NYSSMA® 2012 - Hendersonville Symphony Orchestra ... Guide for Music Instruction ... Orchestra...

Sequential Guide for Music Instruction ... Orchestra

NYSSMA®2012

Performing Listening Musical Elements & Notation History/Culture/Style Creating

Technique Musicianship (Tonality, Rhythm, Timbre, Form, Harmony, Dynamics) (Improvising, Composing)

7

Posture: musician position- feet flat, sitting up straight; proper playing instrument position; rest position

Instrument position:

Violin / Viola: left wrist straight, fingers hover over correct spots on the fingerboard, left arm under instrument. Scroll should be angled 45o to the left of center; left side of jaw should fit comfortably on chin rest.

Cello: center the cello between the student’s legs (some advocate a slight angle to the right, however the student may tend to exaggerate this too much). Top corners of the C bouts should meet the knees; top of the

Identify parts of instrument, and names of open strings

Start and end together

Respond to the conductor

Lesson/ensemble etiquette

Concert etiquette and performance practice

Performance critique of self & others(posture, pitch, tone, etc.)

Perform songs through written notation and note teaching

Student awareness of different clefs used within ensemble

Echo rhythms

Echo pitch

Perform songs by rote

Good vs. poor tone discrimination

Lesson book recordings (if available)

Teacher modeling

Beginning awareness of pitch

Discriminate between good and poor pitch, with aid of fingering tapes

Instrument tuning by teacher

Tonality: D Major

Rhythm: steady beat long vs. short notes and patterns (Mississippi Hot Dog) duple / triple meter

h Ó q Œ

Tempo: Moderato

Andante

count using beat and sub-divisions

Timbre: good vs. poor tone discrimination

Form: AB

ABA

repetition & contrast

repeat signs “ ‘

Folk songs of different cultures

Characteristic sounds of geographic regions

History and development of the string instrument

Creating: Echo short rhythmic patterns within a 4-beat pattern

Explore different sounds on the instrument (glissando, pluck, etc.)

NYSSMA® Curriculum CommitteeSequential Guide to Music Instruction

forPerformance Ensembles

Orchestra - Beginner Orchestra - Beginner



8

cello rests on the chest; the C peg should be behind the left ear; left elbow off of the instrument with the wrist straight; side of left thumb touches neck across from the 2nd finger; 3rd knuckles are parallel to the neck with all fingers hovering over the correct spots on the fingerboard.

Bass: sitting on a stool high or low enough so the left leg can be propped up on a bar of the stool; left knee should be used as a back support for the double bass, and can help adjust the bass angle in order to reach all strings comfortably. If standing, feet should be hip-width apart, with left leg slightly forward. When either sitting or standing, bass should be angled so that it rests on the inside of the left thigh. The height should be

Establish a basic practice routine

Harmony: perform with teacher or recorded accompaniment

Notation: sharp #

bar line ==\==

measure \===\

staff ===

time signature

key signature

up bow

down bow

bow re-take/lift ,

treble clef &

bass clef ?

C clef (viola)

introduce ties and slurs




9

adjusted such that the bow can be easily placed between fingerboard and bridge. As the student turns head to the left, eyes should be where ½ position is located; student should be able to look directly down the fingerboard by slightly turning head to the left, but not moving head position significantly; both arms should be able to cross the instrument in front of the middle of the fingerboard.

Bow hold:

Violin / Viola: thumb bent underneath 2nd finger between hair and stick, pinky curved on top of stick, right hand tilted left, toward the tip of the bow. Option: for beginning bow hold, place thumb on bottom of frog.




10

Cello: thumb slightly bent across from 2nd finger, tip of 2nd finger on ferule, 3rd and 4th fingers curved over the stick. The ring finger goes on the dot. (if no dot, use center of frog as a reference point) If student struggles, try placing pinky over stick.

Bass: thumb slightly bent across from 2nd finger, tip of 2nd finger on ferule, 3rd and 4th fingers curved over the stick. The ring finger goes forward of the dot (if no dot, use center of frog as a reference point).If student struggles with the bow hold at the frog, you may consider moving the bow hold up to the balance point to overcome this hurdle.

Stick perpendicular to arm to keep bow straight across the strings




11

Right hand pizzicato

Bowing: hold draw a straight bow up bow down bow bow re-take/lift arco

Basic fingering pattern (D Major scale)

Violin / Viola: 1, high 2, 3

Cello: 1, 3, 4

Bass: 1, (2,) 4 (shift to 3rd position)

Read pitches on 2 strings

Instrument care: prepare instrument, loosening/tightening bow, adjust shoulder pad/rock stop, end pin

Adjust right arm level to perform on different strings (string crossing)




12



Orchestra - NYSSMA® Level I Orchestra - NYSSMA® Level I

Posture: musician position, instrument position

Perform with appropriate left hand/arm position

Bowing: draw a straight bow, slur, staccato, bow distribution (whole, upper half, middle, lower half )

One octave scale with basic fingering pattern Violin: D, G, A Major scales

Viola and Cello:D, C, G Major scales

Bass: D, G, A Major scales

Finger patterns: Violin / Viola: introduce low 2Cello: introduce 2nd finger



Student conducts

and conducting patterns


Performance critique of self and others(posture, pitch, tone, etc.)

Student writes in music (using pencil) to improve performance

Independent part playing in an ensemble,

Perform NYSSMA® Level I solo



Teacher modeling

With teacher assistance, begin tuning with fine tuners

Awareness of playing in tune or out of tune

Echo musical patterns

Self assess using musical terminology

Perform with consideration of balance between melody and accompaniment

Tonality: Violin / Bass: D, G, A Major scales Viola / Cello: C, G, D Major scale

Rhythm:

Common Time c w h. Tempo: Moderato

Allegro

Andante

introduce ritardando

Count using beat and sub-divisions

Form: repetition and contrast

D.C.

coda fi al fine

DS %

rounds

1st and 2nd endings

Perform with characteristic style of music

Compare and contrast various characteristics of performance literature

Historical / geographical / cultural connections of repertoire

Creating: 3 or 4 note melody patterns

3 or 4 note echo patterns over simple chord pattern: I, V, I

Transpose simple memorized folk songs to another string (eg. Twinkle D, Twinkle G, Twinkle A-for violin)



13

For students participating in the NYSSMA® Festival: perform scales with full bow

Introduce pitches on all 4 strings

Sightread according to NYSSMA® Level I criteria

Adjust arm level to perform different notes on different strings (string crossing

Perform Very Easy – NYSSMA® Level I ensemble literature

Bow together within section

Hear and finger half and whole steps

Introduce musical phrasing in relation to language

Maintain a basic practice routine, with guidance

Listen to recordings of professional performers

Harmony: orchestra – 3 parts

homophonic parts

duets

Dynamics: piano p forte f crescendo <

decrescendo >

Notation: natural n fermata U u

single measure repeats

accent

staccato

ledger lines

legato

Orchestra - NYSSMA® Level I Orchestra - NYSSMA® Level I



14



Orchestra - NYSSMA® Level II Orchestra - NYSSMA® Level II

Review posture: musician position, instrument position

Review left hand/arm position

Bowing: draw a straight bow, hooked, accent, martelé, legato, bow distribution (whole, upper half, middle. lower half )

Fingering pattern:Violin / Viola: low 2, high 3

Cello: extension

Bass: half thru 3rd positions

Violin: D, G, A, C, Major scales

Viola / Cello: D, C, G, A, F, Major scales

Respond to the interpretive gestures of the conductor

Begin to have student lead ensemble and conduct warm-ups, utilizing basic patterns


Performance critique of self & others(posture, pitch, tone, and balance)

Incorporate musical phrasing in performance

Independent part playing in an ensemble

Perform with consideration of balance between sections within an ensemble.

Good vs poor tone discrimination

Recordings of performance repertoire

Teacher modeling

Using electronic tuner, adjust pitch of strings with fine tuners

Intonation: adjust melodically

Discriminatory listening across sections of the orchestra

Discriminate and respond to dynamic levels in music

Tonality: D, G, C, F, A Major minor half steps whole steps

Rhythm: introduction

C introduce syncopation

q. e

(introduce)



Facilitate discussion of famous string composers

Medley

Fiddling

Creating: Short patterns, using level appropriate rhythms and scales

Melodic patterns with 5–6 notes

Improvising: Call & response exercises

Composing: Complete a 4-measure melody in D, with 2 measure prompt



15

Bass: D, C, G, A Major scales

Perform scales in varied tempi and rhythms

Cello: introduce motion of shifting from 1st to 4th position

Sightread according to NYSSMA® Level II criteria

Perform NYSSMA® Level II solo

Perform NYSSMA® Level I/II ensemble literature

Bow together within section, using same part of the bow

Recognize the relationship of key signatures to finger patterns in scales and literature, in the key of D and G

Facilitate discussion of interval in relation to intonation

Practice regularly with attention to difficult parts

Use available resources to locate musical information (fingerings, history, composer, definitions, symbols, etc.)


introduce/utilize metronome for practice

Tempo: Largo

introduce accelerando

Form: medley

transitions

rondo

Harmony: orchestra – 4 parts

polyphonic parts

Dynamics: mezzo piano P mezzo forte F forte piano Í

Notation: flat b Violin: grace note (as in solo literature)

ritardando

order of sharps and flats

Grand Pause G.P.

marcato

Orchestra - NYSSMA® Level II Orchestra - NYSSMA® Level II



16



Orchestra - NYSSMA® Level III Orchestra - NYSSMA® Level III


Review left hand/arm

Bowing: drawing a straight bow, introduce bouncing the bow, detaché, hooked dotted rhythms, bow distrubution (whole, upper half, middle, lower half )

Fingering pattern:Violin / Viola: low 1, low 4, high 3

Cello: extension and shifting through 4th position

Bass: half thru 3rd positions

Violin: A, C, E, F, G, Bb, Eb Major scales

Respond to the interpretive gestures of the conductor

Student conducts warm-ups utilizing

, and patterns


Performance critique of self & others(balance, blend, dynamics, tone, phrasing, and ensemble)

Perform with consideration of balance between sections within an ensemble, and within the section.

Incorporate musical phrasing to create expressive performance

Increase awareness of good tone quality

Listen to recordings of performance repertoire

Teacher and student modeling

Using electronic tuner, adjust pitch of strings with fine tuners

Introduce peg tuning

Cello and bass tune with harmonics

Violins and violas begin to tune using 5ths

Listen to intonation of self and others, adjusting melodically / harmonically

Tonality: C, G, D, A, F, Bb, Eb Major scales a, e, b, d, g relative natural minor

enharmonics

pentatonic scale

Rhythm: mixed meter


Form: concerto canon ostinato

Harmony: orchestra: 4–5 parts polyphonic parts divisi parts

Dynamics: fortissimo ƒ pianissimo π


Perform characteristic style of music (swing, baroque, pop, classical)

Facilitate discussion of string and orchestra composers / arrangers

Experience and perform traditional European, American folk and world music

Explore music as a career, business or social outlet

Stylized dances (gigue, minuet, gavotte)

Improvising: Improvise a melody using a pentatonic scale

Simple improvisation w/ drone accompaniment

Transpose simple melodies in different keys, and in new positions

Composing: Create a 4-measure melody over a I, IV, V, I chord progression



17

Viola: D, C, G, A, F, E, Bb, Eb Major scales

Cello: D, C, G, A, F, E, Bb Major scales

Bass: D, C, G, E, A, F, Bb, Major scales

Perform 1 octave chromatic scale starting on an open string

Perform 2 octaves scales in varied tempi, rhythm patterns, and bowings:Violin: G, D, A, or Bb

Viola: C, G, D, or Eb Cello: C, G, DBass: G

Perform the octave harmonic on each open string

Sightread according to NYSSMA® Level III criteria

Introduce basic motions of vibrato

Perform NYSSMA® Level III solo

Perform NYSSMA® Level II/III ensemble literature

Perform in chamber ensemble (duet, trio, quartet)

Perform ensemble literature with key, time, tempo, and style changes


Recognize the relationship of key signatures to finger patterns, in scales and literature

Independently manage practice at home

Increased individual preparation for lessons and rehearsals

Discriminatory listening across sections of the orchestra, with increasing sophistication of musicianship skills

Introduce aural recognition of whole steps, half steps, 3rds, 4ths, 5ths and octaves

Notation: caesura

enharmonics grace notes

Orchestra - NYSSMA® Level III Orchestra - NYSSMA® Level III



18

Introduce the motion of shifting:Violin & Viola:1st to 3rd position

Cello: 1st to 2nd

Perform trills and tremolo as per repertoire

Student routinely writes in music (using pencil) to improve performance

Use available resources to locate musical information (fingerings, history, composers, definitions, symbols, etc.)

Use breathing to help initiate beginning sound of the piece

Begin to recognize the relationship of key signatures to finger patterns, in scales and literature

Band - NYSSMA® Level III Band - NYSSMA® Level III



19



Orchestra - NYSSMA® Level IV Commencement

Orchestra - NYSSMA® Level IVCommencement


Review left hand/arm position

Bowing: drawing a straight bow, bow distribution, bow weight, bow speed, bow placement as related to tone and dynamics

Bowing styles: louré, col legno, sul ponticello, sul tasto

Double stops & chords

All fingering patterns in each position

Violin / Viola: introduce 2nd position

Cello / Bass: perform thru 4th position

Respond to the conductor’s gestures, including: varied patterns and sub-divisions; tempo and dynamic changes

Student conducts a variety of time signature patterns

Display proper etiquette and protocol in lesson and performance

Written performance critique of self and ensemble

Facilitate discussion of intervals in relation to intonation

Perform with consideration of balance between sections within an ensemble, and within the section.

Increase awareness of good tone quality and the understanding of how bow weight, speed, and placement effect musical performance

Listen to recording of performance repertoire


Student tunes own instrumentViolin & Viola:tune using 5ths

Cello & Bass: tune with harmonics

Listen to intonation of self and others; adjusting melodically / harmonically

Tonality: Major harmonic minor melodic minor

Rhythm:

introduce

Tempo: full range with application, including tempo changes

awareness and application of metronome marking

count sub divisions in asymmetrical meters

Form: fugue sonata allegro overture chorale theme & variations


Reflect characteristic style (Baroque, Classical, Romantic, 20th Century, pop, world, etc.) of music in performance practice

Explore repertoire music / composers / arrangers, and the historical/ social/ cultural background of the composition

Chamber Ensembles

Improvising: Perform blues scale

Simple improvisation over blues scale

Composing: Complete an 8-measure melody with chordal accompaniment (chorale, etc.)



20

Shifting to fingers other than 1st

Scales: C, G, Bb, D, Eb, A Major, and relative melodic minor

Perform scales 2 octaves in varied tempi, rhythm patterns, and bowings —Bass: F only

Perform 1 octave chromatic scale

Sightread according to NYSSMA® Level IV criteria

Increased use of vibrato

Utilize shifting skills as required by literature

Student takes initiative for appropriate musical performance, including bowings and fingerings

Through self-assessment, student writes on music (using pencil) to improve performance

Incorporate breathing to develop an expressive performance, and a sense of ensemble

Perform NYSSMA® Level IV solo

Perform NYSSMA® Level III/IV ensemble literature

Bow together within section, using same part of the bow, and same length of stroke

Practice regularly, isolating sections of focus for improvement

Assess solo and ensemble performance, using musical terminology

Discriminatory listening across sections of the orchestra, with increasing sophistication of musicianship skills

Introduce aural recognition and vocalization of Major, minor, and perfect intervals

Identify tambrel differences between string and full orchestra

Harmony: full orchestra

Dynamics: full range with application

sforzando Sz





21

Independently identify key signature, and apply appropriate finger patterns





22



Orchestra - NYSSMA® Level V/VI Major Sequence

Orchestra - NYSSMA® Level V/VIMajor Sequence


Review left hand/arm

Bowing: refine bowing technique and control

Introduce spiccato bowing

Artificial harmonics, as per repertoire

All fingering patterns and positions

Violin / Viola: begin performing in 1st thru 5th position

Cello / Bass: 1st thru 6th position and introduction to thumb position

Respond to the conductor’s gestures, including: varied patterns and sub-divisions; tempo and dynamic changes

Display proper etiquette and protocol in lesson and performance

Written performance critique of self and ensemble, with recommendations for improvement

Perform with consideration of balance between sections within an ensemble, and within the section

Apply technical skills to result in a stylistically appropriate and expressive musical performance

Adjust bow weight, speed, and placement, to result in a high degree of musicality

Recordings of performance repertoire

Student independently tunes own instrument Violin and Viola: tune using 5ths

Cello and Bass: tune with harmonics

Listen to intonation of self and others; adjusting melodically / harmonically

Discriminatory listening across sections of the orchestra with increasing sophistication of musicianship skills

Tonality: all Major and minor (all forms) scales with arpeggios

discussion of modes as applied to literature

Rhythm: compound meter and associated rhythms

Reflect characteristic style (Baroque, Classical, Romantic, 20th Century, pop, world, etc.) of music in performance practice


Explore repertoire music / composers / arrangers, and the historical/ social/ cultural background of the composition

Full orchestra

Improvising: Create melody over chordal progression

Composing: Complete an 8-measure chorale using basic rhythms



23

Scales: all Major, & relative minor (natural, harmonic, melodic)

Perform 2 octaves scales in varied tempi, rhythm patterns, and bowings:

Violin / Viola / Cello: all 15 Major scales

Bass: E

Perform 2 octave chromatic scale

Perform 3 octave scale:Violin: GViola: C

Sightread according to NYSSMA® Level V/VI criteria

Increased use of vibrato with varied speed and width

Student takes initiative for appropriate musical performance, including bowings and fingerings

Student leadership within section, in rehearsal and performance

Student led sectionals

Perform NYSSMA® Level V/VI solo literature

Perform NYSSMA® Level IV/V/VI ensemble literature


Recognize the relationship of key signatures to finger patterns, in scales and literature

Student identifies sections of musical form (exposition, development, recapitulation, coda, etc.)

Assess solo and ensemble performance using musical terminology

Tempo: full range with application, including tempo changes

Dynamics: full range, with application from each individual

Notation: double flat bb double sharp ‹ tenor clef





24

Extend range of all instruments, including treble clef notation for viola, and tenor clef notation for cello

Perform with consideration of intonation of self, of section, and among sections

Adjust intonation by recognizing pitches as related to chords and chord progression (root, 3rd, 5th — the third creating Major or minor tonality; and the leading tone should be high)

Apply practice techniques to achieve personal goals for improved performance

Student demonstrates independence in practice, rehearsal and performance environments

Perform in full orhestra

Teacher facilitated/student led chamber ensembles (duet, trio, quartet)

Student identifies sections of musical form (exposition, development, recapitulation, coda, etc.)



Band - NYSSMA® Level V/VI Major Sequence

Sequential Guide for Music Instruction ... Band

NYSSMA®2012



7

Posture: musician position, feet flat, sitting up straight, proper playing instrument position, rest position

Rhythmic and melodic patterns in concert Bb

Scale: concert Bb

Tongue when playing

Perform long tones

Observe and imitate proper embouchure

Instrument care: Assemble, take apart instrument, maintain and clean (oil, grease, swab, mouthpiece, etc.)

Breath control required for instrument performance and phrasing

Identify parts of instrument

Starting and ending together

Responding to the conductor

Lesson / ensemble etiquette

Self awareness and evaluation of technique (posture, pitch, tone, etc.)

Perform songs by rote and through written notation, with instruments and voice

Introduce sight-reading

Awareness of different clefs

Establish a basic practice routine

Echo rhythms

Echo pitch


Self assessment


Hear and discriminate different sections of instruments within ensemble


Teacher modeling

Begin to discriminate instrument tuning

Adjust embouchure and breath support to play in tune

Tonality: Bb concert scale

Rhythm: steady beat long vs. short notes and patterns use established counting system duple / triple meter

w ∑ h Ó q Œ h.

Tempo: Moderato

Andante

Snare drum:

e


Folk songs of different cultures


Creating: Short rhythmic patterns Explore timbral and pitch aspects of instrument



Band - Beginner Band - Beginner



8

Develop characteristic tone of instrument

Hand position / grip for snare drum & keyboard

Percussion stroke: tap; bounce; buzz roll (orchestral); and flam

(Ranges represent recommended teaching range and represent diatonic notes. Repertoire may require higher, lower or chromatic notes)

Flute:

Oboe:

Clarinet:

Bassoon:

Saxophone:


Listen to band recordings, and professional soloists in performance


recommended percussion instruments (snare drum, bass drum, crash cymbal, keyboard percussion {bells, xylophone})

recommended percussion accessories (cow bell, tambourine, triangle), as required by literature

Form: AB

ABA

repetition & contrast

repeat signs “ ‘

1st and 2nd endings

Harmony: homophonic (band)

simple duets

perform with teacher or recorded accompaniment

Dynamics: piano p forte f

Notation: bar line ==\== measure \===\ staff ===

treble clef & bass clef

?




9

time signature

key signature

flat b

sharp #

natural n

breath mark ,

fermata U u

ledger lines

tie

slur

Trumpet:

Horn:

Trombone:

Baritone:

Tuba:

Keyboard Percussion:




10



Band - NYSSMA® Level I Band - NYSSMA® Level I

Posture: musician position (feet flat, sitting up straight), instrument position, rest position

Ensemble: rhythmic and melodic patterns in concert Bb & Eb

For students participating in the NYSSMA® Festival: appropriate solo literature; three major scales one octave, from memory, moderate speed, ascending & descending

Articulation: tonguing, slurring

Perform long tones

Brass: beginning lip slurs

Embouchure refinement

Start and end together in ensemble


Student conducts

, and time signature patterns


Self awareness and evaluation of technique(posture, pitch, tone, etc.)

Maintain a basic practice routine

Independent part playing (3–4 part) within ensemble

Perform NYSSMA® Level I solo

Echo musical patterns

Good vs poor tone discrimination

Self assessment using musical terminology

Perform with consideration of balance between melody and accompaniment


Teacher modeling

Listen to band recordings and professional soloists in performance

Tune instrument w/teacher assistance

Tonality: Bb / Eb concert scales

Rhythm: steady beat

c

Tempo: Moderato

Allegro

Largo

Andante

ritardando

accelerando

SD:

Count using beat and sub-divisions




Creating: Short patterns, using level appropriate rhythms and scales



11

Instrument care: maintain and clean (oil, grease, swab, mouthpiece, etc.)

Breath support required for instrument performance and phrasing

Continue to develop characteristic tone of instrument

Hand position/grip for snare drum & keyboard

Snare drum stroke: double stroke

(Ranges represent recommended teaching range and represent diatonic notes. Repertoire may require higher, lower or chromatic notes.)

Flute:

Oboe:

Sightread according to NYSSMA® I criteria


Introduce musical phrasing in relation to language

Write in music (using pencil) to remind self of performance improvements

Swab instrument after playing

Apply grease to corks; use oil on valves

Under teacher guidance, adjust intonation to blend with section

Timbre: expanded use of percussion accessories (suspended cym, triangle, tambourine), as required by literature

Form: rounds

D.C.

coda fi fine

DS %

theme & variations

Harmony: duets /trios

increased rhythmic independence

Dynamics: mezzo piano P mezzo forte F crescendo <

decrescendo >

Notation: single measure repeats

accent

staccato

slur vs. tie




12

Clarinet:

Bassoon:

Saxophone:

Trumpet:

Horn:

Trombone:

Baritone:

Tuba:

Keyboard Perc.: scales w/arpeggios

SD: long roll; 5, and 9 stroke rolls; flam tap; drag; single paradiddle

Timpani: single stroke roll on A or G; tuning intervals P4 or P5 ascending




13



Band - NYSSMA® Level II Band - NYSSMA® Level II

Reinforce posture

Ensemble: rhythmic and melodic patterns in concert Bb, Eb & F

Solo literature: three major scales one octave, from memory, moderate speed, ascending & descending

Articulation: legato, staccato, accent, and combination of slurring and tonguing

Brass: wider range of lip slur, in order of the valves

Trombone: introduce legato tonguing

Embouchure refinement to enhance tone quality and intonation

Respond to interpretive gestures of the conductor

Student conducts

, and time signature patterns


Performance critique of band (balance, ensemble, pitch, etc.)

Independently manage practice, lesson and rehearsal time

Maintain own part within ensemble

Perform NYSSMA® Level II solo

Perform duets, trios

Sightread according to NYSSMA® II criteria

Assess solo and ensemble, using musical terminology

Perform with consideration of balance between sections of the band

Recordings of professional performers

Begin tuning instrument by ear, and/or by using electronic device

Introduce sharp/flat intonation, and adjustment needed


Tune timpani to P4th and P5th intervals

Tonality: Bb / Eb / F concert scales

chromatic patterns relative natural minor introduce Bb Concert Blues scale introduce half/whole steps introduce enharmonics

Rhythm: introduction to (slow, 6 beat feel)

C

March

Medley

Programmatic music

Stylized dances (gigue, minuet, gavotte)

Movie themes

Creating: Short patterns, using level appropriate rhythms and scales, with articulation and dynamics

Improvising: Improvise short melodic patterns w/5–6 notes, using expression, articulation and dynamics

Call & response exercises

Basic improvisation within Bb Blues scale (limited notes)

Composing: Complete the last 2 measures of a 4-measure phrase, using either repetition or contrast



14

Exercises to enhance air management (breath support)

Introduce alternate and trill fingerings

Hand position/grip for timpani

Timpani strole: single stroke roll

Tune Timpani to P4th & P5th intervals

(Ranges represent recommended teaching range. Repertoire may require

higher/lower notes.)

Flute:

Oboe:

Clarinet:

Bassoon:

Perform NYSSMA® Level I / II ensemble literature

Independently recognize and appropriately perform musical phrasing

Perform ensemble literature with key, time, and tempo changes


Look up musical information (fingerings, history, composer, definitions, symbols, etc.)

Discriminate and respond to dynamic levels in music

syncopation

introduce / utilize metronome for practice

Tempo: allegretto

maestoso

SD:

Timbre: Expansion of band instruments (2 timpani, xylophone, chimes, piccolo, tenor sax, baritone sax, bass clarinet)

Form: medley

transitions


Notation: grace notes

trill marking

marcato




15

Saxophone:

Trumpet:

Horn:

Trombone:

Baritone:

Tuba:

Keyboard Perc.: scales w/arpeggios

SD: introduce long roll (open, closed, open)

Timpani: single stroke roll on A or G; tuning intervals P4 or P5 ascending




16




Maintain appropriate playing position

Ensemble: rhythmic and melodic patterns in concert Bb, Eb, F & Ab

Solo literature: seven major scales one octave, from memory, moderate speed, ascending & descending

Brass: wider range of lip slur

Introduce double horn technique

Embouchure refinement to enhance tone quality and intonation

Exercises to enhance air management (breath support)


Student conducts

, , and time signature patterns


Evaluate self and others in order to improve performance

Independently manage practice, lesson, and rehearsal time

Introduce intonation tendencies of student instrument with teacher directed correction

Maintain own part within ensemble

Perform NYSSMA® Level III solo


Discriminatory listening across sections of the band, with increasing sophistication of musicianship skills


Tuning instrument by ear, and/or by using electronic device

Recognize if own pitch is sharp or flat, and how to appropriately adjust


Tonality: Bb / Eb / F / Ab concert scales introduce arpeggios Bb chromatic scale, one octave (memorized) relative harmonic minor continued work on Bb and F Blues scales continued work on: whole/half steps, and enharmonics

Rhythm: introduce

in ‘2’ feel

Timbre: use of percussion accessories (3 timpani, xylophone, chimes)

introduce expanded, non-traditional sounds (pencil tap, feet stomp, singing, etc.)

Form: overture chorale

Swing (American jazz art form)

Careers in music

Aleatoric (chance)

Medley of show tunes

Improvising: Basic improvisation within Bb and F Blues scales

Composing: Complete an 8-measure melody using variety, repetition, or contrast



17

Expand use of alternate and trill fingerings

Use knowledge of enharmonics to determine fingerings

SD: long roll—open-closed-open

Tune timpani to M 3rd & M 6th intervals

(Ranges represent recommended teaching range. Repertoire may require

higher/lower notes.)

Flute:

Oboe:

Clarinet:

Bassoon:

Saxophone:

Sightread according to NYSSMA® III criteria

Perform NYSSMA® Level II / III ensemble literature

Perform warm-ups with a variety of expressive elements (articulation, dynamics, balance)

Perform ensemble literature with key, time, tempo and style changes

Student writes in music (using pencil) to improve performance

Use available resources to locate musical information (fingerings, history, composer, definitions, symbols, etc.)

Realize mechanical problems of instrument, and seek teacher assistance.

Introduce aural recognition of basic intervals and M / m scales

Tune timpani to M 3rd & M 6th intervals

Notation: forte piano Í

caesura

tenuto

order of sharps & flats




18

Trumpet:

Horn:

Double Horn:

Trombone-Baritone:

Tuba:

Keyboard Perc.: 2 octave scales, F, G, A, Bb C, D, Eb, with arpeggios. Roll harmonic octaves (in double stops) 1 octave; legato roll in whole notes <>

SD: 7, 13, and 7 stroke rolls; single drag tap; ratamacue; flam accent (#1); lesson 25; flamacue, flam paradiddle; double paradiddle

Timpani: single stroke roll on A or G; tuning intervals M3, M6 ascending

Clean and maintain instrument regularly

Participate in teacher led chamber ensemble




19



Band - NYSSMA® Level IV Commencement

Band - NYSSMA® Level IVCommencement

Appropriate playing position, both seated and standing

Ensemble: rhythmic and melodic patterns in seven selected major scales

Solo literature: seven major scales one octave, from memory, moderate speed, ascending and descending

Articulation: introduce double tongue (flute, brass)

Introduce vibrato

Brass: lip slur (extended range), using order of the valves

Application of trombone legato tonguing


Student conducts in a variety of time signature patterns

Make appropriate adjustments in response to what is heard, to improve performance

Independently manage practice, lesson and rehearsal time

Perform NYSSMA® Level III/IV solo

Sightread according to NYSSMA® IV criteria

Perform NYSSMA® Level IV ensemble literature




Tuning instrument by ear, and/or by using electronic device

Increased independence of tuning to recognize if own pitch is sharp or flat, and adjust appropriately

Tonality: seven major and minor scales with arpeggios, based on teacher discretion, i.e. Circle of Fifths

introduce melodic minor chromatic scale — whole range Bb and F Blues scales

Rhythm:

Listen to and perform a variety of literature that reflects world cultures, styles, periods, and genres. Selections may reflect: British Band, folk songs, pentatonic scales, Asian influenced music, Latin, gospel, etc.

Improvising: Expanded improvisation within Bb and F Blues scales (NYSSMA jazz requires adding ii7, V7, I7

progressions in a variety of keys)

Composing: Compose own rhythmic warm-ups

Compose short melodies based on a given scale



20

Apply air appropriately to requirements of music (breath support)

Apply alternate and trill fingerings, as required by repertoire

Perform grace notes, as required in literature

Keyboard Percussion: use of 3 mallets in band literature

Transition horn players to double horn instruments

Transition baritone / euphonium and tuba players to 4-valved instruments

Change tuning of timpani quietly while band is performing

(Ranges represent recommended teaching range. Repertoire may require higher/lower notes.)

Perform chorales in harmony, with appropriate musical quality (phrasing, breath control, balance, blend, intonation, etc.)

Perform a variety of ensemble literature that includes key, time, tempo, meter, and style changes

Participate in teacher facilitated, student led chamber ensemble


Teacher directed adjustment for intonation tendencies of instrument

Research and apply musical information (fingerings, history, composer, definitions, symbols, etc.)


Introduce aural recognition and vocalization of Major perfect intervals, and half steps

Tune timpani to M 3rd and M 6th intervals

Discriminate between major, minor, and chromatic scales.

Apply knowledge of enharmonics in literature

introduce

compound meter and associated rhythms

Timbre: expansion of instruments (4 timpani, xylophone, chimes, vibraphone, piccolo, marimba, contra bass clarinet)

Form: fugue

Notation: subito





21

Flute:

Oboe:

Clarinet:

Bassoon:

Saxophone:

Trumpet:

Double Horn:

Trombone:

Bass Trombone:

Baritone/Euphonium:

Identify and perform simple adjustments/repairs: reposition springs, valve positioning, slide lubrication, remove water bubbles from keys, sticky keys, etc.

Apply knowledge of enharmonics





22

Tuba:

Keyboard Perc.: 2 octave scales, F, G, A, Bb, C, D, Eb, w/arpeggios. Roll harmonic octaves (in double stops) 1 octave; legato roll in whole notes <>

Timpani: Single stroke roll on low and high pitched drums; tune intervals all M, m and P, to and including M6





23




Band - NYSSMA® Level V/VIMajor Sequence

Ensemble: rhythmic and melodic patterns in all major scales and selected minor scales

Solo literature: all major scales one octave, from memory, moderate speed, ascending and descending

Expand use of vibrato

Articulation: double tonguing (flute and brass)

Brass: lip slur (extend range)

Apply alternate and trill fingerings as required by repertoire

Perform grace notes as required in literature


Understand and adjust for intonation tendencies of own instrument

Teacher facilitated/ student ledchamber ensemble(duets, trios, etc.)

Participate in a chamber ensemble(duets, trios, etc.)

Demonstrate independence in practice, rehearsal, and performance environments

Perform NYSSMA® Level V/VI solo

Perform NYSSMA® Level IV/V/VI ensemble literature




Tune instrument independently to a sounding pitch

Adjust intonation to blend with section

Expand aural recognition and vocalization of all intervals

Explore modes

Tonality: all Major and minor (all forms) scales with arpeggios (i.e. Circle of Fifths)

chromatic scale -whole range (memorized)

Rhythm: duples changing meter with constant beat note (keep the eighth constant) mixed meters asymmetrical meters

Timbre: using extended techniques as required by literature exploration of instruments, as available (alto clarinet, EbClarinet, English Horn, Contra Bassoon, Contra Bass Clarinet, soprano saxophone, flugel horn)

Form: Sonata Allegro Notation: ornamentation double flat bb double sharp ‹

Listen to and perform a variety of literature that reflects world cultures, styles, periods, and genres.

Chamber ensemble

Performance practices as applied to style periods

History and development of own instrument

Improvising: Expanded improvisation within chord progression ii7, V7, I, and dorian

Composing: Write variations on a given theme



24

Sightread according to NYSSMA V/VI criteria

Keyboard Percussion: use of 3 and 4 mallets in band literature

Change tuning of timpani quietly while band is performing

(Ranges represent recommended teaching range. Repertoire may require higher/lower notes.)

Flute:

Oboe:

Clarinet:

Bassoon:

Saxophone:

introduce altissimo

Perform chorales with greater emphasis on musicality and intonation

Perform a variety of ensemble literature that includes key, time, tempo, meter, and style changes

Research and share musical information of performance literature

Leadership within ensemble

Apply appropriate performance practice according to style





25

Trumpet:

Double Horn:

Trombone:

Bass Trombone:

Baritone/Euphonium:

Tuba:

Keyboard Perc.: 2 octave scales, all major keys w/arpeggios. Roll harmonic octaves (in double stops) 1 octave; melodic thirds ascending and descending; q=120, legato roll in whole notes <>





26

SD: 6, 10, 11, 15 stroke rolls; single stroke 4; double drag tap; double ratamacue; triple ratamacue; drag paradidle #1; drag paradidle #2; flam paradiddlediddle

Timpani: single stroke roll on low and high pitched drums; tune intervals all M, m and P, to and including M6



Sequential Guide for Music Instruction ... Chorus

NYSSMA®2012



7

Posture (standing / sitting)

Mouth shape

Singing voice / speaking voice

Warm ups: siren, breathing, diction, clarity of speech

Unison, rounds and partner songs

Follow melody with text

Hold music

Vocal exploration

Match pitch


Respond to the conductor Rote sing

Self awareness and assessment of technique (posture, breathing)

Self awareness of vocal timbre and pitch matching

Establish rehearsal routine


Ensemble decorum

Echo rhythms

Echo pitch

Awareness of choral blend

Good vs. poor vocal tone discrimination

Self assessment


Teacher modeling

Matching pitch vs. not matching pitch

Tonality: Major minor modes pentatonic

Rhythm: word (syllable) correlation to note length steady beat – internal / external pulse maintain steady beat while singing long vs. short notes and patterns duple / triple meter

Tempo: fast slow


exploration of own voice

Form: AB

ABA

AABA

call and response

rounds

Harmony: rounds

partner songs

self-accompaniment on classroom instruments and body percussion

Folk songs of world cultures


Patriotic songs, world holidays, New York State, Native American

Creating: Short rhythmic patterns Explore timbral and pitch aspects of own voice



Chorus - Beginner Chorus - Beginner



8

Dynamics: piano p forte f

Articulation: legato

accent

Chorus - Beginner Chorus - Beginner



9



Chorus - NYSSMA® Level I Chorus - NYSSMA® Level I

2-part treble literature

Read and follow own part within a 2-part score

Warm ups: siren, breathing, diction, clarity of speech, and vocalises

Correct mouth shape for specific vowels

Use of correct and uniform vowels for the text

Sing with appropriate diction – focusing on mindful use of tongue, lips and teeth for consonants

Connect inhalation and air stream with phrase length

Sing expressively with the voice and the face

Project mood, interpreting the song

Follow gestures of the conductor, including attacks and releases

Balance between parts

Blend within section

Self awareness and assessment of technique and pitch


Ensemble decorum

Continue rehearsal routine

Listen to a variety of recordings, including choral and instrumental literature

Distinguish between good and poor tone

Listen to other voices and voice parts, while singing

Blend own voice to balance dynamic level, within and among sections

Perform with appropriate intonation and self monitoring skills

Self assessment using musical terminology

Teacher modeling

Tonality: explore multiple tonalities within chorus, i.e. Major, minor, etc.

Sightreading (solo and ensemble): sightread in keys of C and F

sightread in 5-note range, stepwise pattern, using an established pitch reading system

melodic contour

Rhythm: speak, count and/or tap rhythm / part

c w ∑ h Ó q Œ

Timbre: introduction to appropriate singing voice

Form: repeat signs “ ‘

1st and 2nd endings

introductions and interludes of accompaniment

rounds

coda fi

Analysis of title and composer of musical selection(s)



Simple riser choreography in performance

Novelty pieces

Folk music of the world

Creating: Create melodies to given text

Create own choreography

Create 2-4 measures of rhythmic patterns

Improvising: Pentatonic melodies

Rhythmic accompaniment for Latin music



10

Recognize and sing correct phrase

Sing in tune

Sing individual part

Accuracy of pitches in relation to other voice parts

Use appropriate voice placement (chest vs head)

Sing a cappella, unison or simple rounds

Sing in languages other than English, understanding the verbatim translation

Sing collaboratively with accompanist


Distinguish between soprano and alto (Part I & Part II)

Sight-read (solo and ensemble) according to NYSSMA® Level I criteria, using an established pitch reading system

Echo tonal patterns and rhythms

Listen to and critique audio and/or video recordings of ensemble performances

fine

DS %

Harmony: descant

increased rhythmic independence

Dynamics: mezzo piano P mezzo forte F crescendo <

decrescendo >

Notation: treble clef &

measure \===\

bar line ==\==

staff ===

fermata U u

breath mark ,

key signature

time signature

Chorus - NYSSMA® Level I Chorus - NYSSMA® Level I



11



Chorus - NYSSMA® Level II / III Chorus - NYSSMA® Level II / III

3-part literature (SSA; SAC; SAB; 3-part mixed)

Warm ups: breathing, diction, melodic and harmonic

Introduction to beginning 4-part repertoire


Find and follow parts of others in a written score, with teacher assistance

Associate vowel formation with tone quality

Demonstrate uniform vowel pronunciation

Sing with appropriate diction

Sing dynamics while maintaining proper intonation

Interpret and perform musical markings

Student identification of mood through interpretation of text

Respond to a larger variety of expressive conducting gestures

Balance and blend between parts, and within section



Ensemble decorum

Listen to a variety of recordings, including choral and instrumental literature

Distinguish between good and poor tone

Discriminatory listening across different sections of chorus

Listen to other voices and voice parts, while singing

Blend own voice to balance dynamic level within and among sections

Use musical terminology, listen to and evaluate performance of self and others

Tonality: explore multiple tonalities within chorus and introduce matching vocabulary, i.e. major, minor, modes

key changes

modulation

Sightreading (solo and ensemble): sightread in keys of C, F and G

sightread in 6-note range, stepwise pattern, using an established pitch reading system

Rhythm: e ‰ q. Œ. Ó.

q.e

h.q

eqe

j™ o

Compare and contrast various aspects of performance literature


Exposure to a variety of musical styles and style periods

Spirituals, jazz, pop music, musical theater selection(s) and their connections to U.S. history

Madrigals

Introduce different vocal ensemble (barbershop, pop chorus, show choir, madrigals, mens chorus, womens chorus)

Improvising: Call and response

Introduction to scat singing

Composing: Begin to graphically notate student created melodies and rhythms, with teacher guidance



12

Use breath to create various articulations (staccato, accent, legato)

Use breath to create various dynamics and volume.

Determine appropriate locations in musical phrase to take a breath.

Sing in tune



Assist/guide students as voices change

Section placement (soprano, alto, cambiata, baritone) and appropriate vocal technique/quality, according to range and voice type

Sing a cappella with multiple parts


Perform NYSSMA® Level II / III ensemble literature

Distinguish voice parts within chorus

Sing in 3-4 parts, independently holding own part

Student marks music with pencil for dynamics, phrasing, and tempos, with teacher direction

Teacher directed audiation before singing

Use available resources, including technology, to locate musical information (history, composer, definitions, symbols, etc.)

Listen to, and evaluate intonation of self and others

Teacher modeling

Incorporate into warm-ups tonal and rhythmic patterns, and intervals / octave

Distinguish between Major and minor

moving to the beat and its subdivisions with large motor movements, i.e. swinging, stepping, snapping

tied notes

ritardando

accelerando

a tempo

cut time C metronome markings

Tempo: Andante

Allegro

Lento

Timbre: continued work on characteristic vocal sound

initial awareness of falsetto

Form: medley

transition

Harmony: 3-4 parts

dissonance and resolution





13

Sing in languages other than English, understanding the verbatim translation, and paraphrasing meaning in student words

Sing as a featured soloist within an ensemble

Begin to study and/or perform solo literature

Sing alone and with others

Sight-read (solo and ensemble) according to NYSSMA®Level II / III criteria, using an established pitch reading system

Notation: bass clef ?

flat b sharp # natural n ties

identify pitch names on staff

Composer project using Internet for research

Understand reasons for the study of varied musical concepts and styles




14



Chorus - NYSSMA® Level IV Commencement

Chorus - NYSSMA® Level IVCommencement

4-part literature


Apply vowel formation to create uniform tone quality

Warm-ups: buzzing (lip trills)

Emphasis on vowel shaping (mouth space / throat space)

Voiced and unvoiced consonants

Introduction to diphthongs

Sing phrases musically, using appropriate word/syllable stress

Sing dynamics while maintaining proper intonation

Perform musical markings accurately

Visual and musical expression of text

Respond to interpretive gestures of conductor

Balance and blend between parts and within section

Conduct in a variety of time signature patterns


Make appropriate adjustments in response to what is heard in performance

Listen to a variety of recordings including choral and instrumental literature

Self assess and adjust individual tone and technique, to blend own voice and balance dynamic level within and among sections

Discriminatory listening across different sections of chorus, with increasing sophistication of musicianship skills

Using musical terminology, listen to and evaluate performance of self and others


Tonality: explore multiple tonalities: Ionian (Major) Aeolian (minor) Dorian Mixolydian Phrygian

Rhythm:

additional rhythms based on literature walk beat and rhythm patterns from repertoire

Timbre: adjust vocal quality appropriate for varied styles and language of literature

awareness of head and chest registrations, and issues associated with blending these timbres (passaggio)

falsetto

Compare and contrast various aspects of performance literature

Historical / geographical / cultural / social connections of repertoire

Perform in a variety of musical styles and style periods, including, spirituals, jazz, pop music, musical theater selection(s), and world music

Performance opportunities in a variety of vocal ensembles (i.e. barbershop, pop chorus, gospel, show choir, madrigals, mens chorus, womens chorus, a capella)

Improvising: Vocally improvise over an 8-beat rhythmic pattern

Improvise vocal harmonies

Composing: Compose and notate warm- ups and sight reading exercises



15

Develop understanding of breathing mechanics

Sing in tune



Section placement (SATB) and appropriate vocal technique/quality, according to range and voice type


Sing in languages other than English, with appropriate accent and authentic pronunciation, with verbatim understanding of each word based upon student-researched translation


Ensemble decorum


Perform NYSSMA® Level III/IV ensemble literature

Awareness of voice parts within the ensemble, within section, and within musical selection

Sight-read (solo and ensemble) according to NYSSMA® Level III/IV criteria, using an established pitch reading system

Sing in 4 (or more) parts, performing own part accurately

Student writes on music (using pencil), to improve personal performance

Incorporate into warm-ups chord progressions, and accidentals

Aural identification of major and perfect intervals within octave

appropriate resonance in order to create and project clear tone

Form: rondo canon polyphony monophony fugue

Harmony: 4 – 5 parts cadences suspensions basic chordal progressions

Dynamics: sforzando ß

subito piano sp subito forte S

Notation:

8va (Tenor) V melismatic passages

Articulation: accent

staccato legato tenuto moving to express musical phrases





16

Continue to study and/or perform solo literature

Appropriate resonance (raised soft palate, open throat, forward placement of tone)

Analysis of the mechanics of vocal production

RangesSoprano:

Alto:

Tenor:

Bass:

Audiate music prior to performance

Student finds performances of repertoire by other ensembles on the Internet, and critically responds





17



Chorus - NYSSMA® Level V / VI Major Sequence

Chorus - NYSSMA® Level V / VIMajor Sequence

Warm-ups: self-initiated and directed

4–8 part literature

Read and follow own part within a 4–8 part score

Apply vowel formation to create uniform tone quality

Voiced and unvoiced consonants

Mastery of diphthongs

Sing expressively

Sing phrases musically, using appropriate word/syllable stress reflecting emotion, artistry and presence

Demonstrate and utilize proper breathing mechanics

Perform expressively (dynamics, phrasing, tempo, articulation), as written or implied

Express text through facial and body language

Respond to interpretive gestures of conductor

Balance and blend between parts and within section

Conduct in a variety of time signature patterns

Demonstrate independence in practice, rehearsal, and performance environments

Make appropriate adjustments in response to what is heard in performance

Listen to and compare/contrast multiple recordings of same vocal/choral literature

Self assess and adjust individual intonation, tone and technique

Peer evaluation of musical performance, while providing constructive feedback

Independent student listening experiences

Aural identification of all diatonic intervals within octave

Tonality: recognize tonalities (visually/aurally): Major minor (all 3 forms) Dorian Mixolydian Phrygian

Rhythm: changing meters with metric feel

non-metric music additional rhythms based upon literature

Timbre: adjust vocal quality appropriate for varied styles and language of literature

increased command and use of head and chest registers, and issues associated with blending these timbres (passaggio)

appropriate use of falsetto

appropriate resonance in order to create and project clear tone in response to vocal maturation

Apply performance practice according to musical genre

Historical / geographical / cultural / social connections of repertoire

Perform in a variety of musical styles and style periods

Student initiated performance opportunities in a variety of vocal ensembles (i.e. barbershop, jazz, pop chorus, gospel, show choir, madrigals, mens chorus, womens chorus)

Careers in music

Apply the study of various musical concepts and styles

Improvising: Vocally improvise over a simple given chord progression

Harmonize to familiar melodies

Composing: Utilize compositional techniques to expand a basic melody

Arrange a musical selection for an ensemble, which may include an instrumental accompaniment

Create harmony for a melodic line



18

Individual awareness of intonation within context of section and ensemble

Section placement (SAT B) and appropriate vocal technique according to range and voice type


Sing in languages other than English, with appropriate accent and authentic pronunciation, with verbatim understanding of translations based upon student’s (Internet) research

Continue to study and/or perform solo literature

Sing in small vocal chamber ensembles (duo, trio, quartet)


Ensemble decorum

Perform NYSSMA® Level V/VI ensemble literature

Awareness of voice parts within the ensemble, within section, and within musical selection

Sight-read (solo and ensemble) according to NYSSMA® Level V/VI criteria, using an established pitch reading system

Sing in 4 (or more) parts, performing own part accurately


Audiate music prior to performance

Harmony: 4 to 8 parts

introduce varied tunings of the 3rd according to style

of music

experience non-western harmonies

Dynamics: application of full dynamic spectrum

interpretive use of implied dynamics

Notation: identify M & m key signatures

experience non-traditional notation

identify chromatic passages

Articulation: stylistically correct application of articulation markings as per literature

Chorus - NYSSMA® Level V/VI Major Sequence




19

Apply and control vibrato when developmentally appropriate

Individual awareness of physical sensations associated with proper resonance, including raised soft palate, use of the mask, forward placement of tone, open throat, etc.

Mechanics of vocal production

Study and perform (in appropriate venue) solo literature

Teacher facilitated/ student ledchamber ensemble(duets, trios, etc.)

Recognize and notate in music, IPA (International Phonetic Alphabet) symbols for vowels



NYSSMA® 2012 - Hendersonville Symphony Orchestra ... Guide for Music Instruction ... Orchestra...

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