Percussion curriculum

Performance Competencies for Instrumental Music:

Percussion

Division of Curriculum Anne Arundel County Public Schools

Annapolis, Maryland Summer, 2006

Publication Number ****

Percussion Curriculum Committee Participants

Coordinator of Music Amy Cohn

Debbie Derrickson Music Teacher, Resource Irene Harroll Music Teacher, Resource Victoria Humphrey Music Teacher Chris Lerch Music Teacher

Barbara King, Editor Retired Music Supervisor and Former President, MMEA

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PERFORMANCE COMPETENCIES FOR INSTRUMENTAL MUSIC: PERCUSSION

RATIONALE This curriculum is a guide to instrumental music teachers and students for assistance in defining and attaining goals for musical achievement. The basic concepts and instrumental techniques involve mental, muscular, visual, and aural skills. The purpose of this publication is to organize the development of the skills into a logical sequence to be utilized in Anne Arundel County Public Schools to help students attain their musical potential. The learnings are regarded as a foundation for a life-long relationship with music for all participating students. Two existing documents were used and expanded in the development of this publication: Definitions of Performance Competencies for Instrumental Students, a sequential guide for string, wind, and percussion and Musicianship Tests, a systematic testing procedure on the elements of music and musical performance. Both of these were thoughtful and effective tools for instruction. The Maryland State Department of Education’s Music Essential Learner Outcomes are referenced in order to give this document instructional balance in the following four areas: perceiving, performing and responding to music; historical, cultural and social context; creative expression and production; and aesthetic criticism. Since instruction in the area of this curriculum begins as early as grade four, objectives and activities have been designed with care for the developmental level of the student. Instrumental music instruction is targeted for all students with interest and the basic skills necessary for a level of success and satisfaction. The curriculum is compatible with techniques and philosophical approaches from the major contributions of Bruce Pearson, Benjamin Podemski, Roy Burns, and Haskell Harr. As a rule, rich aural experiences will precede or coincide with labeling and performance skills.

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TABLE OF CONTENTS

Outcomes……………………………………………………...………………v Level One…………………………………………………………...…………1 Level Two……………………………………………………………………34 Level Three…………………………………………………………………..66 Level Four………………………………………………..…………………..96 Level Five………………………………………………..…………………126 Level Six……………………………………………………...…………….156 Level Seven………………………………………...……………………….184 Level Eight………………………………………………………………….213 Level Nine…………………...……………………...………………………242 Bibliography………………………………………………………..………270

Outcomes for Percussion Level One

Students will perceive, perform, and respond to music.

1. The student will identify, perform, and describe proper instrument care. 2. The student will demonstrate assembly and set-up of instruments. 3. The student will demonstrate correct posture and positioning. 4. The student will identify, perform, and describe proper performance positions. 5. The student will perform and describe selected rudiments. 6. The student will identify, describe, and perform steady beat and basic rhythm patterns. 7. The student will identify, perform, and describe music terms, symbols, and structural features. 8. The student will interpret, through performance, standard notation in various meters. 9. The student will identify, perform, and describe a variety of articulations and tempo markings. 10. The student will demonstrate valuing through performance and practice habits.

Students will demonstrate an understanding of music as an essential aspect of history and human experience.

1. The student will describe and demonstrate appropriate performance behavior. 2. The student will perform melodies and rhythms from a variety of historical periods, musical styles, and world cultures. 3. The student will identify and describe ways in which performing music can bring personal satisfaction.

Students will demonstrate the ability to creatively organize musical ideas and sounds.

1. The student will improvise rhythms and melodies, using traditional sounds. 2. The student will compose and notate music which shows contrast.

Students will demonstrate the ability to make aesthetic judgments.

1. The student will analyze and articulate characteristics of a good performance. 2. The student will devise and apply criteria to evaluate class performance.

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Outcomes for Percussion Level Two


1. The student will identify, perform, and describe proper instrument care and knowledge. 2. The student will demonstrate correct posture and positioning for auxiliary instruments. 3. The student will identify, perform, and describe major scales and arpeggios through one sharp and one flat. 4. The student will perform and describe additional snare drum rudiments and mallet technique. 5. The student will identify, perform, and describe music terms, symbols, and structural features. 6. The student will perform and describe music using standard notation in various meters. 7. The student will identify, perform, and describe new articulations, including accent, slur, legato, staccato, and tie. 8. The student will demonstrate the ability to perform a part independently in a large ensemble. 9. The student will demonstrate valuing through performance and practice habits.


1. The student will identify and describe appropriate audience behavior. 2. The student will analyze, compare, and contrast patterns in music and mathematics. 3. The student will describe how specific percussion instruments are used in a variety of musical styles and genres.


1. The student will improvise melodies using a variety of mallet percussion instruments. 2. The student will compose and notate music to accompany a reading.


1. The student will analyze and articulate personal preferences for specific music works. 2. The student will devise and apply criteria to evaluate individual performance.

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Outcomes for Percussion Level Three


1. The student will identify, perform, and describe proper instrument care and knowledge. 2. The student will demonstrate correct posture and positioning for auxiliary instruments and the drum set. 3. The student will identify, perform, and describe major scales and arpeggios through two sharps and two flats. 4. The student will perform and describe timpani technique. 5. The student will perform and describe snare drum rudiments and mallet technique. 6. The student will identify, perform, and describe music terms, symbols, and structural features. 7. The student will perform and describe sight-reading. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe phrasing and dynamics within an ensemble. 10. The student will demonstrate the ability to perform in a percussion ensemble. 11. The student will read and perform solo music and orchestra and band literature in adjudicated solo and ensemble performances.


1. The student will identify and describe elements of folk or ethnic themes reflected in a variety of percussion music. 2. The student will investigate and describe examples of the impact of technology on music.


1. The student will create, notate, and perform a composition, using traditional notation. 2. The student will improvise and perform music, using electronic sounds.


1. The student will compare the uses of music elements in compositional style. 2. The student will evaluate personal performance within an ensemble, using established criteria.

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Outcomes for Percussion Level Four


1. The student will identify, perform, and describe proper instrument care and knowledge. 2. The student will demonstrate correct posture and positioning for auxiliary instruments. 3. The student will identify, perform, and describe major scales and arpeggios through three sharps and three flats. 4. The student will perform and describe additional snare drum rudiments and mallet technique. 5. The student will demonstrate and describe accurate timpani technique, including coordination and tuning. 6. The student will identify, perform, and describe music terms, symbols, and structural features. 7. The student will perform and describe sight-reading. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe playing styles and articulations, including trills and staccato. 10. The student will demonstrate the ability to perform independently in a large and a small ensemble. 11. The student will read and perform solo music and orchestra and band literature in adjudicated solo and ensemble performances.


1. The student will identify and describe elements of percussion music reflected in a variety of cultural expressions. 2. The student will investigate and describe exemplary percussion performance. 3. The student will identify and describe elements common to music and the visual arts.


1. The student will create and perform a snare cadence. 2. The student will improvise a short melody over a given rhythmic accompaniment.


1. The student will demonstrate the habits of self-regulation in regard to rehearsal etiquette. 2. The student will formulate and apply criteria for evaluating a percussion solo.

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Outcomes for Percussion Level Five


1. The student will identify, perform, and describe proper instrument care and knowledge. 2. The student will demonstrate correct posture and positioning for auxiliary instruments. 3. The student will identify, perform, and describe minor scales and arpeggios through three sharps and three flats. 4. The student will perform and describe three mallet techniques. 5. The student will demonstrate and describe timpani technique. 6. The student will identify, perform, and describe music terms, symbols, and structural features. 7. The student will perform and describe sight-reading. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe expressive performance, including interpreting tempi, dynamics, and phrase markings. 10. The student will read and perform solo music and orchestra and band literature in adjudicated solo and ensemble performances.


1. The student will identify and describe elements of expressive performance in a variety of music styles, cultures, and genres. 2. The student will investigate and describe percussion careers. 3. The student will analyze and describe audience behavior in a variety of musical settings.

Students will demonstrate the ability to creatively organize musical ideas and sounds

1. The student will create and perform melodies and rhythms for percussion ensemble. 2. The student will improvise melodies and rhythms, using Level Four instruments.


1. The student will demonstrate the habits of self-regulation in regard to practice and rehearsals. 2. The student will use established criteria to evaluate the varying ways composers use the elements of music in selected compositions. 3. The student will formulate and apply criteria for evaluating a percussion performance, compared to a vocal performance.

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Outcomes for Percussion Level Six


1. The student will demonstrate the ability to maintain and change essential percussion instrument parts. 2. The student will demonstrate correct posture and playing positions. 3. The student will describe and perform major and minor scales and arpeggios. 4. The student will perform and describe rudiments on the snare drum and apply them to drum set technique. 5. The student will describe and perform advanced timpani techniques. 6. The student will identify, describe, and interpret through performance music terms, symbols, and structural features. 7. The student will describe and perform sight-reading. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe the elements of music as used to enhance interpretation. 10. The student will read and perform solo, ensemble, and orchestra/band literature.


1. The student will identify and describe elements of music for percussion from a variety of historical periods, cultures, and styles. 2. The student will analyze the connection of music elements to elements in theatre and dance.


1. The student will create, notate, and perform a composition, using traditional notation. 2. The student will perform and describe transcriptions.


1. The student will demonstrate the habits of self-regulation in performance. 2. The student will formulate and establish criteria for evaluation of music compositions and performances.

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Outcomes for Percussion Level Seven


1. The student will identify, perform, and describe proper instrument care. 2. The student will demonstrate correct posture and positioning. 3. The student will perform and identify perfect fourths and fifths, octaves, and major and minor thirds. 4. The student will perform and describe appropriate technique for keyboard percussion. 5. The student will demonstrate and describe additional techniques for timpani. 6. The student will identify, describe, and interpret through performance music terms, symbols, and structural features. 7. The student will perform and describe sight-reading. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe additional rhythms and meters. 10. The student will identify, perform, and describe structural characteristics of a variety of music. 11. The student will read and perform solo music and orchestra and band literature with increased proficiency. 12. The student will perform a part in an ensemble, demonstrating well-developed ensemble skills.


1. The student will identify and describe the role of percussion in individual and cultural expression. 2. The student will analyze music for percussion from a variety of periods, styles, and cultures.


1. The student will improvise melodies and rhythms on percussion instruments. 2. The student will transcribe and perform music for percussion ensemble.


1. The student will formulate criteria to evaluate personal music performance.

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Outcomes for Percussion Level Eight


1. The student will identify, perform, and describe proper instrument care. 2. The student will demonstrate correct posture and positioning. 3. The student will perform rudiments with varied tempi and dynamics. 4. The student will identify, perform, and describe the chromatic scale for keyboard instruments in full range. 5. The student will demonstrate and describe advanced techniques for timpani and auxiliary symphonic percussion. 6. The student will identify, describe, and interpret through performance music terms, symbols, and structural features. 7. The student will identify, perform, and describe compositional techniques in a variety of music. 8. The student will perform and describe conducting patterns and techniques. 9. The student will identify, perform, and describe complex rhythms and meters. 10. The student will perform a part in an ensemble, demonstrating well-developed ensemble skills. 11. The student will read and perform solo music and orchestra and band literature with an increased understanding of playing styles and

articulations. Students will demonstrate an understanding of music as an essential aspect of history and human experience.

1. The student will analyze and articulate reasons for choosing percussion as a performance medium. 2. The student will analyze and perform music for percussion from the Renaissance and Baroque periods in music.

Students will demonstrate the ability to creatively organize musical ideas and sounds

1. The student will improvise rhythmic and melodic variations in major and minor keys. 2. The student will transcribe and perform music for percussion that incorporates technology.


1. The student will evaluate a percussion performance by comparing it to exemplary models. 2. The student will articulate high artistic standards for ensemble performance.

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Outcomes for Percussion Level Nine


1. The student will present and coach others in proper instrument care and repair techniques. 2. The student will practice consistently high artistic standards for posture and positioning. 3. The student will perform and describe the chromatic, major, and minor scales for each keyboard instrument, using the full range. 4. The student will perform with refined stick and mallet technique on snare drum, timpani, and mallet instruments. 5. The student will identify, interpret through performance, and describe music terms, symbols, and structural features, in addition to

demonstrating good sight-reading skills. 6. The student will coach and conduct an ensemble performance using a full score. 7. The student will perform and describe music in mixed or unusual meters. 8. The student will analyze and describe differences in interpretation of different performances of the same musical selection. 9. The student will read and perform solo, ensemble, and orchestra and band literature with high artistic standards for expression and

accuracy. 10. The student will perform, in an ensemble or as a soloist, music representing a variety of styles, cultures, and genres.


1. The student will explore and recruit performance opportunities outside the classroom. 2. The student will analyze and perform music for percussion from the Classical, Romantic, and Contemporary periods in music.


1. The student will improvise original melodies and rhythms in a variety of styles over given chord progressions. 2. The student will create and perform compositions which require advanced percussion techniques.


1. The student will evaluate the artistic and aesthetic qualities of solo and group performances. 2. The student will articulate high artistic standards for solo and ensemble performance.

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UNIT DESCRIPTION

Percussion Level 1 (Grade 4) Unit 1 (MSDE Performance Outcome I): The student will perceive, perform, and respond to music.

Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will learn mallet instruments and techniques along with those for drumming. Students will have early experiences with percussion music and instruments from around the world. In this unit students have their first experiences in manipulating, caring for, and making sounds on their instruments. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in relatively small classes of similar instruments and like abilities. The use of instruments in this group setting requires cooperation and self-regulation. Activities within the unit address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units for this level are taught concurrently and throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

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Level 1, Unit 1 (MSDE Performance Outcome I): The student will perceive, perform, and respond to music.

KEY QUESTION(S) ASSESSMENT

How do I take care of my instrument(s)? How are the snare drum and mallet instruments set up and adjusted? Do I use good posture and technique for the snare drum? Do I use good posture and technique for the mallet instruments? What is the proper way to “crash” the cymbals? What is the proper striking technique for the bass drum? What are the two proper ways to play the sleigh bells? Can I accurately perform single and double alternating strokes on the snare drum? Can I correctly perform selected rudiments? Can I sing or play simple melodies by rote? Can I improvise basic rhythm patterns? Can I use standard notation when composing and performing? Am I aware of rhythm, dynamics, and tempi? Can I play a duet or harmony part? Can I perform music with varying time signatures? How do practice habits affect musicianship?

Make and keep a list of everything you do to care for your instrument. Correctly demonstrate the set-up of instruments, from their cases to playing positions. Name all of the parts. Perform selected rudiments observing tempo, posture, position, and technique. Echo and identify simple rhythms. Demonstrate steady tempo by performing a piece, written or improvised, using a metronome. Perform a duet with a classmate two times, switching parts on the repeat. Compose and perform a short piece, using standard notation and varying time signatures. Perform a piece of music for the class. Discuss your preparation of the piece and share your feelings about the performance. Demonstrate valuing by creating and adhering to a practice schedule.

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SKILLS AND PROCESSES

Assessing Instrument Condition Setting up Instruments Performing Investigating Naming Striking Gripping Muffling Dampening

ESSENTIAL CONTENT/CONCEPTS Instrument Care Posture and Position Basic Techniques Alternating sticks Rudiments Steady Beat Solo Ensemble Notation and Symbols Rhythm patterns Dynamics Tempi Time Signatures/Meter Practice Habits Articulation

Performance Competencies in Percussion UNIT 1: Perceiving, performing, and responding to music. Level 1

STUDENT OUTCOMES ACTIVITIES

MSA = Maryland School Assessment, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes:

ASSESSMENTS

1. The student will identify, perform, and describe proper instrument care.

Demonstrate proper care of percussion instruments, including snare drum, bass drum, xylophone, and/or marimba. (DL1) Wipe plastic heads regularly with a damp cloth. Wipe xylophone and marimba bars periodically with a dry, soft cloth. Find and read a passage on the “care and handling” of your instrument. (RS) Make and keep a list of everything you do to care for your instrument. (DL2) Cover and store all percussion instruments when not in use.

Be able to explain the care and handling of the snare drum, bass drum, and mallet instruments. Discuss the maintenance, cleaning, and safe storage.

Mueller, Complete guide to the maintenance and repair of band instruments. p. 272; Burns, Elementary drum method, p.4; Harr, Drum method, p.5; Pearson, Standard of excellence, book1, student edition, p.3. Wax xylophone and marimba bars periodically (Once a month, or once a semester) Recommended Wax: Formby’s Furniture Polish or comparable wax – Low beeswax content is recommended.

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Performance Competencies in Percussion Level 1 UNIT 1: Perceiving, performing, and responding to music.



ASSESSMENTS

2. The student will demonstrate assembly and set-up of instruments.

Find and read a passage on the proper assembly of the snare drum, bass drum, and mallet instruments. (RS, DL1)

Explain assembly procedures to non-percussion students. Draw a diagram, labeling the parts. (DL2) Working in pairs, check and adjust your partner’s instrument (snare drum) to fit him or her correctly.

Open cases, remove instruments, and correctly assemble a snare drum and mallets (xylophone or marimba) while naming the parts and explaining reasons for height and adjustments made during assembly. Position the bass drum properly on its stand.

Pearson, Standard of excellence, book 1, student edition, p. 2.

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Snare Drum: Holding a drumstick in each hand, find the spot on the drumstick approximately one-third of the length from the end. Place that part of the stick between the first joint of your index finger and the pad of your thumb. Place your remaining fingers on the stick and pull it toward your palm. Your fingers should hold the stick loosely, and your thumb should point toward the drumstick tip. Your palm should face down and your fingers should always remain on the stick. Make sure you have a “crevice” between your thumb and index finger. Hold your stick one to two inches above and almost parallel to the batter head. The sticks should form a 60˚ angle. Using your wrist, raise the tip of the stick six to eight inches above the head. Drop the tip of the stick to the head and allow it to bounce off. The tip should strike the head slightly off-center directly above the snares. Follow immediately with a strike from the opposite hand or the same hand, depending on the effect needed. Diagnose and coach a fellow student’s hand and stroke technique, and provide coaching for improvement.

ASSESSMENTS Use a relaxed, correctly placed grip to demonstrate a 60˚ angle

placement of the drumsticks on the drum head. Perform bounce strokes, using the same and opposite hand at proper height from the drumhead.

3. The student will demonstrate correct posture and positioning.

MSA = Maryland School Assessment DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes:

Pearson, Standard of excellence, book 1, student edition, p. 2-3. Demonstrate proper playing techniques for the students.

ACTIVITIES STUDENT OUTCOMES

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Technique for Orchestra Bells: Hold the mallets in a similar fashion to matching grip on the drumsticks. Using your wrist, raise the tip of the mallet six to eight inches above the

bar. Then drop the head of the mallet to the bar, and allow it to bounce off. The mallet should strike directly in the center of the bar. Mallets should not strike “nodes.” Black Keys may be struck a quarter inch from the edge of the bar.

Follow immediately with a strike from the opposite hand. Make notes in your notebook or journal outlining proper performance positions. Experiment with the sound by hitting the keys in different areas. Explain why you think the best sound is in the center of the keys. (DL3, GT)

ASSESSMENTS Gripping the mallets in “matching” grip, perform single strokes

with alternating hands. Start 6-8 inches from the bar and strike directly into the center, or a quarter inch from the edge for black keys. Do not strike nodes.

4. The student will identify, perform, and describe proper performance positions.


Pearson, Standard of excellence, book 1, student edition. p. 2-3. Provide visual reinforcement for suggested activities.


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Technique for Cymbals: Practice playing 14-inch or 16-inch cymbals using correct grip to strike

and mute for desired effect. Hold cymbal straps, gripping between your index finger and thumb.

Grip close to the cymbal bell. Curl the remaining fingers around the strap, holding with enough

tension for appropriate control. Repeat with the opposite hand. Keep one hand (usually the left) stationary while the other makes the

stroke. Top Cymbal (usually the right one) should follow a downward motion

onto the plate of the other cymbal. Cymbals should make a flam sound, with the bottom of the right-hand cymbal hitting first, followed by the top part of the right-hand cymbal.

To stop vibrations, muffle the cymbals by drawing them against the abdomen.

Playing cymbals is physically taxing. Describe some ways you might build arm strength. (DL2, LM)

ASSESSMENTS Demonstrate ability to grip cymbals using index finger and

thumb with enough tension for control. Strike cymbals using one stationary hand and one moving hand to produce a proper “crash” sound. Properly muffle, using the abdomen.

(4. The student will identify, perform, and describe proper performance positions.)

MSA = Maryland School Assessment, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Tes, RS = Reading Strategies Notes:

Pearson, Standard of excellence, conductor score, book 2, p.607; Burns, Elementary drum method, p. 6. Provide visual reinforcement for suggested activities.


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Technique for Bass Drum: Using both a lamb’s wool beater for concert work and a hard felt mallet

for marching, experiment with the sound of each. Stand in position so that the music stand and the director are in a

straight line. Strike the drum between the center of the head and the edge to produce

the best sound. (Closer to the center rather than closer to the edge.) Place your other hand, the dampening hand, between the beater and the

rim, close to the beater. Stop the vibration of the head on the rests with your dampening hand.

Play a steady beat on the bass drum along with a recording of a march. Note: The most desired technique for dampening is placing the

dampening hand on the head of the bass drum that is not being struck. Sometimes bass drum stands do not allow for this technique, because they are so big. In this case, muffle with your knee (while resting foot on a chair) or the left hand, on the head being struck.

ASSESSMENTS Make a chart describing the sounds produced by each of the

two mallets; list one style of music you would use for each.



Burns, Elementary drum method, p. 7. Provide visual reinforcement for suggested activities.


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Technique for Sleigh Bells: There are two acceptable ways to perform with the sleigh bells. It would be appropriate to learn both methods.

1. Hold the handle of the sleigh bells in one hand, with the bells pointing toward the floor. Make a fist with your other hand and firmly hit the top of the handle in the desired rhythm.

2. Have sleigh bells lying flat on the trap table. Grasp by the ends (i.e., corn on the cob), pick them up horizontally (silently) and shake them to the desired rhythms.

Play along with Sleigh Ride from a professional recording. Perform, using a steady beat. (T)

ASSESSMENTS Perform simple steady beat ♩ + ♫ patterns on the sleigh bells

using methods one and two (bells pointing toward the floor and bells laying flat on the trap table).



Pearson, Standard of excellence, conductor score, book 2, p. 606. The first technique could invite extraneous sounds. The second technique is highly recommended, but takes much practice to perfect. Take into consideration the placement of bells before performance of a piece. The hand motion in the second technique is similar to that of a snare drum stroke. Have the student hold the instrument on the table; picking up the sleigh bells should then become the first note of the rhythm pattern (this avoids sleigh bell solos).


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Technique for Snare Drum: Using a beginning method book, practice simple written exercises to drill single and double strokes with both hands. Keep sticks at opposite heights of the stick spectrum; relax and make solid strokes. Use a metronome to keep an even beat. Imitate your teacher performing a simple pattern of double and single strokes.

ASSESSMENTS Perform eight measures of alternating single strokes and eight

measures of alternating double strokes using a metronome. Sight-read, with 75% accuracy, a simple exercise that has sticking “marked in” to show both single and double strikes,.



Werntz, Ten lessons for the snare drum.


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Drill these ten selected rudiments: Single stroke roll Double stroke roll 5-stroke roll 7-stroke roll 9-stroke roll 13-stroke roll 17-stroke roll Single paradiddle Double paradiddle Triple paradiddle Practice open-closed-open or at different tempi. M.M. =100 Play “Guess the Rudiment:” The teacher or a student plays a rudiment. Other classmates guess which one is being played. Rudiments are practice rhythms for the snare drum player. Copy these rudiments in your notebook and practice them daily. Research the use of rudiments and write a short paragraph detailing your results. Read your finished paper to the class. (RS, LM)

ASSESSMENTS Using proper grip, posture, and position to drum, perform in

sequence and describe the ten named rudiments with a metronome speed of M.M. =100.

5. The student will perform and describe selected rudiments.


Wertz, Ten lessons for snare drum.


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Read Podemski’s section on rhythm and the percussionist. Practice easy rhythm patterns using ♩ ♪ in decreasing value. Switch between various rhythmic values to reinforce subdivision of the beat. Always utilize a metronome while practicing rudiments and random patterns.

1. Call and Response – use ♩ ♪ and their corresponding rests to echo the teacher example accurately.

2. Associate rhythms with the notation on flash cards. (RS) 3. Demonstrate ability to count. Clap and move in time to the beat. 4. Say students’ names in rhythm. Form groups of “like” rhythms. Write

the rhythms on the board. (DL2) 5. Sit down and practice moving arms, hands, and legs in rhythm. Decide

whether the music is in duple or triple meter. 6. Conduct duple and triple patterns while listening to examples of each. 7. Use body movements in rhythm while following a leader. (AS) 8. Discuss and define the concepts of the beat, and duple and triple meters.

ASSESSMENTS Demonstrate evenness and steady tempo by playing written

selections and improvised rhythms using a metronome as your foundation.

6. The student will initiate and perform steady beat and basic rhythm patterns.

MSA= Maryland School Assessment, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes:

Podemski, Snare drum method, pp. 34-35. Use word associations such as “Mississippi, Hot Dog” to help students internalize rhythms. Have them count immediately afterwards. Use a rhythmic vocabulary such as Gordon Froseth or Kodály. Have students count, chant, play, and march to a steady beat. Use children’s names as a chant for duple and triple beats.


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UNIT 1:


ASSESSMENTS

7. The student will identify, perform, and describe music terms, symbols, and structural features.

Compose and perform two phrases of music, one for orchestra bells, and one for snare drum. Each should be eight measures in length, incorporating between the two all notations and symbols in the list. (DL4)

Memorize the meaning of the following musical symbols: Quarter note and rest Half note and rest Whole note and rest Eighth note and rest Crescendo Decrescendo Accent Forte, piano

Copy symbols with meanings into a music notebook. Give a friend a musical test, using flashcards. (DL2) Use musical signs when playing your song. Find a new song that uses them. Plays selections, using the dynamics marked in the music; then play them without any dynamics at all. Decide which version sounds more musical. (DL3) Use musical terms to describe your performance. Identify notational errors after a performance. (DL4)

Perceiving, performing, and responding to music. Performance Competencies in Percussion Level 1


Display these symbols in the classroom with definitions. Use the symbols in early repertoire. Make small flash cards so students can play a short game while you are tuning the wind instruments.

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UNIT 1:



ASSESSMENTS

8. The student will interpret, through performance, standard notation in various meters.

Listen to four examples played by the teacher and identify the time signature. Write and perform a piece of music (16-measures or fewer) that uses all three time signatures in random succession. (Use ♩ and♪ rhythms only) (DL4)

Play with students on bass and snare to instill emphasis for each of the three time signatures. Use movement and dance forms to show differences and connection to meter, i.e., March – 2/4; Waltz – 3/4; Polka – 4/4.

Use the current method book to find and practice reading exercises in these time signatures: 2/4, 3/4, and 4/4. With another student set up the snare drum and the bass drum. To establish the feel of the accented beats, the bass drum will play on the downbeat and the snare on remaining beats of the measure. Then have the bass drum play on all 4 beats. The snare will alternate on beats 1 and 3, then 2 and 4 to establish different emphasis. Alternate players in performing the same exercises. (DL2) Use body percussion while listening to different pieces of music. This helps develop a feel for time signatures. Example: “pat-clap-snap” while listening to Take Me Out to the Ball Game, for ¾.


UNIT 1: Performance Competencies in Percussion

Perceiving, performing, and responding to music. Level 1



ASSESSMENTS

9. The student will identify, perform, and describe a variety of articulations and tempo markings.

Practice dynamics in terms of height of mallet from head or bar: ff = 9 inches f = 6 inches mf = 5 inches mp = 4 inches p = 3 inches pp = 1 inch Describe and perform a melody in terms of its step-wise and skip-wise construction on the bells. Echo melody patterns by singing and playing. Echo rhythm patterns by speaking and playing. Combine melody and rhythm patterns. Define and memorize the following terms: (DL2) Allegro Moderato Andante Slur Demonstrate all six levels of dynamics on snare drum or

orchestra bells. Choose an eight-measure melody that uses varying rhythm and dynamics. Perform the selection accurately three times, first clapping, then singing or speaking, and finally playing on the designated instrument. (DL2)

Tie

Display a progress or “star” chart for each child. Use stars or dots to record each student’s progress. Have a “play day” or a “class concert day” at specific intervals so individuals may perform for the class. Use large wall charts for notation. Give rewards for correct answers. Provide for each student a practice chart and a repertoire list. Each time a student plays a piece, he or she is to fill in or check a box. Display these filled-in charts in the room. Have students take an aural discrimination test to show understanding of the characteristics of the melody.

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UNIT 1:



ASSESSMENTS

10. The student will demonstrate valuing through performance and practice habits.

Perform a solo for the class by memory, if possible. After your performance, discuss your reasons for choosing the piece and the manner in which you practiced and accomplished your goal. Share how it made you feel to perform your solo and how it changed you as a musician and a student.

Make appropriate texts and solo literature available to beginning level snare drum and mallet players. Advise students and help them choose acceptable pieces for their achievement levels. Remind them to have regular practice regimen. Suggest techniques for memorization. Use class charts to track practice and to reward students.

Choose a piece from a current method book or another solo for snare drum or orchestra bells. Determine your choice, using the following guidelines.

1. Interest level 2. Level of difficulty 3. Rhythmic variety 4. Length 5. Memorization potential

Practice and perform for your class. (DL3) Interview a musician you respect and ask about his or her practice habits. Set up a daily practice schedule and note the length of sessions. Use a metronome and increase tempo daily to push for a higher performance level. Write two sentences after each practice session to reflect on progress and attitude. (DL4, GT) Perform with an ensemble in at least two concerts over the course of the year.


UNIT DESCRIPTION

Percussion Level 1 (Grade 4) Unit 2 (MSDE Performance Outcome II): The student will demonstrate an understanding of music as an

essential aspect of history and human experience.

Unit 2 provides students with opportunities to demonstrate an understanding of the impact of percussion on our culture, to investigate and describe a history of the instruments, and to explore music written for percussionists. Students will be engaged in performing, organizing, describing, interpreting, and communicating essential aspects of music history and human experience, using the language, skills, methods, and materials of music. In this unit, an attempt has been made to connect the application of music as an essential aspect of history and human experience to the student’s own life and experience. The music chosen and the historical perspective discussed encompass a wide variety of musical styles, genres, and cultures. The materials, activities, and instructional strategies apply to a variety of learning styles and abilities. Music performance, analysis, and reading and writing activities are infused throughout. Decision-making, problem solving, investigation, and invention are among of the processes in which students will be actively involved as they learn.

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Level 1, Unit 2 (MSDE Performance Outcome II): The student will demonstrate an understanding of music as an essential aspect of history and human experience.

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How should an audience act? How is music used in holiday celebrations of other cultures? How does music aid in self-expression? How is percussion used in other cultures? How does History relate to music? Who composed the music we sing?

KEY QUESTION (S)

Discuss and make a list of appropriate performance behaviors. Determine the importance of performance behaviors. Perform two contrasting holiday songs. Explain the history and use of these particular songs in their cultures. After listening to recordings of music from other cultures, identify the instruments used and describe the role of the music in the culture to which it belongs. Choose a piece of music that has a link to some historical event. Describe the connection or significance of that piece of music as it relates to the event. Choose a composer of a piece of music in your performance repertoire. Describe a brief history of the composer and explain what makes that composer’s work unique and recognizable. Alter the dynamics, tempo, and rhythm of a selection from your performance repertoire to make the piece more expressive. Share the reasons for making the changes you did and explain why it is important to be able to do so.

ASSESSMENT

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Performance behavior Creative expression Composers Historical events and context Varied musical styles, genres, and cultures


Clapping Giving attention Expressing feelings Performing Discussing Listening Investigating Summarizing

ESSENTIAL CONTENT/CONCEPTS

Performance Competencies in Percussion Level 1

UNIT 2: Understanding music as and essential aspect of history and human experience.

Demonstrate courteous behavior to fellow students when they are performing. Show appreciation of others’ performances by clapping at the end of a performance. Show your ability to give attention without being distracted. Describe how you would like an audience to behave when you perform. Make a list detailing appropriate performance behaviors. (DL2) Include:

Entering a concert venue Warm-up time Responding to director cues Acknowledging applause Exiting after the concert

ASSESSMENTS With a fellow student as the performer, show how to respond

in a performance situation. First, show correct behavior; then show examples of incorrect behavior. Give reasons why one should use correct behavior. (DL3)

1. The student will describe and demonstrate appropriate performance behavior.


Be sure to review these concepts: Recital etiquette, appropriate dress, no talking during the performance, respect for others, appropriate and necessary applause. Schedule recitals.


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Research a country, using the Internet and/or books from the media center. Look for connections to music in that culture and for information on the history of the holidays and customs. Be able to explain the significance of the music you choose. Choose two contrasting pieces to prepare for a class performance. Determine if any new instruments will be needed and, if so, what you will do to acquire them. Use your own plan to arrange a version of the piece. You may work alone or in a group. (T, LM, M) Listen to music of a variety of composers from three or four musical periods in history. Discuss the simple differences between musical periods and similar composers within the period. Choose a composer from one period and research written material and recordings of that composer. Using the orchestra bells, prepare a simple melody for performance from your band book. Listen to performances from the following cultures:

African, African American, Native American, Latin American, Caribbean, Asian, Middle Eastern, European, South Appalachian

As you listen, take notes on the wide variety of percussion instruments heard. Using books and other media, including the internet, find and identify as many instruments as possible. Try to determine which styles use which instruments. Determine whether some styles use the same instruments. Discuss what function or role these instruments have in the music performed. (DL3, DL4, GT, T)

ASSESSMENTS Perform two contrasting “Holiday” selections as a solo or in a

group. Be responsible for planning an arrangement of the tune. Explain the history and use of the selection in that culture.

2. The student will perform melodies and rhythms from a variety of historical periods, musical styles, and world cultures.


The general music teacher should have recordings or texts with a good variety of Literature. World music recordings are available at the local library and on the Internet.


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Play one piece from the class text "as written.” Experiment withdifferent ways to change the piece, using dynamics, tempo, changing rhythms, adding rests, even playing backwards. Listen to classmates and take notes on their interpretations of the same piece. Repeat the exercise and try another “new” version to challenge yourself to explore more variations. (GT, DL3)

ASSESSMENTS Perform a piece from the book “as written” and “your own”

way; talk about what you changed and why. Share your feelings about the importance of being able to be free to change the music. Share how music allows you to express your feelings.

3. The student will identify and describe ways in which performing music can bring personal satisfaction.


Demonstrate on snare drum and mallet instruments ways to alter or vary a simple rhythmic and/or melodic piece to “free up” or open the door to individual expression. Talk about how this process allows the performer to experience freedom and creativity within pre-set structure.




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UNIT DESCRIPTION

Percussion Level 1 (Grade 4) Unit 3 (MSDE Performance outcome III): The student will demonstrate the ability to organize musical

ideas and sound creatively.

This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations using traditional and original techniques and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will be improvising rhythms and melodies that show contrast. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

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Level 1, Unit 3 (MSDE Performance outcome III): The student will demonstrate the ability to organize musical ideas and sound creatively.

Can I compose an original melody? Can I improvise rhythms and melodies? Can I notate my compositions? Can I create compositions to fit a given context?

KEY QUESTION (S)

Play or sing two short four-measure melodies, one improvised and one pre-written. Answer a short melodic phrase, given by your teacher, by improvising in a style similar to the given example. Listen twice to a melody played by your teacher. Create a rhythmic accompaniment to complement the melody. Compose, notate, and perform a 16-measure melody for snare drum or bells. Compose and perform a rhythmic accompaniment to add interest to a story.

ASSESSMENT

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Melodic patterns Rhythmic patterns Accompaniment Phrases Composition


Singing Playing Notating Graphing Creating Improvising Answering Composing



UNIT 3: Organizing musical ideas and sounds creatively.

Using the eight pitches of the major scale, experiment with your voice and orchestra bells to create combinations of pitches that form a “melody.” Start with small groups of pitches and use repetition of notes. Vary the rhythm to add variety. Use the voice as a starting point and try to echo ideas. Use bells and try to copy the idea. Write down at least one four-measure melody. (DL4, DL5) Choose a simple melody from your book and have a partner play while you keep a steady beat. The second and third times, change the rhythm patterns to provide interest. Try to use the bass and snare drum simultaneously and add dynamics.

ASSESSMENTS Perform two short four-measure melodies. You may sing or

play both. One must be improvised or “made-up” on the spot and one written previously.

1. The student will improvise and perform rhythms and melodies, using traditional sounds.


Demonstrate, using the notes of the major scale, an improvised melody, one with your voice and one on orchestra bells. Give examples of varying meters and styles. Try to show a phrase and some semblance of beginning, middle, and end.


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Listen to two phrases of a melody that share common notes and rhythms but that differ to complement each other. With another student, echo each other in small two- or four-measure phrases with your voice and orchestra bells. Keep melodies as close to the original as possible, to mimic the style. Using snare drum or orchestra bells, create an eight-measure composition in the meter (time signature) of your choosing. Use the information from the previous lessons on melody, phrases, and rhythmic accompaniment as inspiration for structuring your composition. Be accurate with the number of beats in a measure and keep the ability level of the performer in mind. The teacher will read a short passage from a children’s book. Listen for spaces and volume changes and expression in the reader’s voice. Decide on a rhythm pattern that complements the general feeling of the story. Add extra patterns to complement the changes in the reader’s voice if appropriate. Listen to a recorded story that uses accompaniment and watch a video. Listen to the percussion instruments and determine how they added to the expression of the story.

ASSESSMENTS Answer a short melodic phrase by improvising in a style close

to the given example. Discuss the difference between the example and the answer phrase.

2. The student will compose and notate music which shows contrast.


Give students a variety of examples of short melodic statements that you create. Echo yourself, changing few pitches or rhythms, to create continuity. Discuss rhythm and pitch variances and notate them to show variations.




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UNIT DESCRIPTION

Percussion Level 1 (Grade 4) Unit 4 (MSDE Performance Outcome IV): The student will demonstrate the ability to make aesthetic

judgments.

This unit provides percussion students with the learning tools and knowledge to make aesthetic judgments. Unit 4 offers students the opportunity to evaluate selected musical compositions, using established criteria, and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will practice self-regulation and analyze and articulate characteristics of an exemplary member of an ensemble. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and their connection to successful music understanding and performance.

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Level 1, Unit 4 (MSDE Performance Outcome IV): The student will demonstrate the ability to make aesthetic judgments.


How can expressive interpretation alter the listener’s reaction to music? What makes a performance good?

Listen to three different recordings of the same piece. Describe the reaction you had to each recording. Take notes while observing a live concert band concert. Write a review of the concert; include why you feel the way you do. List the required elements for a good performance. Devise a rating system based on this list to evaluate performances. Apply your rating system to a class performance.

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Expressive interpretation Musical expressions Social contexts Personal aesthetic criteria Evaluation Criteria

Listening Reacting Investigating Writing Evaluating Analyzing Listing


UNIT 4: Making aesthetic judgments.

MSA = Maryland School Assessment DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes:

ASSESSMENTS

1. The student will analyze and articulate characteristics of a good performance.

View a live concert band concert in your school district from any level. Take notes. Present a two or three minute speech reviewing the concert and explaining your reasons for your judgment. Use past performances and class work to come to your conclusions.

Use videos of feeder systems, if possible, to give examples of a concert performance. Point out aspects that are both positive and negative. Monitor students in class as they perform for each other in a cooperative partner setting.

View videos of a high school, middle school, and elementary school band. Take notes on identified criteria. Include: playing in tune, steady tempo, posture, following the conductor, and behavior. Make a list of characteristics you observed that made the performance good. Add any characteristics you feel might have been missing. Devise a rating system, based on this list, to evaluate performances. Notice similarities and differences from level to level. (DL3, DL5, GT) Practice performing solos in class with a partner. Take notes and comment on positive aspects of your performance; make suggestions for improvements.


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Performance Competencies in Percussion Level 1 UNIT 4:



ASSESSMENTS

2. The student will devise and apply criteria to evaluate class performance.

Write and present three short paragraphs describing the different reactions you had to a piece of music you listened to in three different recordings. Use a written performance evaluation form to judge class performances.

Use one piece by three different artists. For example: one standard jazz composition played by three different drum set players or vibraphonists. Let students listen for the variety, guide them and cite differences in tempo, timbre, and harmony to open up discussion and personal reaction to the performances.

Listen to a piece of music that features percussion instruments. Then, listen to two other versions of the same piece. Take notes on the differences in tempo, dynamics, and possible types of instrument timbre. (DL2) Play a piece from your method book in three different ways. Have your partner state his or her different reactions. Repeat the activity, switching roles. Take note of your reactions to your partner’s interpretation or “versions” of the same piece. Working in pairs, make a list of all the required elements of a class performance. Develop an organizer to list elements in relation to their importance, using a three level grading system to rate each requirement. Reserve a space for personal expression, creativity, and connection with the audience. Talk about the elements of chance and spontaneity in live performance as real and sometimes uncontrolled factors. (DL5, GT)

Making aesthetic judgments.

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UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The elementary experience for percussion students uses the approach of “total percussion.” Students will learn mallet instruments and techniques along with those for drumming. Students will have early experiences with percussion music and instruments from around the world. In this unit students have continuing experiences in manipulating, caring for, and making sounds on their instruments. They continue to refine practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in relatively small classes of similar instruments and like abilities. The use of instruments in this group setting requires cooperation and self-regulation. Activities within the unit address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units are taught concurrently and throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

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How should I take care of my instrument? What is the correct posture and technique for the instruments I play? Can I perform the standard rudiments? What is involved in performing for an audience? How does practice affect performance? Can I identify major scales and arpeggios in the key of C, F, and G? Can I write music using standard notation? Can I identify and utilize new articulations?

KEY QUESTION (S)

Assess your instrument for signs of wear, make adjustments and suggest repairs where appropriate. Assemble each instrument naming each part as you do so. Demonstrate and explain the proper playing position(s) and technique(s). Perform the selected rudiments then write them out in standard notation. Sight-read various easy melodies and rhythms, including some dotted and syncopated rhythms and rhythms and melodies in 3/4, 4/4, 6/8, and 2/2. Study a new piece of music. Identify and label its form. Practice a piece of music to performance level, memorize the piece of music, and then perform it for an audience. Write an essay on the connection between practice habits and performance. Include descriptions of personal practice activities and explain how they enhanced your musicianship. Using standard notation, write the major scales of C, F, and G. Make flashcards of articulations. Partner with another student to assess one another’s knowledge of articulations..

ASSESSMENT

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Instrument care Posture and playing position Basic playing techniques

Assessing instrument condition Maintaining Instrument Condition Performing Rehearsing Notating Naming notes Counting Critical analysis



Make a maintenance checklist to include the following: 1. Check drum heads for wear 2. Check and replace all sticks and mallets which are cracked or broken 3. Check stands for loose wing nuts, screws, etc.

Acquaint yourself with the correct names of the parts of a snare drum. Make a drawing of a snare drum, showing the parts and their names. If repairs or adjustments are needed, have your teacher or a qualified repair shopattend to them.

ASSESSMENTS Be able to recognize signs of wear, Suggest replacing heads

and mallets that are unsuitable. Adjust stands. Name the parts of a snare drum by creating a diagram. Suggest repairs to your teacher.



Harr, Drum method, p. 4. Meuller, Complete guide to the maintenance and repair of band instruments. p. 275. Pearson, Standard of excellence, conductors’ score, book 2, p. 604.


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Techniques for the Suspended Cymbal: Find and read a passage on the set-up of the suspended cymbal. Hold a set of mallets or drum sticks using a matched grip. Strike the cymbal, using a technique similar to that used to strike a drumhead. For a roll, hold a yarn mallet in each hand, using a matched grip. Position the mallets opposite each other, one on the left and one on the right, close to the edge of the cymbal. Create the sound by alternating single strokes, approximately one inch above the cymbal.

ASSESSMENTS Properly assemble a suspended cymbal on its stand.

Demonstrate the two techniques of playing a suspended cymbal. Explain each.

2. The student will demonstrate correct posture and positioning for auxiliary instruments.


Pearson, Standard of excellence, conductor score, book 2, p. 604. Demonstrate the single stroke and roll technique for your students.


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Technique for the Tambourine: Hold the tambourine at chest level with one hand – thumb should be on the head side with fingers underneath. Strike the tambourine near the edge with the first three fingers of your other hand. Use a “knocking on the door” motion. Roll: Hold the tambourine using the normal grip. Rotate your wrist to create the

roll. The wrist motion should be similar to that used when turning a doorknob. For cleaner articulation, begin the roll with one single stroke of your free hand.

ASSESSMENTS Demonstrate, using both single note rhythms and rolls on the

tambourine. Model and give step-by-step directions to a fellow student.

(2. The student will demonstrate correct posture and positioning for auxiliary instruments.)


Pearson. Standard of excellence, conductor score, p. 606.


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Techniques for the Woodblock: Hold the bottom of the woodblock with one hand. Do not squeeze the wood block too tightly. In your other hand, hold a drumstick or a hard rubber mallet. Use the same grip you use when playing mallet percussion instruments. Strike the woodblock in the center of the top part with a quick down-up wrist motion. Some woodblocks have a “sweet spot” that sounds brighter or lower, so experiment on different parts of the block. When playing fast woodblock parts, place the woodblock on a soft flat surface and use two mallets or sticks.

ASSESSMENTS Use proper grip and position to demonstrate the two ways to

play a wood block. Explain the difference and reasons for both techniques.



Pearson. Standard of excellence, book 2, p. 605. Show students the proper technique through demonstration.


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Technique for the Triangle: Hold your left hand in a sideways “C” and suspend the triangle clip from the top of your thumb and index finger. Hold the triangle beater in your right hand between your thumb and index finger. Strike the outside right hand corner near the top or inside right hand corner of the base. The motion should not exceed 2 inches. The forearm stroke should not be used.

ASSESSMENTS Demonstrate the proper way to hold and position a triangle.

Play, using a 2-inch motion. Contrast by showing the improper stroke to prevent wrong technique.



Pearson. Standard of excellence, conductor score, book 2, p. 605. Show the students proper striking technique and emphasize the importance of a short striking distance for proper control.


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Techniques for the Maracas: Hold one maraca in each hand. Grasp the handle of each with your thumb and last three fingers. Extend your index finger so that it touches the shell. Using your wrist, flick one maraca, then the other consecutively, causing the beads inside to hit the shell creating a “tsk” sound. The motion should be similar to the motion used to play alternating strokes on the snare drum.

ASSESSMENTS Demonstrate the hand position unique to the maracas and play

consecutive quarter note patterns evenly to show control.



Pearson. Standard of excellence, conductor score, book 2, p. 607. Demonstrate proper playing position and stress the care and control needed in playing the maracas.


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Explain the half step and whole step pattern used to build a major scale. Use C, F, and G as your beginning notes. Write each scale on manuscript paper, and perform them on the bells. Echo intervals, melodies, and scales after the teacher sings or plays them on the piano. Choose several familiar melodies. Identify major intervals in those melodies and create mental associations to help you remember what each interval sounds like. Define an arpeggio. Using the three scales you notated, write the arpeggio note names for each. Perform each scale and its corresponding arpeggio on the bells or xylophone. Practice them up and down the scale, using quarter and eighth notes.

ASSESSMENTS Name the notes of the C, F, and G major scales and arpeggios

and perform them on the bells by memory. Use a metronome marking of your choice, and maintain a steady beat.

3. The student will identify, perform, and describe major scales and arpeggios through one sharp and one flat.



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Practice and drill the following rudiments by reading and rote. Work in pairs to check for accuracy:

Flam Drag Ruff Flam tap Flam accent

Practice all rudiments using open and closed positions. With matched grip, practice scales using alternate sticking. Find a solo in your method book. Practice using different sticking methods. Write the easiest above the notes and practice using this method. Perform for your class.


Use a method book glossary and index to access a chart or list of rudiments. Pearson. Standard of excellence, conductor score, book 2.

ASSESSMENTS

4. The student will perform and describe additional snare drum rudiments and mallet techniques.

Perform the flam drag, flam tap, flam accent, and ruff in random order and write them from memory. Be sure to check for proper sticking technique, stick height, and stroke control.


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• Find a dotted quarter note and a dotted half note in your method book. Identify dotted rhythms in your music and determine their value.

• Identify syncopated rhythms in your book. Practice placing the accent on unaccented beats.

• Use multi syllable words and change the normal accent, i.e. Mis-sis-sip-pi. Practice rhythms with a partner, having one person play a steady beat in quarter notes while the other performs dotted and syncopated rhythm patterns.

• Find phrases in your music that sound and look alike. Find phrases in your music that sound and look different.

• Make up names for like and unlike phrases. Describe and perform an ABA song. Color-code the form. (DL3)

• Examine a totally new written piece of music and analyze it using the same, different, and ABA to label its parts. (DL4)

• Demonstrate the ability to hear and perform a new interval pattern. • Make a design or “picture” of new half-step and whole-step patterns and

scales. • Demonstrate the ability to sight-read by playing an unfamiliar piece

from notation. • Define and find in your book:

o 1st and 2nd endings o DC al fine o Pick up note o Simile o Multiple measure rest

ASSESSMENTS Scan over music quickly for markings and sight-read two

contrasting pieces, one piece on the bells, and one piece on the snare. Use steady tempo, dynamics, and any other markings to play with 75% accuracy, without stopping to correct mistakes.



Sight-reading: Show the pattern visually on a chart or black board. Have students point to the pattern they are hearing. Make a cassette tape of new repertoire pieces that use rhythms to be learned. Have it available for student use. Continue reading games and reading practice separately from playing the instrument. Provide students with easy to read notation for first reading and playing activity.


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Play familiar songs that show the various meters – match the meter to the song. Write rhythm patterns in different meters; add the melody lines to them. Imitate rhythm patterns as played by the teacher. Associate the notation on flash cards with patterns as you imitate them. Become familiar with short rhythm patterns from daily lessons. Practice “hearing” rhythms and melodies in your head. Practice hearing steps, skips, and intervals on a keyboard instrument. Keep a steady inner beat while listening to dictation. This will tell you where the notes lie in relation to the beat. Write quickly, note head first; then go back to add stems. Listen carefully each time.

ASSESSMENTS Write and perform a four-measure rhythm pattern or melody

for each of the four time signatures. Sight-read on snare drum one four-measure rhythm pattern chosen by your teacher.

6. The student will perform and describe music using standard notation in various meters.


Have students count, clap, and play rhythm patterns they read from rhythm strips. Have students echo rhythm patterns vocally and instrumentally. Teacher-made rhythm strips, flash cards, and charts are extremely useful.


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Use your method book or a music dictionary to define the following: Accent Slur Legato Staccato Tie Find music that utilizes these articulations. Practice and perform examples for your class. Think of a way to remember the Italian words. For instance, you might want to think of staccato as your reaction to touching a hot iron. Make up other things that will help your memory.

ASSESSMENTS Make flashcards of familiar and recently-learned articulations.

Partner with another student to test each other.

7. The student will identify, perform, and describe articulations, including accent, slur, legato, staccato, and tie.



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Participate in an area festival. Perform appropriate ethnic muswic relating to units on Native Americans, Central and South Americans, Japanese, and other Asian Cultures. (M) Perform as a member of a group in an assembly or concert. Be able to play your part with and without the rest of the ensemble. Choose a short solo you wish to memorize. Check patterns in the piece and make a chart noting them. Make a daily goal list for one week’s time to organize your practice. Tape the piece and listen to it to help memorization. Make arrangements with your director to perform your solo for an audience. (DL3) Practice pieces in small sections if necessary. Do not practice a piece continuously from beginning to end. This will help with memorization. Perform for an audience.

ASSESSMENTS Perform on your instruments for of an audience. Write a list of

goals and guidelines before you perform. Use a list as a guide for practice and study. After the performance, grade yourself, using the list to check for your success. Write a paragraph on your progress and reflect on your experience in preparing and performing.

8. The student will demonstrate the ability to perform a part independently in a large ensemble.


Area festivals include school assemblies, school concerts, and recitals.


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Perform in a school program such as an assembly or a concert. Keep an up-to-date record of time spent in practice. Read a TV guide to find a music program. View the program, then write a short report on what you learned from the program. Visit a music store and repair shop to buy supplies for your instrument. Strive to be a cooperative and well-behaved member of the class. Show leadership by helping your section do the same.

ASSESSMENTS Write a two-paragraph essay on the connection between

practice habits and performance. Include activities in which you participated and how you believe they enhanced your musicianship. Perform a piece on your instrument for the class.

9. The student will demonstrate valuing through performance and practice habits.


Provide students with opportunities to perform for an audience. Provide students with a chart for practice record keeping, and award stickers or other incentives. Look for enthusiasm for performance, willingness to carry the instrument home, evidence of practice, request for private instruction, eager attendance at lessons, descriptions of music experiences, interest in the middle school music program, and choosing to continue with the appropriate music courses.


UNIT 1: Perceiving, performing, and responding to music.

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UNIT DESCRIPTION



Unit 2 provides students with opportunities to demonstrate an understanding of the impact of percussion on our culture, to investigate and describe a history of the instruments, and to explore music written for percussionists. Students will be engaged in performing, organizing, describing, interpreting, and communicating essential aspects of music history and human experience, using the language, skills, methods, and materials of music. In this unit, an attempt has been made to connect the application of music as an essential aspect of history and human experience to the student’s own life and experience. The music chosen and the historical perspective discussed encompass a wide variety of musical styles, genres, and cultures. The materials, activities, and instructional strategies apply to a variety of learning styles and abilities. Music performance, analysis, and reading and writing activities are infused throughout. Decision-making, problem solving, investigation, and invention are among the processes in which students will be actively involved as they learn.

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How should the audience behave? What are the roles of traditional and non-traditional percussion instruments? How is music categorized and analyzed? How does music relate to mathematics? How has music changed throughout history? What does a conductor do?

KEY QUESTION(S)

Have a “Dress-up” concert day. Everyone should come prepared to perform one short piece of music. Your audience behavior will be evaluated. Design a poster that demonstrates the differences between traditional and non-traditional percussive instruments and how they are used in a performance setting. Categorize music according to form, style, and expressive qualities. Investigate the commonalities and differences between math and music. Perform a piece from your method book that has three different percussion parts. Each time you perform it, change the style. Explain each style and your reason for using it. Choose two pieces from the book and conduct as your classmates play. Cue performers and keep a constant beat pattern.

ASSESSMENT

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Audience behavior Traditional and Non-Traditional Percussion

Strategies Music examples Patterns: Music and Math Music Styles Historical periods Time Signatures


Behaving Connecting Mathematics and Music Analyzing Musical Concepts Performing Conducting Experimenting Listening Conducting



UNIT 2: Understanding music as an essential aspect of history and human experience.

Demonstrate appreciation of a musical performance by clapping at the appropriate times. Wear appropriate clothes to attend a symphony concert. (DL1) Write a short note to the performers expressing your enjoyment of the program you attended. Develop a list of appropriate and inappropriate behaviors for a given performance. (DL3) Evaluate the audience behavior at a concert or an assembly.

ASSESSMENTS In class, have a “dress-up” concert day. Everyone should come

prepared to perform a short piece. After each performance make short notes about the performer and the audience’s reaction. Share your notes with the class.

1. The student will identify and describe appropriate audience behavior.


School related programs: The Baltimore Symphony Orchestra, The Annapolis Symphony Orchestra, Young audiences. Have students play in class and have others respond to them. Display posters and arrange field trips.


53



Using time signatures from music and fractions from math class explore the meaning of each. Use a Venn diagram to note the similarities and differences. Discover the connection between scale, steps, intervals, and numbered note names. Use division to explain the various note values in 4/4 time. Start with whole notes and stop with sixteenths. Draw a pie or pizza and show the values including sixteenth notes by dividing the pie. Listen to a repeated melody. Discuss symmetry in a mathematical equation. Look for connections between the two. .

ASSESSMENTS Use one example from your activities or an original idea to

compare and contrast music and mathematics.

2. The student will analyze, compare and contrast patterns in music and in mathematics.


Talk about the connections between music and mathematics in basic ways. Mention the differences and similarities in meaning between fractions and time signatures. Talk about form in music and mathematical formulas and rules.


54

Pick three short pieces from a recording of marimba and xylophone solos provided by your teacher. Use the following elements as guidelines for listening:

1. instrumentation of the ensemble 2. style 3. period in history 4. origin (country or culture) 5. form (ABA, etc.) 6. dynamics 7. expression

• Using a snare drum, a bass drum, a cymbal, and orchestra bells, list their

characteristics and uses in your school band setting. • Choose from your band room and general music room some non-

traditional percussion instruments (e.g. claves, shakers, guiro, hand drums etc.). Select four of these instruments and describe their characteristics and uses in the style of music of their origin. (M, DL3)

• Listen to audio or video recordings of simple melodies that include percussion and that represent a range of cultures from around the world. (M)

• Use traditional and non-traditional percussion instruments to play along with the recordings. Use the instruments that you think best suit the songs. Experiment playing each piece on both traditional and non-traditional instruments. Select from your method book three pieces that differ in style.

ASSESSMENTS Demonstrate how to play both traditional and non-traditional

percussion instruments. Discuss how they are used in a piece of music. Discuss similarities and differences and create a pictorial representation in poster form to exhibit in your classroom.

3. The student will describe how specific percussion instruments are used in a variety of musical styles and genres. .


Provide recordings and sheet music for pieces to be analyzed. Make sure they are relatively short in length. Listen along with the students and discuss the elements of music to aid in analysis. Some instruments may be borrowed from the General Music classroom. Helpful references might include videos involving multi-cultural percussion instruments, reference books from the media center, and information about percussion found on the internet.




55

UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations using traditional and original techniques and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will be improvising rhythms and melodies that show contrast. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

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What are the basics of improvisation and composition that help a composer create? What is improvisation? What tools do composers use? How can I use these tools to compose an accompaniment to a reading?

KEY QUESTION(S)

On the bells, improvise a 16-measure melody over a one-chord accompaniment (to simplify the pitch center). Compose a melody for the melodic instrument of your choice. Notate your melody and then perform it for the class. Perform a previously rehearsed, self-composed accompaniment to a reading provided by the teacher.

ASSESSMENT

57


58

Melodic Patterns Intervals Melodies Scales Pitch Mallet Percussion Sound Sources Melodic Patterns


Improvising Performing Pitch Matching Composing Notating




Use the bells to engage in a call and response session with the teacher. Echo the teacher and then create your own pattern. Try incorporating alternating mallet patterns in the keys of F or C. (DL5) Improvise a melody over a piano accompaniment provided by your teacher. Review properties of a good improvisation with your teacher. Discuss guidelines, such as staying within the notes of a scale in a particular key, what intervals create what kinds of feelings, and the characteristics of an interesting melody. Experiment with improvisation of melodies on bells, metallophone, and small xylophones. Discuss characteristics of each instrument’s sound (tones are long, short, etc.). (DL4) Listen to mallet improvisation experts like Dave Samuels, Gary Burton, or Lionel Hampton and list some of the mallet instruments they play. Describe some of the techniques they used and discuss how the music made you feel. Think about how you can incorporate some of those techniques into your own improvisations. (DL4)

ASSESSMENTS On the bells, improvise a 16-measure melody over a one-chord

accompaniment (to simplify the pitch center).

1. The student will improvise melodies, using a variety of mallet percussion instruments.


A good resource is: Jamey Aebersold; Vol.I How to play and improvise. (T)


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60

UNIT 3:



ASSESSMENTS

2. The student will compose and notate music to accompany a reading.

Perform a previously rehearsed accompaniment to a reading provided by the teacher. Maintain a constant beat and a melodic pattern that complements and adds interest to the story.

Watch the video “Stomp out loud” from the performing group “Stomp.” Discuss some of the sound sources used. (T) Take some time to brainstorm and experiment with various types of non-traditional sound sources (cans, tuned water glasses, rubber band instruments, and finger pianos). Investigate the different ways to play the instruments. How many ways can you make tones with the instrument? How many different types of sounds can this instrument make? Practice improvising melodies with your non-traditional instrument. Notate a melody for your non-traditional instrument and play it for your class. (GT) Choose a story that you like. Make a sequential list of emotions, incorporated in the story (i.e., calm, angry, happy, or sad). Choose instruments to represent these emotions, notating appropriate rhythms (fast, slow). Perform with the reading. (GT)

Organizing musical ideas and sounds creatively.


UNIT DESCRIPTION


judgments.

This unit provides percussion students with the learning tools and knowledge to make aesthetic judgments. Unit Four offers students the opportunity to evaluate selected musical compositions, using established criteria, and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will practice self-regulation and analyze and articulate characteristics of an exemplary member of an ensemble. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind, as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and thier connection to successful music understanding and performance.

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KEY QUESTION(S)

What should a proper performance look like? What should I do to be a good soloist? How do I judge how good a performance is? How can I analyze and articulate personal preferences for specific music works?

The class will divide into small groups and evaluate as a class each small group’s performance. View a videotape of or listen to a recording of one of your recent past performances. Use a pre-developed evaluation sheet to analyze how well you did. Use an evaluation sheet to analyze your own solo performance. Write a paragraph explaining what you would do to improve your solo performance in the future. Use correct musical terminology to present an oral report comparing various genres of music.

ASSESSMENT

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63




Musical terminology Styles, genres, and varieties of music Concert Etiquette Performance behavior Audience behavior Solo performance

Comparing Evaluating Articulating Labeling Critical thinking




ASSESSMENTS

1. The student will analyze and articulate personal preferences for specific music works.

Use correct musical terminology to present a three-minute oral report comparing different genres of music you’ve selected.

Form groups of two and research percussion styles and instruments from favorite genres. You may utilize the CD-ROM drive, in-school videos, or even the World Wide Web for information. (T, LM) After you have finished with your research, collaborate with another student to complete a compare/contrast chart. You should be looking for things such as style, tempos, percussion instruments used, etc. (DL3, DL4) Choose two styles of music – one you like and one you think you do not prefer. Make a chart listing characteristics of each. Analyze your chart and make specific statements that support your feelings for each. (DL5, GT)


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UNIT 4:



ASSESSMENTS

2. The student will devise and apply criteria to evaluate individual performances.

Watch a video tape of or listen to a recording of one of your recent past performances and use the evaluation sheet developed in the activity to analyze how well you did. Write a paragraph explaining what you would do to improve your performance in the future.

Discuss appropriate evaluations for performances. Such things as rhythm, pitch, tempo, dynamics, and expression should be considered. Make a class chart listing expectations of a good performance. From this chart develop an evaluation sheet to be used to determine the quality of a performance. (DL3) Have a class discussion regarding appropriate performance behavior. Develop a compare/contrast chart displaying some good behavior and some behaviors to avoid. Some topics you might cover are talking, posture, waving to Mom, fidgeting, entering and exiting the performance area, and appropriate attire. (DL3) With a partner, think about what makes a good solo performance. Things such as rhythm, pitch, tempo, and dynamics should be considered. Make a chart describing a good solo performance. As a class you should have one day dedicated to solo performances. Each person should prepare either a short solo or a selection from his or her band literature to perform for of the class. (DL4, GT) Have your partner rate your performance according to each of the criteria that you listed on your “good performance chart.” Devise a rubric to be used in the evaluation.

Making aesthetic judgments. Performance Competencies in Percussion Level 2

65

UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will continue to refine and advance techniques learned in earlier units for snare drum and mallet percussion. Students will begin to learn techniques for timpani. In this unit, students are developing more control over the sounds they create and learning a wide range of technical skills to further their musicality. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities as well as in full band ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units are taught concurrently and throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

66


How should I care for my instrument? What is the correct playing technique for the bongos? What is the correct playing technique for the tom-toms? What is the correct playing technique for the drum set? What are the correct playing position and technique for the timpani? How do I tune timpani? Have I mastered the rudiments? Can I identify basic intervals? Do I know the required scales and key signatures? Do I know a chromatic scale? Can I play a solo independently? Can I sight-read a grade I selection? Can I read, describe, and perform standard notation symbols in music?

Assess the condition and quality of sound of the school’s snare drums. Describe and demonstrate the proper technique for holding and playing the bongos between your knees and playing the bongos on a stand with your hands or mallets. Describe and demonstrate the proper technique for playing the tom-toms. Describe and demonstrate the proper technique for playing the drum set. Perform a grade I timpani solo from the Maryland Band Directors Association (MBDA) list demonstrating standing position, posture, and playing techniques. Tune the 28” timpani to a pitch selected by your instructor. Tune the 25” timpani to a major 4th higher than the larger drum. Play for your teacher the selected rudiments with 90% accuracy. Identify and sing or play the intervals printed on the staff on a worksheet. . Perform the selected scales on a variety of keyboard instruments. Construct and perform chromatic scales ascending and descending in C, F, B-flat, E-flat, and G. Perform a grade I solo or ensemble on drums or a mallet instrument. Sight-read easy grade I selections, and have your peers adjudicate your performance. Define and be able to identify, and use properly, given notational symbols.


67


68



Assessing Tuning Naming Describing Identifying Experimenting Performing Demonstrating Writing Comparing Sight-reading Singing Echoing

Instrument care Sound quality Instrument parts Set-up Instrument condition Playing position Ostinato patterns Improvisation Modeling Scales Intervals


Review and discuss the care of drums (cleaning heads and shell) and proper set -up on a drum stand. Review and discuss thecare of mallet instruments. Review and discuss the appropriate range for tuning the timpani. (DL1) Make a list of all the parts of the snare drum. (DL2) Listen to recordings of band, orchestral and percussion literature that use the snare drum as the solo or featured instrument (Ravel’s Bolero, and Britton’s Young Persons Guide to the Orchestra) to hear the sound of a properly tuned snare drum. (DL3) Write a paragraph to describe the sound of a properly tuned snare drum. (DL3)

ASSESSMENTS Assess the condition and quality of sound of the school’s snare

drums. Be sure to include the following items: Batter head and snare head tension Tension rods Overall condition of the snare Snare adjuster Drum shell Counter hoops



Have more experienced students tune the batter and snare heads. (GT)


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Bongos and Tom-Toms Describe verbally to the class the different sounds created with different beaters. (DL3) Verbally describe to the class the correct technique for holding and playing the bongos. (DL1) Listen to two or more compositions or musical styles that use the bongos (e.g., calypso) or tom-toms. Compare the rhythms of the pieces. Describe to your class how the rhythms are similar and how they are different. How does the choice of instrument contribute to the musical style? (M) Compose an eight-measure composition for bongos or tom-toms. Consider that you are writing for two drums, one high pitched and one low pitched. (DL4) Practice your composition by playing with your hands and using mallets. (DL1) Make a rubric for you and your classmates to use to assess performance. Include playing position, hand position, and rhythmic accuracy. (DL2) Practice many different rhythms from a percussion method book. (DL1) Perform on bongos and tom-toms in a small ensemble of other percussion instruments. Grosso, C. Hand Drumming Ensembles (DL3)

ASSESSMENTS Perform for the instructor and classmates rhythms for auxiliary

instruments, using proper technique.

2. The student will demonstrate correct posture and positioning for auxiliary instruments and the drum set.


Pair regular education students with special education students for the composition assignment. (AS)


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Drum Set Adjust the drum set to position drums, cymbals, and hi-hat within comfortable reach. Demonstrate emerging independence of feet and arms by playing basic rock and jazz patterns, using a drum set method book such as Jim Chapin or Alfred’s. Have classmates time how long their peers can maintain a steady beat. Play along with recordings to learn particular styles. This is a good way for students to practice playing with an ensemble while at home. (M)

ASSESSMENTS Perform stylistically accurate patterns on the drum set within

the context of a musical ensemble.

(2. The student will demonstrate correct posture and positioning for auxiliary instruments and the drum set.)



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UNIT 1:



ASSESSMENTS

3. The student will identify, perform, and describe major scales and arpeggios through two sharps and two flats.

Perform the selected scales on a variety of keyboard instruments (bells, xylophone, chimes, Orff instruments, piano, and electronic keyboard). Identify and perform a piece from your method book for each of the selected keys.

Parts of the paper keyboards may be cut out for uniform size of keyboards. Laminating finished keyboards is also helpful.

Make a keyboard from black and white construction paper to help you identify scale notes. (DL1) Label the keys of a paper keyboard. Identify half steps on the keyboard. (DL2) Apply the major scale half step and whole-step pattern to the C, F, B♭, G, and D notes on your keyboard. Transfer each scale to a worksheet. (DL3) Recite the notes of the C, F, B♭, G, and D scales from memory. Practice the selected scales. (DL2) After you have mastered the selected scales, practice the selected scales using different rhythm and movement patterns. Practice the scale in the form of an arpeggio, using scale degrees 1, 3, 5, and 8. (DL3) Identify pieces in your mallet method book in the keys of C, F, B-flat, G, and D.


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UNIT 1:



ASSESSMENTS

Goodman, Modern Method for Tympani (1948) pp16-22.

4. The student will perform and describe timpani technique.

Perform a grade I timpani solo from the MBDA list, demonstrating standing position, posture, and playing techniques.

Have the instructor model the following: 1. Distance to stand from the drum 2. Position of feet 3. Proper method for holding the mallets 4. Proper hand and arm position 5. Proper movement of wrist and arms when playing single note, slow rolls and

fast rolls 6. Playing area on the drum head Practice the above techniques, playing quarter and eighth notes. (DL1) Experiment with different types of timpani mallets. Make a chart that shows the characteristics of each mallet (hard felt mallets, covered mallets, wooden mallets). (DL4) Have the teacher model the tuning method. Practice tuning the interval of a fourth from several different pitches. Create a chart showing the ranges for all four timpani. (DL2, GT)


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Snare Drum The teacher should model rudiments from level one and two and introduce the flam paradiddle and the drag. All rudiments should be performed in an open to closed style. (DL1) Make a chart of rudiments from levels one, two, and three. The chart is to include a list of the rudiments and two columns, one for grades earned and one for instructor’s initials. (DL1) Identify the rudiments as your instructor or fellow students play them. (DL2) Lead the class in echoing the rudiments in two measure phrases. (DL4) Research the origins of rudiments. Write a paragraph explaining why rudiments were created and why it is important for drummers today to know how to play the rudiments. (LM, DL4) Mallets The teacher should review the appropriate rebound stroke on mallet instruments, and introduce students to the concept of speeding up the rebound stroke to produce a roll. Place each mallet on a different bar and strike both bars together, producing a double stop. Alternate the striking of each mallet and gradually increase the tempo, producing a double stop roll.

ASSESSMENTS Perform for your instructor the rudiments from level three,

demonstrating proper grip, posture, position of drum, stick movement, and stick height.

5. The student will perform and describe snare drum rudiments and mallet technique.


Goldenberg. Modern School for Xylophone, Marimba, Vibraphone. 1950. pp 4-8 and 29-31.


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Match each symbol with the correct musical term on a worksheet. Staccato Tenuto D.S. al Fine Ritardando Allegro Crescendo Decrescendo/Diminuendo Mezzo Piano In a paragraph tell how the following three groups of symbols are related: 1) staccato and tenuto, 2) ritardando and allegro, and 3) crescendo, decrescendo/diminuendo, and mezzo piano. (DL2)

ASSESSMENTS Perform several selections from your band music or your

method book that incorporate the selected notations and symbols. Make a chart of the selected notations and symbols with their definitions.




75

UNIT 1:



ASSESSMENTS


Practice sight-reading easy drum and mallet selections found in various method books. (DL3) Develop a list of important signs and symbols to look for when initially given a piece of music to sight-read, for example, time signature, key signature, accidentals. (DL4) Make a rubric from your list. (DL1)

Perceiving, performing, and responding to music.

Sight-read easy grade I selections on a drum and a mallet instrument for a panel of your peers. The panel will use a rubric to determine your grade.

7. The student will perform and describe sight-reading.

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UNIT 1:



ASSESSMENTS

8. The student will perform and describe conducting patterns and techniques.

Describe conducting patterns and articulations. Make a list of things a conductor needs to practice before leading an ensemble.

View a video or a live performance of a concert. Watch the conductor carefully. Make a list of things you observed. Research the correct conducting patterns for 2/4, 3/4, and 4/4 time. Draw the patterns on a large chart, and practice them while listening to music. Ask your teacher to let you conduct a piece that you have been practicing in band. Analyze the score to discover the correct pattern to conduct, and note any changes within the piece. Experiment with dynamics. (DL4, GT)


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UNIT 1:



ASSESSMENTS

9. The student will identify, perform, and describe phrasing and dynamics within an ensemble.

Use correct dynamics and phrasing in performance of music for your peers and the teacher.

Define dynamic markings found in a piece of music. Create a “timeline” analysis of the piece or your own part. Measures: 1-8 9-12 13-20 21-24 25-32 Piano Crescendo Forte Decrescendo Piano Sing the part on the syllable “ta,” using appropriate dynamics. Add breath marks in music to indicate the ends of phrases.


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STUDENT OUTCOMES

Work with a small group to prepare and perform a percussion ensemble of your choice. Identify an ensemble leader. Listen as the group plays. Recognize the parts that are well-played and make corrections where needed. (DL2)

ASSESSMENTS Perform percussion ensembles in an assembly or at a concert.

10. The student will demonstrate the ability to perform in a percussion ensemble.


ACTIVITIES

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UNIT 1:



ASSESSMENTS

11. The student will read and perform solo music and orchestra and band literature, performing in adjudicated solo and ensemble performances.

The adjudicator’s score represents assessment of student performance.

Pick a grade one drum solo from a selection of three solos. (DL3) Pick a grade one mallet solo from a selection of three solos. (DL3) Prepare the solos for performance. (DL2) Write a review of the group or solo performance, citing things done well and areas needing improvement.


80

UNIT DESCRIPTION




81

82


How are folk themes reflected in percussion music from a variety of cultures? What are the various roles of percussionists from different cultures? How has electronic technology affected percussion today? How does percussion relate to folk music? Have I been exposed to a wide variety of musical styles, genres, and cultures?

KEY QUESTION(S)

Perform two selections of music from two different cultures that incorporate folk themes. Describe to the class how folk themes are used in the two selections. Make a chart showing instruments that are unique to each continent and instruments that are the same. Conduct research dealing with composers of electronic music from the 50s to the present time. Describe how the composers incorporate percussion instruments in their compositions. Listen to a variety of folk music from different time periods. Identify the time period represented and write a report to inform your class how the music reflects society during those time periods. Listen to selections of multicultural music presented by your teacher. Make lists describing the differences between the various styles, genres, and cultures.

ASSESSMENT

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Level 3. Unit 2 (MSDE Performance Outcome II): The student will demonstrate an understanding of music as an essential aspect of history and human experience.

Ethnic music Spiritual music Folk music Contrasting cultures World music Audience behavior Electronic technology Characteristics of music from various periods


Researching Characterizing Contrasting Investigating Writing Reviewing




Make a list of band and orchestral compositions that have titles that refer to ethnic or folk themes (Hungarian Dances). (DL1, M) Listen to several of these compositions. Write a brief article for your school newspaper. Describe to the readers what makes the music sound different from standard compositions, such as symphonies. (DL5, ID) Listen to recordings of world music. Identify and make a list of the percussion instruments used on the recordings. (DL1, DL2, M) Play along with the recording. (DL1) Lead a small ensemble, imitating the rhythms used on the recording. (DL4) Listen to band or orchestra literature with percussion parts. Identify the time period in which the composition was written. Research that period, identify the characteristics of the time, and determine how music might have affected or been affected by those characteristics. Research and make a list of primary characteristics for several musical styles, genres, and cultures.

ASSESSMENTS Listen to a variety of folk music. Write a report to inform your

class of the musical devices and choice of percussion instruments used to reflect the culture.

1. The student will identify and describe elements of folk or ethnic themes reflected in a variety of percussion music.


Students should be exposed to standard percussion, choral, band, and orchestra literature on a regular basis.


84

Research composers of electronic music from the 50s to the present time. Make a list of the composers and their electronic compositions. Listen to several compositions by a variety of composers. Listen specifically for the percussion instruments. (DL3)

ASSESSMENTS Write an essay describing how composers have incorporated

technology in compositions, with an emphasis on how the use of technology has had an impact on percussion instruments.

2. The student will investigate and describe examples of the impact of technology on music.



Performance Competencies in Percussion Level 3 UNIT 2: Understanding music as an essential aspect of history and human experience.

85

UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations using traditional and original techniques and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will improvise and compose rhythms and melodies for the percussion instruments studied thus far. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

86


KEY QUESTION(S)

Can I improvise music on electronic percussion equipment? Am I able to compose music? Can I create an original composition using traditional musical notation?

Perform music using electronic percussion equipment. Identify elements of compositions, such as form, and compose your own piece of music. Perform a self-composed piece of music for your class, written in traditional notation.

ASSESSMENT

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88



Improvising Echoing Leading Listening Performing Composing Predicting Identifying

Rhythm patterns Variations Perform Melody Unison AB form ABA form Ostinato




ASSESSMENTS

1. The student will create, notate, and perform a composition, using traditional notation.

Compose a 16 measure composition for your instrument of choice. Assessment will be based on correct notation and performance.

*Base these melodies on scalar patterns, such as arpeggios and chromatic and diatonic scales.

Define compositional techniques such as ABA-form and ostinato. Identify in your mallet method book and band music examples that represent each of terms that you defined above. Compose and perform a composition for your instrument, using the defined musical form. Echo eight-beat rhythm patterns performed by your teacher on non-pitched percussion instruments. (DL1) Create your own eight-beat rhythm patterns. Notate eight-beat rhythm patterns to be performed by your peers. Echo eight-beat melodic patterns performed by your teacher on a keyboard percussion instrument.* Create your own eight-beat melodic patterns. Notate eight-beat melodic patterns to be performed by your peers. If available, use a program such as “Music Time,” “Sibelius,” “Notepad,” or “Finale” to notate your composition. (T)


89

UNIT 3:


ASSESSMENTS

2. The student will improvise and perform music using electronic sounds.

Compose and perform a short composition using electronically enhanced percussion instrument(s).

Use electronically enhanced percussion instruments to improvise rhythms and melodies. (T) Examples: Electronic drum machines Electronic drums “KAT” electronic mallet systems Keyboards and synthesizers with drum patches Compose and notate your own composition to be performed on an electronically enhanced percussion instrument or instruments.




90

UNIT DESCRIPTION


judgments.

This unit provides percussion students with the learning tools and knowledge to makes aesthetic judgments. Unit 4 offers students the opportunity to evaluate selected musical compositions, using established criteria, and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will also formulate and apply criteria to evaluate class and personal musical performance. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind, as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and their connection to successful music understanding and performance.

91



Write program notes about your performance material, informing the audience of how the composer used the elements of music to create the intended mood and meaning. On a “performance day,” use adjudication forms you have developed in class to evaluate fellow classmates’ performances.

How do composers use the elements of music in percussion compositions? What general criteria can be used to evaluate a large variety of percussion performances?

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93


Sight-reading Listening Communicating Evaluating Identifying Experimenting



Elements of music Melody Harmony Rhythm Form Dynamics Mood Rudiments Sticking patterns

Performance Competencies in Percussion Level 3 UNIT 4: Making aesthetic judgments.


ASSESSMENTS

1. The student will compare and contrast the use of music elements in compositional style.

Write program notes that will inform the audience about how the elements of music in a percussion composition are used to create the intended mood and meaning

Sight-read two percussion compositions. Using Venn diagrams, list the differences and similarities of the melodies, harmony, rhythm, and form. (DL3) Listen to a percussion composition (recorded or live). Write a paragraph describing the variety of the dynamics used in the composition. In a second paragraph, tell how the changing dynamics affected the mood of the composition. (DL4)


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95


MSPP = Maryland School Performance Program, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test Notes to Teacher:

ASSESSMENTS


2. The student will evaluate personal performance within an ensemble, using established criteria.

Make a list of items that might be evaluated when listening to a percussion composition (accuracy of rhythm, rudiments, tempo, dynamics, sticking, and technique). Have your teacher show you the adjudication form used by MBDA and the county for their solo and ensemble festivals. Compare the criteria on your list with the criteria listed on the adjudication form. Make a new adjudication form, combining criteria from the two documents. (DL4) Prepare an ensemble to be evaluated using the new form that you created. Use the criteria on the form to help you prepare your selection. (DL4)

ASSESSMENTS Perform in an ensemble that will be evaluated by your fellow

students, using the new form. Every student will perform and be evaluated.


UNIT 4: Making aesthetic judgments. Performance Competencies in Percussion Level 3

UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will continue to refine and advance techniques learned in earlier units for snare drum, mallet percussion, and timpani. In this unit, students are developing more control over the sounds they create, and they are learning a wide range of technical skills to further their musicality. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities as well as in full band ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units are taught concurrently and throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and best are taught making connections natural to the art.

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KEY QUESTION(S)

How should I care for my instrument? What is the correct playing position and technique for the chimes? What is the correct playing position and technique for the conga? What is the correct playing position and technique for the slide whistle? What is the correct playing position and technique for the ratchet? How do I tune timpani? Have I mastered the rudiments? Do I know the required scales and key signatures? Can I play a solo independently? Can I sight-read a grade I selection? Can I read, describe, and perform standard musical notation symbols in music?

Assess the condition and quality of sound of the school’s snare drums. Describe and demonstrate the proper technique for striking chimes. Describe and demonstrate the proper technique for playing congas. Describe and demonstrate the proper technique for playing slide whistle. Describe and demonstrate the proper technique for playing the ratchet. Tune the 28” timpani to a pitch selected by your instructor. Tune the 25” timpani to a major 4th higher than the larger drum. Play for your teacher the selected rudiments with 90% accuracy. Perform the selected scales on a variety of keyboard instruments. Perform a grade I solo or ensemble piece on drums or a mallet instrument. Sight-read easy grade I selections and have your peers adjudicate your performance. Define and be able to identify, and use properly, given notational symbols.

ASSESSMENT

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98

Instrument care Posture and position for chimes, conga, slide whistle, and ratchet Snare drum rudiments Scales and arpeggios for three sharps and three flats Timpani tuning Music symbols and terms 6/8 meter and rhythms Solo and ensemble band and orchestra literature





Identify and list relevant tools and parts of the snare drum (batter head, counter hoop or rim, tension rods, shell, tuning key). Remove and replace the batter head, using appropriate methods. (DL4) Tune the batter head, using cross tension and clockwise systems of tensioning. (DL4) Create a list of instructions explaining how to replace and tune the batter head of a snare drum. (DL2)

ASSESSMENTS Demonstrate the removal and replacement of the snare drum

batter head. Demonstrate the tuning of the batter head, using cross tension and clockwise systems of tensioning.


MSA = Maryland School Assessment, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes: :

Feldstein, S., Black, D. (1987) Alfred’s drum method, book 1. Van Nuys, CA: Alfred Publishing Co., Inc. Burns, R. (1962) Elementary drum method, Miami, FL: Belwin Inc.


99


Chimes Perform simple melodies from a method book on the chimes. Make sure to use the foot pedal to properly sustain or muffle tones. Perform, using rawhide and plastic hammers. Describe the different sounds produced by each, and when one particular sound may be preferred. Conga Choose an exercise from your method book to play on the conga. Practice performing the exercise using hands and mallets. (DL2) Slide Whistle Perform a three-note melody (e.g., Hot Cross Buns) on slide whistle by moving the slide to approximate pitches. Ratchet Experiment turning the ratchet at different speeds. Describe how the sound is affected. Perform the ratchet excerpt from Respighi’s Pines of Rome.

ASSESSMENTS Use proper techniques to perform rhythms and/or melodies for

auxiliary instruments for the instructor and classmates.




100

UNIT 1:



ASSESSMENTS

3. The student will identify, perform, and describe major scales and arpeggios through three sharps and three flats.

Perform a major scale selected by your teacher with no mistakes.

Using the bell chart of your method book as a guide, write each scale on a piece of staff paper. Use sharps for ascending notes and flats for descending notes. (DL2) Recite the notes of the C, F, B♭, E♭, G, D, and A scales from memory. Practice the selected scales. (DL2) After you have mastered the selected scales, practice them using various rhythm and movement patterns. Practice each scale in the form of an arpeggio, using scale degrees 1,3,5, and 8. (DL3) Identify where an identified key signature falls on a circle of fifths chart. For each scale, be able to answer the following questions.

1. Which notes are sharp? 2. Which notes are flat? 3. The arpeggio for this scale is played using which notes?

Practice performing each scale with various rhythms and tempi. (DL2)


101


Practice performing the following rudiments in the open-closed-open style: 1. Drag 2. Flam Tap 3. Double Paradiddle

Practice explaining verbally how to perform these selected rudiments.

ASSESSMENTS Using proper handgrip and playing position, perform the

selected rudiments correctly. Describe verbally the process and structure for each of the selected rudiments.

4. The student will perform and describe new snare drum rudiments and mallet techniques.


Pearson, B. (1993). Standard of excellence, books 1, 2, 3 – drums & mallet percussion. P.48 Ludwig, W.F. (1962). America’s NARD drum solos.


102


Tuning Tuning is the biggest challenge for young timpanists. To develop aural skills, develop a chart that lists musical excerpts that begin with the most commonly used intervals for timpani: perfects fourths and fifths. For example, “Here Comes the Bride” opens with a P4, while the “Superman Theme” and “Also Sprach Zarathustra” contain P5. Have highly able students find excerpts for other intervals, for example, M2, M3, m3, M6, m7, and octave. GT Using a fixed-do solfege system, learn how to sight-sing simple, scale-based melodies. Have a student play a tuning note on a keyboard percussion instrument, while another student attempts to match the pitch on the timpani. Use the following procedure: 1) depress the pedal, 2) listen to the pitch, 3) hum it in your head, 4) with your head close to the timpani, tap the drum head with one finger, 5) slide to the correct note, 6) check the note by humming into the drum head and listening for the note to “ring” back. Using one drum as a pitch source, tune another drum to a specific interval within a given number of seconds. Check accuracy with a chromatic tuner. Coordination Perform exercises utilizing cross-sticking (alternate sticking patterns), dampening, and double sticking to increase coordination. *

ASSESSMENTS Perform a timpani exercise for your classmates and teacher.

Tune the drums to the specified pitches, and perform, using correct technique.

5. The student will demonstrate and describe accurate timpani technique, including coordination and tuning.


* Goodman’s Modern Method for Timpani is the definitive resource for developing timpanists.


103


Define or explain the meaning of each symbol or term. (SS) Tacet Dampening Trill Accelerando Allegretto Sforzando Compare your list with a classmate’s list for extensiveness and accuracy. As a class, take turns providing verbal explanations of symbols and terms. Perform an excerpt with one or more of the studied musical terms and symbols, making sure they are executed correctly. (DL5)

ASSESSMENTS Study a piece of band literature and create a list which

identifies and defines the basic music symbols and terms it uses. Perform a piece of band literature, accurately observing all music symbols and terms.




104


Practice sight-reading by locating and playing easy drum and mallet selections from different method books. (DL3) Develop a list of music signs and symbols to look for when initially given a piece of sight-reading music (e.g., time signature, key signature, accidentals) (DL4) Make a rubric from your list. (DL1)

ASSESSMENTS Sight-read easy grade I selections on a drum and a mallet

instrument for a panel of your peers. The panel will use a rubric to determine your grade.




105


Choose and perform selected rhythms in 6/8 meter. Practice counting and clapping each rhythm. As a class, explain the structure of the time signature and discuss different ways to count and conduct it. On a blank piece of staff paper, write eight measures of rhythms in 6/8 meter. Practice counting, clapping, and playing each rhythm. Add more intricate rhythms when you have mastered the basic ones. (DL2) Have a student conduct in 6/8 meter while the class performs selected rhythm compositions.

ASSESSMENTS Perform selected rhythms in 6/8 meter.

Provide written and oral descriptions of 6/8 meter. Display an understanding of 6/8 meter by organizing your own rhythms.



Pearson, Standard of excellence, book 2 Pearson, Standard of excellence, book 3 Alfred’s drum method book 1


106


Staccato articulation can be achieved by tightening the grip on the mallet or sticks, and striking with a quick wrist motion. The bigger the drum head, the more obvious the articulation will sound. Perform a steady beat on timpani, alternating between regular strokes and staccato strokes. Have classmates listen with eyes closed and raise their hands when they hear the staccato articulation. Write a paragraph explaining when it may be appropriate to use staccato articulation. Factors to consider include style of music, intended effect of music, and articulation markings for other instrumentalists. Be sure to explain how different mallet weights and thicknesses can affect articulations.

ASSESSMENTS Perform a solo for your classmates and teacher, using recently

studied articulations.

9. The student will identify, perform, and describe playing styles and articulations, including trills and staccato.



107


The teacher will conduct a percussion ensemble. Listen as the group plays. Recognize the parts that are well played and make corrections where needed. (DL2) Select, practice, and perform a duet with a classmate. In a written paragraph, describe how playing in a small group is different from playing in a large group.

ASSESSMENTS Perform large and small percussion ensembles or duets in an

assembly or at a concert.

10. The student will demonstrate the ability to perform independently in a large and a small ensemble.



108

Practice and perform appropriate level concert band literature. Practice and perform appropriate level solo literature for all-county band auditions, all-state band auditions, and county and state level solo and ensemble festivals. Practice and perform solo and ensemble music for school talent shows and concerts. Prepare a percussion ensemble for county and state level solo and ensemble festivals. (DL2, DL4)

ASSESSMENTS Prepare and perform appropriate level solo, ensemble, and

band literature.

11. The student will read and perform solo music and orchestra and band literature in adjudicated solo and ensemble performances.




109

UNIT DESCRIPTION




110

111


How can I recognize exemplary percussion performance? Have I been exposed to a wide variety of percussion music from various cultures? How does percussion help to reflect and shape these cultures? What common elements do music and visual arts share?

KEY QUESTION(S)

Watch percussion performances by famous performers (e.g., Nexus Percussion Ensemble) and make a list of common factors. Listen to recordings of percussion music. Read about the way music was used in ancient cultures. Discuss ways in which percussion instruments have become part of everyday life for many indigenous cultures. Research elements common to music and visual arts by consulting books, the Internet, and music and/or art teachers.

ASSESSMENT

112


Multicultural percussion music Musical expression and its reflection in social issues over time Form, genre, and cultural influences of percussion music Common elements in music and visual art


Researching Characterizing Contrasting Investigating Writing Reviewing




Research and outline the history of percussion music in several countries or cultures. Prepare and give an oral presentation about the role of percussion music in cultural expression. Work cooperatively in a small group to prepare a poster or pictorial displaying the use of percussion in the cultural events of various countries. Find and perform a piece of band literature that has exciting percussion parts and that is culturally significant to another nation or civilization. (M, ID)

ASSESSMENTS Prepare and present an oral and visual presentation identifying

and describing the role of percussion music in the cultural expression of various countries.

1. The student will identify and describe elements of percussion music reflected in a variety of cultural expressions.



113


Research and obtain recordings of various percussion performances. Develop a scoring rubric with which you will assess and describe characteristics of each performance in the categories of technique, tone production, style, rhythm, interpretation, and any other category you see fit. Rate the performances in each category according to your rubric, giving written explanation to justify your ratings. (DL2, DL3)

ASSESSMENTS Create and complete a performance-scoring rubric for an

exemplary percussion performance.

2. The student will investigate and describe exemplary percussion performance.



114

Create a Venn diagram showing common elements in music and the visual arts, such as form, texture, and balance. Many pieces of art have served as inspiration for composers. Research a piece of music, such as Mussorgsky’s Pictures at an Exhibition, and describe how the composer translated the artist’s images into music. Compose a piece of music that was “inspired” by a piece of art. Write a paper explaining the reasoning behind your compositional choices. Coordinate any of these activities with the art teacher to create an integrated arts project. (ID)

ASSESSMENTS Prepare a poster display that describes elements common to

music and the visual arts. Use images of art along with written and/or aural excerpts of music as evidence in support of your descriptions.

3. The student will identify and describe elements common to music and the visual arts.





115

UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques, and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will improvise and compose rhythms and melodies of increasing complexity for the percussion instruments studied thus far. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

116


KEY QUESTION (S) ASSESSMENT

Can I create and perform a snare drum cadence? Can I improvise melodies over rhythmic accompaniments?

Create and perform a brief snare drum cadence, using learned rudiments and appropriate visual effects. Select a key in which to improvise, then play a short melody using notes in the selected key.

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118


Melodic improvisation Snare drum rudiments Visual effects of percussion Traditional notation Non-traditional notation

Improvising Echoing Leading Listening Performing Composing Predicting Identifying





ASSESSMENTS

1. The student will create and perform a snare drum cadence.

Create and perform a snare drumcadence for your classmates and teacher.

Watch and listen to recordings of drum lines to establish a basis for your composition. Make a list of rudiments that will be incorporated in the cadence. For example, use all of the rudiments studied to date, or use those that you need to improve. Write the cadence on staff paper, editing as needed. After rhythms are complete, decide whether you want to incorporate visual or tonal embellishments, for example, reverse sticking (where the butt ends of the sticks are used instead of the tips), flips, or playing on different parts of the drum. (DL4)


119

ASSESSMENTS Produce recordings of short melodies improvised over given

rhythmic accompaniments.

2. The student will improvise a short melody over a given rhythmic accompaniment.


Use of “Band-in-a-box” allows for gifted and talented and special education accommodations. (AS)

STUDENT OUTCOMES


UNIT 3:

ACTIVITIES

Using “Band-in-a-Box” or a comparable program, create simple rhythm accompaniments of various meter and style. Practice improvising simple melodies on mallet instruments over the accompaniments. Tempos and rhythms may be changed to accommodate various levels of playing. Advanced students may incorporate melodies and harmonies into the accompaniment program. Record your own rhythmic accompaniments on percussion instruments and use them as backgrounds for mallet improvisation. (DL1, DL2, DL4, T) Notate your improvised melodies on staff paper (GT)


120

UNIT DESCRIPTION


judgments.

This unit provides percussion students with the learning tools and knowledge to makes aesthetic judgments. Unit 4 offers students the opportunity to evaluate selected musical compositions, using established criteria, and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will formulate and apply criteria to evaluate class and personal musical performance. Students are asked to self-regulate their behavior to ensure an atmosphere in which learning and creativity can flourish. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind, as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and their connection to successful music understanding and performance.

121


What are appropriate behaviors during rehearsal? How should a percussion solo be evaluated?

Describe behaviors that contribute positively to the productivity of a rehearsal. Formulate and apply criteria to evaluate a percussion solo.


122

123




Performance evaluation Listening skills Rehearsal etiquette

Sight-reading Listening Communicating Evaluate Identifying Experimenting



ASSESSMENTS

1. The student will demonstrate the habits of self-regulation in regard to rehearsal etiquette.

Manage your behavior during rehearsal so that it contributes to, rather than undermines, the group’s musical achievements.

Make a list of behaviors that are appropriate for all musicians during a rehearsal. Make another list of inappropriate rehearsal behaviors. Sometimes not all percussionists in the section play a piece of music. Brainstorm productive activities that percussionists can choose to engage in while they are waiting to play. Possible behaviors include, for example, using rubber pads to practice rudiments, or studying their parts. (DL3, DL4)


124


UNIT 4:


ASSESSMENTS

2. The student will formulate and apply criteria for evaluating a percussion solo.

Create a scoring system based on the elements you consider important in critiquing a solo performance. Use your rubric to evaluate one of your own performances.

Make a list of all of the things required for a solo percussion performance to be considered exemplary. Some ideas are as follows: Posture and playing position Tone Technique and articulation Style and interpretation Intonation (DL2) Assign a value scale to each of the important characteristics in order to create a scoring rubric for the assessment of percussion ensemble performances. Compare your devised rubric for scoring percussion solo performances to a previously created rubric for scoring ensemble performances to a teacher provided rubric. Discuss the application of evaluative criteria to a career in music. (C)


125

UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will continue to refine and advance techniques learned in earlier units for snare drum, mallet percussion, and timpani. In this unit, students are developing more control over the sounds they create and learning a wide range of technical skills to further their musicality. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills that they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities as in well as full band ensembles.. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units are taught concurrently and throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

126


How should I care for and maintain my instrument? What are the appropriate posture and playing position for the guiro? What are the appropriate posture and playing position for the castanets? What are the appropriate posture and playing position for the slapstick? What are the appropriate posture and playing position for the timbales? Have I mastered all of the rudiments? Can I play, from memory, minor scales through 3 sharps and flats? How are dotted eighths and sixteenth notes , patterns performed? What are the differences between natural, harmonic, and melodic minor scales? Do I have a firm understanding of music symbols and terms? What is the proper way to perform stroke and dampening techniques on timpani?

KEY QUESTION(S)

Demonstrate removal and replacement of snare drum snares. Demonstrate the adjustment of snares for appropriate tension and desirable tone. Perform musical exercises with the guiro, using appropriate posture and playing positions. Perform musical exercises with the castanets, using appropriate posture and playing positions. Perform musical exercises with the slapstick, using appropriate posture and playing positions. Perform musical exercises with the timbales, using appropriate posture and playing positions. Using proper handgrip and playing position, perform all rudiments correctly, open-closed-open. Perform and describe scales and arpeggios up to three sharps and flats. Perform selected dotted eighth and sixteenth note patterns in duple meters. Perform and notate the structure of natural, harmonic, and melodic minor scales in the keys of g, c, and a. Create a graphic organizer that identifies, describes, and categorizes basic music symbols and terms. Perform a piece of band literature, accurately observing music symbols and terms. Perform and discuss selected exercises on timpani, focusing on stroke and dampening techniques.

ASSESSMENT

127


128




Instrument care Playing position Posture Rudiments Major and minor Scales Arpeggios Music symbols and terms Timpani techniques Sixteenth notes Dotted eighth notes


Identify and list relevant tools and parts of the snare drum (snares, snare strainer, snare gate, drum key, screwdriver, snare tension adjustment knob, snare release lever, lower rim). Remove and replace snare, drum snares using correct methods. (DL4) Obtain appropriate tension of snares by matching your sound to that of a model snare drum. (DL4) Use a compare/contrast chart to document differences in sound between drums whose snares are adjusted to different tensions. (DL5)

ASSESSMENTS Demonstrate the removal and replacement of snare drum

snares. Demonstrate the adjustment of snares for appropriate tension and desirable tone.



Feldstein, S., Black, D. (1987). Alfred’s Drum Method, Book 1. Van Nuys, CA: Alfred Publishing Co., Inc. Burns, R. (1962) Elementary Drum Method. Miami, FL; Belwin Inc.


129

UNIT 1:



ASSESSMENTS


Perform musical excerpts or exercises, using appropriate posture and playing positions.

Goldenburg, M. (1955). Modern School for Snare Drum. Milwaukee, WI: Hal Leonard Publishing Co.

Guiro Play by scraping with a piece of stiff wire which is usually set in a handle, or, for less volume, with a light wooden stick. Play the guiro part to a recording of Varese’s Ionisation and Stravinsky’s The Rite of Spring. Castanets Choose an exercise from your method book and practice playing it evenly on the castanets. (DL2) Perform the musical excerpt “Bacchanale” from Wagner’s Tannhauser, arriving at conclusions about on the importance of proper posture and playing positions for achieving the musical goals of the composer. (DL2, DL4, DL5) Slapstick Using a quick wrist snap, play along on the slapstick to a recording of Varese’s Ionisation. Timbales Create a composition for timbales; remember that you are using two drums. Perform the composition for your classmates.


130


Using scale and arpeggio exercises provided by the teacher, identify and practice performing all minor scales and arpeggios for up to three sharps and three flats. Identify where the specified key signatures are located on a “circle of fifths” chart. Explain how to identify a key signature given the scale name. Explain how to identify a minor scale name given the key signature. Using the definitions of natural, harmonic, and melodic minor scales, write the notations for all three forms of minor scales in the studied keys. (DL3) Practice explaining verbally the structure of the three forms of minor scales. What are their similarities? What are their differences?

ASSESSMENTS Perform and explain the structure of natural, harmonic, and

melodic minor scales up to three sharps and three flats.

3. The student will identify, perform, and describe minor scales and arpeggios through three sharps and three flats.


Hoffer, The understanding of music, pp.542-543. Apel, Harvard dictionary of music, pp.501-502. Note: It may be helpful to discuss the circle of fifths chart, major keys, and their relative minors at this point. Establishing patterns and connections for students between Major, Natural minor, Harmonic minor and Melodic minor keys is important.


131


There are several different ways to hold multiple mallets. The Stevens grip, described below, is one of the most commonly used grips. Hold two mallets in the right hand (or your strong hand). One mallet is held between the thumb and first finger, while the second mallet is held between the second and third fingers, near the knuckle. The ends of the mallets should meet in the palm of the hand, and do not cross. The third mallet is held normally in the other hand. To strike the mallets, use a rotating motion in the wrist, as if opening a doorknob.

ASSESSMENTS For your classmates and teacher, perform a selection, using

three mallets.

4. The student will perform and describe three mallet techniques.


Hatch, Earl. (1973). My Marimba and I. Earl Hatch Publications. North Hollywood, CA. Three and four mallet selections, graded in difficulty. Stevens, Leigh. (2000). Method of Movement. Keyboard Percussion Publications, Asbury Park, NJ. Pictures of the grip, and over 500 technical exercises.


132


Practice performing selected exercises on the timpani, paying special attention to proper striking techniques1. (DL2) Play selected exercises and practice dampening or muffling the timpani. Practice the exercises on different ranges of the timpani2. (DL2) Identify and discuss important reasons for using proper striking and dampening techniques. Perform band literature with and without proper techniques ,comparing the resulting effects. (DL1, DL5) Continue to refine ability to tune drums, by using a pitch source for the first drum, and drum-to-drum tuning for the others.

ASSESSMENTS Perform and discuss selected timpani exercises, on focusing on

stroke and dampening techniques.

5. The student will demonstrate and describe accurate timpani technique.


1Goodman, S., Modern method for tympani, pp.22-25. 2Goodman, S., Modern method for tympani, pp.31-32.


133


Working cooperatively in a group of four, create a graphic organizer for the basic musical symbols and terms: Simile Glissando Andantino Larghetto f-p roll Student 1 – search the music folder for symbols and terms Student 2 – verify the meaning of each term and symbol Student 3 – place symbols and terms into like categories (DL3) Student 4 – transfer symbols and terms to the graphic organizer. (DL4) Work as a group to color and decorate your graphic organizer. Practice performing accurately a piece of band literature, being sure to observe all musicsymbols and terms. (DL2)

ASSESSMENTS Create a graphic organizer that identifies, describes, and

categorizes basic musicsymbols and terms. Perform accurately a piece of band literature, observing all music symbols and terms.




134


Select and sight-read a grade level I piece for snare drum and a grade level I piece for timpani. Make a list of notation necessary to sight-read successfully. What kind of rhythm patterns do you need to know? Check your music for unfamiliar patterns covering 2-4 beats. Isolate the patterns and practice them, then practice the patterns in entire phrases. Use a metronome during your practice. (DL4)

ASSESSMENTS Sight-read literature for snare drum and timpani at a grade

level I. Score the equivalent of an excellent or superior rating using established criteria or an adjudication form.




135


Observe as your teacher models conducting pattern for 3/8, 5/4, 6/4, and asymmetrical meters. Review how the top and bottom numbers in the key signature dictate the correct conducting pattern. Describe how the speed of the music may change the conducting pattern used. Draw the motions used in the pattern using arrows.

ASSESSMENTS Conduct an ensemble of peers, using correct pattern and

techniques.




136

UNIT 1:



ASSESSMENTS

9. The student will identify, perform, and describe expressive performance, including interpreting tempi, dynamics, and phrase markings.

Make a list of expressive elements in a solo you intend to perform. Give the list to your teacher or classmates. Ask them to mark each element they hear as you perform.

Make a list of characteristics of an expressive performance. Create a scoring rubric based on the list. (DL4) Make a video or audio recording of yourself playing a percussion solo or excerpt. Judge the expressiveness of your performance using your rubric.


137


ASSESSMENTS

10. The student will read and perform solo music and orchestra and band literature, performing in adjudicated solo and ensemble performances.

Pick a grade two drum solo from a selection of three solos. (DL3) Pick a grade two mallet solo from a selection of three solos. (DL3) Prepare the solo for performance. (DL2) Write a review of the group or solo performance, citing effective aspects of performance and areas needing improvement.

The adjudicator’s score represents assessment of student performance.

UNIT 1: Performance Competencies in Percussion Level 5 Perceiving, performing, and responding to music.


138

UNIT DESCRIPTION



Unit 2 provides students with opportunities to demonstrate an understanding of the impact of percussion on our culture, to investigate and describe a history of the instruments, and to explore music written for percussionists. Students will be engaged in performing, organizing, describing, interpreting, and communicating essential aspects of music history and human experience, using the language, skills, methods, and materials of music. In this unit, an attempt has been made to connect the application of music as an essential aspect of history and human experience to the student’s own life and experience. The music chosen and the historical perspective discussed encompass a wide variety of musical styles, genres, and cultures. The materials, activities, and instructional strategies apply to a variety of learning styles and abilities. Music performance, analysis, and reading and writing activities are infused throughout. Decision-making, problem solving, investigation, and invention are amng the processes in which students will be actively involved as they learn.

139

140


How is nationalism reflected in percussion music from various cultures and genres? What are the characteristics of an expressive performance in music of various cultures? How does proper audience behavior vary in differing musical settings? How has electronic technology had an impact on percussion composition and performance? How familiar am I with electronically enhanced percussion instruments? What are some elements of music that express nationalism? What types of careers are available to percussionists?

KEY QUESTION(S)

Prepare an oral or written presentation discussing how nationalism is reflected in music. Play a wide variety of nationalistic music from various cultures and genres. Discuss how the use of instruments, voices, tempo, rhythm, dynamics, and style express mood in music from diverse cultures. Watch videos of concerts of diverse musical styles. Observe the behavior of the audience and then write an essay comparing and contrasting the audience behavior of two of the performances. Conduct research and write an essay about one composer of electronic music and one piece of his or her music. Compose and perform a short composition using electronically enhanced percussion instruments. Prepare a demonstration during which you will identify, explain, and perform elements of music that express nationalism. Research careers that involve knowledge of percussion. Write a paper describing these careers.

ASSESSMENT

141


Nationalism Diverse Cultures Audience behaviors Electronic technology Percussion compositions Musical drama


Identifying Performing Investigating Comparing Contrasting Discussing Researching Composing Notating Predicting Problem solving Decision making



Listen to recordings of music from various cultures. (M, DL1) Use a cooperative learning structure to investigate the following questions for each piece of music:

a) What instruments and/or voices are used in this piece and what moods do they create?

b) How are tempo and rhythm used to express mood? c) How do dynamics express mood in this piece? d) How is style used to express the mood of this piece?

(DL3)

ASSESSMENTS Discuss how the use of instruments, voices, tempo, rhythm,

dynamics, and style express mood in music from diverse cultures.

1. The student will identify and describe elements of expressive performance in a variety of music styles, cultures, and genres.



142


Work with a small group to brainstorm and research careers that involve percussion skills, such as music therapist, orchestral percussionist, and rock and alternative drummer. (C, LM) Discuss personal characteristics necessary to have a career as a percussionist. Include work ethic, talent, owning percussion instruments, etc. Interview a local percussionist, and present an oral report about the experience to your class. (C)

ASSESSMENTS Describe the career options open to percussionists.

2. The student will investigate and describe percussion careers.



143

Watch videos of a wide variety of styles of performances. Note the audiences’ behavior in each video. Pay attention to appropriate times to clap and appropriate times to talk.

ASSESSMENTS Watch videos of a rock concert and a symphony concert.

Write an essay comparing and contrasting audience behaviors in each.

3. The student will analyze and describe audience behavior in a variety of musical settings.




144

UNIT DESCRIPTION

Percussion Level 5 (Grade 8) Unit 3 (MSDE Performance Outcome III): The student will demonstrate the ability to organize musical


This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques, and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will be creating and improvising melodies and rhythms for percussion ensemble, using the instruments studied thus far. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

145

146

Level 5, Unit 3 (MSDE Performance Outcome III): The student will demonstrate the ability to organize musical ideas and sounds creatively

Am I confident in my improvisation skills? Can I create and perform melodies and rhythms for percussion ensemble?

KEY QUESTION(S)

Using instruments studied thus far, create and improvise compositions for percussion ensemble. Using traditional notation and percussion instruments, create and perform melodies and rhythms for percussion ensemble.

ASSESSMENT

147

Level 5, Unit 3 (MSDE Performance Outcome III): The student will demonstrate the ability to organize musical ideas and sounds creatively

Elements of music Balance Traditional notation Improvisation


Creating Performing Practicing Working cooperatively Listening Listing Evaluating Improvising


Performance Competencies in Percussion Level 5 UNIT 3: Organizing musical ideas and sounds.

Study scores of percussion ensemble compositions and view recorded performances. Make a list of features you would like to incorporate in your percussion ensemble composition. Use the instruments studied thus far. Write your composition, using traditional notation. Have your classmates perform your composition. Use a rubric to evaluate its effectiveness.

ASSESSMENTS Create and perform a composition for percussion ensemble.

1. The student will create and perform melodies and rhythms for percussion ensemble.



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149

Organizing musical ideas and sounds. UNIT 3



ASSESSMENTS

Arrange the following percussion instruments in a large circle: timpani, snare drum, mallet percussion, chimes, conga, slide whistle, and ratchet. There should be an instrument for each student. Stand behind one of the instruments. All students begin to play a steady beat, or “groove” pattern, as appropriate for a large drum circle. After the beat is established, one student will improvise a 16-measure solo over the beat pattern. After the first student is finished, the student next to him will improvise a 16-measure solo. The cycle will continue until all students have had an opportunity to solo. If time permits, students might rotate so that each improviser on each instrument is in the circle.

2. The student will improvise and perform melodies and rhythms using, Level Four instruments.

Improvise on auxiliary percussion instruments within the context of a percussion ensemble.


UNIT DESCRIPTION

Percussion Level 5 (Grade 8) Unit 4 (MSDE Performance Outcome IV): The student will demonstrate the ability to make aesthetic judgments.

This unit provides percussion students with the learning tools and knowledge to makes aesthetic judgments. Unit 4 offers students the opportunity to evaluate selected musical compositions, using established criteria and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will formulate and apply criteria to evaluate performances, as well as compositional practices. Students are asked to self-regulate their behavior to ensure an atmosphere in which learning and creativity can flourish. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind, as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and their connection to successful music understanding and performance.

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151


How do composers use the elements of music to affect the reactions of their listeners? What is the difference between the evaluative criteria for a choral performance and criteria for a percussion ensemble performance?

KEY QUESTION(S)

Write an essay about how various elements of music and diverse types of music may affect the reactions of the listener. After observing both a choral performance and a percussion ensemble performance, create a compare/contrast chart to investigate the differences in adjudication of the two types of performance.

ASSESSMENT

152


Elements of music Reactions of the listener Evaluative criteria Rehearsal behaviors


Analyzing Comparing Contrasting Investigating Critiquing Evaluating



Make a list of behaviors that are appropriate and a list of behaviors inappropriate for all musicians during a rehearsal. (DL2) Sometimes not all percussionists in the section play a piece of music. Brainstorm productive activities that percussionists can choose to engage in while they are waiting to play. Possible behaviors include, for example, using rubber pads to practice rudiments, or studying their parts.

ASSESSMENTS Manage your behavior during rehearsal so that it contributes to,

rather than undermines, the group’s musical achievements.

1. The student will demonstrate the habits of self-regulation in regard to practice and rehearsals.



153

Performance Competencies in Percussion Level 5 Making aesthetic judgments. UNIT 4

Listen to and research pieces of music by great classical composers such as Bach, Beethoven, or Mozart. Pay close attention to tempos, dynamics, key signatures, unity, dissonance, tension, release, and instrumentation, etc. Analyze the works. Using a rubric provided by the teacher, rate the composition. (DL4) Investigate the various uses of music in the United States (i.e. background music in the mall or shopping center, music in movies, music in television commercials, restaurant music). Consider the following questions. What are some of the specific purposes of each of these types of music? What reactions do they cause in their listeners? What elements might cause a negative reaction from the listener? What elements might cause a positive reaction in the listener? (GT, LM)

ASSESSMENTS Write an essay about how various elements of music affect the

feelings and actions of a listener.

2. The student will use established criteria to evaluate the varying ways composers use the elements of music in select compositions.



154

With your class you should attend a local choral concert, sit in on a chorus dress rehearsal from your school or take a field trip to an opera or a musical. After you have done one or more of the suggested activities, brainstorm about what aspects of choral performance should be considered in evaluation of the performance. Write your ideas about choral evaluation criteria. (DL4) Think about what kinds of evaluation criteria are involved in adjudicating a percussion ensemble performance. You may ask your teacher for the MBDA adjudication forms for percussion ensembles to use for reference. (DL4)

ASSESSMENTS Create a compare/contrast organizer to investigate the

differences in the evaluative criteria used to judge a choral performance and those used for a percussion ensemble performance.

3. The student will formulate and apply criteria for evaluating a percussion performance, compared to a vocal performance.



Performance Competencies in Percussion Level 5 Making aesthetic judgments. UNIT 4

155

Percussion Level 6 (Grade 9)

Unit 1 (MSDE Performance Outcome I): The student will perceive, perform, and respond to music.

Perceiving, performing and responding are fundamental to music. They are the processes through which music affects thought and emotions and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich musical environment in school. The approach is “total percussion.” Students will continue to learn advanced techniques in snare drum, drum set, tympani, and mallet performance, as well as bass drum, cymbal and the various auxiliary percussion performance techniques. Students will begin to develop more advanced concepts of how the elements of music are used to enhance performance. In this unit students read and perform band and orchestra percussion music with increased accuracy, becoming more aware of conducting patterns in various meters, and refining sight-reading skills. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills that they develop are fundamental to other disciplines, as well as music. Instruction usually takes place in classes of similar instruments and like abilities or in ensembles such as band, orchestra, or percussion ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic experiences, logical/sequential thinking, and critical analysis. This and the other three units are taught concurrently throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and best are taught making connections natural to the art.

UNIT DESCRIPTION

156


KEY QUESTION(S)

Why is it important to know how to care for the various percussion instruments and to know how to tune them? How important is it for a snare drummer to learn correct grip, double stroking, and to master all the major rudiments? Why do percussionists need to know music theory to be well-rounded musicians? Can I perform rudiments on the drum set? Can I hear intervals on the timpani?

Write a short explanation the methods used to replace and repair a snare drum head. Include proper care of lug nuts and technique for tuning a new head once it is on the rim. Explain the procedures for tympani and bass drum tuning. Review scales and key signatures used by mallet players. Explain why it is important for a percussionist to understand basic music theory (melodic and harmonic progressions, cadences, etc.) Explain how knowledge of theory may help you become a well-rounded musician. Perform and describe rudiments on the snare drum and apply them to drum set techniques. Identify intervals played on the timpani.

ASSESSMENT

157


158

Maintenance and repair Posture and playing position Major and minor scales Arpeggios Snare drum, timpani, mallet instruments Rhythm patterns Dictation Drum set





Refer to Method Books that explain proper tuning techniques for the snare drum and bass drum. Replace snare drum and bass drum heads with the help of your teacher. Observe upper class students as they demonstrate the proper care and maintenance of snare and bass drum shells and heads. (DL3, DL4, DL5)

ASSESSMENTS Students will verbally name parts of the snare drum and

thebass drum. Students will demonstrate proper tuning, care, and maintenance of all atonal percussion instruments studied in class.

1. The student will demonstrate the ability to maintain and change essential percussion instrument parts.


See Roy Burns, Elementary Drum Method, for tuning, care and maintenance.


159


Review previously learned posture and playing positions for snare drum, bass drum, and cymbals. These are skills that you learned in middle school percussion levels 3 through 5. Focus on snare drum rudimental techniques. Perform the thirteen major rudiments at moderate tempo. Perform specific rudiments while classmates identify which are is being performed. Review drum set posture and set-up. (DL3, DL4)

ASSESSMENTS Demonstrate snare drum, bass drum, and drum set technique

and posture for evaluation by your peers. Identify all thirteen snare drum rudiments and perform the basic stick techniques required.

2. The student will demonstrate correct posture and playing positions.


See NARD Drum Solos for a list of rudiments. See Standard of Excellence, Book 3 – Percussion.


160


Review basic mallet techniques for xylophone, marimba, orchestra bells, or vibraphone. Perform major and minor scales, two octaves, ascending and descending, on a percussion instrument. Scales should include those through 5♯’s and 5♭’s. Use the metronome set at 80 and perform each scale in four ways; quarter notes, eighth notes, triplets, and sixteenth notes. Begin to develop mallet technique for arpeggios related to the scales identified on this page. (DL2, DL3)

ASSESSMENTS Identify major and minor scales and arpeggios. Be able to

write them on the staff. Perform scales and arpeggios at a steady tempo, with and without a metronome. Demonstrate correct mallet technique and control.

3. The student will describe and perform major and minor scales and arpeggios.



161


Review all previously learned rudiments and perform them with open – close – open. Include the 26 major rudiments with emphasis on all rolls. Use rudiments in the process of performing fills and short solos on the drum set. For example: Experiment with sticking split between two different drums, or between snare drum and hi hat. Team with fellow percussionists and observe one another’s stick grip and stroke technique, checking for correct stick height and overall stroke control. Practice examples from Stick Control by George Stone.

ASSESSMENTS Perform and describe rudiments on the snare drum and apply

them to drum set technique.

4. The student will perform and describe rudiments on the snare drum and apply them to drum set technique.



162


Continue to use a tuner or a pitch pipe to tune timpani; be able to match pitch from tuning source to timpani. Try singing the pitch into the drumhead; if properly tuned to that pitch, the head should “sing back” the pitch. Be able to tune the timpani to the following intervals; Perfect 4th and 5th, and Major and Minor 2nd, 3rd, and 6th. Experiment with playing simple melodies on one drum, using the pedal to change pitch. (DL3, DL4)

ASSESSMENTS Identify intervals played on the timpani by the teacher or other

students on the timpani. Perform tuning to the intervals of major and minor 2nd, 3rd, and 6th, and perfect 4thand 5th. Demonstrate correct timpani mallet technique.

5. The student will describe and perform advanced timpani techniques.



163


Work with a partner. Clap one of the rhythm patterns provided on a worksheet by your teacher. The rhythms will include quarter, eighth, sixteenth notes and rests and dotted rhythms in various meters. Clap the pattern several times then have your partner notate it. Repeat the pattern once more as your partner checks for correctness. Compare your partner’s answers with the pattern on the worksheet. Have your partner determine the meter and the number of measures in the pattern. (DL3, DL4, DL5)

ASSESSMENTS Listen to various rhythm examples and write rhythms, using

standard notation. Identify the meter. Review standard music notation to check for accuracy of notes and rests, including stem length and proper placement of ties).

6. The student will identify, describe and interpret through performance, music terms, symbols, and structural features.



164


Work in a cooperative group and use a learning strategy to detail all that you already know about the drum set and its application in performances. Compare your group’s answers with those of other groups. Write a paragraph describing al the parts of the drum set. Write your paragraph for someone who has never seen a drum set. Explain the parts, and the role of each part in total performance on the instrument. Perform several pieces of music in one of the styles typical of drum set literature, such as playing methods, rock, funk, and jazz. Employ previously learned sight-reading techniques, to include previewing the rhythms and dynamics and focusing on keeping the steady tempo.

ASSESSMENTS Write a paragraph about the drum set. Exchange your

paragraph with a fellow classmate’s and critique one another’s work. Perform pieces using correct technique and style. Include basic rock, swing, and at least one Latin beat – Bosa Nova or Samba.

7. The student will describe and perform sight-reading.


Roy Burns, Advanced Rock Drumming. Sandy Feldstein &Dave Black, Alfred’s Beginning Drum Set Method.


165


Write several 16-measure rhythm pieces using correct rhythmic figures in compound meter (such as 6/8, 9/8, and 12/8) as well as duple and triple meters. Clap, count, and perform rhythms in the various meters. Locate rhythm patterns in music you are performing in concert band or orchestra. Highlight (with pencil) compound meter sections and rhythms currently being studied. Perform the highlighted rhythm compositions and record it. Self-evaluate the performance and check it for rhythmic accuracy. Conduct the examples with correct technique while other students perform them.

ASSESSMENTS

Compose a short (16 measure) rhythm piece using compound and duple meter. Include quarter, eighth, sixteenth, and triplet rhythms and corresponding rests. Perform for the class as other students can take turns conducting, using correct conducting patterns and techniques. Record or video the performance for critique by the class.




166


Listen to various pieces from the band and orchestral repertoire, reading the percussion part(s) as you listen. Make a list of musical elements that enhance and emphasize musical ideas and expressions, such as the use of dynamics, tempo changes, articulation, accents, staccato or legato, and meter. Discuss why dynamics, especially in the percussion section, are so important to the overall performance.

ASSESSMENTS

Perform a piece of band or orchestra literature, playing either the snare drum or the timpani part. Record the piece twice, once with all the dynamics as marked and with correct tempo, and once with none of the dynamics and altered tempo. For example, if the tempo marking is allegro, perform it andante. Note the difference in musicality when the musician correctly observes the dynamics and tempo.

9. The student will identify, perform, and describe the elements of music as used to enhance interpretation.


A brief history of each instrument can be found at the beginning of most method books. Rhodes, Essential Elements, Conductors Score – Book 1, pp.14-17.


167

Work on various solo and ensemble pieces for the snare drum); employ correct tempo, rhythm, dynamics, and stick techniques. Sight-read a new piece or section of a piece each day. Record performances and self-evaluate them for rhythmic accuracy, dynamics, tempo, and phrasing. Demonstrate ability to perform bass drum, cymbals, auxiliary, and mallet parts on various band and orchestra literature.

ASSESSMENTS Demonstrate ability to sight-read grade 2/3 material with 90%

accuracy. Perform on snare drum, bass drum, cymbals and mallet instruments.

10. The student will read and perform solo, small ensemble, and orchestra or band literature.


NARD Drum Solos. Cirone, A., Portraits in Rhythm, 50 Studies for Snare Drum.



168

UNIT DESCRIPTION




169

170


Why is it important to study music from other cultures? How is percussion music used in theare and dance?

KEY QUESTION(S)

Describe music from other cultures and trace the evolution of popular percussion music in the various cultures. Show how music enhances and creates the mood for theatre and dance.

ASSESSMENT OF KEY QUESTION(S)

171





Exemplary percussion performers Exemplary percussion composers Historical periods Cultures Styles and genres


MSA = Maryland School Assessment, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test, RS = Reading Strategies Notes to Teacher:

ASSESSMENTS

Compare the use of percussion in American pop/rock to that of another non-Western culture, such as West African high-life music (pop/rock fused with traditional West-African percussion.) Explore the evolution of Latin Percussion from Cuba and other Latin America countries. List the various instruments used in Latin Ensembles. Determine how the music has evolved in terms of style and instrumentation, and how it has influenced the jazz tradition. Listen to examples of 1950-60 Cuban Folk ensembles and compare tem to 1995-2000 Cuban Folk ensembles. Note the differences in style. (ID, GT, LM, DL3, DL5) Listen to various examples of drum corps and marching percussions. See the Drum Corps International (DCI) video catalog for suggested performances. List the various percussion ensembles and use of drum lines. Describe the various instruments included. Example: snare drums Research the origins of marching bands and drum corps in America, dating back to the late 19th century New Orleans marching bands. Explain the social, religious, political significance of these early New Orleans marching bands. (DL3, DL4, M, LM)

ASSESSMENTS Perform simple examples of West African drumming, using

instruments available. Describe the evolution of Latin percussion and its influence on jazz, cite examples from jazz repertoire. Create a chart or poster describing the various socio-cultural and musical uses of the marching band in the 20th century, i.e., from European Military March to New Orleans funeral march of the early 20th century to present day.

1. The student will identify and describe music for percussion from a variety of historical periods, cultures, and styles.


A good resource for non-Western (non-Occidental) music is Titon, J, et al. Worlds of Music. The text also includes examples of American folk traditions, and is particulary suitable for the upper level, gifted, or highly able student.



172

Performance Competencies in Percussion. Level 6 UNIT 2: Understanding music as an essential aspect of history and human experience.

STUDENT OUTCOMES

2. The student will analyze the connection of music elements to elements in theatre and dance.

ACTIVITIES Interview a professional percussionist who lives and works in your area. Ask about his or her role. Is he or she an orchestra member, a player in a professional dance or pop-rock band, or a member of a jazz ensemble or a wedding band? Compare the percussionist’s response to what you know about the role of a:

1. Composer 2. Visual artist (painter or sculptor) 3. Choreographer 4. Playwright

(DL3, DL4)

ASSESSMENTS

Present a report (oral or written) on the role of a musician, acomposer, a visual artist, achoreographer and a playwright Describe the similarities and differences among the artists.


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174

UNIT DESCRIPTION


ideas and sound creatively. This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will improvise, using increasingly complex rhythms and melodies, compound meters, major and minor key signatures, and will continue to explore improvised music form the jazz idiom, as well as music from classical genre to contemporary styles as rock, folk and popular. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation.


Can I create music? Can I transcribe music?

Compose a melody in compound meter and perform it on a mallet instrument. Transcribe a familiar piece of music for percussion ensemble, utilizing instruments of your choice.


175

176





Composition Improvisation Arranging

Performance Competencies in Percussion Level 6 UNIT 3: Organizing musical ideas and sounds creatively.


ASSESSMENTS

1. The student will create, notate, and perform a composition, using traditional notation.

Write a short melody (8-12 measures) in compound meter (6/8, 9/8. or 12/8); perform it on the mallet instrument of your choice. Maintain a steady tempo.

Write several short compositions for mallet instruments. Use correct rhythm notation and compound meter (6/8, 9/8, or 12/8). Write at least one piece in a minor key. Include creative use of dynamics and articulation, especially for marimba or vibraphone. Be prepared to perform your composition. Practice by recording, listening to, and critiquing your piece. Self-evaluate your work in terms of tempo, dynamics, rhythms, and phrasing. (DL4, DL5) Write a short percussion composition, utilizing various beat patterns, for snare drum, bass drum, and cymbals, the instruments that comprise a basic drum line. Use at least four rudiments, one of which is a roll. Include dynamics ranging from pp-ff, crescendo, decrescendo, and accents. Be prepared to perform your composition, taking care to observe all dynamic markings. (DL4, DL5)


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UNIT 3:



ASSESSMENTS

2. The student will perform and describe transcriptions.

Prepare a transcription for mallet percussion of a familiar folk melody or pop song. Make sure to use all correct notations. Trade transcriptions with a classmate, each person checking the other’s work for accuracy. Perform and record your transcription for a critique of performance technique.

Choose a simple folk melody or a standard pop song such as the Beatles “Hard Day’s Night,” or an appropriate contemporary song. Obtain a recording of the melody. Transcribe the melody in an appropriate or original key (no more than 3 sharps and 3 flats) for mallet percussion. The use of a piano or a mallet instruments is recommended. (DL4, GT) Be sure to include correct rhythms, time signature, meter signature, and accurate melodic intervals, and the correct key signature. Be creative! Add various dynamic markings, use repeat signs, etc. Perform your transcription on a mallet instrument.

Organizing musical ideas and sounds creatively. Performance Competencies in Percussion Level 6

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UNIT DESCRIPTION



179

KEY QUESTION(S) ASSESSMENT OF KEY QUESTION(S)

How do you think the judges or adjudicators determine how well a percussion section performs as an ensemble? Like a sporting event, a musical performance must meet certain expectations and criteria to be considered exceptional. What set of criteria would a music adjudicator use to rate a percussion section? What elements of music would be examined to determine the level of performance?

Begin to compile a list of criteria that you believe would demonstrate an exemplary performance by a 9th grade percussionist or percussion ensemble. Use an all-county or all-state rating sheet as your guide. You should consider rhythmic and melodic accuracy, dynamics, phrasing, and technique when rating a performance. Devise a rubric that will evaluate each of the categories listed For example, your rubric might include ratings of 4, 3, 2, and 1, with 4 representing the highest quality performance. Evaluate your own performances during rehearsals, using your rating system. Compare your ratings with the ones given at festivals and Tournament of Bands events.


180

181




Exemplary performance Harmony/melody Timbre Texture Form Rhythm Technique (sticking and mallets) Criteria for evaluation Rubrics




ASSESSMENTS

1. The student will demonstrate the habits of self-regulation in performance.

Videotape a performance of yourself in either a solo or an ensemble setting and evaluate your performance in terms of self-regulation. Observe how many times you might have talked or engaged in non-musical activities that detracted from the performance. Observe positive aspects of your behavior such as maintaining good technique, following the conductor and adhering to marked dynamics and tempi.

Perform a piece of music on snare drum, mallet instruments, and tympani. Videotape your performance View the video and take the following steps: Evaluate how well you maintained proper instrument position, stick or mallet grip and height, and posture. Determine whether you observed all marked dynamics. Since there was no conductor, you must be aware of tempo. Did the tempo remain constant, and did you perform at the tempo marking indicated by the composer? Observe a school performance of the percussion ensemble or video the percussion section while performing with them, perhaps in concert band rehearsal. Determine whether your fellow musicians demonstrated self-regulation techniques, such as: not talking during rests and tacit sections of the music, and maintaining proper posture and technique at all times during the performance without the need for the conductor make corrections. (DL4, 5, GT)


182


ASSESSMENTS

2. The student will formulate and establish criteria for evaluation of music compositions and performances.

Create a rubric chart that describes criteria for exemplary percussion performance, using ratings of 4, 3, 2, or 1. List the aspects requisite to an exemplary performance. Create a Venn diagram comparing two percussion performances (one contemporary, one from the past). List the unique characteristics of each and discuss the similarities. Evaluate each performance in terms of rhythm, timbre, form, and general technique.

What are the elements of an exemplary percussion performance? Observe several professional orchestral ensembles. Note and evaluate the various aspects of a good percussion section.

1. Correct posture and position for each instrument 2. Accurate rhythmic, melodic, and harmonic interpretation 3. Accurate and expressive use of dynamics and articulations 4. Good balance of the various instruments 5. Overall musicianship, including technique, sticking, and mallet

control Rate each element of percussion performance with a rubric:

4 = excellent; 3 = good; 2 = fair; 1 = poor Listen to various recordings or videos of the following contemporary rock, jazz-fusion percussionists: Terry Bozzio, Max Roach, Roy Haynes, and Steve Gadd. Make notes about the syle, technique, and equipment used by each of these musicians. Compare your finding from the previous activity to the drum set performances from the 1940s–50s (Gene Krupa, for example). Note similarities and differences in style, technique, equipment, and technology used. (GT) Evaluate each performance in terms of aesthetics, was it effective or ineffective? Why? How does technology, such as improved amplification mics, microphones for recording, advanced engineering, and electronic percussion, have impact on the performance? (DL5)


UNIT 4: Making aesthetic judgments. Performance Competencies in Percussion Level 6

183

UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will learn mallet instruments and techniques along with those for drumming. Students will have experiences with percussion music and instruments from around the world. In this unit students have advanced experiences in manipulating, caring for, and creating sounds on their instruments. They establish practice, learning, and performance habits, which they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities or in ensembles such as band, orchestra, or percussion ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic, experiences, logical and sequential thinking, and critical analysis. This and the other three units are taught concurrently throughout the year. Perceiving, performing, listening, understanding cultural context, creating and evaluating are interrelated and are best taught making connections natural to the art.

184


Why is it important to keep repair and inventory records? Can I identify and perform major, minor, and perfect intervals? Can I perform advanced techniques on timpani? Can I keep a steady beat while conducting? Can I identify form in music?

KEY QUESTION(S)

Explain the process and reasons for maintaining updated repair and inventory records. Match examples of intervals with easy ways to identify them. Demonstrate cross-sticking, using three timpani. Conduct a march. Listen to a variety of music and identify its basic musical form.


185


186

Instrument care Meter Posture and positioning Binary Intervals Ternary Keyboard percussion techniques AB Timpani techniques ABA Arpeggio AABA Animato Form Cadenza Sempre Agitato Largo Col Con Sight-reading Conducting patterns


Identifying Performing Describing Analyzing Evaluating Comparing



Inventory all the percussion instruments in your school’s band. Devise a chart showing: Name of instrument Date acquired Parts included Quality of instrument Repairs needed Keep a notebook with the above information and share it with your section and director. Make a similar chart for any percussion instruments that you personally own.

ASSESSMENTS Write a paragraph explaining the importance of ongoing

instrument care.




187


Drum Set: Videotape yourself performing steady swing or rock time, maintaining a steady beat with bass drum, snare drum, high hat, and ride cymbal. Evaluate yourself in terms of the following:

1. Posture – back straight; arms out, but not overextended; drum stool not too close to the snare

2. Position – correct stick grip, loose wrists, correct stick position on the ride and snare drum for best sound; foot pedal technique

3. All four limbs working together to create a smooth sense of time Play along with recordings of jazz, blues, and rock and roll music. Keep the “time” steady and smooth. Listen for styles and genre, such as swing, ballad, and up tempo. Use various drum set method books to explore variations on rock and funk feels (see Roy Burns- Advanced Rock and Roll Drumming; Ron Fink – Drum Set Reading for Beginning Bands and combo jazz) Develop short, 1-2 measure fills to make steady beat/time more interesting (see Burns – p.27-37).

ASSESSMENTS Perform rock or swing time with intermittent fills, maintaining

correct posture and position. Videotape and self-evaluate the performance. Critique overall time feel and visual aspects of sticking technique and foot pedal control.



See R. Burns – Advanced Rock Drumming (p.3/p.6) for bass drum and hi hat pedal technique. [Note: There are two methods/techniques for hi hat pedal (p.6)]. See: Roy Burns – Advanced Rock and Roll Drumming (Beats, Beginning, Fills, pp.27-37). Ron Fink – Drum Set Reading (Analysis of basic rhythms with interpretation).


188


Practice writing major, minor, and perfect intervals on a staff. Label each interval. Play each interval on a keyboard instrument. To develop your ear, associate intervals with a tune that begins with that melodic interval. Example:

1. Major 2nd – “Happy Birthday” 2. Major 3rd – “Westminster chimes” (descending) 3. Perfect 4th – “Taps” or “Here comes the Bride” 4. Perfect 5th – “Twinkle, twinkle little star” 5. Major 6th – “My Bonnie lies over the ocean”

Analyze a written melody from the method book and identify as many intervals (harmonic and melodic) as possible.

ASSESSMENTS Name and perform all major, minor, and perfect intervals, both

melodic and harmonic, on a keyboard instrument. Write harmonic and melodic intervals on a staff. Label each interval.

3. The student will perform and identify perfect fourths and fifths, octaves, and major and minor thirds.


See Pearson – Standard of Excellence, Book 2.


189


Use your method book to find keyboard percussion techniques new to you. Transcribe an easy Bach invention for marimba. Explain why it is easy to perform some compositions by Bach on a percussion melody instrument.

ASSESSMENTS Transcribe and perform a keyboard piece for marimba or

xylophone. Practice and perfect, then perform your transcription for an audience.

4. The student will perform and describe appropriate technique for keyboard percussion.



190


Work in a cooperative group to develop a definition of cross sticking. You might consult the Goodman Timpani Method for a good definition. Compare your definition to the one in the book. Perform correct cross sticking for a partner’s feedback followed by performance in a large group. Invite a professional timpanist to your band class. Ask him or her to explain and demonstrate advanced timpani techniques. Observe and identify as many techniques as you can. Continue to practice matching pitch with a tuner or a pitch pipe. Identify and tune intervals of major 3rd, minor 3rd, major 6th, minor 6th, perfect 4th, and perfect 5th.

ASSESSMENTS Perform an example of cross sticking from a method book

piece or from band or orchestra literature. Demonstrate the ability to tune, using a pitch pipe, the following intervals: P4, P5, M3, m3, M6, m6.

5. The student will demonstrate and describe advanced techniques for timpani.


See Saul Goodman – Modern Method for Timpani.


191


Perform a variety of pieces that incorporate all the skills learned from levels 1-6. Review definitions of the following musical terms:

1. Arpeggio 2. Animato 3. Cadenza 4. Sempre 5. Agitato 6. Largo 7. Col 8. Con

Tape record a solo and listen to your performance with particular attention to interpretation. Analyze several band and orchestra pieces for musical terms you know and identify them. Look up definitions of terms or symbols you do not know. Keep a notebook for notation and definitions. (DL2) Continue to sight-read new music to broaden your musical vocabulary.

ASSESSMENTS Examine a percussion or mallet part from band music and

analyze all musical terms. Identify tempo markings, symbols, dynamic markings, and any structural features, such as repeats and D.S. al Fine.

6. The student will identify, describe, and interpret through performance basic musical terms, symbols, and structural features.


See: Apel – Harvard Dictionary of Music


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Use the following procedure to prepare for successful sight-reading: • Select grade 3 literature; begin to study the percussion part. • List familiar rhythms and rudiments. • Make note of dynamic markings and other notational devises. • Identify patterns in the piece of music. • Research unfamiliar terms, signs, and symbols.

Using a metronome at a slow speed, read and play through the music without stopping. When you have finished, circle with a pencil the places you played incorrectly. Practice these sections and play through the music again. (DL4) Improve your ability by sight-reading increasingly more difficult music daily.

ASSESSMENTS Sight-read grade 2 or 3 band literature. Analyze and explain

any errors that you make.



Practice sight-reading daily as an ensemble. Encourage students to ask questions about difficult parts.


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ASSESSMENTS Conduct a march as your band performs. Follow the score and

conduct phrasing and dynamics as needed.

Research conducting patterns in 2, 3, and 4 meters. Find printed literature for which you also can find a recording. Conduct as you read the score and listen to the recording. (LM, DL3) Watch videos of band and symphony directors. Notice what they do other than just “beat time”. Make a list of their conducting gestures and correlate each to the music. Describe conducting techniques for signaling a band to play louder or softer and legato or staccato. On a score, mark these dynamic variations and articulations.



194


Clap, count, and play rhythm patterns in 5/4 meter. For snare drum, write at least eight measures of rhythm in 5/4 meter, using notes and rests. Practice conducting in patterns:

1. 123 12 │ 123 12║ 2. 12 123 │ 12 123║

Listen to the 2nd movement of Tchaikovsky’s Symphony No.7. Practice conducting this music. Identify asymmetrical (odd) time signatures in other repertoire (See: Cyrone, Portraits in Rhythm).

ASSESSMENTS Compose and perform a short snare drum solo in 5/4 meter.

Include all rhythms and rudiments studied, and include 2 or more dynamic markings.

9. The student will identify, perform, and describe unfamiliar rhythms and meters.


For some great odd-time and asymmetrical studies see Anthony Cirone – Portraits in Rhythm: 50 Studies for Snare Drum.


195


Define the following terms: 1. Binary 2. Ternary 3. AB 4. ABA 5. AABA

Find phrases in music that sound and look alike. Find phrases or passages that look and sound different. Relate how those characteristics connect to AB, ABA, and AABA forms. (DL4) Listen to a piece containing one of the forms listed above. Listen for the different sections. How do repetition, diversity, and the ultimate return to the A section create unity? Study a composition and determine whether it is in binary or ternary form. Listen to the piece and make a choice.

ASSESSMENTS Compose a simple melody for a mallet instrument (24

measures) in one of the forms studied. Include correct terms and symbols. Use any meter EXCEPT 4/4. Record the composition and have the class identify the form.

10. The student will identify, perform, and describe structural characteristics of a variety of music.


See: Apel, Harvard Dictionary of Music.


196


Work on grade 3 and 4 level band and orchestra literature as well as solo and percussion ensemble material. Demonstrate the ability to sight-read grade 3 material with 90% accuracy. Prepare a grade 4 solo or ensemble piece for adjudication.

ASSESSMENTS Perform solo or ensemble literature at grade 3 on snare drum,

mallets, and timpani. Sight-read grade 3 material at a reasonable tempo, with 90% accuracy, and observing all dynamics and accents.

11. The student will read and perform solo music and orchestra and band literature with increased proficiency.



197

Working with your section leader or band director, gather scores of percussion parts for all of your ensemble’s current and anticipated repertoire. List all parts for each instrument in each piece, indicating with measure numbers where each percussion instrument plays. Transfer this list to a time line of measures for each piece and note where instrumentation overlaps. Assign section members to parts. Work in sectionals before performing with the ensemble. Limit stage movement of percussion section members to ensure a minimum of disturbance for other ensemble members. (DL5, GT)

ASSESSMENTS Make a list of necessary ensemble skills that will enhance your

ensemble’s performance. Be prepared to defend your choices.

12. The student will perform a part in an ensemble, demonstrating well-developed ensemble skills.




198

UNIT DESCRIPTION




199

200


Can I create a timeline chronicling the role of percussion in society? Can I analyze music for percussion from a variety of periods, styles, and cultures?

KEY QUESTION(S)

Research the role of percussion from the earliest time on record to the present. Make a timeline depicting the evolution of various instruments. Choose music from a specific region or time period. Analyze and explain the function of percussion within the framework.

ASSESSMENT

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Cultural expressions Timeline Evolution Role of percussionists Program music





• Work cooperatively in a group of three or four students. Brainstorm about the various jobs and functions a percussionist performs in our society (use the Internet, television, or radio as primary sources). (M,RS,LM)

• Research the history of percussion in the world. Look at other cultures and investigate the role percussionists (drummers) play. (M, RS) Example: African music, Indian music

• Analyze whether percussionists are more important in other cultures than our own American culture.

• Research several regions in the world where percussion music is found and write a paper comparing uses of percussion in two of the regions. Example: The tabla drum from India or the hourglass shaped drums from Ghana/Uganda called “don don” or talking drum.

• Describe how music of other cultures may sound different from Western classical music or jazz. Research how the music is used within the specific culture, such as for weddings or harvest.

• Compare the role of a percussionist in the context of a music ensemble vs. the functions of a dancer, a visual artist, or a multi-media performance artist. Create a Venn diagram listing the similarities and differences of each performer/artist with that of the percussionist/musician. How does American society view each of these professions? Is any one of them valued or respected more than any other? Interview fellow students who are involved in dance, in visual arts, and in multi-media performance. Ask for their personal opinions about and view of their roles in their respective areas of the arts. (ID, DL3)

ASSESSMENTS Give a short presentation about the evolution of percussion

from accompaniment instrument to featured solo instrument. Use video footage, recordings, or other visuals. This could easily be a group project, each student taking a different era and genre of music and tracing the evolution of that particular percussion instrument.

1. The student will identify and describe the role of percussion in individual and cultural expression.



202

Read about program music. List the characteristics and forms composers of program music have used. Listen to “Scherzo” from A Midsummer Night’s Dream by Mendelssohn. Describe what the “program” is and how the composer achieved the effect. (DL4) Perform snare drum solos. See method books and Cirone, Portraits in Rhythm. Listen to and perform Latin and jazz styles from drum set literature. Refer to Ron Fink, Drum set reading. Listen to a recording of Ionization by Edgard Varèse. See Goldenberg, Modern School for Snare drum. (M) Discuss how percussion (specifically the drum set, but also mallet instruments, percussion ensembles, and drum lines) has evolved into a solo performance genre. Research when percussion began to be more than an embellishment or accompaniment to orchestral, jazz, rock and other styles of music. Look at the influence jazz has had on the drummer as feature soloist – listen to recordings from Big Band and Bebop jazz and note the prevalence of “drum solos” and the function of the drummer in the act of “Trading Fours” or passing the solo around the ensemble.

ASSESSMENTS Present a research paper on music from a specific region of the

world. Identify instrumentation, the function of music within the culture, and the people who play it.

2. The student will analyze music for percussion from a variety of periods, styles, and cultures.


*Ethnomusicology – The study of music in culture; music as a culture. Culture, here is defined as the sum total of a people’s way of life, “their thoughts, beliefs, and actions transmitted through the centuries.” (Titon 1984: XV-Xvi) See: Titon, Worlds of Music for help with research techniques (Titon 1984: pp.294-317)



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UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques, and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will be improvising rhythms and melodies and working with percussion ensembles. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

204


Can I improvise melodies and rhythms? Can I transcribe music for a percussion ensemble?

Improvise jazz in asymmetrical meters using your choice of instruments. Using manuscript paper and standard notation, create and transcribe a piece for percussion ensemble.


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Level 7, Unit 3 (MSDE Performance Outcome III): The student will demonstrate the ability to organize musical ideas and sound creatively.


Improvise Melody Rhythm Asymmetrical meters ABA form Folk music Jazz Transcriptions Percussion ensemble





ASSESSMENTS

1. The student will improvise melodies and rhythms on percussion instruments.

Perform your composition for the band class. Have students identify meter and form and provide comments about the performance, critiquing rhythm, dynamics, and other compositional considerations. Perform the melody and improvisation of the melodic theme on any mallet instrument. Demonstrate the ability to improvise by using various rhythmic combinations, embellished melodic lines, and variations in dynamics.

Review asymmetrical meters (odd time signatures): 5/4, 7/4. Compose a simple melody (16-24 measures) in either 5/4, or 7/4 meter. Choose a key in which you feel comfortable performing. Be sure to utilize a variety of rhythms, dynamics, and a basic form (ABA for example). Perform and record the composition for self-evaluation. Compose a composition for the snare drum or drum set in either 5/4 or 7/4 meter. Choose a variety of rhythmic figures and rudiments for snare drum and various rhythms for fills on the drum set. If composing for drum set, be sure to demonstrate ability to play in 5/4 or 7/4 time. (Do NOT write all solo fills!). Create a form that develops from of a steady time into various extended fills. Keep form, dynamics, and timbre in mind. Choose recordings of several folk tunes or jazz standards and listen to the melodic lines and improvisations. Choose melodies in several different major keys. Perform the melody and improvise, using variation in rhythm, dynamics, and passing tones. Practice melodies in various keys. Example: “Twinkle Twinkle” in C major; “Satin Doll” in G Major. (DL3, DL4, DL5)


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ASSESSMENTS

2. The student will transcribe and perform music for percussion ensemble.

Transcribe a melody for mallets and percussion. Write out snare drum, bass drum, cymbal, and auxiliary percussion parts. Use all of the appropriate notation and dynamics. Perform and record your transcription (fellow students should perform the other parts). Evaluate the performance with a performance rubric, 4=excellent, 3=good, 2=satisfactory, 1=needs improvement

*This may be an opportunity to use computer technology – Finale Music Composition Program or a similar program will be useful.

Choose a familiar melody from the folk or pop tradition. Example: “On top of Old Smokey” or “This Land is Your Land.” Choose mallet instruments to perform the melody. Compose a snare drum accompaniment (utilize the ostinato here; remember that this is a background accompaniment!). Compose bass drum and cymbal accompaniment. Add auxiliary percussion (Be Creative!) Write a score and copy parts (the band director may need to assist you)*. Distribute the parts to fellow students. Perform and record the transcription. (DL4, DL5)


UNIT 3: Organizing musical ideas and sounds creatively. Performance Competencies in Percussion Level 7

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UNIT DESCRIPTION

Percussion Level 7 (Grade 10) Unit 4 (MSDE Performance Outcome IV): The student will demonstrate the ability to make

aesthetic judgments.


209


How often have you attended a baseball game and disagreed with a call made by the umpire? Have you ever received a rating at a competition and were surprised with the decision of the adjudicator? What kind of criteria do you think these critics use to determine their decisions? Even if specific criteria are stated for them, how often do you think they deviate from the criteria and for what reasons?

Design your own rating sheet to evaluate a personal music performance. Use an All-County or All-State rating sheet as your guide. Develop a tool that has at least four rating categories based on the elements of music and other performance criteria. Create a rubric that can be applied to each rating criterion. Be sure your rubric clearly describes a poor, fair, satisfactory, and outstanding personal performance. Use the rating sheet to evaluate your performance.


210


211



Styles, genres, and cultures Personal performance Analysis Evaluation Criteria




ASSESSMENTS

1. The student will formulate criteria to evaluate personal music performance.

Attend at least three professional or semi-professional concerts. Evaluate each percussion performance based on the main elements of music. Rate each percussion performance with a standard 4-1 performance rubric scale in each element category. Rank each ensemble. Describe ways to improve your own performance based on what you have heard.

• Listen to a recording of various professional wind ensembles, concert bands, marching bands, and orchestral ensembles.

• Make a list of things you would consider important in a percussion performance (criteria that would make the performance exemplary).

Base your criteria on the proper use of the following: 1. Rhythm 2. Melody/Harmony (mallet instruments) 3. Dynamics 4. Tempo 5. Articulation and Phrasing 6. Musicianship and Technique

• Attend a concert or view a performance on video and observe ONE percussionist throughout a single composition. Decide what that musician does that positively affects the overall full ensemble sound.

Consider the following: 1. Instrument technique 2. Choice of equipment 3. Effective use of dynamics 4. Effective use of phrasing 5. Timing 6. Sonic interaction with the entire ensemble

• Use your lists to evaluate your own playing, and decide what you need to do

to improve.



212

UNIT DESCRIPTION


Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will learn mallet instruments and techniques along with those for drumming. Students will have experiences with percussion music and instruments from around the world. In this unit students have advanced experiences in manipulating, caring for, and creating sounds on their instruments. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities or in ensembles such as band, orchestra, or percussion ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Activities within the unit address a variety of learning styles including cooperative learning, kinesthetic, experiences, logical and sequential thinking, and critical analysis. This and the other three units are taught concurrently throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

213


Does my section share responsibility for instrument care and maintenance? How are marching percussion instruments and carriers used? Am I able to perform all rudiments at varying tempi and dynamic levels? Am I able to perform and describe music in mixed and unusual meters? Have I mastered chromatic scales? Do I have mastery of basic music symbols and terms? Am I able to conduct, using basic conducting patterns? Can I perform changing pitches using three tympani? What is it like to perform on an instrument from another family? Am I performing solo, ensemble, and band or orchestra literature at my achievement level?

KEY QUESTION(S)

As a section, take inventory and organize all percussion items in the instrumental rehearsal room. Inspect all available percussion equipment and develop a plan for repair and maintenance. Have a dress rehearsal using marching percussion carriers, mallet pit percussion, and equipment plans. Following a conductor, perform teacher-specified rudiments at varying tempi and dynamic levels. Compose and perform a 16 to 32-measure composition using odd meters or mixed meters. Perform a composition containing varying chromatic passages. Compose a short piece of music (16-32 measures) at grade IV difficulty level, incorporating correct musical terms and symbols and including dynamic markings and other appropriate signs and symbols. Conduct compositions that use time signatures of 2/4, 3/4, and 4/4. Perform grade IV or V literature playing correct pitches on three tympani. Choose an instrument from the brass, woodwind, or string family. Learn correct beginning playing technique and basic scales. Write a paragraph describing your experience and how you would teach a beginner to play this instrument. Prepare and perform a solo or ensemble of grade IV or V difficulty. Perform grade IV or greater band or orchestra literature while following a conductor and maintaining proper tempo, balance, blend, and style.


214


215



Responsibility Positioning Performing Practicing Memorization Conducting Composing

Instrument care and maintenance Inventory Posture Position Rudiments Technique Symbols Musical terms Performance criteria Musicianship


Work with your section leader to develop an inventory of percussion parts. Include tension rods, lugs, screws, snare strainers, carriers, and drumheads. Inspect all available percussion equipment and develop a plan for repair and maintenance as funding is available. Organize and store auxiliary percussion equipment in the percussion cabinet. Label each drawer to facilitate in finding each one.

ASSESSMENTS Prepare a computer database of percussion equipment. Create

an inventory chart, print and post the chart in the instrumental rehearsal room.




216


Marching Band Equipment: Have the section leader demonstrate the correct position of marching carriers, with and without the uniform. Adjust and position the carrier based on your height. Organize and develop an outdoor pit position for mallet percussion. Prepare a list itemizing instrument requirements for each piece. Work with the section leader to ensure that each part is assigned to a specific student. With the goal of the smoothest possible transitions, design an efficient pit arrangement. Develop a plan for getting the equipment on and off the field.

ASSESSMENTS Devise a set of percussion section notebooks and organize into

separate groupings, including personnel, responsibilities, and equipment.




217


Divide the 26 rudiments into categories: rolls, flams, paradiddles, and ratamacues. Learn the rudiments in progression. Using a metronome, play the rudiments at varying tempi and dynamic levels. Play current band literature and identify each rudiment being used.

ASSESSMENTS Play rudiments, specified by the teacher, at varying tempi and

dynamic levels. Use open and closed techniques for all rudiments.

3. The student will perform rudiments with varied tempi and dynamics.


Percussive Arts Society, 26 Rudiments.


218


Explain the relationship of whole and half steps in a chromatic scale. • Play the chromatic scale in 4/4 meter with alternating sticking using the

full range at M.M.=120. • Play the chromatic scale in triplets with alternating sticking using full

range at M.M. = 120. • Play the chromatic scale in sixteenth notes with alternating sticking at

M.M. = 120. Play the chromatic scale at faster tempo with alternating sticking. Practice scales, using varied rhythms, such as dotted eighth/sixteenth and sixteenth/dotted eighth, to increase facility at faster tempi. (DL3, 4)

ASSESSMENTS Explain the importance of accurately performing the chromatic

scale. Find and perform music that contains chromatic passages.

4. The student will identify, perform, and describe the chromatic scale for keyboard instruments in full range.



219


Without a pitch source, tune three timpani at given intervals. For an unfamiliar composition, tune three timpani without a pitch source. Sing given intervals and tune three timpani without a pitch source.

ASSESSMENTS Perform correct pitches for three timpani in grade IV/V

literature.

5. The student will demonstrate and describe advanced techniques for timpani and auxiliary symphonic percussion.



220


Write a definition of each of the following terms. Find an example of each term in your concert music or method book. Attaca Cadenza Double sharp Double flat Practice melodic dictation by listening to your teacher play an 8-beat exercise from a method book. Notate the melody on staff paper. Practice conducting your ensemble with large and small gestures. How do your classmates respond? Explain and demonstrate to your “students” the relationship between conducting gestures and beat size on a drum head. (DL4, GT)

ASSESSMENTS Perform music that incorporates unfamiliar terms and symbols.

Notate short melodies from dictation. Write a paragraph explaining the role of beat size to conducting patterns.

6. The student will identify, describe, and interpret through performance music terms, symbols, and structural features.



221


Research a variety of compositional techniques, such as ostinato, canon, and fugue. Write a paragraph description of each technique. Compare and contrasting the technique. (DL3) Perform music using the techniques that you studied. Create your own composition, using one or more of the specified techniques. (GT) Have your classmates perform your composition.

ASSESSMENTS In a written assignment, describe various compositional

techniques commonly used in your band or percussion music.

7. The student will identify, perform, and describe compositional techniques in a variety of music.



222


Using selected band and orchestra scores, conduct patterns in 2/4, 3/4, and 4/4. Using selected recordings, conduct patterns in 2/4, 3/4, and 4/4. Listen to an unfamiliar recording and determine the meter. Define the following terms and find them in your music. Allargando Grave Presto Rubato

ASSESSMENTS Conduct compositions in all three meters and that include one

or more tempo markings.

8. The students will perform and describe conducting patterns and techniques.



223


Play rhythms in 5/4 and 7/4 on the drum set. Explain the accented patterns you are performing. Play rhythms with meter changes while keeping a steady tempo. Play rhythms that have meter changes with different sub-divisions.

ASSESSMENTS Accurately perform 16- to 32-measure compositions, using odd

meter and/ or mixed meters.

9. The student will identify, perform, and describe unfamiliar rhythms and meters.



224


Select a percussion ensemble piece to perform with other students. Choose your part. Practice your part at home. Be prepared for ensemble rehearsals. Perform the ensemble for your class or at a concert. Brainstorm skills necessary to be a successful member of an ensemble. (DL1)

ASSESSMENTS Perform in a percussion ensemble for your classmates and

teacher.

10. The student will perform a part in an ensemble, demonstrating well-developed ensemble skills.



225

Practice a solo of grade IV or greater difficulty and evaluate your own performance based on pre-established criteria. Define the terms tempo, balance, and blend as they relate to your performance. Practice grade IV or greater band or orchestra literature while following a conductor and maintaining proper tempo, balance, blend, and style.

ASSESSMENTS Prepare and perform a solo or ensemble piece of grade IV or V

difficulty. Prepare and perform grade IV or higher band or orchestra literature with your ensemble.

11. The student will read and perform solo music and orchestra and band literature with an increased understanding of playing styles and articulations.




226

Percussion Level 8 (Grade 11)

Unit 2 (MSDE Performance Outcome II): The student will demonstrate an understanding of music as an essential aspect of history and human experience.


UNIT DESCRIPTION

227

228


KEY QUESTION(S)

Can I give reasons why I chose percussion as my instrument? What kind of percussion was used during the Renaissance and Baroque periods?

Make a list of reasons for choosing percussion. Detail your list to include thoughts about the instruments, music, and others input into your decision. Explain why you continued to study percussion. Research Renaissance and Baroque music to discover the role of percussion. Make a chart or drawing showing the instruments of those periods and how they differ from present-day percussion instruments.

ASSESSMENT

229





Careers in percussion Renaissance Baroque Symphonic works


Investigate the reasons for choosing percussion instead of another instrument. Which other instruments have you had success in playing? Select an influential percussionist and describe his or her influence on you as a performer.

ASSESSMENTS Write a paragraph describing your reasons for choosing

percussion as your performance medium. Be sure to mention how your favorite percussionist influenced your playing.

1. The student will analyze reasons for choosing percussion as a performance medium.



230

231

UNIT 2:



ASSESSMENTS

2. The student will analyze and perform music for percussion from the Renaissance and Baroque periods in music.

Students will demonstrate knowledge of Baroque and Renaissance music by listening and identifying the characteristics of both styles. Students will verbalize these differences and explain the roles of percussion (mostly timpani, snare, and bass drum) in these early styles. Perform an exerpt from a Baroque composition for the class, demonstrating correct technique.

Listen to a piece from the Renaissance period and one from the Baroque period of music. Discuss both the similarities and differences in terms of instrumentation (what sort of percussion instruments are used), meter, and style. Perform a Baroque composition (for example, Bach, B Minor Mass, or a Handel oratorio). Ask your orchestra director to help you find the original percussion parts. Demonstrate correct use of timpani tuning and mallet technique. Note that there is not as much percussion written for this period of music. This is a great opportunity to practice counting multiple measure rests!

Understanding music as an essential aspect of history and human experience. Performance Competencies in Percussion Level 8 – A: Experiencing music as a personal and societal expression.

UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques, and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will be improvising rhythms and melodies as they refine their performance skills in percussion ensembles. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

232


Can I perform and improvise rhythmic and melodic variations in major and minor keys? Can I use technology to transcribe music?

KEY QUESTION(S)

Perform a standard arrangement from jazz band repertoire to include improvisation over the changes and form of the composition. Use Finale or Sibelius software to write a 32-measure composition for percussion ensemble.

ASSESSMENT

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234




Improvisation Performance Major Minor Transcriptions Technology

Performance Competencies in Percussion Level 8 Organizing musical ideas creatively. UNIT 3:

Continue to explore improvisation on various mallet instruments. Review all major and minor scales (up to 5 #’s and b’s) (DL5) Perform the chord changes and melodies from various jazz band arrangements and demonstrate basic improvisation over the chord changes. Compose several short melodies with chord changes for a mallet instrument. Experiment with various keys and time signatures. Have other students in the class perform the piece and improvise over the chord changes. (DL4, 5, GT) Describe various ways to improve improvisational techniques (i.e. discuss how the use of rhythm can change a melodic idea; expand a melodic idea by adding passing tones, grace notes, “blue notes” , double stops, and rolls).

ASSESSMENTS

Perform and record a standard arrangement from the jazz band repertoire including improvisation over the changes and form of the composition. Critique the performance using the established rubric previously. Perform and record an original composition in the jazz idiom. Perform the melody as written, and then improvise over the form. Enlist a piano player to provide an accompaniment.

1. The student will improvise and perform rhythmic and melodic variations in major and minor keys.



235


Write or arrange a composition for a small percussion ensemble, for example, one or two mallet instruments, snare drum, bass drum, and cymbals or mallet instruments and drum set. The arrangement should not be complex, but rather a simple melodic idea with minimal development, correctly notated. Include at least one meter change. (GT, T, DL5) Use one of the industry standard notation software programs, such as Finale or Silbelius, to write the score and parts. Thought initially time consuming, use of software will prove to be mushc more efficient for printing parts and making revisions. Experiment with using a software program that would serve as an accompaniment to a mallet performance. Write the accompaniment to be used in a live performance while you perform the melody on a mallet instrument. (T)

ASSESSMENTS

Compose a 32-measure composition for percussion ensemble. Have students in the class perform the piece, using the parts generated from the music writing software. If possible, record the performance from the computer program sequence onto a disc and compare this performance to the live performance from the students. How do these two versions differ?

2. The student will transcribe and perform music for percussion that incorporates technology.


Students will most likely need assistance getting started on a music software program. Assuming the school owns the program, the student may already be fluent in the program language. Finale has good online technical support and also comes with a program manual and operator’s guide, though it is preferable to learn such programs by actually using them.


Organizing musical ideas creatively. UNIT 3:

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UNIT DESCRIPTION



237

KEY QUESTION(S) ASSESSMENT OF KEY QUESTION(S)

Can I evaluate a percussion performance by comparing it to exemplary models? How do I set high artistic expectations for my peers?

Attend an area concert by the Baltimore Symphony Orchestra, Annapolis Symphony Orchestra, or US Naval Academy Band. List characteristics of a professional, exemplary concert. Critique your band or percussion ensemble and compare it with the professional performance. Engage in a class discussion to determine self-motivational practice techniques thatmight lead to high artistic levels. Seek input from private instructors and professional musicians, including your teacher.


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Evaluation Musical comparisons Articulation High artistic standards

Performance Competencies in Percussion Level 8 Making aesthetic judgments. UNIT 4:


ASSESSMENTS

1. The student will evaluate a percussion performance by comparing it to exemplary models.

Write a short review of both a professional band concert (such as the Army, or other military band organization) and a high school performance, preferably performing the same or similar compositions. Include the elements of music that were performed accurately and effectively, and use the established rubric to compare the two performances. Focus on sticking technique and posture, use of dynamics and adherence to

Spend time viewing videos or live performances by the Army Concert Band or Wind Ensemble and take note of the elements of music that comprise an exemplary performance. Include effective use of dynamics, sticking and mallet techniques, the use of rudiments, and overall balance between the percussion section and the rest of the ensemble. Observe how professional musicians listen to the entire ensemble in order to blend and balance. Percussionists must also listen and watch the conductor to ensure steady tempi, correct dynamics, and careful balance with every other section in the ensemble. Attend a high school band festival performance or view a video of your own band in performance. Use the identified elements to compare the high school performance with that of the professional ensemble. Use your comparisons to explain why the Army Band may have sounded better, and to suggest ways to improve the percussion performance at the high school level.


240


UNIT 4:


ASSESSMENTS

2. The student will articulate high artistic standards for ensemble performance.

Create a computer generated chart listing the characteristics and considerations required for an exemplary performance by a percussionist. Include a numerical list of the elements of music, but specifically address percussion and aspects of percussion performance, such as correct sticking and rolls, mallet technique, tempo and dynamic issues.

Based on the prior comparison activity, employ in your own performance what you learned from observing professional percussionists. When preparing for concerts and competitions, be aware of the elements that comprise a high artistic performance in the ensemble setting. Demonstrate correct posture, sticking and mallet technique. Listen for balance, and watch the conductor for changes in tempo, dynamics and balance between sections of the ensemble.


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UNIT DESCRIPTION

Percussion Level 9 (Grade 12) Unit 1 (MSDE Performance Outcome I): The student will perceive, perform, and respond to music

Perceiving, performing, and responding are fundamental to music. They are the processes through which music affects thought and emotion and provides opportunities for personal expression and satisfaction. A flexible instructional setting that allows for a balance of these is needed for a wholesome, rich, musical environment in the school. The approach is “total percussion.” Students will learn mallet instruments and techniques along with those for drumming. Students will have experiences with percussion music and instruments from around the world. In this unit students have advanced experiences in manipulating, caring for, and creating sounds on their instruments. They establish practice, learning, and performance habits that they will carry with them for a lifetime. The listening skills they develop are fundamental to other disciplines, as well as to music. Instruction usually takes place in classes of similar instruments and like abilities or in ensembles such as band, orchestra, or percussion ensembles. The use of instruments in this group setting requires cooperation and self-regulation. Unit activities address a variety of learning styles, including cooperative learning, kinesthetic, experiences, logical and sequential thinking, and critical analysis. This and the other three units are taught concurrently throughout the year. Perceiving, performing, listening, understanding cultural context, creating, and evaluating are interrelated and are best taught making connections natural to the art.

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Can I teach students how to care for their instruments? Can I perform all major and minor scales and arpeggios? How can I tell if I am sight-reading on grade level? Can I be a conductor? Can I hear the difference in interpretations?

KEY QUESTION(S)

Instruct younger students in the proper ways to care for school and personal instruments. Be able to cite, perform, and describe the circle of fifths. Be able to sight-read a level four piece of band literature and evaluate your sight-reading for mistakes. Using the full score, conduct an ensemble in playing a selected piece of band literature. Listen to the same composition performed by two different artists. Be able to verbalize any differences in interpretation and justify your preference for one style over the other.

ASSESSMENT

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Shared responsibilities 4 mallet techniques Major and minor scales Circle of fifths High artistic standards Music vocabulary Articulations Conducting cues Classical Romantic Contemporary

Responsibility Positioning Performing Practicing Memorization Conducting Composing

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Grade 12 students should coach all underclassmen in the proper care of the various instruments of the percussion section by modeling care of drum heads, proper maintenance of snare lug lubrication, snare replacements, proper care of mallet instruments, cymbal cleaning and other basic care techniques. (DL4) Inspect drum sticks to see that they are in good condition and are matching. Check correct pairing of mismatched sticks and for warping by rolling sticks on a flat surface. Discard mismatched and warped drum sticks. Review timpani tuning techniques by determining range of each of the drums, using a key to tune the head one lug at a time, and using a pitch source such as a pitch pipe or tuner to ensure accurate low and high pitches. Replace any tympani head that has dents. Even small dents will affect intonation. Maintain marching drums in a manner similar to that for timpani, making sure heads are intact, with no cracks or holes. Properly tune quads and multiple bass drums.

ASSESSMENTS Write a realistic, working checklist of items that need to be

inspected at least twice each academic year. Include all items mentioned in the activities section for this outcome. Include regular maintenance of drum heads, tympani tuning, drum stick condition, and cymbal cleaning. Create an inventory of all the major percussion instruments for regular inspections.

1. The student will present and coach others in proper instrument care and repair techniques.


Roy Burns Drum Method.


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Continue to self-evaluate posture and instrument positions. Refer to photographs and videos of professional musicians performing in orchestra, band, jazz ensembles, and other instances of exemplary posture and stick or mallet positions. (DL5, GT) Attend live concerts of other high school or college ensembles and identify percussionists with proper instrument positions, e.g., snare drums not too low, cymbal played at chest level, triangle held high for maximum projection. Refer to method books for proper drum set positioning and set-up. This can vary widely from percussionist to percussionist, according to the style of music being performed and the kind of equipment being used. Drum set players should generally sit with the back fairly straight and the drums and cymbals positioned in relation to the reach of the player.

ASSESSMENTS

Observe classmates in a regular band or orchestra rehearsal and note any problems with posture, instrument position or placement. Discuss with the percussion ensemble ways to improve slouching, to avoid bending too far over the instrument, and other related posture issues (i.e. tambourine held at the side of the body vs. up at the chest level).

2. The student will practice consistently high artistic standards for posture and position.



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Review and perform all major, minor and the chromatic scales on various keyboard percussion instruments, primarily the xylophone, marimba, and vibraphone. Demonstrate proper mallet technique and correct notes of the scale. (DL3) Describe the three types of minor scales, pure, melodic, and harmonic. Practice writing them on staff paper, notating the correct intervals and accidentals.

ASSESSMENTS Perform the two-octave major, minor and chromatic scales on a

keyboard instrument at a moderate but steady tempo. Demonstrate correct mallet strokes. Videotape and critique your scale performance for accuracy, steady tempo, and technique.

3. The student will perform and describe the chromatic, major, and minor scales for each keyboard instrument, using the full range.



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Continue to refine stick techniques for marching and concert snare drum. Review exercises from Stick Control by George Stone for improved sticking and various double stroke techniques. Review tympani rolls and stick placement on the tympani drum surface. Demonstrate cross sticking from one drum to another and three tympani technique. Perform double stops and practice playing and dampening tones as music dictates. Review keyboard mallet techniques including 3 and 4 mallet grips, highly advanced grips that will require specialized instruction. Demonstrate 2 mallet scales and arpeggios using 2 mallets and correct mallet crossing.

ASSESSMENTS

Perform selected band and orchestra literature on snare drum, timpani, or a mallet instrument. Have a classmate videotape the performance for critique by the class. The critique should focus primarily on sticking or mallet technique and proper stroke and stick height as dictated by desired dynamics. Watch for mallets or sticks that are too high.

4. The student will perform with refined stick and mallet technique on snare drum, tympani and mallet instruments.


Refer to these sources for help with sticking and mallet techniques: Stick Control, by George Stone; Instruction Course for Xylophone by George Hamilton Green.


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Continue to broaden musical vocabulary by studying unfamiliar music and identifying tempo markings, dynamic markings, and general music vocabulary, such as giusto, ma non troppo, segue, tranquillo, and lesser used tempo descriptors such as Stringendo, vivace, and vivo. A good source for quick reference is the Essential Dictionary of Music by Alfred Publishing Co. It is comprehensive and easy to use. Review all duple, triple, and compound meters and odd time signatures encountered in level IV and V band and orchestral literature. These should be familiar and well understood by this stage in the percussion student’s studies. Sight-read pieces from the Cirone book Portraits in Rhythm, exercise 26 on page 28. This is for only the most advanced snare drum percussionists. Study the rondo structural concept. Other pieces to study for changing meter are exercises 19, 21, and 23, which include both common and odd time signatures. For less advanced students, sight-read exercises from the NARD book.

ASSESSMENTS Write a short percussion piece using at least four dynamic markings,

two contrasting tempo markings (i.e. presto, largo), and at least two different time signatures. Perform the piece for the class and have the other students identify the most obvious musical symbols and features. Sight read a short piece and evaluate your performance, primarily on rhythmic accuracy and steady tempo, and secondly, on dynamics.

5. The student will identify, interpret through performance, and describe music terms, symbols, and structural features, in addition to demonstrating good sight reading skills.


Portraits in Rhythm by Cirone is an excellent study in rhythm, dynamics an structural form for snare drum. It is highly recommended for the advanced level student. NARD (National Association of Rudimental Drummers) is a valuable tool for various march rhythms with extensive use of rudiments throughout the exercises.


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Select a score from music in the grade IV or V level and study the parts to prepare to assist with the coaching that will occur in a small sectional rehearsal. Review the difficult parts with the band director for guidance in helping the other musicians to learn their parts. Review correct conducting patterns in the meter(s) required for the piece and review techniques for cueing various parts of the band or orchestra. Review proper use and grip of a baton, as well as arguments for and against use of a baton. Practice conducting the piece with a recording to become confident with the cueing, meter changes, tempo and dynamic expressions. (DL4, GT)

ASSESSMENTS When conducting the ensemble, video tape the performance

focusing on the conducting. Evaluate conducting techniques, use of patterns and including cuing. Determine how to improve overall performance by using more non-verbal conducting cues to control dynamics, tempo and articulation (legato conducting vs. staccato).

6. The student will coach and conduct an ensemble performance using a full score.


Students, at some point, should be given the opportunity to conduct small ensemble and full band/orchestral performances, most likely in a rehearsal situation, but in some cases, such as with drum majors, they will conduct public performances as well.


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See Cirone Portraits in Rhythm for highly unusual meters and changing meter. Practice with other students in your section, and discuss possible performance venues. Refer to Stravinsky’s Soldier’s March (L’Histoire du Soldat) and his other works that explore multiple meter changes, including 2/4, 3/8, 6/8, and others.

ASSESSMENTS Perform part of Stravinsky’s Soldier’s March using correct

meter, tempo and technique, on the multiple percussion instruments required. Evaluate your performance, based on ability to observe and describe the various time signatures.

7. The student will perform and describe music in mixed or unusual meters.



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Listen to two performances of the same work (for example, the Baltimore Symphony’s recording of Beethoven’s Third Symphony vs. the Philadelphia Symphony’s recording of the same piece). Make comparisons based on the following elements:

1. Tempo 2. Dynamics 3. Articulations 4. Balance between sections, e.g., percussion vs. brass 5. Overall expression

Describe how the conductor interprets many of these elements through conducting technique (non-verbal cues). Now compare two recordings of a jazz standard, such as In the Mood, or Satin Doll and compare them, using the above criteria. Discuss how the two jazz interpretations vary more greatly then do those in the classical genre.

ASSESSMENTS Write a short comparison and contrast of two works. Analyze

and describe how the interpretations are the same and how they differ according to the elements listed in the activities. Discuss the role of the band or orchestra conductor and how he or she can influence interpretation.

8. The student will analyze and describe differences in interpretation of different performances of the same musical selection.



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Perform various percussion ensemble pieces for either percussion ensemble or marching band performances. These pieces should be at a grade level IV to V, and should be performed with rhythmic accuracy, solid tempi, and dynamics as indicated by the composer or arranger. Your band director will determine appropriate performance pieces that will challenge and enrich your musical experience. Participate in orchestra and band performances, emphasizing all the techniques and elements required for an exemplary performance and to embellish the melodic, harmonic, and tonal qualities of the ensemble.

ASSESSMENTS Video-and audio-tape performers to be evaluated. Evaluate the

performance on the previously developed rubric system (4-1) in terms of the standard elements of musical performance, including: tempo, rhythmic and melodic accuracy, dynamics, articulation, expression and overall feel of the group performance. Focus your evaluation on the percussion.

9. The student will read and perform solo, ensemble, and orchestra and band literature with high artistic standards for expression and accuracy.



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Students will actively participate in performances within the band, orchestra, jazz band and marching band to experience a wide variety of styles. The jazz band performance may be on drum set, accessories or Latin instruments, such as the congas, or the student may perform on a keyboard instrument such as the vibes in jazz band or marimba in the orchestra. The student should attempt to perform in as many ensembles as possible to become fluent in as many styles of music as possible. Drum set playing can also occur in the regular concert band setting, or even in the orchestra (more contemporary composers often use drum set within the structure of a modern piece, or one influence by the jazz idiom.

ASSESSMENTS Write a list of all the styles of music you performed during the

senior year. Identify non-western styles, such as Latin influenced rhythms in jazz band or eastern modalities in keyboard music representing China or Indonesia. Identify the compositions that were inspired by folk or popular music of the era in which they were written.

10. The student will perform in an ensemble or as a soloist, music representing a variety of styles, cultures, and genres.




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UNIT DESCRIPTION



Unit 2 provides students with opportunities to demonstrate an understanding of the impact of percussion on our culture, to investigate and describe a history of the instruments, and to explore music written for percussionists. Students will be engaged in performing, organizing, describing, interpreting, and communicating essential aspects of music history and human experience, using the language, skills, methods, and materials of music. In this unit, an attempt has been made to connect the application of music as an essential aspect of history and human experience to the student’s own life and experience. The music chosen and the historical perspectives discussed encompass a wide variety of musical styles, genres, and cultures. The materials, activities, and instructional strategies apply to a variety of learning styles and abilities. Music performance, analysis, and reading and writing activities are infused throughout. Decision-making, problem solving, investigation, and invention are among the processes in which students will be actively involved as they learn.

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Where can I perform? Can I perform music from a variety of time periods?

KEY QUESTION(S)

Explore and follow through on different places for performance opportunities such as: School bulletin board Entertainment section of the newspaper Professional musicians Area organizations Churches and synagogues Demonstrate an understanding of the role of percussion in music from the Classical, Romantic, and Contemporary periods. Find opportunities to practice and perform with ensembles that play this music.

ASSESSMENT

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Performance opportunities Western and non-Western cultures Classical Romantic Contemporary


MSPP = Maryland School Performance Program, DL = Dimension of Learning, M = Multicultural, ID = Inter-Disciplinary, C = Career Education, GT = Gifted/Highly Able, T = Technology, SS = Study Skills, LM = Library Media, AS = Adaptive Strategies, SAT = Scholastic Assessment Test Notes to Teacher:

ASSESSMENTS

In addition to performing in the school ensembles, make opportunities to perform with or attend performances by several community-based organizations, such local drum corps, drum circles, popular or rock bands, community concert bands and orchestras, and other multi-cultural musical performances such as the Balinese Gamelan.

ASSESSMENTS Attend performances involving percussion that occur outside

the school. Maintain a record of concerts attended, including your observations about the differing roles of percussionists in the various ensembles, e.g., jazz band and drum corps.

1. The student will explore and recruit performance opportunities outside the classroom.



Performance Competencies in Percussion Level 9 UNIT 2: Understanding music as and essential aspect of history and human development.

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Review literature from concert band, orchestra, jazz band and marching band. Observe how percussion parts are written differently depending on the period and style. Example:

1. Classical music uses primarily tympani and limited auxiliary percussion.

2. Romantic music uses more percussion (gong, more snare drum, bass drum, and auxiliary percussion).

3. Marching band arrangements have much more percussion written specifically for battery percussion instruments, and percussion pit instruments.

4. Jazz bands use primarily drum set, along with Latin conga, auxiliary and mallet instruments such as vibes.

Be sure to note specific examples of percussion parts for each style and period of music. Study a non-western style of music. If possible, participate by performing with non-western percussion, such as Indian Classical music and the tabla drum, West African percussion, Latin rhythms to apply in jazz band – beats such as the samba, mambo, and bossa nova. (M) Analyze western and non-western styles of music and identify similarities and differences in the use of percussion (Classical music from the European tradition vs. Indian Classical music). Is percussion more important in western European music, or less important? How does the use of percussion affect the performance? (M)

ASSESSMENTS Present a written or oral review comparing two different styles

or periods of music. Identify the main percussive characteristics of each.

2. The student will analyze and perform music for percussion from the Classical, Romantic, and Contemporary periods in music.



Performance Competencies in Percussion Level 9 UNIT 2: Understanding music as and essential aspect of history and human development.

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UNIT DESCRIPTION



This unit provides students with the learning tools necessary to creatively organize musical ideas and sounds. Unit 3 offers students the opportunity to explore musical improvisations, using traditional and original techniques and to arrange and compose, using appropriate notation and forms. Students will be actively engaged in performing, organizing, describing, interpreting, evaluating, and communicating the creative organization of musical ideas and sounds, using the language, skills, methods, and materials of music. In this unit, students will continue to explore the art of improvisation, using a variety of styles including jazz and contemporary music. Students will be actively engaged in the creative habits of mind as they acquire, extend, refine, and engage knowledge in a meaningful way. Finally, creativity, personal decision-making, and real life connections will be encouraged as students are asked to create their own solutions to creativity and improvisation questions.

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KEY QUESTION(S)

Can I improvise on mallet instruments and drum set? Can I create music using advanced percussion techniques?

Form a small ensemble for the express purpose of improvisation. Practice with your group and perform for an audience. Compose, notate, and perform 32 measures using advanced percussion techniques.

ASSESSMENT

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Improvisation Expressive elements




ASSESSMENTS

1. The student will improvise original melodies and rhythms in a variety of styles over given chord progressions.

Mallet students will perform an improvised solo over a familiar pop or jazz standard selected by the band director. Use various two mallet techniques, such as double stops and rolls. Drum set students will perform various fills and short solo ideas within the context of a jazz, pop or rock performance with an ensemble or with a recorded accompaniment.

See Jamie Abersol “Music Minus One” and similar recordings that are quite helpful for teaching students how to improvise, listen for chord changes, and learn the modal scales needed to be a fluent improviser.

You will be given several basic chord changes (I, IV, V, I) and some variations on this blues style. On a mallet instrument, practice performing melodies that fit into the chord being played. Because this is an advanced technique, you must be familiar with the key and know the avoid notes and the arpeggio on each scale degree of the scale. Review double stops and harmonic roll technique. (DL5, GT) Drum set students will develop various rhythmic styles used to accompany music in the jazz, blues, rock or contemporary idioms. Review basic shuffle and swing and Latin time keeping, in addition to playing the rhythmic figure of any particular melodic line that is being performed by the lead or solo instrument(s). Swing rhythm should also be practiced at various tempi (up swing, medium swing, etc.) Drum set students will also refine solo fills and extended solo techniques. This may require advanced study, either privately or with the band director. Books and videos that help with fills ideas and solo concepts are:

1. Roy Burns Advanced Rock and Roll Drumming 2. Ron Fink 3. Terry Bozzio Melodic Drumming and the Ostinato

Extended solos, although rare, offer the percussionist playing non-melody instruments, an unstructured opportunity to expand rhythmic, harmonic and melodic ideas using various dynamics and rudimental techniques. The drummer also explores aspects of form, using certain rhythmic motives as themes that can be developed and recapitulated to make the solo cohesive. (DL5, GT)

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ASSESSMENTS

2. The student will create and perform compositions which require advanced percussion techniques.

Complete one composition of at least 32 measures with at least 2 meter changes. Make sure your work includes all of the suggested instrumentation noted in the activities section of the outcome. Include multiple percussion instruments, at least one of which is a mallet instrument

Perform compositions with the concert band, orchestra, marching band and school jazz ensemble, using various advanced techniques, as described in the activities that follow. Mallet percussion players should be expected to perform jazz and classical compositions using 3 and 4 mallet technique. Review techniques used to play chimes, glockenspiel, marimba, xylophone and vibes. Perform compositions that include 20th century composers such as Copeland, Stravinsky, Varese, Zappa, and similar composers who employ multiple mallet and atonal percussion instruments. Experiment with writing compositions for mallet, various percussion instruments and or drum set, and at least three other instruments, such as flute and at least one transposing instrument such as clarinet, saxophone, or trumpet. Create a simple melody using various rhythms in at least two meters. The original melody should be no longer than 32 measures in length, but may later be developed into a longer piece. Tympani techniques should include changing pitch at least once with the use of relative pitch, double stops and staccato sticking. Advanced techniques on the drum set would include: odd time signatures, the use of double bass drum techniques, or double pedal, the use of polyrhythmic figures, for example, 3 against 2 beats between feet and hands.


UNIT 3: Organizing musical ideas and sounds creatively. Performance Competencies in Percussion Level 9

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UNIT DESCRIPTION


judgments. This unit provides percussion students with the learning tools and knowledge to makes aesthetic judgments. Unit 4 offers students the opportunity to evaluate selected musical compositions, using established criteria and to formulate, apply, and communicate criteria for evaluating performances. Students will evaluate a performance by comparing it to similar or exemplary models. Students will formulate and apply criteria to evaluate performances, as well as compositional practices. Students are asked to self-regulate their behavior to ensure an atmosphere in which learning and creativity can flourish. The Dimensions of Learning provide the framework for the activities in this unit, particularly Dimension Five. Students are asked to utilize the productive habits of mind, as they plan, evaluate, and engage in critical and creative thinking. It is very important for students to recognize and value the productive habits of mind and their connection to successful music understanding and performance.

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Can I create a rubric to evaluate artistic and aesthetic qualities of a solo or group performance? How can I show high artistic standards in my own playing?

Utilize video technology to create an evaluative rubric. Practice and audition for All-County and All-State events.


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Artistic qualities Aesthetics Music performance Rubrics


Performance Competencies in Percussion Level 9 Making aesthetic judgments. UNIT 4:


ASSESSMENTS

1. The student will evaluate the artistic and aesthetic qualities of solo and group performances.

Develop a rubric to be used to evaluate a performance by you and your classmates. If it is not possible to perform as a percussion ensemble, focus on the percussion section in the band. Use video and audio recordings to observe the performance, rate each element category and give the performance an overall rating. Be sure to consider all aspects of the performance, including visual aspects of posture and instrumental position.

Review and refine a rubric to determine the quality of a particular performance, using previously discussed elements of music, which include: Melodic accuracy and intonation (timpani) Rhythmic accuracy Correct use of dynamics Correct use of articulation markings Observing all tempo markings Correct technique (rolls, double stroke and single, rudiments, stick control) Visual aspects of performance (posture, instrument position) Discuss the importance of each of these elements to a high quality performance. Are there extra-musical elements not listed above that may affect the performance? Are visual aspects important to the sound and overall performance quality? Decide on a rubric to rate a performance. Though subjectivity is a natural aspect of evaluation, it is very important to give serious consideration to each of the major elements of music identified above. As suggested in previous level outcomes, the rubric should be numerical and as objective as possible. Ex. 4 = all elements were appropriately employed; a flawless performance! 3 = most elements were employed; a few mistakes were made 2 = some elements were employed; mistakes were evident 1 = most elements need improvement; performance not meeting standards


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UNIT 4:


ASSESSMENTS

2. The student will articulate and practice high artistic standards for solo and ensemble performance.

Prepare a video recording of a performance of a particular piece of music early in the year. Evaluate the performance, using the objective rubric. Video the same piece later in the year and perform an evaluation. Compare the two performances, in terms of artistic standards and note the area of improvements and areas that still need work in order to meet the highest artistic standards for grade 12 performances.

Perform solo and ensemble works throughout the year in some or all of the following ensembles: Concert Band, Orchestra, Marching Band, Percussion Ensemble, Jazz Band, Pit Orchestra, and freelance playing outside of school, such as rock/pop/jazz band. Adhere to consistently high musical standards, outlined in Outcome #1, and continually to evaluate and refine your own performance on a given percussion instrument. Use the rubric system as an aide for determining aspects of performance to be improved. Example: you played accurate rhythms but failed to observe dynamics and dynamic changes. Evaluate the entire ensemble performance for overall musicality and aesthetics. Did the ensemble perform the music as the composer intended the music to be performed? In the case of a jazz performance, evaluate the musicians’ use of improvisation, phrasing, and overall feel for the particular style, such as Latin, swing, rock and funk styles.


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Goodman, S. (1948). Modern method for tympani. Milsl Music. Grolimund, J. M. (1957). How to promote your band. Elkhart, IL: H & A Selmer, Inc. Grosso, C. (2000). Hand drumming ensembles, Van Nuys, CA: Alfred Publishing Co., Inc. Grover, N. (1997). The art of tambourine and triangle playing, Milwaukee, WI: Meredith Music Publications. Harr, H. (1968). Drum method. Chicago, IL: M. M. Cole Publishing Co. Heim, A. (1981). Musigraphs. Chicago, IL: G.I.A. Publications, Inc. Hoffer, C. (1989). The understanding of music. Belmont: Wadsworth Publishing Company. Hood, M. (1982) The ethnomusicologist. Kent, Ohio: Kent State University Press. Janzen, E. (1985). Band director's survival guide. West Nyack, NY: Parker Publishing Company. Lautzenheiser, T., et al. (2000). Essential elements 2000. Milwaukee, WI: Hal Leonard Corporation. Ludwig, W.F. (1962). America’s NARD drum solos. Chicago, IL: Ludwig Music Publishing Co. Mueller, K. (1982). Complete guide to the maintenance and repair of band instruments. West Nyack, NY: Parker Publishing Company, Inc. Navarre, R. (2001). Instrumental music teacher’s survival kit. West Nyack, NY: Parker Publishing Company, Inc. Palisca, C. (ed). (1988). Norton anthology of western music, volume 1 and volume 2. New York: W. W. Norton and Company. Pastelak, N. (1996). School of repair. Unpublished paper. Pearson, B. (1993). Standard of excellence. San Diego, CA: Neil A. Kjos Music Company.

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Peterson, L. (1991). Essential elements band series, teacher resource kit. Milwaukee, WI: Hal Leonard Publishing Corporation. Podemski, B. (1968). Standard snare drum method. Melville: Belwin Mills Publishing Company. Rush, H. (1966). Hal Leonard elementary band method. Milwaukee, WI: Hal Leonard Publishing Corporation. Sharkey, B. (1994). The Sharkey method school of drumming. Unpublished paper. Titon, J. (1984) Worlds of Music: An introduction to the music of the world’s peoples. New York, NY: Schirmer Books Wallace, D. (2005). Percussion with class. Fort Lauderdale, FL: The FJH Music Company. Werntz, R. (1995). Ten lessons for snare drum. Unpublished paper.

Bibliography of Electronic References

Example: An article in an Online periodical Last name, 1stIn. (year, month posted). Title of article [length of document]. Publication [Online], location. Available:

www.WebAddress.etc…. Palfrey, A. (1996, January). Choice of mates in identical twins [12 paragraphs]. Modern Psychology [Online serial], 4(1).

Available: http://www.liasu.edu/modpsy/palfry4(1).htm Example: A source on the World Wide Web Last name, 1stIn. (year, month posted). Title of article [Online]. Available: www.WebAddress.etc…. Leppik, P. (1996, January 21). The two rules of Internet security [Online]. Available: http://www.thinck.com/insec.html ____________________________________________________________________________________________________________

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Percussion curriculum

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