCT OF FINAL INTERVIEW

PURPOSE

The purpose of the final interview is to discuss the completed Qualification Record, the cadet’s goals that werediscussed during the initial interview, and new goals for returning to the corps/squadron.

RESOURCES

Cadet Interview Form,

Pen/pencil, and

Suitable interview location.

INTERVIEW LAYOUT

Set up the interview location so that both the cadet and the interviewer will be comfortable.


3D-3

INTERVIEW INSTRUCTIONS






1. Ask the cadet questions on the Cadet Interview Form, Section 3.

2. Provide the cadet with a copy of their completed Qualification Record and discuss their learning progresstoward course objectives.

3. Ask the cadet the remaining questions on the form.

4. Have the cadet sign the Cadet Interview Form.

5. Sign the Cadet Interview Form.

POST-INTERVIEW INSTRUCTIONS

Ensure the Cadet Certificate of Qualification, CF 558 (NSN 7530-21-870-7685), is awarded to each cadet uponsuccessful completion of the qualification.

Ensure the completed Qualification Record for each cadet is forwarded to the applicable corps/squadron,through the appropriate chain of command.



3D-4

A-CR-CCP-906/PG-001Chapter 3, Annex D, Appendix 1

3D1-1

CADET INTERVIEW FORM

SECTION 1 – CADET PARTICULARS

Surname:

Name:

Course:

Division/Platoon/Flight:

Corps/Squadron:

Rank:

SECTION 2 – INITIAL INTERVIEW

1. What are your expectations for the course?

2. Do you have any questions of curiosity about the course objectives,schedule and/or assessment of learning activities?

3. What course activities do you enjoy most?

4. What are your strengths?

5. What are some areas you would like to improve during the course?What personal goals would you like to establish while on course?

6. Do you have any medical conditions/allergies that course staffshould be aware of?

ADDITIONAL COMMENTS

Cadet’s Signature:

Div O/Pl Comd/Flt Comd Signature: Date:


3D1-2

SECTION 3 – FINAL INTERVIEW

1. How did you enjoy the course? 2. What were some of your likes and dislikes about the trainingactivities?Likes: Dislikes: 3. How can you apply what you have learned on this course at yourhome corps/squadron? 4. What are some new personal goals you will establish upon returningto the corps/squadron? 5. What training opportunities are you interested in next summer?

ADDITIONAL COMMENTS


Div O/Pl Comd/Flt Comd Signature: Date:

A-CR-CCP-906/PG-001Chapter 3, Annex E

3E-1

TRAINING COUNSELLING SESSION GUIDELINES

PREPARATION

PRE-COUNSELLING SESSION INSTRUCTIONS

Review the counselling instructions and Training Counselling Session Form and become familiar with thematerial prior to conducting the training counselling session.

CONDUCT OF TRAINING COUNSELLING SESSION

PURPOSE

The purpose of the Training Counselling Session is to formally meet with a cadet who is having difficultyachieving and/or maintaining qualification standards and to create an action plan to assist this cadet.

RESOURCES

Training Counselling Session Form,

Pen/pencil, and

Suitable boardroom.

COUNSELLING SESSION LAYOUT

Set up a table with chairs for the cadet and the staff.

COUNSELLING SESSION INSTRUCTIONS






1. Have the cadet enter the room.

2. Inform the cadet of the situation; the cadet is not achieving and/or maintaining qualification standards

3. Determine the following:

a. the seriousness of the failure,

b. areas of difficulty,

c. exceptional circumstances affecting the training progress,

d. the behaviour of the cadet,

e. the effort and motivation of the cadet, and

f. whether or not sufficient training support was provided.

A-CR-CCP-906/PG-001Chapter 3, Annex E

3E-2

4. Create an action plan with the cadet that addresses the reasons for the failure and the action the cadetshould take to be successful.

The action plan must be achievable for the cadet, address the reasons for the failure andprovide the cadet with guidelines on the action they must take to be successful.

5. Brief the cadet on the consequences should no improvement be noticed.

6. Have the cadet sign the Training Counselling Form.

7. Sign the Training Counselling Form.

POST-COUNSELLING INSTRUCTIONS

Provide a recommendation to the cadet’s staff. The outcome of a training counselling session can lead to thefollowing:

1. recommend continued training with further counselling and retesting following additional instruction;

2. recommend continued training with further counselling and retesting following additional practice; or

3. recommend a Training Review Board.

A-CR-CCP-906/PG-001Chapter 3, Annex E, Appendix 1

3E1-1

TRAINING COUNSELLING SESSION FORM

SECTION 1 – CADET PERS INFORMATION

Surname:

Name:

CSTC:

Course:


Corps/Squadron:

Circumstances requiring TCS convening:

SECTION 2 – SESSION FINDINGS

(To include training progression to date, effort and motivation of cadet, training support provided,exceptional circumstances, etc)

Seriousness of failure:

Performance in related POs:

Previous difficulties and action taken:

Overall course performance:

Exceptional circumstances affecting training progress:

Assessment of the cadet’s conduct:

A-CR-CCP-906/PG-001Chapter 3, Annex E, Appendix 1

3E1-2

SECTION 3 – SESSION RECOMMENDATIONS (ACTION PLAN)

Continued training with further counselling and retesting following additionalinstruction.

Continued training with further counselling and retesting following additionalpractice.

Training Review Board (TRB).


DO/Pl Comd/Flt Comd Signature: Date:

SECTION 4 – Crse O REVIEW

I agree with the above recommendation.

I disagree with the above recommendation.

Reasons:

Alternate course of action:

Crse O Signature: Date:

A-CR-CCP-906/PG-001Chapter 3, Annex F

3F-1

TRAINING REVIEW BOARD (TRB) GUIDELINES

PREPARATION

PRE-TRB INSTRUCTIONS

Review the TRB instructions and Training Review Board Form in Appendix 1 and become familiar with thematerial prior to conducting the TRB.

CONDUCT OF TRB

PURPOSE

The purpose of the TRB is to determine the feasibility of continuing the cadet’s training.

RESOURCES

Training Review Board Form,

Pen/pencil, and

Suitable boardroom.

TRB INSTRUCTIONS

1. Discuss the following:

a. progression of training to date,

b. seriousness of failure,

c. performance in related POs,

d. overall course performance,

e. behaviour assessment of the cadet,

f. effort and motivation of the cadet,

g. whether or not sufficient training support was provided, and

h. exceptional circumstances affecting training progression.

The action plan must be achievable for the cadet, address the reasons for the failure andprovide the cadet with guidelines on the action they must take to be successful.

2. Have the cadet sign the Training Review Board Form.

3. Sign the Training Review Board Form.

POST-TRB INSTRUCTIONS

1. Provide a recommendation to the XO/DCO. Possible outcomes of a TRB are:

a. a recommendation of continued training with further counselling and/or a retest following additionalinstruction/practice;

A-CR-CCP-906/PG-001Chapter 3, Annex F

3F-2

b. a recommendation of continued training with a suitable arrangement agreed to by the boardmembers that is in the best interest of all parties; or

c. a recommendation of RTU to the Commanding Officer.

2. Sections 5 and 6 will be completed in cases where RTU is recommended.

A-CR-CCP-906/PG-001Chapter 3, Annex F, Appendix 1

3F1-1

TRAINING REVIEW BOARD FORM

SECTION 1 – CADET PERS INFORMATION

Surname:

Name:

CSTC:

Course:


Corps/Squadron:

Circumstances requiring TRB convening:

SECTION 2 – BOARD MEMBERS (NAME AND RANK)

Dept Head/Coy Comd/Sqn Comd:

Stds Officer:

Crse O:

SECTION 3 – BOARD FINDINGS

(To include training progression to date, effort and motivation of cadet, training support provided,exceptional circumstances, etc)

Seriousness of failure:

Performance in related POs:

Previous difficulties and action taken:

Overall course performance:

Exceptional circumstances affecting training progress:

Assessment of the cadet’s conduct:


3F1-2

SECTION 4 – BOARD RECOMMENDATIONS

Recommendation to the Commanding Officer for:

Continued training with further counselling and/or additional training and anassessment.

Other:

Recommendation to the Commanding Officer for:

Unsatisfactory Performance, if the cadet is unlikely to meet the requiredstandard for the course and there is no developmental benefit for the cadet toremain with the course (eg, lack of effort, too far behind, etc).

Disciplinary reasons if the cadet’s behaviour is unacceptable. Comments:

Crse O Signature:

Stds O Signature:

Dept Head/Coy Comd/Sqn Comd Signature: Date:

SECTION 5 – EXECUTIVE OFFICE (XO)/DEPUTY COMMANDING OFFICER (DCO) RECOMMENDATIONS



Reason:


XO/DCO Signature: Date:


3F1-3

SECTION 6 – COMMANDING OFFICER DECISION



Reason:


CO Signature: Date:



3F1-4

A-CR-CCP-906/PG-001

4-1-1

CHAPTER 4PERFORMANCE OBJECTIVES

SECTION 1PERFORMANCE OBJECTIVES (POs), TRAINING PLAN AND ON-THE-JOB TRAINING (OJT)

PURPOSE

1. The purpose of this chapter is to outline the specific POs, Training Plan and OJT associated with theMilitary Band – Advanced Musician qualification.

PERFORMANCE OBJECTIVES

2. POs are a description of the cadet’s ability after training is complete. They include a description, inperformance terms, of what the individual must do, the conditions under which the performance must becompleted, and the standard to which the performance must conform. These three elements are respectivelydefined as:

a. a performance statement,

b. a conditions statement, and

c. a standard.

TRAINING PLAN

3. This chapter also details the training plan that is designed to assist cadets to achieve the requiredPOs using Enabling Objectives (EOs) and Lesson Specifications (LS) that are the key reference used fordevelopment of A-CR-CCP-906/PF-001.

ENABLING OBJECTIVES

4. EOs are a description of the cadet’s ability after each unit of learning is complete and constitute a majorstep toward achieving the PO. EOs may correspond to the major components identified in the first round ofdeconstructing POs or they may result from grouping several related components. They are composed of threeessential parts:

a. a performance statement,

b. a conditions statement, and

c. a standard.

LESSON SPECIFICATIONS

5. LSs describe the instructional strategy to be applied to each EO, and include:

a. supporting teaching points;

b. references;

c. learning activities (methods, media and environment);

d. estimated timings;

e. assessment directions; and

f. any remarks that further clarify the design intent.

A-CR-CCP-906/PG-001

4-1-2

INSTRUCTIONAL METHODOLOGIES AND THEIR APPLICATION

6. General information including age-appropriateness, definition, application, advantages anddisadvantages for the various methods of instruction commonly accepted as appropriate for cadet training arelocated at Annex A.

ASSESSMENT FOR LEARNING

7. Formative evaluation, or assessment for learning, takes place during a phase of instruction and helpscadets and instructors recognize progress or lapses in learning. These assessments can also provide cadetswith opportunities to practice PCs. This helps to diagnose cadet needs, eg, corrective action or remedialinstruction, plan the next steps in instruction and provide cadets with feedback they can use to improve. It alsoreinforces learning so that it can be retained longer. Details for Military Band – Advanced Musician assessmentfor learning are outlined within the applicable lesson specifications located in this chapter.

OJT – OVERVIEW

8. OJT is a structured yet flexible aspect of training intended to provide the cadet with practical opportunities,outside of their peer group training, to continue developing knowledge and skills in the areas of leadership andinstructional techniques.

9. The OJT for Military Band – Advanced Musician will consist of the following three components:

a. Divisional Petty Officer (DPO)/Platoon Warrant Officer (Pl WO)/Flight Sergeant (FSgt) Duties –one training day,

b. Perform the Duties of an Advanced Musician – eight periods, and

c. Military Band Performances – eight periods.

10. Infusing these OJT experiences into each specialty qualification course provides the cadet with anauthentic and challenging leadership and instructional experience which better prepares them to perform theseduties and apply their specialty knowledge and skills at the corps/squadron and at the CSTC during potentialstaff cadet advanced training opportunities.

11. Although there will be no assessment of learning programmed for these components of OJT, some PCsmay be completed during the time allocated to the specialty component of OJT. In such cases, the details areprovided in the associated assessment instructions and instruments located at Chapter 3, Annex B.

OJT – DPO/Pl WO/FSgt DUTIES

12. This component of OJT is intended to provide the cadet with a practical experience that reinforces andbuilds on the knowledge and skills related to leadership and instructional techniques. Details for this componentof OJT are located at Annex B.

OJT – MILITARY BAND PERFORMANCES

13. This component of OJT is intended to provide the cadets with a practical outlet for demonstration of theskills and music proficiency unique to their specialty. Although it is not possible to standardize this practicalexperience for each cadet, details for this component of OJT, including a list of possible performance outletsare located at Annex C.

OJT – PERFORM THE DUTIES OF AN ADVANCED MUSICIAN

14. This component of OJT is intended to provide the cadets with a practical outlet for demonstration of theskills, leadership, and music proficiency unique to their specialty. Although it is not possible to standardize this

A-CR-CCP-906/PG-001

4-1-3

practical experience for each cadet, details for this component of OJT, including a list of possible performanceoutlets are located at Annex D.

A-CR-CCP-906/PG-001


4-1-4

A-CR-CCP-906/PG-001

4-2-1

SECTION 2PO S313 – MAINTAIN A PRIMARY INSTRUMENT

1. Performance Objective. The following instrument maintenance POs are detailed in A-CR-CCP-910/PG-001:

a. PO 313W – Maintain a Primary Woodwind Instrument,

b. PO 313B – Maintain a Primary Brass Instrument, and

c. PO 313P – Maintain a Primary Percussion Instrument.

2. Enabling Objective. The following instrument maintenance EOs are located in this section:

a. EO SAM13.01W – Maintain a Primary Woodwind Instrument,

b. EO SAM13.01B – Maintain a Primary Brass Instrument,

c. EO SAM13.01P – Maintain a Primary Percussion Instrument, and

d. EO SAM13.02 – Describe Military Band Instrument Maintenance.

A-CR-CCP-906/PG-001

4-2-2

EO SAM13.01W – MAINTAIN A PRIMARY WOODWIND INSTRUMENT

1. Performance. Maintain a Primary Woodwind Instrument.

2. Conditions

a. Given:

(1) Primary instrument,

(2) Crochet hook (or similar tool),

(3) Woodwind instrument with a popped spring,

(4) Supervision, and

(5) Assistance as required.

b. Denied: N/A.

c. Environmental: Classroom or training area large enough to accommodate the entire group.

3. Standard. The cadet shall maintain a primary woodwind instrument by resetting a popped spring.

4. Teaching Points

TP Description Method Time Ref

TP1 Have the cadets identify items in an instrumentmaintenance kit.

In-ClassActivity

10 min C0-276 (pp. 2–10)C0-326C0-332 (p. 24)

TP2 Explain, demonstrate and have the cadets reseta popped spring.

DemonstrationandPerformance

25 min

5. Time

a. Introduction/Conclusion: b. In-Class Activity: c. Demonstration and Performance: d. Total:

5 min10 min25 min40 min

6. Substantiation

a. An in-class activity was chosen for TP 1 as it is an interactive way to stimulate interest among thecadets while identifying the items in a maintenance kit.

b. A demonstration and performance was chosen for TP 2 as it allows the instructor to explain anddemonstrate resetting a popped spring while providing an opportunity for the cadets to practicethis skill under supervision.

A-CR-CCP-906/PG-001

4-2-3

7. References

a. C0-276 (ISBN 0-88284-075-4) Stanley, B. (1978). Instrument Repair for the Music Teacher. VanNuys, CA: Alfred Publishing Co., Inc.

b. C0-326 Yamaha. (n.d.). Woodwinds Frequent Maintenance. Retrieved September 30, 2008, fromhttp://www.yamaha.co.jp/english/product/winds/product/others/access/wood–fm/main.htm.

c. C0-332 Bailey, D. (n.d.). Band Instrument Repair: Basic Repair Procedures. Retrieved October 1,2008, from http://www.davidbaileymusicstudio.com/pdf/RepairProceduresHandbook.pdf.

8. Training Aids

a. Woodwind instruments,

b. Woodwind instrument with a popped spring,

c. Instrument maintenance kit, and

d. Crochet hook (or similar tool).

9. Learning Aids

a. Primary instrument,

b. Woodwind instrument with a popped spring, and

c. Crochet hook (or similar tool).

10. Test Details. This EO is assessed IAW Chapter 3, Annex B.

11. Remarks

a. TP 1 of this EO shall be taught with TP 1 of EO SAM13.01B (Maintain a Primary Brass Instrument),and EO SAM13.01P (Maintain a Primary Percussion Instrument).

b. Scheduling of this EO should happen concurrently with EO SAM13.01B (Maintain a Primary BrassInstrument), and EO SAM13.01P (Maintain a Primary Percussion Instrument).

c. The instrument maintenance kit should contain the following items:

(1) Mouthpiece brush,

(2) Flexible cleaner,

(3) Valve brush,

(4) Mouthpiece puller,

(5) Valve oil,

(6) Slide oil,

(7) Slide grease,

(8) Slide cream,

(9) Water key cork,

(10) Tonehole cleaners,

A-CR-CCP-906/PG-001

4-2-4

(11) Pad papers,

(12) Drum key,

(13) Screwdriver,

(14) Wrench,

(15) Snare cord,

(16) Sandpaper,

(17) Wing nuts,

(18) Glue gun,

(19) Low temperature glue sticks,

(20) Crochet hook,

(21) Cleaning rod, and

(22) Rotary valve oil.

A-CR-CCP-906/PG-001

4-2-5

EO SAM13.01B – MAINTAIN A PRIMARY BRASS INSTRUMENT

1. Performance. Maintain a Primary Brass Instrument.

2. Conditions

a. Given:


(2) Water key cork,

(3) Low temperature glue stick,

(4) Glue gun,



b. Denied: N/A.


3. Standard. The cadet shall maintain a primary brass instrument by replacing a water key cork.

4. Teaching Points



In-ClassActivity

10 min C0-276 (pp. 2–10)C0-327C0-332 (p. 24)

TP2 Explain, demonstrate and have the cadetsreplace a water key cork.


25 min C0-303 (p. 341)C0-332 (p. 4,p. 12)

5. Time



6. Substantiation


b. A demonstration and performance was chosen for TP 2 as it allows the instructor to explain anddemonstrate replacing a water key cork while providing an opportunity for the cadets to practicereplacing a water key cork under supervision.

A-CR-CCP-906/PG-001

4-2-6

7. References


b. C0-303 (ISBN 0-495-09575-3) Whitener, S. (2007). A Complete Guide to Brass (3rd ed). Belmont,CA: Thomson Higher Education.

c. C0-327 Yamaha. (n.d.). Brass Frequent Maintenance. Retrieved September 30, 2008, from http://www.yamaha.co.jp/english/product/winds/product/others/access/brass_fm/main.htm.

d. C0-332 Bailey, D. (n.d.). Band Instrument Repair: Basic Repair Procedures. Retrieved October 1,2008, from http://www.davidbaileymusicstudio.com/pdf/RepairProceduresHandbook.pdf.

8. Training Aids

a. Brass instruments,

b. Instrument maintenance kit,

c. Water key cork,

d. Low temperature glue stick, and

e. Glue gun.

9. Learning Aids


b. Water key cork,

c. Low temperature glue stick, and

d. Glue gun.


11. Remarks

a. TP1 of this EO may be taught with TP1 of EO SAM13.01W (Maintain a Primary WoodwindInstrument), and EO SAM13.01P (Maintain a Primary Percussion Instrument).

b. Scheduling of this EO should happen concurrently with EO SAM13.01W (Maintain a PrimaryWoodwind Instrument), and EO SAM13.01P (Maintain a Primary Percussion Instrument).




(3) Valve brush,


(5) Valve oil,

(6) Slide oil,

(7) Slide grease,

A-CR-CCP-906/PG-001

4-2-7

(8) Slide cream,

(9) Water key cork,


(11) Pad papers,

(12) Drum key,

(13) Screwdriver,

(14) Sandpaper,

(15) Wrench,

(16) Snare cord,

(17) Wing nuts,

(18) Glue gun,


(20) Crochet hook,



A-CR-CCP-906/PG-001

4-2-8

EO SAM13.01P – MAINTAIN A PRIMARY PERCUSSION INSTRUMENT

1. Performance. Maintain a Primary Percussion Instrument.

2. Conditions

a. Given:


(2) Snare drum batter head,

(3) Drum key,

(4) Sandpaper,

(5) Screwdriver,



b. Denied: N/A.


3. Standard. The cadet shall maintain a primary percussion instrument by tuning a snare drum batter head.

4. Teaching Points



In-ClassActivity

10 min C0-276 (pp. 2–10)C0-326C0-332 (p. 24)

TP2 Explain, demonstrate and have the cadetsreplace a snare drum batter head by:a. removing the old or broken head;b. cleaning the inside and outside of the

drum;c. cleaning the lugs and tension rods;d. sanding the top edge of the shell if needed;e. lubricating the tension rods;f. checking the roundness of the shell and

the new rim;g. placing the lubricated tension rods in place;

andh. tightening lugs.


15 min C0-302 (p. 18)C0-330

TP3 Explain, demonstrate and have the cadets tune asnare drum.


10 min C0-302 (p. 18)(pp. 27–28)

A-CR-CCP-906/PG-001

4-2-9

5. Time



6. Substantiation


b. A demonstration and performance was chosen for TPs 2 and 3 as it allows the instructor to explainand demonstrate replacing a snare drum batter head and tuning a snare drum while providing anopportunity for the cadets to practice these skills under supervision.

7. References


b. C0-302 (ISBN 0-534-50990-8) Cook, G. (2006). Teaching Percussion. Belmont, CA: ThomsonHigher Education.

c. C0-326 Yamaha. (n.d.). Woodwinds Frequent Maintenance. Retrieved September 30, 2008, fromhttp://www.yamaha.co.jp/english/product/winds/product/others/access/wood–fm/main.htm.

d. C0-330 Okamoto, G. (2002). How to Replace and Adjust Snares. Retrieved October 1, 2008, fromhttp://www.pearldrum.com/2002_techspeak/snares.asp.

e. C0-332 Bailey, D. (n.d.). Band Instrument Repair: Basic Repair Procedures. Retrieved October 1,2008, from http://www.davidbaileymusicstudio.com/pdf/RepairProceduresHandbook.pdf.

8. Training Aids

a. Snare drum,

b. Instrument maintenance kit, and

c. Snare drum batter head.

9. Learning Aids


b. Drum key,

c. Sandpaper,

d. Screwdriver, and

e. Snare drum batter head.


A-CR-CCP-906/PG-001

4-2-10

11. Remarks

a. TP 1 of this EO shall be taught with TP 1 of EO SAM13.01W (Maintain a Primary WoodwindInstrument) and EO SAM13.01B (Maintain a Primary Brass Instrument).

b. Scheduling of this EO should happen concurrently with TP 1 of EO SAM13.01W (Maintain a PrimaryWoodwind Instrument) and EO SAM13.01B (Maintain a Primary Brass Instrument).




(3) Valve brush,


(5) Valve oil,

(6) Slide oil,

(7) Slide grease,

(8) Slide cream,

(9) Water key cork,


(11) Pad papers,

(12) Drum key,

(13) Screwdriver,

(14) Wrench,

(15) Snare cord,

(16) Sandpaper,

(17) Wing nuts,

(18) Crochet hook,


(20) Glue gun,



A-CR-CCP-906/PG-001

4-2-11

EO SAM13.02 – DESCRIBE MILITARY BAND INSTRUMENT MAINTENANCE

1. Performance. Describe Military Band Instrument Maintenance.

2. Conditions

a. Given:

(1) Woodwind instruments,

(2) Brass instruments,

(3) Percussion instruments,

(4) Maintenance kit,

(5) Snare drum batter head,

(6) Instrument maintenance handout,



b. Denied: N/A.


3. Standard. The cadet shall describe:

a. woodwind instrument maintenance, to include:

(1) greasing cork joints;

(2) putting the instrument together;

(3) swabbing the instrument;

(4) removing residue from a pad;

(5) resetting a popped spring;

(6) cleaning the exterior of the instrument with a cloth;

(7) taking the instrument apart; and

(8) storing the instrument;

b. brass instrument maintenance, to include:

(1) putting the instrument together;

(2) lubricating moving parts;

(3) removing water from the instrument;

(4) cleaning the interior of the instrument with a cleaning snake;

(5) removing a stuck mouthpiece using a mouthpiece puller;

(6) replacing a water key cork;

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(7) cleaning the exterior of the instrument with a cloth;

(8) taking the instrument apart; and

(9) storing the instrument;

c. percussion instrument maintenance, to include:

(1) turning snares on and off;

(2) adjusting a snare on a snare drum;

(3) replacing a snare drum batter head;

(4) tuning a snare drum head;

(5) cleaning the drumhead and mallet percussion instrument with a cloth; and

(6) storing the instrument; and

d. repair options.

4. Teaching Points


TP1 Conduct an activity where the cadets will rotatethrough learning stations on woodwind, brassand percussion instruments to:a. name parts of instruments; andb. describe basic maintenance techniques for

each instrument.

In-ClassActivity

65 min C0-250 (p. 44,p. 110, p. 159,p. 199, p. 240)C0-276 (pp. 2–10, pp. 104–105, pp. 128–131)C0-302 (p. 18,p. 27)C0-303(pp. 336–339,p. 340, p. 341)C0-326C0-327C0-330C0-331C0-332 (p. 4,p. 7, p. 12,p. 19, p. 20,p. 22, p. 24)

TP2 Describe repair options. InteractiveLecture

5 min

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4-2-13

5. Time

a. Introduction and Conclusion:b. In-Class Activity: c. Interactive Lecture: d. Total:

10 min65 min

5 min80 min

6. Substantiation

a. An in-class activity was chosen for TP 1 as it is an interactive way to stimulate interest in instrumentmaintenance among the cadets.

b. An interactive lecture was chosen for TP 2 to introduce repair options to the cadets.

7. References

a. C0-250 (ISBN 0-697-04392-4) Westphal, F. W. (1990). Guide to Teaching Woodwinds (5th ed.).Sacramento, CA: McGraw-Hill.

b. C0-276 (ISBN 0-88284-075-4) Stanley, B. (1978). Instrument Repair for the Music Teacher. VanNuys, CA: Alfred Publishing Co., Inc.

c. C0-302 (ISBN 0-534-50990-8) Cook, G. (2006). Teaching Percussion. Belmont, CA: ThomsonHigher Education.

d. C0-303 (ISBN 0-495-09575-3) Whitener, S. (2007). A Complete Guide to Brass (3rd ed.). Belmont,CA: Thomson Higher Education.

e. C0-326 Yamaha. (n.d.). Woodwinds Frequent Maintenance. Retrieved September 30, 2008, fromhttp://www.yamaha.co.jp/english/product/winds/product/others/access/wood–fm/main.htm.

f. C0-327 Yamaha. (n.d.). Brass Frequent Maintenance. Retrieved September 30, 2008, from http://www.yamaha.co.jp/english/product/winds/product/others/access/brass_fm/main.htm.

g. C0-330 Okamoto, G. (2002). How to Replace and Adjust Snares. Retrieved October 1, 2008, fromhttp://www.pearldrum.com/2002_techspeak/snares.asp.

h. C0-331 Bailey, D. (n.d.). Musical Instrument Repair Terminology. Retrieved October 1, 2008, fromhttp://www.davidbaileymusicstudio.com/repairdefs.html.

i. C0-332 Bailey, D. (n.d.). Band Instrument Repair: Basic Repair Procedures. Retrieved October 1,2008, from http://www.davidbaileymusicstudio.com/pdf/RepairProceduresHandbook.pdf.

8. Training Aids

a. Presentation aids (eg, whiteboard/flip chart/OHP/multimedia projector) appropriate for theclassroom/training area,

b. Maintenance kit,

c. Woodwind instruments, to include:

(1) flute,

(2) clarinet,

(3) oboe,

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(4) bassoon, and

(5) saxophone;

d. Brass instruments, to include:

(1) trumpet,

(2) French horn,

(3) trombone,

(4) euphonium, and

(5) tuba; and

e. Percussion instruments, to include:

(1) snare drum, and

(2) glockenspiel.

9. Learning Aids

a. Woodwind instruments,

b. Brass instruments,

c. Percussion instruments,

d. Maintenance kit,

e. Snare drum batter head, and

f. Instrument maintenance handout.

10. Test Details. N/A.

11. Remarks

a. Cadets should be used as assistant instructors when discussing their primary instrument.

b. This EO shall be scheduled as two consecutive periods.

c. For this EO there will be three learning stations. Learning stations will focus on woodwind, brassand percussion instruments.

d. The instrument maintenance kit should contain the following items:



(3) Valve brush,


(5) Valve oil,

(6) Slide oil,

(7) Slide grease,

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(8) Slide cream,

(9) Water key cork,


(11) Pad papers,

(12) Drum key,

(13) Screwdriver,

(14) Wrench,

(15) Snare cord,

(16) Sandpaper,

(17) Wing nuts,

(18) Crochet hook,


(20) Glue gun,



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4-3-1

SECTION 3PO S315 – APPLY MUSIC THEORY

1. Performance Objective. PO 315 (Apply Music Theory) is detailed in A-CR-CCP-910/PG-001.

2. Enabling Objective. The following music theory EOs are located in this section:

a. EO S315.01 – Review Music Proficiency Level Two Theory,

b. EO S315.02 – Transpose a Melody by an Octave,

c. EO S315.03 – Write Melodic Minor Scales,

d. EO S315.04 – Analyze a Piece of Music,

e. EO S315.05 – Write Intervals,

f. EO S315.06 – Write Major and Minor Chords,

g. EO S315.07 – Define Music Symbols and Terms, and

h. EO S315.08 – Review Music Proficiency Level Three Theory.

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EO S315.01 – REVIEW MUSIC PROFICIENCY LEVEL TWO THEORY

1. Performance. Review Music Proficiency Level Two Theory.

2. Conditions

a. Given:

(1) Manuscript paper,

(2) Pencil with eraser,



b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Two theory, to include:

a. identifying degrees of a scale;

b. recognizing rhythm, to include:

(1) triplets, and

(2) compound time signatures;

c. writing scales, to include:

(1) relative minor of a major scale,

(2) natural minor scales by tone – semitone structure, and

(3) harmonic minor scales by tone – semitone structure;

d. writing scales using key signatures;

e. naming intervals by distance;

f. analyzing a piece of music, to include:

(1) the circle of fifths, and

(2) the key of a piece from the key signature; and

g. defining the following symbols and terms:

(1) allegretto,

(2) poco,

(3) poco a poco,

(4) piu,

(5) piu mosso,

(6) adagio,

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(7) andante,

(8) lento,

(9) presto,

(10) tenuto, and

(11) vivace.

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Two theory review activity.

5. Time

a. Introduction/Conclusion: b. In-Class Activity: c. Total:

5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Two.

7. References

a. C0-257 (ISBN 1-55440-011-2) Wharram, B. (2005). Elementary Rudiments of Music. Mississauga,ON: The Frederick Harris Music Co.

b. C0-319 (ISBN 0-88284-951-4) Surmani, A., Surmani, K., & Manus, M. (1998). Alfred’s CompleteEssentials of Music Theory. USA: Alfred Publishing Co.

8. Training Aids


b. Review questions, or

c. Music Proficiency Level Two Theory Assessment.

9. Learning Aids

a. Theory review sheet,

b. Manuscript paper,

c. Pencil with eraser, or

d. Music Proficiency Level Two Theory Assessment.


11. Remarks. This EO shall be scheduled as two consecutive periods.

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EO S315.02 – TRANSPOSE A MELODY BY AN OCTAVE

1. Performance. Transpose a Melody by an Octave.

2. Conditions

a. Given:



(3) Sheet music,

(4) Paper copy of a keyboard,



b. Denied: N/A.


3. Standard. The cadet shall transpose a melody up and down by an octave using the appropriate clef.

4. Teaching Points


TP1 Define transposition by an octave, to include:a. how to find an octave, andb. when to change clefs.

InteractiveLecture

5 min C0-257(pp. 213–214)

TP2 Explain and demonstrate how to transpose amelody by an octave.

Demonstration 10 min C0-257(pp. 213–214)

TP3 Have the cadets transpose melodies up anddown by an octave.

PracticalActivity

20 min

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Demonstration: d. Practical Activity: e. Total:

5 min5 min

10 min20 min40 min

6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce transposition by an octave to the cadets.

b. A demonstration was chosen for TP 2 as it allows the instructor to explain and demonstratetransposing a melody by an octave.

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c. A practical activity was chosen for TP 3 as it is an interactive way to have the cadets practicetransposing melodies by an octave in a fun and challenging way.

7. References. C0-257 (ISBN 1-55440-011-2) Wharram, B. (2005). Elementary Rudiments of Music.Mississauga, ON: The Frederick Harris Music Co.

8. Training Aids

a. Presentation aids (eg, whiteboard/flip chart/OHP/multimedia projector) appropriate for theclassroom/training area, and

b. Sheet music.

9. Learning Aids

a. Paper copy of a keyboard,

b. Sheet music,

c. Pencil with eraser, and

d. Manuscript paper.


11. Remarks. N/A.

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EO S315.03 – WRITE MELODIC MINOR SCALES

1. Performance. Write Melodic Minor Scales.

2. Conditions

a. Given:






b. Denied: N/A.


3. Standard. The cadet shall:

a. write melodic minor scales using the tone-semitone pattern; and

b. write melodic minor scales using a key signature.

4. Teaching Points


TP1 Define a melodic minor scale. InteractiveLecture

5 min C0-257 (p. 38)

TP2 Explain the tone-semitone pattern of a melodicminor scale.

InteractiveLecture

5 min C0-257 (p. 38)

TP3 Explain, demonstrate and have the cadets writemelodic minor scales using the tone-semitonepattern.


10 min C0-257 (p. 38)

TP4 Have the cadets write melodic minor scales usinga key signature.

PracticalActivity

15 min C0-257(pp. 38–42)

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Demonstration and Performance: d. Practical Activity: e. Total:

5 min10 min10 min15 min40 min

6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to introduce melodic minor scales to the cadets.

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b. A demonstration and performance was chosen for TP 3 as it allows the instructor to explainand demonstrate writing melodic minor scales, using the tone-semitone structure, while providingan opportunity for the cadets to practice writing melodic minor scales, using the tone-semitonestructure under supervision.

c. A practical activity was chosen for TP 4 as it is an interactive way to have the cadets practice writingmelodic minor scales in a fun and challenging way.


8. Training Aids


b. Keyboard or other melodic instrument.

9. Learning Aids


b. Scales worksheet,




11. Remarks. N/A.

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4-3-8

EO S315.04 – ANALYZE A PIECE OF MUSIC

1. Performance. Analyze a Piece of Music.

2. Conditions

a. Given:

(1) Sheet music,




b. Denied: N/A.


3. Standard. The cadet shall analyze a piece of music by:

a. identifying the key signature;

b. identifying the starting and ending pitches;

c. identifying accidentals in the piece of music; and

d. identifying the key of the piece of music as either major or minor.

4. Teaching Points


TP1 Explain how to determine possible keys of apiece of music based on the key signature.

InteractiveLecture

5 min C0-257(pp. 206–208)

TP2 Explain how to determine if a piece of music ismajor or minor based on:a. starting and ending pitches, andb. the use of accidentals.

InteractiveLecture

10 min C0-257(pp. 206–208)

TP3 Have the cadets analyze a piece of music todetermine if the key is major or minor.

PracticalActivity

20 min C0-257(pp. 206–208)

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Practical Activity: d. Total:


6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to introduce analyzing a piece of music to thecadets.

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b. A practical activity was chosen for TP 3 as it is an interactive way to have the cadets practiceanalyzing a piece of music in a fun and challenging way.


8. Training Aids


b. Sheet music.

9. Learning Aids

a. Sheet music,

b. Pencil with eraser, and

c. Manuscript paper.


11. Remarks. N/A.

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EO S315.05 – WRITE INTERVALS

1. Performance. Write Intervals.

2. Conditions

a. Given:






b. Denied: N/A.


3. Standard. The cadet shall write intervals above a given note, to include:

a. major,

b. minor,

c. perfect,

d. augmented, and

e. diminished.

4. Teaching Points


TP1 Describe qualities of intervals, to include:a. diatonic intervals, to include:

(1) major, and(2) perfect; and

b. chromatic intervals, to include:(1) minor,(2) augmented, and(3) diminished.

InteractiveLecture

10 min C0-319(pp. 56–58)

TP2 Have the cadets identify the quality of a giveninterval on a staff.

PracticalActivity

10 min C0-319(pp. 56–58)

TP3 Have the cadets write intervals above a givennote.

PracticalActivity

15 min C0-319(pp. 56–58)

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5. Time



6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce the quality of intervals to the cadets.

b. A practical activity was chosen for TPs 2 and 3 as it is an interactive way to have the cadets practicerecognizing and writing intervals in a fun and challenging way.

7. References. C0-319 (ISBN 0-88284-951-4) Surmani, A., Surmani, K., & Manus, M. (1998). Alfred’sComplete Essentials of Music Theory. USA: Alfred Publishing Co.

8. Training Aids. Presentation aids (eg, whiteboard/flip chart/OHP/multimedia projector) appropriate forthe classroom/training area.

9. Learning Aids

a. Interval worksheet,



d. Paper copy of a keyboard.


11. Remarks. N/A.

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4-3-12

EO S315.06 – WRITE MAJOR AND MINOR CHORDS

1. Performance. Write Major and Minor Chords.

2. Conditions

a. Given:






b. Denied: N/A.


3. Standard. The cadet shall write major and minor chords in root position.

4. Teaching Points


TP1 Define a major chord as a triad consisting of amajor third and a perfect fifth.

InteractiveLecture

5 min C0-257 (p. 146)C0-319 (p. 75)

TP2 Define a minor chord as a triad consisting of aminor third and a perfect fifth.

InteractiveLecture

5 min C0-257 (p. 146)C0-319 (p. 92)

TP3 Have the cadets identify major and minor chordsin root position.

PracticalActivity

15 min

TP4 Have the cadets write major and minor chords inroot position.

PracticalActivity

10 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to introduce the subject of major and minorchords to the cadets.

b. A practical activity was chosen for TPs 3 and 4 as it is an interactive way to have the cadets practiceidentifying and writing major and minor chords in a fun and challenging setting.

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7. References



8. Training Aids


b. Keyboard or other melodic instrument.

9. Learning Aids


b. Worksheet on scales,




11. Remarks. N/A.

A-CR-CCP-906/PG-001

4-3-14

EO S315.07 – DEFINE MUSIC SYMBOLS AND TERMS

1. Performance. Define Music Symbols and Terms.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet shall define the following music symbols and terms:

a. simple time signatures,

b. compound time signatures,

c. maestoso,

d. animato,

e. con,

f. con moto,

g. espressivo,

h. leggiero,

i. meno mosso,

j. molto,

k. non,

l. non troppo,

m. tranquillo, and

n. troppo.

4. Teaching Points. Supervise the cadets as they participate in a jigsaw learning activity:

a. Brief the cadets prior to the start of the activity, to include:

(1) an explanation of the objective of the activity, and

(2) the directions to perform a jigsaw activity.

b. Allow time to complete the activity.

c. Debrief the cadets on completion of the activity.

d. Review the music symbols and terms with the whole group.

e. Have the cadets complete a music symbols and terms crossword puzzle.

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5. Time


5 min35 min40 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way to stimulateinterest among the cadets while learning music symbols and terms.

7. References


b. C0-306 Aronson, E. (2008). Overview of the Technique. Retrieved April 2, 2008, from http://www.jigsaw.org/overview.htm.

c. C0-306 Aronson, E. (2008). Tips on Implementation. Retrieved April 2, 2008, from http://www.jigsaw.org/tips.htm.

d. C0-307 Wisconsin Center for Education Research. (2007). Doing CL Jigsaw. Retrieved April 2,2008, from http://www.wcer.wisc.edu/archive/cl1/CL/doingcl/jigsaw.htm.

8. Training Aids. Cards with music symbols and terms.

9. Learning Aids

a. Worksheets with music symbols and terms, and

b. Crossword puzzle.


11. Remarks. N/A.

A-CR-CCP-906/PG-001

4-3-16

EO S315.08 – REVIEW MUSIC PROFICIENCY LEVEL THREE THEORY

1. Performance. Review Music Proficiency Level Three Theory.

2. Conditions

a. Given:

(1) Sheet music,





b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Three theory, to include:

a. transposing by an octave;

b. writing melodic minor scales;

c. analyzing a piece of sheet music;

d. writing intervals, to include:

(1) major intervals,

(2) minor intervals,

(3) augmented intervals,

(4) diminished intervals, and

(5) perfect intervals;

e. writing major and minor chords; and

f. defining the following symbols and terms:

(1) maestoso,

(2) animato,

(3) con,

(4) con moto,

(5) espressivo,

(6) leggiero,

(7) meno,

(8) meno mosso,

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(9) molto,

(10) non,

(11) non troppo,

(12) tranquillo, and

(13) troppo.

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Three theory review activity.

5. Time


5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Three Theory.

7. References



8. Training Aids



c. Music Proficiency Level Three Theory Assessment.

9. Learning Aids

a. Sheet music,

b. Theory review sheet,

c. Pencil with eraser,

d. Manuscript paper, or

e. Music Proficiency Level Three Theory Assessment.



A-CR-CCP-906/PG-001


4-3-18

A-CR-CCP-906/PG-001

4-4-1




a. EO S415.01 – Review Music Proficiency Level Three Theory,

b. EO S415.02 – Identify Elements of Rhythm,

c. EO S415.03 – Transpose a Melody by a Given Interval,

d. EO S415.04 – Invert Intervals,

e. EO S415.05 – Write Chords,

f. EO S415.06 – Write Cadences,

g. EO S415.07 – Analyze a Piece of Music,

h. EO S415.08 – Define Music Symbols and Terms, and

i. EO S415.09 – Review Music Proficiency Level Four Theory.

A-CR-CCP-906/PG-001

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EO S415.01 – REVIEW MUSIC PROFICIENCY LEVEL THREE THEORY

1. Performance. Review Music Proficiency Level Three Theory.

2. Conditions

a. Given:

(1) Sheet music,





b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Three theory, to include:

a. transposing by an octave;

b. writing melodic minor scales;

c. analyzing a piece of sheet music;

d. writing intervals, to include:



(3) augmented intervals,


(5) perfect intervals;

e. writing major and minor chords; and


(1) maestoso,

(2) animato,

(3) con,

(4) con moto,

(5) espressivo,

(6) leggiero,

(7) meno,

(8) meno mosso,

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(9) molto,

(10) non,

(11) non troppo,

(12) tranquillo, and

(13) troppo.

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Three theory review activity.

5. Time


5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Three Theory.

7. References



8. Training Aids



c. Music Proficiency Level Three Theory Assessment.

9. Learning Aids

a. Sheet music,




e. Music Proficiency Level Three Theory Assessment.



A-CR-CCP-906/PG-001

4-4-4

EO S415.02 – IDENTIFY ELEMENTS OF RHYTHM

1. Performance. Identify Elements of Rhythm.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet shall identify elements of rhythm, to include:

a. irregular time signatures,

b. irregular rhythms, and

c. grace notes.

4. Teaching Points


TP1 Explain irregular time signatures. InteractiveLecture

5 min C0-257(pp. 199–202)

TP2 Explain metric groupings within irregular timesignatures.

InteractiveLecture

5 min C0-257(pp. 199–202)

TP3 Explain irregular rhythms, to include:a. duplets,b. quadruplets, andc. quintuplets.

InteractiveLecture

5 min C0-257(pp. 199–202)

TP4 Explain grace notes. InteractiveLecture

5 min C0-353 (p. 46)

TP5 Have the cadets complete a worksheet onelements of rhythm.

PracticalActivity

15 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1–4 to introduce elements of rhythm to the cadets.

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b. A practical activity was chosen for TP 5 as it is an interactive way to have the cadets practicerecognizing irregular time signatures and rhythms in a fun and challenging setting.

7. References


b. C0-353 (ISBN 0-8497-7020-3) Williams, R., King, J., & Logozzo, D. (2001). The CompleteInstrument Reference Guide for Band Directors. San Diego, CA: Neil A. Kjos Music Company.

8. Training Aids


b. Sheet music.

9. Learning Aids

a. A worksheet on elements of rhythm, and

b. Manuscript paper.


11. Remarks. N/A.

A-CR-CCP-906/PG-001

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EO S415.03 – TRANSPOSE A MELODY BY A GIVEN INTERVAL

1. Performance. Transpose a Melody by a Given Interval.

2. Conditions

a. Given:




(4) Sheet music,



b. Denied: N/A.


3. Standard. The cadet shall transpose a melody up and down by a given interval.

4. Teaching Points


TP1 Explain how to transpose key signatures by agiven interval, to include:a. converting the key signature to a pitch;b. transposing the pitch by the given interval;

andc. converting the transposed pitch into a key

signature.

InteractiveLecture

10 min C0-257 (p. 224)

TP2 Explain how to transpose a melody up and downby an interval.

InteractiveLecture

5 min C0-257 (p. 224)

TP3 Explain how to transfer accidentals from theoriginal melody to the transposed melody.

InteractiveLecture

5 min C0-257 (p. 224)

TP4 Have the cadets transpose melodies by givenintervals.

PracticalActivity

15 min

5. Time



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6. Substantiation

a. An interactive lecture was chosen for TPs 1–3 to introduce transposition by a given interval to thecadets.

b. A practical activity was chosen for TP 4 as it is an interactive way to have the cadets practicetransposing a melody by a given interval in a fun and challenging setting.


8. Training Aids


b. Sheet music.

9. Learning Aids

a. Sheet music,





11. Remarks. N/A.

A-CR-CCP-906/PG-001

4-4-8

EO S415.04 – INVERT INTERVALS

1. Performance. Invert Intervals.

2. Conditions

a. Given:




(4) Intervals,



b. Denied: N/A.


3. Standard. The cadet shall invert intervals.

4. Teaching Points


TP1 Explain the rules of inversion, to include:a. the nine rule,b. the change of quality, andc. the change in placement on the staff.

InteractiveLecture

10 min C0-257 (p. 106)

TP2 Explain, demonstrate and have the cadets invertintervals by:a. writing the interval above the given note;b. inverting the interval; andc. identifying the inversion.


25 min C0-257(pp. 106–107)

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Demonstration and Performance: d. Total:


6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce the rules of inversion to the cadets.

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b. A demonstration and performance was chosen for TP 2 as it allows the instructor to explain anddemonstrate the process of inverting intervals while providing an opportunity for the cadets topractice this skill under supervision.


8. Training Aids


b. Manuscript paper, and

c. Intervals.

9. Learning Aids

a. Manuscript paper,

b. Pencil with eraser,

c. Paper copy of a keyboard, and

d. Intervals.


11. Remarks. N/A.

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EO S415.05 – WRITE CHORDS

1. Performance. Write Chords.

2. Conditions

a. Given:






b. Denied: N/A.



a. write augmented chords in root position;

b. write diminished chords in root position;

c. write and qualify chords on each degree of a major scale; and

d. write and qualify chords on each degree of a harmonic minor scale.

4. Teaching Points


TP1 Review major and minor chords. InteractiveLecture

5 min C0-257 (p. 125)

TP2 Explain, demonstrate and have the cadets writeaugmented chords in root position.


15 min C0-257(pp. 129–131)C0-319 (p. 93)

TP3 Explain, demonstrate and have the cadets writediminished chords in root position.


15 min C0-257(pp. 129–131)C0-319 (p. 93)

TP4 Explain, demonstrate and have the cadets invertmajor, minor, augmented and diminished chords,to include:a. 1st inversion, andb. 2nd inversion.


10 min C0-257(pp. 125–126)

TP5 Explain, demonstrate and have the cadets writeand qualify chords on each degree of a majorscale.


10 min C0-257(pp. 133–135)C0-319 (p. 93)

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TP6 Explain, demonstrate and have the cadets writeand qualify chords on each degree of a harmonicminor scale.


15 min C0-257(pp. 133–135)C0-319 (p. 97)

5. Time


10 min5 min

65 min80 min

6. Substantiation

a. An interactive lecture was chosen for TP 1 to review major and minor chords.

b. A demonstration and performance was chosen for TPs 2–6 as it allows the instructor to explain anddemonstrate writing and inverting chords while providing an opportunity for the cadets to practicethese skills under supervision.

7. References



8. Training Aids


b. Chords, and


9. Learning Aids



c. Paper copy of a keyboard.



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EO S415.06 – WRITE CADENCES

1. Performance. Write Cadences.

2. Conditions

a. Given:






b. Denied: N/A.



a. identify types of cadences, to include:

(1) perfect authentic, and

(2) plagal; and

b. write cadences, to include:

(1) perfect authentic, and

(2) plagal.

4. Teaching Points


TP1 Define types of cadences, to include:a. perfect authentic, andb. plagal.

InteractiveLecture

10 min C0-257 (p. 152)

TP2 Explain, demonstrate and have the cadets writeperfect authentic cadences.


15 min C0-257(pp. 152–154)

TP3 Explain, demonstrate and have the cadets writeplagal cadences.


10 min C0-257(pp. 152–154)

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5. Time



6. Substantiation

a. An interactive lecture was chosen for TP 1 to explain types of cadences.

b. A demonstration and performance was chosen for TPs 2 and 3 as it allows the instructor to explainand demonstrate writing cadences while providing an opportunity for the cadets to practice writingcadences under supervision.


8. Training Aids


b. Keyboard,

c. Cadences, and


9. Learning Aids



c. Manuscript paper, and

d. Paper copy of the circle of fifths.


11. Remarks. N/A.

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EO S415.07 – ANALYZE A PIECE OF MUSIC

1. Performance. Analyze a Piece of Music.

2. Conditions

a. Given:



(3) Sheet music without a key signature,

(4) Musical passages containing errors,



b. Denied: N/A.


3. Standard. The cadet shall analyze a piece of music by:

a. identifying the key of a piece of music;

b. detecting errors in a piece of music; and

c. fixing errors in a piece of music.

4. Teaching Points


TP1 Explain, demonstrate and have the cadetsidentify the key of a piece of music by:a. listing all the accidentals;b. ordering the accidentals according to the

order of sharps and flats; andc. identifying errant accidentals.


35 min C0-257(pp. 211–213)

TP2 Explain, demonstrate and have the cadets detecterrors in a piece of music, to include:a. clef,b. key signature,c. time signature,d. bar lines,e. stem direction,f. note groupings,g. tied/dotted notes,h. anacrusis measure/final measure,


15 min C0-257 (p. 242)

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i. music symbols and terms, andj. accidentals.

TP3 Have the cadets fix errors in a piece of music. PracticalActivity

20 min

5. Time

a. Introduction/Conclusion: b. Demonstration and Performance: c. Practical Activity: d. Total:


6. Substantiation

a. A demonstration and performance was chosen for TPs 1 and 2 as it allows the instructor toexplain and demonstrate finding the key and detecting errors in a piece of music while providingan opportunity for the cadets to practice finding the key of a piece of music and detecting errorsunder supervision.

b. A practical activity was chosen for TP 3 as it is an interactive way to have the cadets practice fixingerrors in a piece of music in a fun and challenging setting.


8. Training Aids


b. Sheet music without a key signature, and

c. Musical passages containing errors.

9. Learning Aids

a. Sheet music without a key signature,

b. Musical passages containing errors, and



11. Remarks. N/A.

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2. Conditions

a. Given:



b. Denied: N/A.



a. cantabile,

b. dolce,

c. grazioso,

d. brillante,

e. con brio,

f. con espressione,

g. grave,

h. quasi,

i. rubato,

j. sempre,

k. ottava alta, and

l. ottava bassa.

4. Teaching Points. Supervise the cadets as they participate in a jigsaw learning activity:

a. Brief the cadets prior to the start of the activity, to include:

(1) an explanation of the objective of the activity, and

(2) the directions to perform a jigsaw activity.

b. Allow time to complete the activity.

c. Debrief the cadets on completion of the activity.

d. Review the music symbols and terms with the whole group.

e. Have the cadets complete a music symbols and terms crossword puzzle.

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5. Time


5 min35 min40 min


7. References


b. C0-306 Aronson, E. (2008). Overview of the Technique. Retrieved April 2, 2008, from http://www.jigsaw.org/overview.htm.

c. C0-306 Aronson, E. (2008). Tips on Implementation. Retrieved April 2, 2008, from http://www.jigsaw.org/tips.htm.

d. C0-307 Wisconsin Center for Education Research. (2007). Doing CL Jigsaw. Retrieved April 2,2008, from http://www.wcer.wisc.edu/archive/cl1/CL/doingcl/jigsaw.htm.

8. Training Aids. Cards with music symbols and terms.

9. Learning Aids

a. Cards with music symbols and terms with definitions, and

b. Crossword puzzle.


11. Remarks. N/A.

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EO S415.09 – REVIEW MUSIC PROFICIENCY LEVEL FOUR THEORY

1. Performance. Review Music Proficiency Level Four Theory.

2. Conditions

a. Given:




(4) Assistance.

b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Four theory, to include:

a. identifying elements of rhythm, to include:

(1) irregular time signatures,

(2) irregular rhythms (duplets, quadruplets, and quintuplets), and

(3) grace notes;

b. transposing a melody by a given interval;

c. inverting intervals, to include:

(1) perfect intervals,




(5) augmented intervals;

d. writing chords, to include:

(1) augmented chords,

(2) diminished chords,

(3) chords on a major scale, and

(4) chords on a harmonic minor scale;

e. writing cadences, to include:

(1) perfect authentic cadence, and

(2) plagal cadence;

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f. analyzing a piece of music, to include finding:

(1) the key of the piece without the key signature, and

(2) errors in a piece; and


(1) cantabile,

(2) dolce,

(3) grazioso,

(4) brillante,

(5) con brio,

(6) con espressione,

(7) grave,

(8) quasi,

(9) rubato,

(10) sempre, and

(11) 8ve.

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Four theory review activity.

5. Time


5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Four Theory.

7. References



8. Training Aids



c. Music Proficiency Level Four Theory Assessment.

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9. Learning Aids

a. Sheet music,




e. Music Proficiency Level Four Theory Assessment.



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a. EO S515.01 – Review Music Proficiency Level Four Theory,

b. EO S515.02 – Write Compound Intervals,

c. EO S515.03 – Write Chords,

d. EO S515.04 – Write Cadences,

e. EO S515.05 – Transpose a Melody From One Instrument to Another Instrument,

f. EO S515.06 – Arrange Music for an Ensemble,

g. EO S515.07 – Define Music Symbols and Terms, and

h. EO S515.08 – Review Music Proficiency Level Five Theory.

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EO S515.01 – REVIEW MUSIC PROFICIENCY LEVEL FOUR THEORY

1. Performance. Review Music Proficiency Level Four Theory.

2. Conditions

a. Given:




(4) Assistance.

b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Four theory, to include:

a. identifying elements of rhythm, to include:

(1) irregular time signatures,

(2) irregular rhythms (duplets, quadruplets, and quintuplets), and

(3) grace notes;

b. transposing a melody by a given interval;

c. inverting intervals, to include:

(1) perfect intervals,




(5) augmented intervals;

d. writing chords, to include:

(1) augmented chords,

(2) diminished chords,

(3) chords on a major scale, and

(4) chords on a harmonic minor scale;

e. writing cadences, to include:

(1) perfect authentic cadence, and

(2) plagal cadence;

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f. analyzing a piece of music, to include finding:

(1) the key of the piece without the key signature, and

(2) errors in a piece; and


(1) cantabile,

(2) dolce,

(3) grazioso,

(4) brillante,

(5) con brio,

(6) con espressione,

(7) grave,

(8) quasi,

(9) rubato,

(10) sempre, and

(11) 8ve.

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Four theory review activity.

5. Time


5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Four Theory.

7. References



8. Training Aids



c. Music Proficiency Level Four Theory Assessment.

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9. Learning Aids

a. Sheet music,




e. Music Proficiency Level Four Theory Assessment.



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EO S515.02 – WRITE COMPOUND INTERVALS

1. Performance. Write Compound Intervals.

2. Conditions

a. Given:





b. Denied: N/A.



a. identify the simple form of compound intervals; and

b. write compound intervals.

4. Teaching Points


TP1 Explain compound intervals. InteractiveLecture

5 min C0-257 (p. 111)

TP2 Explain how to identify the simple form ofcompound intervals.

InteractiveLecture

10 min C0-257(pp. 111–112)

TP3 Explain, demonstrate and have the cadets writecompound intervals.


20 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to introduce compound intervals to the cadets.

b. A demonstration and performance was chosen for TP 3 as it allows the instructor to explain anddemonstrate writing compound intervals while providing an opportunity for the cadets to practicewriting compound intervals under supervision.


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8. Training Aids



c. Examples of compound intervals.

9. Learning Aids



c. Paper copy of a keyboard.


11. Remarks. N/A.

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EO S515.03 – WRITE CHORDS

1. Performance. Write Chords.

2. Conditions

a. Given:






b. Denied: N/A.



a. write dominant seventh chords in root position; and

b. invert dominant seventh chords, to include:

(1) first inversion,

(2) second inversion, and

(3) third inversion.

4. Teaching Points


TP1 Explain the function of dominant seventh chords. InteractiveLecture

5 min C0-257(pp. 139–140)

TP2 Explain, demonstrate and have the cadets writedominant seventh chords in root position.


20 min C0-257(pp. 139–142)

TP3 Explain, demonstrate and have the cadets invertdominant seventh chords, to include:a. first inversion,b. second inversion, andc. third inversion.


10 min C0-257(pp. 139–142)

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5. Time


5 min5 min

30 min40 min

6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce dominant seventh chords to the cadets.

b. A demonstration and performance was chosen for TPs 2 and 3 as it allows the instructor to explainand demonstrate writing and inverting dominant seventh chords while providing an opportunity forthe cadets to practice under supervision.


8. Training Aids



c. Chords.

9. Learning Aids



c. Chords, and



11. Remarks. N/A.

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EO S515.04 – WRITE CADENCES

1. Performance. Write Cadences.

2. Conditions

a. Given:






b. Denied: N/A.



a. identify types of cadences, to include:

(1) imperfect authentic,

(2) half, and

(3) deceptive; and

b. write cadences, to include:

(1) imperfect authentic,

(2) half, and

(3) deceptive.

4. Teaching Points


TP1 Review:a. types of cadences, to include:

(1) perfect authentic,(2) plagal; and

b. how to write cadences.

InteractiveLecture

20 min C0-257(pp. 152–154)

TP2 Define types of cadences, to include:a. imperfect authentic,b. half, andc. deceptive.

InteractiveLecture

5 min C0-340

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TP3 Have the cadets identify cadences by completinga cadence worksheet.

PracticalActivity

10 min

TP4 Explain, demonstrate and have the cadets writecadences, to include:a. imperfect authentic,b. half, andc. deceptive.


35 min C0-257(pp. 157–158)C0-340

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Practical Activity: d. Demonstration and Performance: e. Total:


6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to review previous cadences and how to writecadences, and to introduce new types of cadences to the cadets.

b. A practical activity was chosen for TP 3 as it is an interactive way to have the cadets practiceidentifying cadences in a fun and challenging way.

c. A demonstration and performance was chosen for TP 4 as it allows the instructor to explain anddemonstrate writing cadences while providing an opportunity for the cadets to practice writingcadences under supervision.

7. References


b. C0-340 Frank, R. (2000). Cadences. Retrieved October 7, 2008, from http://smu.edu/totw/cadences.htm.

8. Training Aids


b. Paper copy of a keyboard,


d. Cadences.

9. Learning Aids



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d. Worksheet on cadences.



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EO S515.05 – TRANSPOSE A MELODY FROM ONE INSTRUMENT TO ANOTHER INSTRUMENT

1. Performance. Transpose a Melody From One Instrument to Another Instrument.

2. Conditions

a. Given:



(3) Sheet music,




b. Denied: N/A.


3. Standard. The cadet shall transpose a melody from one instrument to another instrument by:

a. determining the key of the first instrument;

b. determining the key of the second instrument;

c. determining the interval between the key of the first instrument and the key of the secondinstrument; and

d. transposing the melody for the first instrument by the determined interval.

4. Teaching Points


TP1 Explain the keys of military band instruments, toinclude:a. B flat instruments, to include:

(1) clarinet,(2) tenor saxophone,(3) trumpet, and(4) French horn in B flat;

b. E flat instruments, to include:(1) alto saxophone, and(2) baritone saxophone;

c. F instruments to include French horn, andd. C instruments, to include:

(1) flute,(2) oboe,

InteractiveLecture

10 min C0-257(pp. 236–237)

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(3) bassoon,(4) trombone,(5) euphonium,(6) tuba, and(7) mallet percussion.

TP2 Explain and demonstrate how to transpose amelody, to include:a. from concert pitch, andb. from one instrument to another.

Demonstration 25 min C0-257(pp. 224–226)

TP3 Have the cadets complete a worksheet ontransposing melodies.

PracticalActivity

35 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce the cadets to the keys of military bandinstruments.

b. A demonstration was chosen for TP 2 as it allows the instructor to explain and demonstratetransposition.

c. A practical activity was chosen for TP 3 as it is an interactive way to have the cadets practicetransposing music in a fun and challenging way.


8. Training Aids



c. Sheet music.

9. Learning Aids



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c. Sheet music, and




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EO S515.06 – ARRANGE MUSIC FOR AN ENSEMBLE

1. Performance. Arrange Music for an Ensemble.

2. Conditions

a. Given:




(4) Open score,

(5) Closed score,



b. Denied: N/A.


3. Standard. The cadet shall arrange music for an ensemble by:

a. transcribing a closed score to an open score;

b. transcribing an open score to a closed score; and

c. transposing an open score to a four-part ensemble.

4. Teaching Points


TP1 Explain types of scores, to include:a. open (choral), andb. closed (condensed).

InteractiveLecture

5 min C0-257(pp. 246–250)

TP2 Explain the use of soprano, alto, tenor, and bassvoicing in a closed score.

InteractiveLecture

5 min C0-257(pp. 249–250)

TP3 Explain, demonstrate and have the cadetstranscribe a closed score to an open score.


15 min

TP4 Explain, demonstrate and have the cadetstranscribe an open score to a closed score.


10 min

TP5 Have the cadets arrange music for an ensembleby:a. transcribing a closed score to an open

score; and

PracticalActivity

70 min

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b. transposing the open score for a four-partensemble.

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Demonstration and Performance: d. Practical Activity: e. Total:


120 min

6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to explain types of scores and the use of voicing.

b. A demonstration and performance was chosen for TPs 3 and 4 as it allows the instructor to explainand demonstrate transcribing from one type of score to the other while providing an opportunityfor the cadets to practice under supervision.

c. A practical activity was chosen for TP 5 as it is an interactive way to have the cadets practicearranging music for an ensemble in a fun and challenging way.


8. Training Aids


b. Open score,

c. Closed score, and


9. Learning Aids


b. Open score,

c. Closed score,

d. Pencil with eraser, and

e. Manuscript paper.


11. Remarks. N/A.

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2. Conditions

a. Given:



b. Denied: N/A.



a. alto clef,

b. tenor clef,

c. andantino,

d. larghetto,

e. prestissimo,

f. rallentando,

g. tempo primo,

h. allargando,

i. assai,

j. bene,

k. colla,

l. ed,

m. loco,

n. senza, and

o. metronome markings (M.M.).

4. Teaching Points

a. Have the cadets create a music symbols and terms crossword puzzle.

b. Have the cadets complete another cadet’s music symbols and terms crossword puzzle.

5. Time


5 min35 min40 min

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8. Training Aids

a. Music symbols and terms definition sheet, and

b. Example of a crossword puzzle.

9. Learning Aids

a. Two sheets of grid paper (1 cm by 1 cm), and

b. Music symbols and terms definition sheet.


11. Remarks. N/A.

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EO S515.08 – REVIEW MUSIC PROFICIENCY LEVEL FIVE THEORY

1. Performance. Review Music Proficiency Level Five Theory.

2. Conditions

a. Given:

(1) Sheet music,





b. Denied: N/A.


3. Standard. The cadet shall review Music Proficiency Level Five theory, to include:

a. writing compound intervals;

b. writing chords, to include:

(1) dominant seventh chords, and

(2) dominant seventh chord inversions;

c. transposing a melody from one instrument to another instrument;

d. writing cadences, to include:

(1) imperfect authentic cadence,

(2) half cadence, and

(3) deceptive cadence;

e. arranging music for an ensemble; and


(1) andantino,

(2) larghetto,

(3) prestissimo,

(4) rallentando,

(5) tempo primo,

(6) allargando,

(7) assai,

(8) bene,

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(9) colla,

(10) ed,

(11) loco,

(12) senza, and

(13) metronome markings (M.M.).

4. Teaching Points. Have the cadets participate in a Music Proficiency Level Five theory review activity.

5. Time


5 min75 min80 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto review Music Proficiency Level Five Theory.

7. References



8. Training Aids



c. Music Proficiency Level Five Theory Assessment.

9. Learning Aids

a. Sheet Music,




e. Music Proficiency Level Five Theory Assessment.



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SECTION 6PO X16 – DEMONSTRATE RHYTHM AND AURAL SKILLS

1. Performance Objective. The following rhythm and aural skills POs are detailed in A-CR-CCP-910/PG-001:

a. PO 316 – Demonstrate Rhythm and Aural Skills,

b. PO 416 – Demonstrate Rhythm and Aural Skills, and

c. PO 516 – Demonstrate Rhythm and Aural Skills.

2. Enabling Objective. The following rhythm and aural skills EOs are located in this section:

a. EO SAM16.01 – Demonstrate Rhythm Skills, and

b. EO SAM16.02 – Reproduce a Melody,

c. EO SAM16.03 – Identify Intervals,

d. EO S416.04 – Identify Chords Aurally, and

e. EO S516.04 – Identify Chords Aurally.

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EO SAM16.01 – DEMONSTRATE RHYTHM SKILLS

1. Performance. Demonstrate Rhythm Skills.

2. Conditions

a. Given:

(1) Music Proficiency Level Rhythm sheet,


(3) Chair,

(4) Music stand,



b. Denied: N/A.

c. Environmental: Quiet room with adequate lighting, free from distractions.


a. analyze the Music Proficiency Level Rhythm sheet by:

(1) identifying the time signature; and

(2) circling unfamiliar or difficult rhythms; and

b. IAW A-CR-CCP-910/PG-001, demonstrate rhythm skills by singing, clapping, tapping or countingrhythms on the Music Proficiency Level Rhythm sheet.

4. Teaching Points

a. Have the cadets analyze the Music Proficiency Level Rhythm sheet corresponding to their MusicProficiency Level by:

(1) identifying the time signature;

(2) circling unfamiliar or difficult rhythms; and

(3) writing the count under the rhythms.

b. Have the cadets demonstrate rhythm skills by singing, clapping, tapping or counting rhythms on theMusic Proficiency Level Rhythm sheet corresponding to their Music Proficiency Level as a group.

c. Have the cadets demonstrate rhythm skills by singing, clapping, tapping or counting rhythms on theMusic Proficiency Level Rhythm sheet corresponding to their Music Proficiency Level individually.

5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Total:

5 min35 min40 min

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6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way to have thecadets analyze the Music Proficiency Level Rhythm sheet corresponding to their Music Proficiency Levelin a fun and challenging setting.

7. References. A0-100 A-CR-CCP-910/PG-001 Director Cadets 3. (2008). Military Band – Music LevelsQualification Standard. Ottawa, ON: Department of National Defence.

8. Training Aids


b. Music Proficiency Level Rhythm sheets.

9. Learning Aids. Music Proficiency Level Rhythm sheet.


11. Remarks

a. The Music Proficiency Level Rhythm sheet used should correspond to the Music Proficiency Levelqualification the cadet is attempting to attain.

b. The demonstration of rhythm skills individually will occur during EO SAM22.01 (Participate inIndividual Practice and Private Instruction, Section 12).

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EO SAM16.02 – REPRODUCE A MELODY

1. Performance. Reproduce a Melody.

2. Conditions

a. Given:

(1) Five-note melody,

(2) Six-note melody,

(3) Nine-note melody,

(4) Primary instrument or keyboard,



b. Denied: N/A.


3. Standard. IAW A-CR-CCP-910/PG-001, the cadet shall reproduce a melody after it has been sung orplayed, to include:

a. a five-note melody for Music Proficiency Level Three,

b. a six-note melody for Music Proficiency Level Four, and

c. a nine-note melody for Music Proficiency Level Five.

4. Teaching Points


TP1 Explain solfège, to include:a. syllables, to include:

(1) do,(2) re,(3) mi,(4) fa,(5) sol,(6) la,(7) ti, and(8) do; and

b. relation of syllables to degrees of a majorscale.

InteractiveLecture

10 min C0-319 (p. 59)C0-323

TP2 Have the cadets sing back a melody as a groupafter it has been played or sung.

PracticalActivity

10 min

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TP3 Have the cadets play back a melody as a groupafter it has been sung.

PracticalActivity

15 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce solfège to the cadets.

b. A practical activity was chosen for TPs 2 and 3 as it is an interactive way to have the cadets singor play back melodies in a fun and challenging setting.

7. References

a. C0-319 (ISBN 0-88284-951-4) Surmani, A., Surmani, K., & Manus, M. (1998). Alfred’s CompleteEssentials of Music Theory. USA: Alfred Publishing Co.

b. C0-323 Gunharth, R. (2002). Introduction to Solfège. Retrieved September 29, 2008, from http://www.ibreathemusic.com/article/44.

8. Training Aids


b. Keyboard or primary instrument.

9. Learning Aids

a. Five-note melody,

b. Six-note melody,

c. Nine-note melody, and

d. Keyboard or primary instrument.


11. Remarks

a. The cadets’ performance of a melody as an individual will occur during EO SAM22.01 (Participatein Individual Practice and Private Instruction, Section 12).

b. In TPs 2 and 3 the cadets shall be divided into groups which correspond to the Music ProficiencyLevel the cadets are attempting.

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EO SAM16.03 – IDENTIFY INTERVALS

1. Performance. Identify Intervals.

2. Conditions

a. Given:

(1) Primary instrument or keyboard,


(3) Assistance, as required.

b. Denied: N/A.


3. Standard. IAW A-CR-CCP-910/PG-001, the cadet shall identify intervals.

4. Teaching Points

a. Have the cadets identify the following intervals:

(1) unison,

(2) minor second,

(3) major second,

(4) minor third,

(5) major third,

(6) perfect fourth,

(7) perfect fifth,

(8) minor sixth,

(9) major sixth,

(10) minor seventh,

(11) major seventh, and

(12) perfect octave.

b. Play intervals and have the cadets identify them.

5. Time

a. Music Proficiency Level Three:

(1) Introduction/Conclusion: (2) In-Class Activity: (3) Total:

10 min70 min80 min

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b. Music Proficiency Levels Four and Five:

(1) Introduction/Conclusion: (2) In-Class Activity: (3) Total:

5 min35 min40 min

6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way to have thecadets identify intervals.

7. References. N/A.

8. Training Aids

a. Audio example or sheet music of songs,

b. Keyboard instrument, and

c. Intervals.

9. Learning Aids. Intervals.


11. Remarks

a. The songs may either be played on a keyboard instrument or an audio example may be used.

b. The intervals the cadet shall identify should correspond to the Music Proficiency Level qualificationthe cadet is attempting to attain.

c. An extra period of instruction has been provided for Music Proficiency Level Three cadets topractice this skill. During that time Music Proficiency Level Four and Five cadets shall completeEOs S416.04 and S516.04 (Identify Chords Aurally) respectively.

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EO S416.04 – IDENTIFY CHORDS AURALLY

1. Performance. Identify Chords Aurally.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet shall identify major and minor chords aurally in closed root position.

4. Teaching Points


TP1 Explain the contrast in sound between major andminor chords.

InteractiveLecture

15 min C0-257(pp. 121–151)

TP2 Play major and minor chords and have thecadets identify them aurally.

In-ClassActivity

20 min

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. In-Class Activity: d. Total:


6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce the cadets to the contrast in sound betweenmajor and minor chords.

b. An in-class activity was chosen for TP 2 as it is an interactive way to have the cadets identify majorand minor chords aurally.

7. References. N/A.

8. Training Aids



c. Major and minor chords.

9. Learning Aids. Audio example of major and minor chords.

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11. Remarks. Chords should be played on a keyboard instrument (eg, piano, xylophone).

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EO S516.04 – IDENTIFY CHORDS AURALLY

1. Performance. Identify Chords Aurally.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet shall identify chords aurally in closed root position, to include:

a. major,

b. minor, and

c. dominant seventh.

4. Teaching Points


TP1 Explain the contrast in sound between major,minor and dominant seventh chords.

InteractiveLecture

15 min C0-257(pp. 121–151)

TP2 Play major, minor, and dominant seventh chordsand have the cadets identify them aurally.

In-ClassActivity

20 min

5. Time



6. Substantiation

a. An interactive lecture was chosen for TP 1 to introduce the cadets to the contrast in sound betweenmajor, minor and dominant seventh chords.

b. An in-class activity was chosen for TP 2 as it is an interactive way to have the cadets identify major,minor and dominant seventh chords aurally.

7. References. N/A.

8. Training Aids


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c. Major, minor and dominant seventh chords.

9. Learning Aids. Audio examples of major, minor and dominant seventh chords.


11. Remarks. Chords should be played on a keyboard instrument (eg, piano, xylophone).

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4-6-12

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4-7-1

SECTION 7PO X17 – PLAY SCALES AND/OR RUDIMENTS

1. Performance Objective. The following scales and rudiments POs are detailed in A-CR-CCP-910/PG-001:

a. PO 317M – Play Scales,

b. PO 317G – Play Scales and Rudiments,

c. PO 317D – Play Rudiments and Scales,

d. PO 417M – Play Scales,

e. PO 417G – Play Scales and Rudiments,

f. PO 417D – Play Rudiments and Scales,

g. PO 517M – Play Scales,

h. PO 517G – Play Rudiments and Scales, and

i. PO 517D – Play Rudiments and Scales.

2. Enabling Objective. The following scales and rudiments EOs are located in this section:

a. EO SAM17.01 – Analyze Music Proficiency Level Scales and/or Rudiments, and

b. EO SAM17.02 – Play Music Proficiency Level Scales and/or Rudiments.

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EO SAM17.01 – ANALYZE MUSIC PROFICIENCY LEVEL SCALES AND/OR RUDIMENTS

1. Performance. Analyze Music Proficiency Level Scales and/or Rudiments.

2. Conditions

a. Given:

(1) Music Proficiency Level Scale sheet, and/or

(2) Music Proficiency Level Rudiment sheet,

(3) Instrument fingering chart,


(5) Chair,

(6) Music stand,



b. Denied: N/A.


3. Standard. The cadet shall analyze Music Proficiency Level scales and/or rudiments, to include:

a. determining the notes affected by the key signatures;

b. identifying accidentals; and

c. identifying unfamiliar or difficult rhythms.

4. Teaching Points


TP1 Have the cadets analyze scales and/orrudiments, to include:a. determining the notes that are affected by

the key signature;b. identifying accidentals;c. identifying unfamiliar or difficult rhythms;

andd. determining appropriate fingering or

sticking techniques.

PracticalActivity

20 min

TP2 Explain and demonstrate how to play the scalesand/or rudiments.

Demonstration 15 min

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5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Demonstration: d. Total:


6. Substantiation

a. A practical activity was chosen for TP 1 as it is an interactive way to have the cadets analyze scalesand/or rudiments in a fun and challenging way.

b. A demonstration was chosen for TP 2 as it allows the instructor to explain and demonstrate howto play new scales and/or rudiments.

7. References. N/A.

8. Training Aids


b. Keyboard or primary instrument.

9. Learning Aids

a. Music Proficiency Level Scale sheet,

b. Music Proficiency Level Rudiment sheet,


d. Fingering chart.


11. Remarks. The Music Proficiency Level Scales and Rudiments sheets used should correspond to theMusic Proficiency Level the cadet is attempting to attain.

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EO SAM17.02 – PLAY MUSIC PROFICIENCY LEVEL SCALES AND/OR RUDIMENTS

1. Performance. Play Music Proficiency Level Scales and/or Rudiments.

2. Conditions

a. Given:


(2) Music Proficiency Level Scale sheet, and/or

(3) Music Proficiency Level Rudiment sheet,

(4) Chair,

(5) Music stand,



b. Denied: N/A.


3. Standard. IAW A-CR-CCP-910/PG-001, the cadet shall play Music Proficiency Level scales and/orrudiments.

4. Teaching Points. Have the cadets play Music Proficiency Level scales and/or rudiments during individualpractice and private instruction, to include:

a. selecting two scales and/or rudiments from the Music Proficiency Level Scale or Rudiment sheet;

b. playing through each scale and/or rudiment while focusing on:

(1) achieving rhythmic accuracy;

(2) achieving note accuracy; and

(3) maintaining a steady tempo;

c. identifying and correcting errors in the performance; and

d. playing each scale and/or rudiment three times without error.

5. Time. Refer to paragraph 11.

6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way to have thecadets practice scales and/or rudiments.

7. References. N/A.

8. Training Aids. N/A.

9. Learning Aids


b. Fingering chart, and

c. Music Proficiency Level Scale and/or Rudiment sheets.

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11. Remarks

a. No time is allotted for this EO as it occurs throughout the course any time individual practice andprivate instruction is scheduled.

b. The instructor will provide supervision and feedback of this EO during the private lesson sessionsof EO SAM22.01 (Participate in Individual Practice and Private Instruction, Section 12).

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4-7-6

A-CR-CCP-906/PG-001

4-8-1

SECTION 8PO X18 – SIGHT-READ MUSIC

1. Performance Objective. The following sight-read music POs are detailed in A-CR-CCP-910/PG-001:

a. PO 318 – Sight-Read Music,

b. PO 418 – Sight-Read Music, and

c. PO 518 – Sight-Read Music.

2. Enabling Objective. The following sight-read music EOs are located in this section:

a. EO SAM18.01 – Employ Sight-Reading Strategies, and

b. EO SAM18.02 – Sight-Read Music.

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4-8-2

EO SAM18.01 – EMPLOY SIGHT-READING STRATEGIES

1. Performance. Employ Sight-Reading Strategies.

2. Conditions

a. Given:

(1) Sheet music,




b. Denied: N/A.


3. Standard. The cadet shall employ sight-reading strategies by:

a. identifying the time signature;

b. identifying the key signature;

c. identifying dynamic markings;

d. identifying accidentals;

e. identifying signs and symbols;

f. identifying unfamiliar or difficult rhythms;

g. identifying the tempo; and

h. applying counting techniques.

4. Teaching Points


TP1 Conduct a guided discussion, to include:a. the importance of practicing sight-reading,

andb. sight-reading strategies.

GuidedDiscussion

10 min

TP2 Explain and demonstrate sight-readingstrategies, to include:a. identifying the time signature;b. identifying the key signature;c. identifying dynamic markings;d. identifying accidentals;e. identifying signs and symbols;

Demonstration 10 min C0-325

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f. identifying the tempo; andg. applying counting techniques.

TP3 Have the cadets employ sight-reading strategiesin small groups.

In-ClassActivity

15 min

5. Time

a. Introduction/Conclusion: b. Guided Discussion: c. Demonstration: d. In-Class Activity: e. Total:


6. Substantiation

a. A guided discussion was chosen for TP 1 as it allows the instructor to direct and stimulate thecadets’ learning through a series of structured questions. The sharing of information, experiences,and opinions by the group lead to the achievement of the teaching points and overall lessonobjective.

b. A demonstration was chosen for TP 2 as it allows the instructor to explain and demonstrate sight-reading strategies.

c. An in-class activity was chosen for TP 3 as it is an interactive way to provoke thought and stimulateinterest among cadets.

7. References. C0-325 Teal, K. (1996). Tips for Effective Sight-Reading. Retrieved September 30, 2008,from http://kjt.glis.net/tealflutestudio/Sightreading.html.

8. Training Aids


b. Sheet music.

9. Learning Aids. Sheet music.


11. Remarks. N/A.

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4-8-4

EO SAM18.02 – SIGHT-READ MUSIC

1. Performance. Sight-Read Music.

2. Conditions

a. Given:


(2) Sheet music,

(3) Chair,

(4) Music stand,



b. Denied: N/A.


3. Standard. The cadet shall sight-read music while observing:

a. rhythm,

b. steady tempo,

c. pitch, and

d. musical flow.

4. Teaching Points. Have the cadets sight-read music while observing:

a. rhythm,

b. steady tempo,

c. pitch, and

d. musical flow.


6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way to have thecadets sight-read music.

7. References. N/A.


9. Learning Aids

a. Sheet music, and

b. Primary instrument.


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11. Remarks

a. The sight-reading music used should be one level below the Music Proficiency Level the cadet isattempting to achieve.

b. No time is allotted for this EO as it occurs throughout the course any time a cadet sight-reads music.

c. The evaluation of this EO will occur during SAM22.01.

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4-8-6

A-CR-CCP-906/PG-001

4-9-1

SECTION 9PO X19 – PERFORM LEVEL MUSIC

1. Performance Objective. The following level music POs are detailed in A-CR-CCP-910/PG-001:

a. PO 319 – Perform Level Three Music,

b. PO 419 – Perform Level Four Music, and

c. PO 519 – Perform Level Five Music.

2. Enabling Objective. The following level music EOs are located in this section:

a. EO SAM19.01 – Analyze Music Proficiency Level Music,

b. EO SAM19.02 – Participate in Master Classes, and

c. EO SAM19.03 – Perform Music Proficiency Level Music.

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EO SAM19.01 – ANALYZE MUSIC PROFICIENCY LEVEL MUSIC

1. Performance. Analyze Music Proficiency Level Music.

2. Conditions

a. Given:

(1) Music pieces from Music Proficiency Level lists,




b. Denied: N/A.



a. select pieces from the Music Proficiency Level lists, to include:

(1) a List A piece,

(2) a List B piece, and

(3) a List C piece, if applicable; and

b. analyze selected Music Proficiency Level music by:

(1) writing down the notes that are affected by the key signature;

(2) circling accidentals;

(3) circling unfamiliar or difficult rhythms;

(4) determining appropriate fingering or sticking techniques;

(5) identifying the time signatures; and

(6) identifying signs and symbols.

4. Teaching Points


TP1 Have the cadets select pieces from the MusicProficiency Level lists, to include:a. a List A piece,b. a List B piece, andc. a List C piece, if applicable.

PracticalActivity

10 min

TP2 Explain, demonstrate and have the cadetsanalyze selected music by:a. writing down the notes which are affected

by the key signature;


25 min

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b. circling accidentals;c. circling unfamiliar or difficult rhythms;d. determining appropriate fingering or

sticking techniques;e. identifying the time signatures; andf. identifying signs and symbols.

5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Demonstration and Performance: d. Total:


6. Substantiation

a. A practical activity was chosen for TP 1 as it is an interactive way to have the cadets analyze theselected Music Proficiency Level music in a fun and challenging way.

b. A demonstration and performance was chosen for TP 2 as it allows the instructor to explain anddemonstrate analyzing Music Proficiency Level music while providing an opportunity for the cadetsto practice analyzing Music Proficiency Level music under supervision.

7. References. N/A.

8. Training Aids


b. Sheet music.

9. Learning Aids



c. Music pieces from Music Proficiency Level lists.


11. Remarks. The Music Proficiency Level list should correspond to the Music Proficiency Level qualificationthe cadet is attempting to attain.

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4-9-4

EO SAM19.02 – PARTICIPATE IN MASTER CLASSES

1. Performance. Participate in Master Classes.

2. Conditions

a. Given:


(2) Music pieces from Music Proficiency Level lists,

(3) Perform Music Proficiency Level Music Performance Check Rubric,




b. Denied: N/A.



a. rehearse Music Proficiency Level pieces as a group;

b. critique a peer’s performance of a Music Proficiency Level piece; and

c. participate in master classes on instrument-specific techniques.

4. Teaching Points

a. Have the cadets rehearse Music Proficiency Level pieces as a group.

b. Have the cadets critique a peer’s performance of a Music Proficiency Level piece using the PerformMusic Proficiency Level Music Performance Check Rubric.

c. Have the cadets participate in master classes on instrument-specific topics, such as:

(1) wind instruments, to include:

(a) vibrato,

(b) alternate fingerings,

(c) double tonguing,

(d) extended ranges, and/or

(e) articulation;

(2) woodwind instruments, to include:

(a) alternative fingerings,

(b) adjustment of double reeds,

(c) trills,

(d) adjusting the head joint on a flute,

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(e) clarinet break,

(f) altissimo range for clarinet and saxophone,

(g) fork fingerings,

(h) half holing for oboe, and/or

(i) flick fingerings for bassoon;

(3) brass instruments, to include:

(a) lip slurs,

(b) harmonic series,

(c) compensating valve systems for euphonium,

(d) glissando for trombone,

(e) bugle calls on a trumpet,

(f) using slides on a trumpet, and/or

(g) double horns for French horn;

(4) percussion instruments, to include:

(a) rolls,

(b) auxiliary percussion,

(c) timpani,

(d) reading percussion music,

(e) rudiments,

(f) multiple mallet technique, and/or

(g) drum kit; and/or

(5) military band instruments, to include:

(a) posture, position, embouchure, and air,

(b) common issues with tone,

(c) common issues with technique, and/or

(d) musical notation.

5. Time

a. Introduction/Conclusion: b. In-Class Activity: c. Subtotal:d. Total (Eight Periods):

5 min35 min40 min

320 min

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6. Substantiation. An in-class activity was chosen for this lesson as it is an interactive way for the cadetsto participate in master classes.

7. References. N/A.

8. Training Aids


b. Primary instrument, and

c. Perform Music Proficiency Level Music Performance Check Rubric.

9. Learning Aids


b. Music Proficiency Level pieces, and

c. Perform Music Proficiency Level Music Performance Check Rubric.


11. Remarks

a. The eight periods may be a combination of any of the above topic areas or may include any otherinstrument-specific topics.

b. Assistant instructors will be required for this lesson as the cadets are divided into smaller groups.

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4-9-7

EO SAM19.03 – PERFORM MUSIC PROFICIENCY LEVEL MUSIC

1. Performance. Perform Music Proficiency Level Music.

2. Conditions

a. Given:


(2) Prepared music pieces from Music Proficiency Level lists,

(3) Chair,

(4) Music stand,



b. Denied: N/A.


3. Standard. The cadet shall perform Music Proficiency Level music while observing:

a. rhythm,

b. pitch,

c. dynamics,

d. articulations,

e. a steady, appropriate tempo,

f. phrasing, and

g. tone quality.

4. Teaching Points. Have the cadets perform Music Proficiency Level music while observing:

a. rhythm,

b. pitch,

c. dynamics,

d. articulations, (as per standard),

e. a steady, appropriate tempo,

f. phrasing, and

g. tone quality.


6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way to have thecadets perform Music Proficiency Level music.

7. References. N/A.

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9. Learning Aids


b. Chair,

c. Music stand, and

d. Prepared music pieces from Music Proficiency Level lists.


11. Remarks

a. The Music Proficiency Level list should correspond to the Music Proficiency Level qualification thecadet is attempting to attain.

b. No time is allotted for this EO as it is conducted concurrently with EO SAM22.01 (Participate inIndividual Practice and Private Instruction, Section 12).

c. The instructor will provide supervision and feedback of this EO during the private lesson sessionsof EO SAM22.01 (Participate in Individual Practice and Private Instruction, Section 12).

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4-10-1

SECTION 10PO SAM20 – PERFORM THE LEADERSHIP ROLE OF AN ADVANCED MUSICIAN

1. Performance Objective. PO SAM20 (Perform the Leadership Role of an Advanced Musician) is locatedin this section.

2. Enabling Objective. The following leadership EOs are located in this section:

a. EO SAM20.01 – Describe the Military Band – Advanced Musician Course,

b. EO SAM20.02 – Describe Military Band Rehearsal Techniques,

c. EO SAM20.03 – Perform the Role of a Music Conductor, and

d. EO SAM20.04 – Practice Self-Assessment.

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PO SAM20 – PERFORM THE LEADERSHIP ROLE OF AN ADVANCED MUSICIAN

1. Performance. Perform the Leadership Role of an Advanced Musician.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet will perform the leadership role of an Advanced Musician, to include:

a. recognizing the role of a team leader within the leadership team;

b. setting personal goals;

c. practicing self-assessment;

d. leading an assigned team, to include:

(1) setting a positive example;

(2) fostering teamwork by contributing to positive team dynamics;

(3) communicating clearly the task(s) to be accomplished;

(4) supervising cadets;

(5) solving problems, as required;

(6) debriefing the team; and

(7) reporting to superiors;

e. performing the duties of an Assistant Military Band Instructor, to include:

(1) instructing a music lesson;

(2) instructing band drill;

(3) assisting with band management, to include:

(a) organizing a library;

(b) maintaining instruments; and

(c) scheduling band training; and

(4) supervising members of a set-up and tear-down crew; and

f. performing the duties of a Military Band Conductor, to include:

(1) analyzing music scores;

(2) interpreting styles of music;

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4-10-3

(3) applying rehearsal techniques when:

(a) warming up an ensemble;

(b) tuning an ensemble;

(c) balancing an ensemble; and

(d) communicating stylistic interpretation;

(4) employing baton technique;

(5) conducting a section during sectional practice; and

(6) conducting a band during ensemble practice.

4. Remarks. N/A.

A-CR-CCP-906/PG-001

4-10-4

EO SAM20.01 – DESCRIBE THE MILITARY BAND – ADVANCED MUSICIAN COURSE

1. Performance. Describe the Military Band – Advanced Musician Course.

2. Conditions

a. Given:

(1) Course schedule,



b. Denied: N/A.


3. Standard. The cadet shall describe the Military Band – Advanced Musician course, to include:

a. the outline of training,

b. the assessment, and

c. the qualification requirements.

4. Teaching Points


TP1 Explain the outline of training for the MilitaryBand – Advanced Musician course, to include:a. the aim,b. performance objectives and enabling

objectives, andc. the course training schedule.

InteractiveLecture

15 min A0-100

TP2 Explain Military Band – Advanced Musicianassessment, to include:a. overall assessment plan, andb. assessment checklists/rubrics.

InteractiveLecture

15 min A0-100

TP3 Explain the qualification record of the MilitaryBand – Advanced Musician course.

InteractiveLecture

5 min

5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. Total:

5 min35 min40 min

6. Substantiation. An interactive lecture was chosen for this lesson to introduce the cadets to the training,assessment and qualification of the Military Band – Advanced Musician course.

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7. References. A0-100 A-CR-CCP-910/PG-001 Director Cadets 3. (2008). Military Band – Music LevelsQualification Standard. Ottawa, ON: Department of National Defence.

8. Training Aids


b. Military Band – Music Proficiency Levels Qualification Standard,

c. Military Band – Advanced Musician Qualification Standard and Plan, and

d. Course schedule.

9. Learning Aids

a. Military Band – Training Outline,

b. Military Band – Training Assessment,

c. Course schedule, and

d. Military Band – Music Proficiency Levels Three, Four and Five Qualification Records.


11. Remarks. This lesson will be scheduled in the first week of the course.

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EO SAM20.02 – DESCRIBE MILITARY BAND REHEARSAL TECHNIQUES

1. Performance. Describe Military Band Rehearsal Techniques.

2. Conditions

a. Given:

(1) Sample ensemble rehearsal plan,

(2) Paper,

(3) Pen/pencil,



b. Denied: N/A.


3. Standard. The cadet shall describe military band rehearsal techniques.

4. Teaching Points


TP1 Describe military band rehearsal techniques,such as:a. warm-ups,b. tuning,c. scale studies,d. rhythm studies,e. sight-reading strategies,f. breathing exercises,g. rehearsal of concert music,h. crescendo and decrescendo exercises,

andi. sound and silence exercises.

InteractiveLecture

20 min C0-354C0-359C0-362(pp. 400–444)

TP2 Have the cadets plan an ensemble rehearsalusing rehearsal techniques.

In-ClassActivity

15 min

5. Time



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6. Substantiation

a. An interactive lecture was chosen for TP 1 to define military band rehearsal techniques.

b. An in-class activity was chosen for TP 2 as an interactive way to provoke thought, to stimulate aninterest among cadets and to plan an ensemble rehearsal using rehearsal techniques.

7. References

a. C0-354 (ISBN 0-9624308-0-3) Lisk, E. (1991). The Creative Director: Alternative RehearsalTechniques. USA: Meredith Music Publishing.

b. C0-359 (ISBN 0-634-03044-2) Lisk, E. (2001). The Creative Director: Beginning and IntermediateLevels. Milwaukee, WI: Meredith Music Publishing.

c. C0-362 (ISBN 0-13-020689-X) Colwell, J., & Goolsby, T. (2002). The Teaching of InstrumentalMusic (3rd ed.). New Jersey, NJ: Pearson Education Inc.


9. Learning Aids

a. Sample ensemble rehearsal plan,

b. Paper, and

c. Pen/Pencil.


11. Remarks. N/A.

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EO SAM20.03 – PERFORM THE ROLE OF A MUSIC CONDUCTOR

1. Performance. Perform the Role of a Music Conductor.

2. Conditions

a. Given:

(1) Conductor’s baton,

(2) Music scores,

(3) Self-Assessment Form,



b. Denied: N/A.


3. Standard. The cadet shall perform the role of a music conductor, to include:

a. analyzing music scores;

b. interpreting styles of music;

c. applying appropriate rehearsal techniques when:

(1) warming up an ensemble;

(2) tuning an ensemble;

(3) balancing ensembles; and

(4) communicating stylistic interpretation;

d. employing baton technique;

e. conducting a section during sectional practice; and

f. conducting a band during ensemble practice.

4. Teaching Points


TP1 Discuss the role of music conductor andassociated responsibilites, to include:a. analyzing music scores;b. tuning an ensemble;c. interpreting styles of music;d. applying appropriate rehearsal techniques

when:(1) warming up an ensemble;(2) balancing ensembles; and

GroupDiscussion

20 min C0-354 (p. 66)C0-362(pp. 402–405)

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(3) communicating stylisticinterpretation;

e. employing baton technique;f. conducting a section during sectional

practice;g. conducting a band during ensemble

practice;h. distributing music;i. managing music parts within the section;j. distributing music accessories;k. providing feedback on the ensemble’s

performance;l. becoming familiar with the music being

performed; andm. giving direction to the ensemble on how to

perform the music.

TP2 Review basic conducting techniques, to include:a. baton grip;b. the preparatory beat;c. basic time-beating;d. warming up the ensemble;e. cut-off gestures; andf. left-hand movements.

In-ClassActivity

15 min C0-361 (pp. 8–25)C0-362(pp. 416–418)

TP3 Demonstrate, explain and have the cadetsconduct in simple time, to include:a. anacrusis,b. left-hand movement,c. tempo changes,d. fermatas, ande. cut-offs.


35 min C0-361 (pp. 8–25, pp. 68–70, pp. 78–82,pp. 84–95)

TP4 Demonstrate, explain and have the cadetsconduct in compound time, to include:a. anacrusis,b. left-hand movement,c. tempo changes,d. fermatas, ande. cut-offs.


35 min C0-361(pp. 26–36,pp. 68–70,pp. 78–82,pp. 84–95)

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TP5 Have the cadets individually analyze a musicscore, to identify:a. key signature changes,b. the tempo,c. phrasing,d. difficult rhythms,e. meter changes,f. instrumentation for the main melody,g. time signature changes,h. dynamic markings,i. repeat signs,j. fermatas,k. anacrusis, andl. cut-offs.

In-ClassActivity

35 min C0-362(pp. 402–405)

5. Time

a. Introduction/Conclusion: b. Group Discussion: c. In-Class Activity: d. Demonstration and Performance: e. Total:


160 min

6. Substantiation

a. A group discussion was chosen for TP 1 as it allows the cadets to interact with their peers andshare their knowledge, experiences, opinions, and feelings about performing the role of a musicconductor.

b. An in-class activity was chosen for TPs 2 and 5 as it is an interactive way to have the cadetsanalyze a music score.

c. A demonstration and performance was chosen for TPs 3 and 4 as it allows the instructor to explainand demonstrate conducting techniques while providing an opportunity for the cadets to practicethe skill under supervision.

7. References

a. C0-361 (ISBN 0-13-182656-5) Green, E., & Gibson, M. (2004). The Modern Conductor (7th ed.).New Jersey, NJ: Pearson Education Inc.

b. C0-362 (ISBN 0-13-020689-X) Colwell, J., & Goolsby, T. (2002). The Teaching of InstrumentalMusic (3rd ed.). New Jersey, NJ: Pearson Education Inc.

c. C0-372 (ISBN 978-0-19-536651-8) Bailey, W. (2009). Conducting: The Art of Communication.Oxford, NY: Oxford University Press.

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8. Training Aids


b. Tuner,

c. Metronome,

d. Music scores, and

e. Conductor’s baton.

9. Learning Aids

a. Conductor’s baton,

b. Tuner,

c. Metronome,

d. Music scores, and

e. Self-Assessment Form.


11. Remarks

a. The cadets will assume the role of a music conductor during EO SAM22.03 (Participate inEnsemble Rehearsals, Section 12).

b. Cadets shall be provided ongoing feedback as well as a debriefing after their scheduled time asa music conductor.

c. Tuning of an ensemble will occur during EO SAM22.03 (Participate in Ensemble Rehearsals,Section 12).

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EO SAM20.04 – PRACTICE SELF-ASSESSMENT

1. Performance. Practice Self-Assessment.

2. Conditions

a. Given:

(1) Self-assessment rubrics,

(2) Cadet Interview Form,

(3) Personal Goals Update form,



b. Denied: N/A.


3. Standard. The cadet shall practice self-assessment by:

a. reflecting on abilities;

b. setting goals;

c. seeking feedback as required; and

d. seeking assistance as required.

4. Teaching Points


TP1 Define reflection and self-assessment. InteractiveLecture

5 min C0-237C0-242 (pp. 9–11)

TP2 Have cadets conduct self-assessment activitiesabout:a. their core leadership qualities; andb. how they contribute to positive team

dynamics.

In-ClassActivity

10 min

TP3 Review and update personal goals set during theinitial interview.

In-ClassActivity

10 min

TP4 Conduct a group discussion on how and when toseek feedback and assistance.

GroupDiscussion

10 min C0-258(pp. 97–98)

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5. Time

a. Introduction/Conclusion: b. Interactive Lecture: c. In-Class Activity: d. Group Discussion: e. Total:

5 min5 min

20 min10 min40 min

6. Substantiation

a. An interactive lecture was chosen for TP 1 to define reflection and self-assessment.

b. An in-class activity was chosen for TPs 2 and 3 as an interactive way to provoke thought,to stimulate an interest among cadets, to conduct self-assessments and to review and updatepersonal goals.

c. A group discussion was chosen for TP 4 as it allows the cadets to interact with their peers andshare their knowledge, experiences, opinions, and feelings about the benefits of seeking feedbackand assistance.

7. References

a. C0-237 (ISBN 0-19-541816-6) Barber, K. (Ed.). (2004). Canadian Oxford Dictionary (2nd ed.). DonMills, ON: Oxford University Press Canada.

b. C0-242 (ISBN 978-0-9682160-2-1) Gregory, K., Cameron, C., & Davis, A. (2000). Knowing WhatCounts: Self-Assessment and Goal Setting. Courtenay, BC: Building Connections Publishing, Inc.

c. C0-258 (ISBN 978-1-59869-450-5) Nigro, N. (2008). The Everything Coaching and MentoringBook. (2nd ed.). Avan, MA: F+W Publications Company.


9. Learning Aids

a. Handout of self-assessment guidelines,

b. Self-assessment rubric for core leadership qualities,

c. Self-assessment rubric for positive team dynamics,

d. Cadet Interview Form,

e. Personal Goals Update form, and

f. Pen/Pencil.


11. Remarks. N/A.

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SECTION 11PO SAM21 – EXECUTE DRILL AS A MEMBER OF A BAND

1. Performance Objective. PO SAM21 (Execute Drill as a Member of a Band) is located in this section.

2. Enabling Objective. The following drill and ceremonial EOs are located in this section:

a. EO SAM21.01 – Execute Band Drill, and

b. EO SAM21.02 – Perform Band Drill in Support of a Ceremonial Event.

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PO SAM21 – EXECUTE DRILL AS A MEMBER OF A BAND

1. Performance. Execute Drill as a Member of a Band.

2. Conditions

a. Given:


(2) Words of command,

(3) Mace signals,

(4) March pack with music,



b. Denied: N/A.

c. Environmental: Drill hall or outdoor parade square in favourable weather.

3. Standard. IAW specified references, the cadet will execute drill as a member of a band, to include:

a. performing instrument drill in the carrying and playing positions, to include:

(1) attention,

(2) stand at ease,

(3) stand easy,

(4) commence play,

(5) cease play,

(6) ground instruments,

(7) take up instruments, and

(8) dismiss;

b. falling in to military band formation;

c. playing while on the march;

d. maintaining band dressing by:

(1) executing the right dress;

(2) executing the centre dress; and

(3) executing drill on the march;

e. responding to voice commands, mace signals and/or bass drum signals, to include:

(1) commence play,

(2) cease play,

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(3) mark time,

(4) step off,

(5) halt,

(6) left and right wheels,

(7) change from quick march to slow march,

(8) change from slow march to quick march, and

(9) countermarch, to include:

(a) standard, and

(b) spiral; and

f. performing band drill in support of a ceremonial event, such as:

(1) Ceremony of the Flags,

(2) Sunset Ceremony,

(3) Retreat Ceremony, and

(4) change of command parade.

4. Remarks. N/A.

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EO SAM21.01 – EXECUTE BAND DRILL

1. Performance. Execute Band Drill.

2. Conditions

a. Given:



(3) Mace signals,




b. Denied: N/A.


3. Standard. IAW specified references, the cadet shall execute band drill, to include:

a. performing instrument drill in the carrying and playing positions;


c. playing while on the march;

d. maintaining band dressing; and

e. slow marching.

4. Teaching Points. Have the cadets execute band drill while:

a. performing instrument drill in the carrying and playing positions, to include:

(1) attention,

(2) stand at ease,

(3) stand easy,

(4) commence play,

(5) cease play,

(6) ground instruments,

(7) take up instruments, and

(8) dismiss;


c. maintaining band dressing by:

(1) executing the right dress;

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(2) executing the centre dress; and

(3) executing drill on the march; and

d. playing while on the march; and

e. responding to voice commands, mace signals and/or bass drum signals, to include:

(1) commence play,

(2) cease play,

(3) mark time,

(4) step off,

(5) halt,

(6) left and right wheels,

(7) change from quick march to slow march,

(8) change from slow march to quick march,

(9) countermarch, to include:

(a) standard, and

(b) spiral.

5. Time


40 min280 min320 min

6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way to allow cadetsto experience band drill in a safe, controlled environment. This activity contributes to the developmentof band drill in a fun and challenging way.

7. References

a. A0-002 A-PD-201-000/PT-000 Director History and Heritage 3-2. (2005). The Canadian ForcesManual of Drill and Ceremonial. Ottawa, ON: Department of National Defence.

b. A0-031 A-PD-202-001/FP-000 Director Ceremonial. (1993). Canadian Forces Military Bands andMarches: Band Instructions. Ottawa, ON: Department of National Defence.

8. Training Aids

a. Music instruments,

b. SAM21 PC Assessment,

c. Mace,

d. Bass drum, and

e. Bass drum harness.

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9. Learning Aids


b. Words of command,

c. Mace,

d. Mace signals,

e. Glockenspiel slings,

f. Drum slings,

g. Bass drum, and

h. Bass drum signals.


11. Remarks

a. Assistant instructors may be required to perform the drum major and bass drum signals.

b. Cadets are encouraged to assume the role of a drum major during this EO.

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EO SAM21.02 – PERFORM BAND DRILL IN SUPPORT OF A CEREMONIAL EVENT

1. Performance. Perform Band Drill in Support of a Ceremonial Event.

2. Conditions

a. Given:



(3) Mace signals,




b. Denied: N/A.


3. Standard. The cadet shall perform band drill in support of a ceremonial event, such as:

a. Ceremony of the Flags,

b. Sunset Ceremony,

c. Retreat Ceremony, and

d. change of command parade.

4. Teaching Points

a. Brief the cadets on the requirements of the band for a ceremonial event.

b. Have the cadets practice band drill in support of a ceremonial event.

c. Have the cadets perform band drill in support of a ceremonial event.

5. Time


5 min75 min80 min

6. Substantiation. A practical activity was chosen for this lesson as it contributes to the development ofband drill in a fun and challenging setting.

7. References



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8. Training Aids

a. Mace,

b. Bass drum,

c. Bass drum harness, and

d. Drill and ceremonial equipment, as required.

9. Learning Aids

a. Words of command,

b. Mace signals,

c. Bass drum signals,

d. Primary instrument,

e. Glockenspiel slings,

f. Drum slings,

g. March pack with music, and

h. Drill and ceremonial equipment, as required.


11. Remarks

a. It is not expected that the cadets perform in the ceremony, but they should be familiar with the drilland musical requirements of the ceremony.

b. Assistant instructors may be required to perform the drum major and bass drum signals.

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SECTION 12PO SAM22 – PERFORM ENSEMBLE MUSIC AS A MEMBER OF A BAND

1. Performance Objective. PO SAM22 (Perform Ensemble Music as a Member of a Band) is located inthis section.

2. Enabling Objective. The following ensemble music EOs are located in this section:

a. EO SAM22.01 – Participate in Individual Practice and Private Instruction,

b. EO SAM22.02 – Participate in Sectional Rehearsals,

c. EO SAM22.03 – Participate in Ensemble Rehearsals, and

d. EO SAM22.04 – Attend a Musical Performance.

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PO SAM22 – PERFORM ENSEMBLE MUSIC AS A MEMBER OF A BAND

1. Performance. Perform Ensemble Music as a Member of a Band.

2. Conditions

a. Given:


(2) Chair,

(3) Music stand,

(4) Concert music,

(5) Ceremonial music,

(6) March music,



b. Denied: N/A.

c. Environmental: Classroom or training area large enough to accommodate the band with adequatelighting and acoustics.

3. Standard. The cadet will perform ensemble music as a member of a band, to include:

a. ceremonial music for the following:

(1) march on the flags,

(2) general salute, and

(3) advance;

b. national anthem,

c. three marches to include one of the following elemental Cadet Program marches:

(1) “Heart of Oak” for the Sea Cadet Program,

(2) “Cadet” for the Army Cadet Program, or

(3) “Royal Canadian Air Force (RCAF) March Past” for the Air Cadet Program; and

d. three concert pieces.

4. Remarks. As part of this PO, cadets will participate in individual practice, private instruction, sectionalrehearsals and ensemble rehearsals.

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EO SAM22.01 – PARTICIPATE IN INDIVIDUAL PRACTICE AND PRIVATE INSTRUCTION

1. Performance. Participate in Individual Practice and Private Instruction.

2. Conditions

a. Given:

(1) Music Proficiency Rhythm sheet,

(2) Music Proficiency Level music,

(3) Scale and/or rudiments sheet,

(4) Ensemble music,

(5) Individual Practice and Private Instruction Plan handout,





b. Denied: N/A.


3. Standard. The cadet shall participate in individual practice and private instruction.

4. Teaching Points

a. Have the cadets participate in individual practice.

b. Have the cadets receive private instruction.

5. Time

a. Self Study:b. Subtotal (29 Periods):c. Tutorial:d. Subtotal (6 Periods):e. Total (35 Periods):

40 min1160 min

40 min240 min

1400 min

6. Substantiation

a. A self study was chosen as it allows the cadet to prepare for the next stage of learning at theirown learning pace. This encourages the cadet to become more self-reliant and independent byfocusing on their own learning.

b. A tutorial was chosen as it provides a one-on-one learning opportunity for the cadet and allows theinstructor to deliver individualized instruction.

7. References. N/A.

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8. Training Aids

a. Music Proficiency Level Rhythm sheet,

b. Music Proficiency Level music,

c. Scale and/or rudiments sheet,

d. Ensemble music,

e. Tuner,

f. Metronome,

g. Individual Practice and Private Instruction Plan handout, and

h. Primary instrument.

9. Learning Aids

a. Music Proficiency Level Rhythm sheet,

b. Music Proficiency Level music,

c. Scale and/or rudiments sheet,

d. Ensemble music,

e. Tuner,

f. Metronome,

g. Individual Practice and Private Instruction Plan handout, and

h. Primary instrument.


11. Remarks

a. Instructors should actively supervise and provide feedback to the cadets during the self study time.

b. Additional time for tutorial may be reallocated from the self study time.

c. Tutorials may be scheduled as one 40-minute period a week or as two 20-minute sessions.

d. During the first period of tutorial the instructor should conduct a discussion on time-managementstrategies, to include:

(1) setting small, achievable goals;

(2) prioritizing tasks;

(3) making a schedule;

(4) focusing on one task at a time;

(5) being flexible; and

(6) recognizing and dealing with distractions.

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EO SAM22.02 – PARTICIPATE IN SECTIONAL REHEARSALS

1. Performance. Participate in Sectional Rehearsals.

2. Conditions

a. Given:

(1) Ensemble music (scores and parts),


(3) Music stand,

(4) Chair,




b. Denied: N/A.


3. Standard. The cadet shall participate in sectional rehearsals.

4. Teaching Points. Have the cadet participate in sectional rehearsals.

5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Subtotal:d. Total (11 Periods):

5 min35 min40 min

440 min

6. Substantiation. A practical activity was chosen for this lesson as it allows the cadets to experiencesectional rehearsals in a safe, controlled environment. This activity contributes to the development ofmusic performance skills and knowledge in a fun and challenging setting.

7. References. C0-354 (ISBN 0-9624308-0-3) Lisk, E. (1991). The Creative Director: Alternative RehearsalTechniques. USA: Meredith Music Publications.

8. Training Aids

a. Presentation aids (eg, whiteboard/flip chart) appropriate for the classroom/training area,

b. Tuner,

c. Metronome, and

d. Scores for ensemble music.

9. Learning Aids


b. Music stand,

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c. Chair,

d. Tuner,

e. Metronome,

f. Pencil with eraser, and

g. Parts for ensemble music.


11. Remarks. N/A.

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EO SAM22.03 – PARTICIPATE IN ENSEMBLE REHEARSALS

1. Performance. Participate in Ensemble Rehearsals.

2. Conditions

a. Given:

(1) Ensemble music,


(3) Conductor’s baton,

(4) Conductor’s podium,

(5) Conductor’s music stand,

(6) Music stand,

(7) Music score,

(8) One of the following elemental Cadet Program marches:

(a) “Heart of Oak,”

(b) “Cadet,” and

(c) “Royal Canadian Air Force March Past”;

(9) Chair,




b. Denied: N/A.


3. Standard. The cadet shall participate in ensemble rehearsals by practicing:

a. ceremonial music, to include:

(1) march on the flags,

(2) general salute, and

(3) advance;

b. national anthem;

c. three marches; and

d. three concert pieces.

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4. Teaching Points

a. Brief the cadets on:

(1) personal conduct during a rehearsal, to include:

(a) contributing to the accomplishment of ensemble goals;

(b) following the conductor;

(c) appreciating ensemble members;

(d) encouraging ensemble members;

(e) trusting the ensemble; and

(f) respecting the concentration of the other musicians and their contributions to therehearsal; and

(2) the function of instrument groups within the band, to include:

(a) soprano,

(b) alto,

(c) tenor,

(d) bass, and

(e) percussion.

b. Conduct an ensemble rehearsal, to include:

(1) a warm-up activity,

(2) tuning the ensemble,

(3) sight-reading, and

(4) ensemble music.

5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Subtotal:d. Total (38 Periods):

5 min35 min40 min

1520 min

6. Substantiation. A practical activity was chosen for this lesson as it allows the cadets to experienceensemble rehearsals in a safe, controlled environment. This activity contributes to the development ofmusic performance skills and knowledge in a fun and challenging setting.

7. References

a. C0-354 (ISBN 0-9624308-0-3) Lisk, E. (1991). The Creative Director: Alternative RehearsalTechniques. USA: Meredith Music Publications.

b. C0-359 (ISBN 0-634-03044-2) Lisk, E (2001). The Creative Director: Beginning and IntermediateLevels. Milwaukee, WI: Meredith Music Publications.

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c. C0-360 (ISBN 1-57999-261-7) Chevallard, C. (2003). Teaching Music Through PerformingMarches (R. Miles, Eds.). Chicago, IL: GIA Publications, Inc.

8. Training Aids

a. Presentation aids (eg, whiteboard/flip chart) appropriate for the classroom/training area,

b. Conductor’s baton,

c. Conductor’s stand,

d. Tuner,

e. Metronome,

f. Conductor’s podium, and

g. Scores for ensemble music.

9. Learning Aids


b. Music stand,

c. Chair,

d. Tuner,

e. Metronome,

f. Pencil with eraser, and

g. Parts for ensemble music.


11. Remarks

a. One of the following elemental Cadet Program marches will be played:

(1) “Heart of Oak” for the Sea Cadet Program,

(2) “Cadet” for the Army Cadet Program, or

(3) “Royal Canadian Air Force (RCAF) March Past” for the Air Cadet Program.

b. Additional pieces may be added depending on the ability of the cadets.

c. Cadets will perform the role of a music conductor during this EO.

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EO SAM22.04 – ATTEND A MUSICAL PERFORMANCE

1. Performance. Attend a Musical Performance.

2. Conditions

a. Given:

(1) Music performance,

(2) Pen/pencil,



b. Denied: N/A.

c. Environmental: Performance location.

3. Standard. The cadet shall attend a musical performance, such as:

a. a Canadian Forces band performance, or

b. a local music performance.

4. Teaching Points

a. Discuss concert etiquette, to include:

(1) behaviour,

(2) applauding, to include:

(a) when to applaud, and

(b) duration of applause.

b. Have the cadets attend a musical performance, to include:

(1) observing personnel involved in the musical performance, to include:

(a) ensemble personnel, to include:

i. conductor,

ii. musicians,

iii. soloists, and

iv. sections of the ensemble; and

(b) stage crew personnel, to include:

i. master of ceremonies (MC),

ii. stage hands, and

iii. set-up and tear down crew;

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(2) observing performance routine, to include:

(a) warm-up activities,

(b) order and types of music played, and

(c) introduction of pieces by the MC; and

(3) observing performer’s behaviour.

c. Discuss the musical performance.

5. Time

a. Introduction/Conclusion: b. Field Trip: c. Total:

10 min70 min80 min

6. Substantiation. A field trip was chosen for this lesson as it will reinforce the cadets’ knowledge of theproduction of a concert and concert etiquette by attending a musical performance.

7. References

a. C0-260 The National Association for Music Education. (n.d.). The Ten Rules of Concert Etiquette.Retrieved February 26, 2008, from http://www.menc.org/guides/etiquette/students.pdf.

b. C0-261 Winnipeg Symphony Orchestra. (2007). Attending the Concert: What You Need to Know.Retrieved February 26, 2008, from http://www.wso.mb.ca/attend.asp.

8. Training Aids. Attend a musical performance handout.

9. Learning Aids. Attend a musical performance handout.


11. Remarks. N/A.

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SECTION 13PO SAM23 – DESCRIBE MILITARY BAND COMPOSERS

1. Performance Objective. PO SAM23 (Describe Military Band Composers) is located in this section.

2. Enabling Objective. EO SAM23.01 (Describe Military Band Composers) is located in this section.

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PO SAM23 – DESCRIBE MILITARY BAND COMPOSERS

1. Performance. Describe Military Band Composers.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet will describe military band composers, to include:

a. their music careers, and

b. their contributions to military band music.

4. Remarks. N/A.

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EO SAM23.01 – DESCRIBE MILITARY BAND COMPOSERS

1. Performance. Describe Military Band Composers.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet shall describe military band composers, such as:

a. John Philip Sousa,

b. Ralph Vaughan Williams,

c. Gustav Holst,

d. Kenneth Alford, and

e. Howard Cable.

4. Teaching Points


TP1 Conduct an activity to have the cadets describethe music careers of military band composers.

In-ClassActivity

40 min C0-067 (p. 67,p. 156, p. 167,p. 443, p. 444)C0-355(pp. 182–183)C0-358 (p. 16,pp. 413–414, p. 831,pp. 916–917)

TP2 Conduct a group discussion to have the cadetsdescribe how military band composers helped todevelop or shape military band music.

GroupDiscussion

30 min C0-067 (p. 67,p. 156, p. 167,p. 443, p. 444)C0-355(pp. 182–183)C0-358 (p. 16,pp. 413–414, p. 831,pp. 916–917)

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5. Time

a. Introduction/Conclusion: b. In-Class Activity: c. Group Discussion: d. Total:


6. Substantiation

a. An in-class activity was chosen for TP 1 as it is an interactive way to stimulate interest amongcadets in the careers of military band composers.

b. A group discussion was chosen for TP 2 as it allows the cadets to interact with their peers and sharetheir knowledge, opinions and feelings about a composer. Sharing in the discussion encouragescadets to examine their own thoughts and feelings and may prompt them to re-examine theirpreviously held ideas. The group discussion aids the instructor in developing a rapport by helpingcadets refine their ideas in a non-threatening atmosphere. Participating in a group discussionimproves cadets’ listening skills and promotes team development.

7. References

a. C0-067 (ISBN 1-844-77190-3) Wade-Matthews, M., & Thompson, W. (2005). The Encyclopedia ofMusic: Instruments of the Orchestra and the Great Composers. London, England: Hermes House.

b. C0-355 (ISBN 0-8020-281-0) Kallmann, H., Gilles, P., Winters, K., Miller, M., & Elliott, R. (1992).Encyclopedia of Music in Canada. (2nd ed.). Toronto, ON: University of Toronto Press.

c. C0-356 (ISBN 1-57999-476-9) Hansen, R. (2005). The American Wind Band – A Cultural History.Chicago, IL: GIA Publications, Inc.

d. C0-358 (ISBN 0-19-861459-4) Kennedy, M. (2006). The Oxford Dictionary of Music. New York,NY: Oxford University Press.

8. Training Aids


b. Biography of military band composers information sheet.

9. Learning Aids. N/A.


11. Remarks

a. Additional composers may be substituted.

b. It is suggested that three composers are discussed.

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SECTION 14PO SAM25 – PARTICIPATE IN MILITARY BAND ELECTIVE TRAINING

1. Performance Objective. PO SAM25 (Participate in Military Band Elective Training) is located in thissection.

2. Enabling Objective. There are no military band elective training EOs for this PO.

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PO SAM25 – PARTICIPATE IN MILITARY BAND ELECTIVE TRAINING

1. Performance. Participate in Military Band Elective Training.

2. Conditions

a. Given:


(2) Sheet music,



b. Denied: N/A.


3. Standard. The cadet will participate in military band elective training, such as:

a. a jazz band ensemble,

b. a field trip, such as:

(1) visiting a museum;

(2) visiting a music store; or

(3) visiting a music education/training centre;

c. a presentation given by a guest speaker or guest instructor,

d. a choir ensemble,

e. a band drill routine, or

f. a band recording.

4. Remarks

a. More than one activity may be chosen.

b. Selection of elective training activities should capitalize on the strengths and experience of theinstructors and available resources in the local area.

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SECTION 15PO SAM26 – INSTRUCT BAND DRILL

1. Performance Objective. PO SAM26 (Instruct Band Drill) is located in this section.

2. Enabling Objective. The following drill instruction EOs are located in this section:

a. EO SAM26.01 – Deliver Drill Commands,

b. EO SAM26.02 – Plan a Band Drill Routine,

c. EO SAM26.03 – Plan a 15-Minute Band Drill Lesson, and

d. EO SAM26.04 – Instruct a 15-Minute Band Drill Lesson.

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PO SAM26 – INSTRUCT BAND DRILL

1. Performance. Instruct Band Drill.

2. Conditions

a. Given:

(1) A lesson specification,

(2) An instructional guide,



b. Denied: N/A.


3. Standard. The cadet will instruct band drill, to include:

a. a 15-minute band drill lesson, and

b. planning a drill routine.

4. Remarks. N/A.

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EO SAM26.01 – DELIVER DRILL COMMANDS

1. Performance. Deliver Drill Commands.

2. Conditions

a. Given:

(1) A band,



b. Denied: N/A.


3. Standard. The cadet shall deliver drill commands to a band, to include:

a. fall in,

b. attention,

c. stand at ease,

d. stand easy,

e. centre/right dress,

f. ground instruments,

g. take up instruments, and

h. dismiss.

4. Teaching Points


TP1 Explain the parts of a command, to include:a. cautionary, andb. executive.

InteractiveLecture

5 min A0-002 (pp. 1-1-8 to 1-1-10)

TP2 Demonstrate and explain the requirements for awell-delivered command, to include:a. voice, to include:

(1) volume,(2) projection,(3) distinctness,(4) inflection, and(5) snap;

b. accuracy,c. confidence,

Demonstration 10 min A0-002 (p. 1-1-8)C0-022(pp. 98–101)C0-241

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d. correct posture, ande. breathing control.

TP3 Demonstrate and have the cadets practicedelivering words of command, to include:a. fall in,b. attention,c. stand at ease,d. stand easy,e. centre/right dress,f. ground instruments,g. take up instruments, andh. dismiss.

PracticalActivity

20 min

5. Time


5 min5 min

10 min20 min40 min

6. Substantiation

a. An interactive lecture was chosen for TP 1 to orient the cadets to the parts of a command and togenerate interest.

b. A demonstration was chosen for TP 2 as it allows the instructor to demonstrate the voice techniquesthe cadets are expected to acquire.

c. A practical activity was chosen for TP 3 as it is an interactive way to allow the cadets to experiencedelivering words of command in a safe, controlled environment.

7. References


b. C0-022 (ISBN 0-02-864207-4) Cole, K. (2002). The Complete Idiot’s Guide to ClearCommunication. Indianapolis, IN: Alpha Books.

c. C0-241 Optimal Breathing. (2007). Posture and Breathing. Retrieved February 12, 2008, fromhttp://breathing.com/articles/posture.htm.


9. Learning Aids. N/A.

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11. Remarks. N/A.

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EO SAM26.02 – PLAN A BAND DRILL ROUTINE

1. Performance. Plan a Band Drill Routine.

2. Conditions

a. Given:



b. Denied: N/A.


3. Standard. The cadet, as a member of a group of no more than three, shall plan a band drill routine, toinclude moving to and from standard marching band formation and concert formation.

4. Teaching Points


TP1 Explain how a band formation is chosen basedon:a. number of personnel,b. instrumentation, andc. type of band.

InteractiveLecture

5 min A0-031 (p. 3-3-1)

TP2 Explain the components of a band drill routine, toinclude:a. music selection,b. concert formation,c. march on,d. march past,e. wheels and spirals, andf. march off.

InteractiveLecture

10 min

TP3 Explain the following considerations for concertformations:a. complexity of formation,b. time to move from band formation to

concert formation, andc. how concert formation relates to the music.

InteractiveLecture

10 min

TP4 Have the cadets, in groups of no more thanthree, plan a band drill routine.

PracticalActivity

45 min

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5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1–3 to present the concepts of planning a band drillroutine to the cadets.

b. A practical activity was chosen for TP 4 as it is an interactive way to allow cadets to experienceplanning a band drill routine in a safe, controlled environment. This activity contributes to thedevelopment of drill instruction skills and knowledge in a fun and challenging setting.

7. References. A0-031 A-PD-202-001/FP-000 Director Ceremonial. (1993). Canadian Forces MilitaryBands and Marches: Band Instructions. Ottawa, ON: Department of National Defence.


9. Learning Aids

a. Flip chart paper, and

b. Markers.


11. Remarks. This EO should be scheduled as two consecutive periods.

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EO SAM26.03 – PLAN A 15-MINUTE BAND DRILL LESSON

1. Performance. Plan a 15-Minute Band Drill Lesson.

2. Conditions

a. Given:





b. Denied: N/A.



a. identify the drill instruction sequence; and

b. develop a written drill lesson plan.

4. Teaching Points


TP1 Describe the drill instruction sequence, toinclude:a. preliminaries,b. lesson,c. performance check, andd. conclusion.

InteractiveLecture

5 min A0-002 (pp. 1-1-4 to 1-1-8)

TP2 Review the lesson-planning process. InteractiveLecture

10 min

TP3 Have the cadets plan a drill lesson. PracticalActivity

20 min A0-031 (pp. 3-1-1 to 3-5-6)

5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to present the drill instruction sequence and tostimulate an interest in planning a drill lesson.

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b. A practical activity was chosen for TP 3 to guide the cadets through the process of planning adrill lesson.

7. References



8. Training Aids

a. Presentation aids (eg, whiteboard,/flip chart/OHP/multimedia projector) appropriate for theclassroom/training area, and

b. List of approved 15-minute drill topics.

9. Learning Aids

a. Handout on Lesson Plans,

b. Blank Drill Lesson Plan,

c. Plan a Drill Lesson Checklist,

d. A lesson specification, and

e. An instructional guide.


11. Remarks. EO SAM26.03 (Plan a 15-Minute Drill Lesson) should be scheduled at least one week priorto EO SAM26.04 (Instruct a 15-Minute Drill Lesson).

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EO SAM26.04 – INSTRUCT A 15-MINUTE BAND DRILL LESSON

1. Performance. Instruct a 15-Minute Band Drill Lesson.

2. Conditions

a. Given:



(3) Bass drum,

(4) Bass drum harness,

(5) Mace,

(6) A band,



b. Denied: N/A.


3. Standard. IAW specified references, the cadet shall instruct a 15-minute band drill lesson to a groupof peers using:

a. a written lesson plan, and

b. the drill instruction sequence.

4. Teaching Points. Supervise while the cadets instruct a 15-minute band drill lesson.

5. Time

a. Introduction/Conclusion: b. Practical Activity: c. Subtotal:d. Total (Seven Periods):

5 min35 min40 min

280 min

6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way for cadets todevelop drill instruction skills in a safe and controlled environment.

7. References



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8. Training Aids

a. Bass drum,

b. Bass drum harness, and

c. Mace.

9. Learning Aids

a. Bass drum,

b. Bass drum harness,

c. Mace,

d. Primary instrument,

e. March pack with music,

f. Glockenspiel slings, and

g. Drum slings.


11. Remarks

a. EO SAM26.04 (Instruct a 15-Minute Drill Lesson) should be scheduled at least one week afterEO SAM26.03 (Plan a 15-Minute Drill Lesson).

b. Additional instructors may be required to accommodate dividing the band into groups of no lessthan eight cadets for assessment purposes.

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SECTION 16PO SAM27 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON

1. Performance Objective. PO SAM27 (Instruct a 20-Minute Private Music Lesson) is located in thissection.

2. Enabling Objective. The following private music lesson EOs are located in this section:

a. EO SAM27.01 – Plan a Private Music Lesson, and

b. EO SAM27.02 – Instruct a 20-Minute Private Music Lesson.

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PO SAM27 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON

1. Performance. Instruct a 20-Minute Private Music Lesson.

2. Conditions

a. Given: Supervision.

b. Denied: Assistance.


3. Standard. The cadet will instruct a 20-minute private music lesson using:

a. a written lesson plan,

b. an appropriate method(s) of instruction, and

c. an appropriate instructional aid(s).

4. Remarks. N/A.

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EO SAM27.01 – PLAN A PRIVATE MUSIC LESSON

1. Performance. Plan a Private Music Lesson.

2. Conditions

a. Given:

(1) Music Proficiency Level Basic Level Music,

(2) Music Proficiency Level Basic Scale sheet,

(3) Music Proficiency Level Basic Rudiments sheet,

(4) Plan a Lesson Checklist,

(5) Paper,

(6) Pen/pencil,




b. Denied: N/A.


3. Standard. The cadet shall plan a private music lesson, to include:

a. researching lesson content; and

b. developing a lesson plan.

4. Teaching Points


TP1 Explain how to research lesson content byidentifying:a. technique issues that need attention; andb. areas of performance that need attention.

InteractiveLecture

5 min

TP2 Describe the format of a private music lesson, toinclude:a. warm-up,b. technique practice,c. aural skill practice,d. level music practice, ande. ensemble music practice.

InteractiveLecture

10 min

TP3 Supervise and provide assistance while thecadets plan four private music lessons.

PracticalActivity

20 min

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5. Time



6. Substantiation

a. An interactive lecture was chosen for TPs 1 and 2 to present basic material on how to researchlesson content and how to prepare for a private music lesson.

b. A practical activity was chosen for TP 3 to allow the cadets to plan a lesson in a structured andcontrolled environment. This activity contributes to the development of lesson-planning skills andwill serve as preparation for EO SAM27.02 (Instruct a 20-Minute Private Music Lesson).

7. References. N/A.

8. Training Aids


b. Sample lesson plan for private music lessons,

c. Music Proficiency Level Basic Level Music,

d. Music Proficiency Level Basic Scale sheet,

e. Music Proficiency Level Basic Rudiments sheet, and

f. Instrument fingering chart.

9. Learning Aids

a. Music Proficiency Level Basic Level Music,

b. Music Proficiency Level Basic Scale sheet,

c. Music Proficiency Level Basic Rudiments sheet,

d. Plan a Lesson Checklist,

e. Paper,

f. Pen/pencil, and

g. Instrument fingering chart.


11. Remarks

a. Cadets will plan four lessons to instruct a private music lesson to a peer on their primary instrument.The lessons will be based on the Basic Music Proficiency Level Qualification.

b. EO SAM27.01 (Plan a Private Music Lesson) should be scheduled at least one week prior toEO SAM27.02 (Instruct a 20-Minute Private Music Lesson).

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EO SAM27.02 – INSTRUCT A 20-MINUTE PRIVATE MUSIC LESSON

1. Performance. Instruct a 20-Minute Private Music Lesson.

2. Conditions

a. Given:




b. Denied: N/A.


3. Standard. The cadet shall instruct a 20-minute private music lesson to a peer using:

a. a written lesson plan,

b. an appropriate method(s) of instruction, and

c. an appropriate instructional aid(s).

4. Teaching Points. Have the cadets instruct a 20-minute private music lesson.

5. Time

a. Practical Activity: b. Total (Four Periods):

40 min160 min

6. Substantiation. A practical activity was chosen for this lesson as it is an interactive way for cadets todevelop instructional skills in a safe and controlled environment.

7. References. A0-055 A-P9-050-000/PT-006 Director Training and Education Policy. (2002). CanadianForces Manual of Individual Training and Education (Vol. 6). Ottawa, ON: Department of NationalDefence.


9. Learning Aids


b. Tuner,

c. Metronome, and

d. Primary instrument.


11. Remarks

a. Cadets will pair up with another cadet who plays a different military band instrument. The cadetswill take turns teaching a 20-minute private music lesson to each other. During each period, bothcadets will teach a 20-minute private music lesson.

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b. IAW Military Band – Qualification Standard, cadets will instruct a peer to achieve Music ProficiencyLevel Basic on their own primary instrument. This is done by leading four 20-minute private musiclessons. The private music lesson should model the lessons received in EO SAM22.01 (Participatein Individual Practice and Private Instruction, Section 12).

c. This EO should be scheduled as four separate periods.

d. Cadets will require instruments for this EO and therefore should be grouped based on instrumentavailability.


4A-1

INSTRUCTIONAL METHODOLOGIES AND THEIR APPLICATIONS


4A-2


4A-3


4A-4


4A-5


4A-6


4A-7



4A-8


4B-1

ON-THE-JOB TRAINING (OJT) DIVISIONAL PETTY OFFICER (DPO)/PLATOON WARRANT OFFICER (Pl WO)/FLIGHT SERGEANT (FSgt) DUTIES

PURPOSE

1. The purpose of OJT – DPO/Pl WO/FSgt Duties is to provide the cadet an authentic experience thatallows them to observe and assist in performing the duties and responsibilities of this leadership appointment.This activity is intended to be experiential in nature providing the cadet the opportunity to work alongside anexperienced DO/Pl Comd/Flt Comd and DPO/Pl WO/FSgt with assessment for learning being the focus ratherthan assessment of learning.

GENERAL INSTRUCTIONS

2. For one training day the cadet shall be assigned to a division/platoon/flight of cadets participating in amore junior qualification course (eg, General Training or a three-week basic qualification course). The durationof the assignment shall extend beyond the eight periods of training to include both the morning and eveningroutines (eg, from the time cadets are woken up until lights out).

3. With the assistance of the DPO/Pl WO/FSgt, the DO/Pl Comd/Flt Comd of the division the cadet isassigned to is responsible for conduct and oversight, to include:

a. ensuring the cadet is briefed on their responsibilities and the division’s/platoon’s/flight’s schedulefor the day;

b. ensuring the cadet is provided the opportunities to perform some or all tasks normally completedby the DPO/Pl WO/FSgt;

c. completing the OJT – DPO/Pl WO/FSgt Duties Checklist located at Appendix 1;

d. debriefing the cadet upon completion and providing them a copy of the OJT – DPO/Pl WO/FSgtDuties Checklist; and

e. ensuring the completed OJT – DPO/Pl WO/FSgt Duties Checklist is returned to the cadet’s DO/Pl Comd/Flt Comd.

TASKS

4. A list of common tasks that a DPO/Pl WO/FSgt would perform as part of a normal daily routine has beenprovided in the OJT – DPO/Pl WO/FSgt Duties Checklist. Given the different operating procedures at CSTCs,some tasks listed may not be applicable. In such cases, the task shall be marked as “N/A”. Additionally, anytask the cadet completes that is not listed should be noted in the comments section.

SCHEDULING

5. When scheduling OJT – DPO/Pl WO/FSgt, consideration must be given to such things as the number ofdivisions/platoons/flights available for the cadets to be assigned to and the training schedules of those divisions/platoons/flights to ensure that the OJT experience is in-line with the stated purpose.

6. Any number of factors may exist based on the capacity of the CSTC that will not allow for a completedivision/platoon/flight to be scheduled for OJT – DPO/Pl WO/FSgt at the same time. In this circumstance,special consideration must be given to minimize the cadet’s absence from other areas of training. For example,schedule half of a division/platoon/flight for OJT – DPO/Pl WO/FSgt, while the other is scheduled for OJT –Specialty.

7. Many factors come in to play when scheduling this aspect of training and will require early communicationand collaboration between the Crse O and other CSTC staff responsible for developing the CSTC’s overalltraining plan. This effort will maximize the OJT experience while minimizing the affect on other areas of training.


4B-2

REMARKS

8. Consideration should be given to providing cadets with an identifier to be worn while participating in OJT.This may be in the form of a brassard, rank slip-on or some other method provided it is uniformed across theCSTC.


4B1-1

OJT – DPO/Pl WO/FSgt DUTIES CHECKLIST



4B1-2


4C-1

ON-THE-JOB TRAINING (OJT) – SPECIALTY (MILITARY BAND PERFORMANCE)

PURPOSE

1. The purpose of OJT – Specialty (Military Band Performance) is to provide the cadet an authenticexperience that allows them to demonstrate the skills and music proficiency attained through their training.This activity is intended to be experiential in nature with assessment for learning being the focus rather thanassessment of learning.


2. Eight periods have been assigned for OJT – Specialty (Military Band Performance). The duration of theassignment may extend beyond the eight periods of training to include the extracurricular activities componentscheduled as part of the CSTC program.

3. The Crse O for the Military Band – Advanced Musician course is responsible for planning and organizingthe performance opportunity.

4. The DO/Pl Comd/Flt Comd for the Military Band – Advanced Musician course is responsible for conductand oversight, to include:

a. ensuring the cadet is briefed on their responsibilities and the planned schedule for theperformance;

b. completing the OJT – Specialty (Military Band Performance) Checklist located at Appendix 1;

c. debriefing the cadet upon completion and providing them a copy of the OJT – Specialty (MilitaryBand Performance) Checklist; and

d. ensuring the completed OJT – Specialty (Military Band Performance) Checklist is returned to thecadet’s DO/Pl Comd/Flt Comd.

PERFORMANCE LIST

5. A form has been provided in the OJT – Specialty (Military Band Performance) Checklist in order to recordthe performances the cadets participate in as part of their OJT. Given the different opportunities for performanceat CSTCs, the list has been left blank. Some examples of performance opportunities are:

a. community parades,

b. ceremonial events,

c. community concerts,

d. individual or small group performances,

e. graduation parades,

f. band drill demonstrations, and

g. festival performances.

SCHEDULING

6. When scheduling OJT – Specialty (Military Band Performance) consideration must be given to suchthings as the number of performances available for the cadets and their schedules to ensure that the OJTexperience is in-line with the stated purpose.


4C-2

7. OJT – Specialty (Military Band Performance) is one aspect to the training the cadets receive during thesummer. The performance of OJT – Specialty (Military Band Performance) should not interfere with the deliveryof the Military Band – Advanced Musician course. CSTCs will have to be selective about which performancesa Military Band – Advanced Musician course is scheduled to perform.

8. The eight periods for OJT – Specialty (Military Band Performance) are allocated for performance timeonly. This includes time to set up, perform and take down. This period allotment does not include time to travelto and from the performance venue. CSTCs may need to allocate periods from the standard components (eg,CO’s discretionary periods, spare periods) to account for this time.


REMARKS

10. Considering that the assessment focus of the OJT – Specialty (Military Band Performance) is assessmentfor learning, it is encouraged that staff involved with this component of training make use of the PCs related toEO SAM19.02 (Participate in Master Classes, Section 9), PO SAM21 (Execute Drill as a Member of a Band,Section 11) and PO SAM22 (Perform Ensemble Music as a Member of a Band, Section 12) that cadets willbe performing located in Chapter 3. This is an ideal opportunity for the cadets to practice these PCs and allowfor more detailed formative feedback on performance in addition to the overall feedback provided to the cadetafter the experience.

A-CR-CCP-906/PG-001Chapter 4, Annex C, Appendix 1

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OJT – SPECIALTY (MILITARY BAND PERFORMANCE)

A-CR-CCP-906/PG-001Chapter 4, Annex C, Appendix 1


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4D-1

ON-THE-JOB TRAINING (OJT) – SPECIALTY (ADVANCED MUSICIAN DUTIES)

PURPOSE

1. The purpose of OJT – Specialty (Advanced Musician Duties) is to provide the cadet an authenticexperience that allows them to observe and assist in performing the duties and responsibilities of this leadershipassignment. This activity is intended to be experiential in nature proving the cadet the opportunity to workalongside an experienced Music Instructor and other military band specialty staff with assessment for learningbeing the focus rather than assessment of learning.


2. For one training day the cadet shall be assigned to a Music Instructor (eg, a specialty instructor assignedto the Basic Musician course or the Intermediate Musician course, a specialty instructor within the musicinstructional cadre, etc). The duration of the assignment may extend beyond the eight periods of training toinclude the extracurricular activities component scheduled as part of the CSTC program.

3. The Music Instructor the cadet is assigned to is responsible for conduct and oversight, to include:

a. ensuring the cadet is briefed on their responsibilities and the planned schedule for the day;

b. ensuring the cadet is provided the opportunities to perform some or all tasks normally completedby the Music Instructor;

c. completing the OJT – Specialty (Advanced Musician Duties) Checklist located at Appendix 1;

d. debriefing the cadet upon completion and providing them a copy of the OJT – Specialty (AdvancedMusician Duties) Checklist; and

e. ensuring the completed OJT – Specialty (Advanced Musician Duties) Checklist is returned to thecadet’s DO/Pl Comd/Flt Comd.

TASKS

4. A list of common tasks that a Music Instructor would perform as part of a normal daily routine hasbeen provided in the OJT – Specialty (Advanced Musician Duties) Checklist. Given the different operatingprocedures at CSTCs, some tasks listed may not be applicable. In such cases the task shall be marked as “N/A”. Additionally, any task the cadet completes that is not listed should be noted in the comments section.

SCHEDULING

5. When scheduling OJT – Specialty (Advanced Musician Duties) consideration must be given to suchthings as the number of Music Instructors available for the cadets to be assigned to and their schedules toensure that the OJT experience is inline with the stated purpose.

6. Any number of factors may exist based on the capacity of the CSTC that will not allow for a completedivision/platoon/flight to be scheduled for OJT – Specialty (Advanced Musician Duties) at the same time. In thiscircumstance, special consideration must be given to minimize the cadet’s absence from other areas training.For example, schedule half of a division/platoon/flight for OJT – Specialty (Advanced Musician Duties), whilethe other is scheduled for OJT – DPO/Pl WO/FSgt.

7. To maximize the OJT – Specialty (Advanced Musician Duties) experience for all cadets, the Crse O isauthorized and encouraged to program and coordinate additional OJT by allowing 1–2 cadets to assist withand/or lead music training actiivities concurrently during the lessons related to the Military Band – AdvancedMusician EO SAM22.03 (Participate in Ensemble Rehearsals, Section 12). This takes into account that this EOis programmed and scheduled for 36 periods and that all cadets are not required for the successful completionof this component of training.


4D-2


REMARKS

9. Considering that the assessment focus of the OJT – Specialty (Advanced Musician Duties) is assessmentfor learning, it is encouraged that staff involved with this component of training make use of the PCs related tothe Advanced Musician Duties that cadets will be performing located in Chapter 3. This is an ideal opportunityfor the cadets to practice these PCs and allow for more detailed formative feedback on performance in additionto the overall feedback provided to the cadet after the experience.

10. Consideration should be given to providing cadets with an identifier to be worn while participating in OJT.This may be in the form of a brassard, rank slip-on or some other method provided it is uniformed across theCSTC.


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OJT – SPECIALTY (ADVANCED MUSICIAN DUTIES CHECKLIST)


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MILITARY BAND – ADVANCED MUSICIAN QUALIFICATION...

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