Course Profile Music, Grade 10, Open, Public

Unit 1: Performance

Time: 60 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

Unit Developers

Sharon Fitzsimmins, Simcoe County DSB

John Love, Toronto DSB

Jim Palmer, Upper Canada DSB

John Phillips, York Region DSB

Caroline Spearing, Toronto DSB

Unit Description

Students engage in activities that provide the opportunity to experience many of the overall and specific expectations through performance. Since many of the course expectations are intended to be developed in a spiral fashion as the grades progress, activities initiated in Grade 9 should be continued (where possible) with the intent of elevating the level of performance as well as developing a more thorough understanding of the related knowledge and skills. There will be an increased emphasis on small ensemble activities and solo performance for the purpose of developing a more detailed awareness of the aesthetic principles of performance. Students are asked to make increasingly complex decisions that involve the elements of music in solo, small ensemble, and large ensemble settings.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations: THV.01, THV.02, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.02, ANV.03, ANV.05.

Specific Expectations: TH1.01, TH1.02, TH1.03, TH1.04, TH1.07, TH1.09,TH1.10, CR1.01-CR1.12, CR2.01, CR2.02, CR2.03, CR2.04, CR2.06, AN1.04, AN2.01, AN2.02, AN2.03, AN2.04, AN2.05, AN2.06.

Activity Titles (Time + Sequence)

Activity 1	In the Mood (Warm-up)	600 minutes
Activity 2	With a Little Help from My Friends	900 minutes
Activity 3	On My Own	600 minutes
Activity 4	Come Together	1500 minutes

Prior Knowledge Required

· Successful completion of Grade 8 Music as prescribed by The Ontario Curriculum, Grades 1-8, The Arts, 1998.

Unit Planning Notes

· The teaching of the activities requires a facility with enough space for large ensemble performance as well as break out rooms for small ensemble rehearsals. Other materials such as a stereo system, a variety of ensemble repertoire for small and large groups, and other resources consistent with delivery of an instrumental or vocal program ensure the success of this unit.

· Activities 1 and 4 are to be delivered throughout the duration of the course as a daily routine that focusses upon the development of tone quality, intonation, rhythm and pitch accuracy, articulation, and musicality. Students develop their own warm-up routines for use in the large ensemble.

· Activities 2 and 3 focus on more independent music development in the form of solo and small group activities. Each student performs his/her own solo written in Unit 3: Theory and Composition.

Teaching/Learning Strategies

Strategies include: teacher-directed instruction, student-centred activities, listening, problem solving, collaborative learning, modelling, drill, enrichment, application of previously learned concepts to new situations, review, decision making, and creativity.

Assessment and Evaluation

Self-, peer, and teacher assessment/evaluation, checklists, teacher observation and feedback, rubric, reflective journal writing, tracking forms

Resources

Selected technique or study books, vocalize collections, folk-song collections, or a variety of solos suitable for this grade level

Variety of small and large ensemble repertoire

A summary of resources is included (Appendix P-17)

Activity 1: In the Mood (Warm-up)

Time: 10 minutes per class for the duration of the course

Description

Students explore a variety of exercises that develop technique, tone, and musicianship. Participating in sound warm-ups ensures that students are relaxed, have good posture, and can perform to the best of their abilities. It is important that the daily warm-up be closely linked to all other performance activities in order to reinforce the ongoing development of good musicianship, tone quality, breath control, facility, and good intonation.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, dynamics, harmony, texture, and form);

CRV.01 – play or sing technical exercises and diverse repertoire that reflect the theory expectations at this grade level (including improvisation and their own creations when appropriate);

CRV.02 – make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals).

Specific Expectations

TH1.05 – identify and define the degrees of a scale (i.e., tonic, supertonic, mediant, subdominant, dominant, submediant, leading note);

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glissando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR1.11 – play or sing with detailed attention to the subtitles of balance and blend;

CR2.03 – make effective creative choices in performance within musical parametres (e.g., call and response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulations, and tempi to existing music);

AN2.01 – identify and correct improper postures and/or performance practices that may have negative musical effects and/or cause physical injuries;

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.04 – demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the cultural context).

Planning Notes

· Using the sample warm-up exercises or some of a similar nature, the teacher develops a daily program of sequential material that continues to develop proper performance habits.

· The teacher needs to provide sufficient copies of these exercises for all students in the class.

· In the instrumental classes, the teacher transposes for the specific key of the various instruments as required.

· As they progress through the exercises, teachers and students listen to, analyse, discuss, and correct their performance to ensure that the selected concepts are being correctly understood.

· The technical demands of these exercises should be increased as students demonstrate mastery of the skills and knowledge.

· In the latter stages of the course, time is required each day for students to present their warm-up routine.

· All students, regardless of ability level, are encouraged to be actively engaged in leading the exercises used.

Prior Knowledge Required

· Students must be able to sing or play an instrument at the appropriate grade level.

Teaching/Learning Strategies

Once students have completed all of these exercises, the teacher should develop an activity where students create their “personal daily warm-up routine”. This should include exercises from the warm-up worksheets that meet the individual needs of the student. As well, students should include at least one additional warm-up exercise that they have created. This warm-up routine should be presented to the class with the individual students serving as group leaders.

Band Warm-up

· It is important in all of these exercises that the teacher integrate the percussion students into the activity. They can participate in all aspects by performing on a keyboard instrument, practising their own rudiments, or providing a rhythmic pulse to assist the class in performing the exercises.

· These exercises should be built upon sequentially and, once all have been learned, may be performed in any order as determined by the teacher. Breath control exercises should be developed on an ongoing basis.

The following exercises refer to Appendix P-1

Exercise One: Breath Control

Students should be aware of the point of support of the air stream. In order to facilitate this, they are encouraged to breathe slowly through their noses, hold the breath, then take in some more, through either the mouth or nose. This breath is held for a short duration, then released slowly. The process is repeated several times and, eventually, the exhalation uses a hissing sound “ssss” in order for students and teacher to hear the consistency of the release of air. Eventually, students change the “ssss” to a silent release and feel the control from the diaphragm.

Exercise Two: Buzzing for Success – line 1

By having the brass players in a class buzz on their mouthpiece early in the lesson, they develop a more focussed and in-tune sound when they add it to their instrument. Have the class play line 1 of the warm-up sheet (P-1) with the woodwinds playing on their instrument and the brass on their mouthpiece. It is important to play this line slowly and with attention to tonal clarity throughout the entire exercise.

Exercise Three: Range Extension Downward – line 2

Again, this exercise is designed to help brass players develop range extension, an important part of their playing. Developing the lower notes of their instrument in order to build a secure sound in both the lower and upper register is important at this grade level. Additionally, line 2 of the warm-up sheet will help all members of the class develop flexibility and facility on their instrument.

Exercise Four: Lip Flexibility – line 3

This exercise develops facility in both the woodwind and brass instruments. Students should be encouraged to perform these exercises slowly, evenly, and with a good tone. The teacher may wish to lead this exercise in a call response manner or with one measure of rest between each new step of the descending chromatic pattern. Additionally, students may be encouraged to lead the warm-up exercise in order to develop student leadership.

Exercise Five: Chromatic Drill – line 4

This exercise challenges all members of the class to perform with dexterity and control. The teacher may wish to teach this exercise in stages and build upon students’ ability as they are able to negotiate a longer duration of the chromatic pattern.

Exercise Six: Long Tones – line 5

As in line one, this exercise develops breath control. Teachers may wish to increase the tempo in order to further develop facility in all instruments. It is also possible to perform this exercise with half of the class sustaining the concert ‘F’ as a unison pitch reference while the others descend chromatically. This facilitates an aural connection with the theory and composition activity requiring students to identify various chromatic intervals.

Exercise Seven: Extending Range – line 6

This exercise takes students over a broader range while continuing to develop good tone and pitch accuracy

Exercise Eight: Lip Slurs continued – line 7

This exercise helps students to pratice lip slurs to develop flexibility and focus. Brass players are encouraged to try these on their mouthpiece as well.

Exercise Nine: Flexibility – line 8

All instruments extend the flexibility demands in this exercise. Continued attention to tone is encouraged. Tempo should be increased as students are more capable.

Exercise Ten: Call and Response

As part of the warm-up, the teacher should frequently use a call and response methodology to challenge students’ aural memory and develop instrumental or vocal facility. Using patterns of a diatonic scale (preferably one being used elsewhere in the lesson), the teacher performs one-bar patterns of varying rhythmic and melodic scope with students responding accordingly. This can be extended into a creative activity where the students are encouraged to create and perform their personal patterns with their classmates responding. This should happen spontaneously and therefore serve in part as an improvisational activity. Additionally, this exercise can be extended to be a focus activity where students follow and respond to hand signs or signals and/or numbered scale patterns on the black board as indicated by the students or the teacher.

Exercise Eleven: Thinking Exercise (Appendix P-3)

This warm-up routine helps to develop a secure inner pulse and strong ensemble uniformity. This exercise also reinforces rhythmic breathing. Using the scales that have been written in the scale writing unit of this Course Profile, students perform each one in a pattern as noted in Appendix P-3. The scale is performed with the first note played as a single eighth note, followed by a rest through the remaining duration of the measure. The next measure begins with two eighth notes performed on the first beat and the remainder of the measure is a rest. Continue this way until reaching the top tonic note and returning through the entire scale. Percussion students, a metronome, or an electronic drum machine may be used to provide a rhythmic subdivision of eighth notes. Once students have achieved a competent level of success on this exercise, you may remove the pulse and have students perform the scale “feeling” the subdivision.

Choral Warm-up

· A mental warm-up awakens the mind for the rehearsal. By creating mental images/stories, the students are more receptive and open to improving vocally and to new concepts and activities (e.g., Students pretend that they are waking up in the morning to discover that the alarm has not gone off. They are late for school, yet they must get dressed, eat breakfast, gather up books, run for the bus, and breathlessly explain to their homeroom teacher why they are late).

· All choral warm-ups should begin with a physical stretching and body warm-up. They should be performed while standing in a relaxed position, and varied from day to day. Arm stretches, shoulder rolls, neck stretches, facial massage, and yawning are all effective examples.

· Proper posture is essential for good singing and should be established during the warm-up. Feet set a shoulder-width apart with weight evenly distributed, an upright body with shoulders back and arms held closely at the sides can be effectively modelled by the teacher. When the students are allowed to sit following the warm-up, the body frame established during the warm-up should be preserved.

· It is important that proper breathing techniques be incorporated into the warm-up routine. Students should breathe deeply, keeping shoulders down and relaxed. Exhaling in a hiss or in a steady stream can develop the habit of always using good breath support.

· The first warm-ups in a choral routine should involve “placing the sound in the choral mask”. Warm-ups that involve humming, singing on an “NG” will all be effective in doing this. When students do open the sound to a vowel they should be encouraged to keep the sound placement the same as when humming.

· As the vocal warm-up moves from placing the sound it is essential that students concentrate on building resonance in the voice. Concepts such as “building a dome on your head”, “singing through a unicorn horn on your forehead”, “singing through your eyes”, and “spinning the sound out through your forehead” are all good analogies and students must be reminded of them constantly.

· A good progression of vocal warm-ups is:

· placing the sound;

· warming the voice in the middle range;

· increasing range both up and down;

· building flexibility for fast and easy movement;

· varying the style of the warm-up to include staccato and legato singing.

String Warm-up

· A string warm-up should begin with body stretching and flexing exercises as in the choral warm-ups. These will relax the body and release tension before any playing begins.

· Proper posture is essential for good playing and should be established during the warm-up. An erect posture, with the instruments held properly, relaxed bow hands and a curved wrist and fingers in the left hand are all important elements, and students should be encouraged to pay attention to these during the warm-up.

· The following scales are excellent for warming up string classes, and may be performed in one or two octaves, if possible: G major, D major, A major, and F major.

· The warm-up scales may be performed first in long bows in whole notes, half notes and slow quarter notes. While performing these students should be encouraged to:

· keep the bow straight;

· use even bow speed and pressure;

· maintain a proper bow hand;

· maintain a good left hand position;

· use proper bow distribution when dividing into half and quarter notes.

· Bow patterns are essential during a string warm-up. The following are examples that may be used:

· Open bow circles are interesting and useful additions to the warm-up routine. Students play from one open string to the next and back again, and this is repeated as desired. (e.g., G to D to G to D, etc.) The warm-up can be performed with single bows for each note, or by slurring two notes in one bow. Students should be encouraged to keep the bow arm free, to keep the shoulders down and circle with the elbow. Students should think of playing as circles: circles with the left hand between the thumb and middle finger, circles with the right hand, again between the thumb and the first or second finger, and with the right elbow.

There are many excellent string warm-ups that can be found in published sources. See Resource List, Appendix P-17.

Assessment/Evaluation Techniques

The teacher observes success and understanding of students in call and response activities and provide appropriate feedback when necessary.

Accommodations

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

· As an extension, the teacher may have students perform additional scales, e.g., chromatic, natural minor, or extended range.

Appendices

Appendix P-1 – Basic Warm-ups I

Appendix P-2 – Basic Warm-ups II

Appendix P-3 – Thinking Exercise

Activity 2: With a Little Help from My Friends

Time: 900 minutes

Description

Exercise One - Concert Time! (180 minutes)

This is a single-period exercise in small ensemble performance that can take place three times during the course. Working in small ensembles, students choose a short program of selections from their existing materials, e.g., studies, warm-ups, method books, repertoire, etc. Groups rehearse their program, engaging in peer listening and feedback. Groups then perform their program for the class.

Exercise Two - Duo Decimo (240 minutes)

Using the supplied worksheet, students compose and perform a duet.

Exercise Three - With My Friends (240 minutes)

Students prepare and perform in a traditional chamber ensemble. During the rehearsal process, students keep a rehearsal log where they chart their progress, discuss and project on methods for improvement, the participation of all ensemble members, and problem-solving strategies.

Exercise Four - “This One Is Not Like the Others!” (240 minutes)

Working from an existing folk song or similar piece of sheet music, students work in small ensembles to arrange and transpose the work for their ensemble. They then rehearse and perform their finished product.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 – Read and understand musical notation;

CRV.02 – Make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend).

Specific Expectations

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glisando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct dynamic while maintaining good tone quality);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR1.11 – play or sing with detailed attention to the subtleties of balance and blend;

CR2.01 – demonstrate an understanding of simple homophonic composition (e.g., compose a melody with a simple triad accompaniment) with a variety of media;

CR2.02 – demonstrate an understanding of arranging and transposing by adapting an existing polyphonic work of at least three parts for a small ensemble (e.g., four part chorale for brass, woodwinds, or strings; two voices and midi);

CR2.03 – make effective creative choices in performance within the musical parameters

(e.g., call and response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulation, and tempi to existing music);

CR2.04 – make artistic decisions about interpretive aspects of performance in individual and groups situations (e.g., articulation, staccato in different styles, straight versus swing eighths, dynamics, solo versus accompaniment);

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress;

AN2.05 – describe the distinctive nature of participating in individual and group musical performances for a variety of audiences (e.g., peers, community, teacher).

Planning Notes

Exercise One - Concert Time!

· A variety of class repertoire is required.

· This exercise takes place three times over the course of a school year (60 minutes per activity). The variety of repertoire and range of difficulty should increase as the course progresses.

Exercise Two - Duo Decimos

· The teacher provides a duet worksheet for each student (Appendix P-4). For band classes, the worksheets have been transposed accordingly.

· Time and practice space for the groups to rehearse their compositions is required. The accompaniments can be rehearsed as a full class first to help students establish the tonality.

· The teacher may wish to record the final performances to create a class archival copy for future reference.

Exercise Three - “With My Friends”

· The teacher selects a variety of traditional ensemble/chamber works (e.g., brass quintet, flute trio, string quartet, vocal trio, woodwind quartet, etc.) and divides the class into these ensemble groupings.

· The teacher provides a With My Friends Progress Log (P-7) and a With My Friends Evaluation (P-8) for each ensemble.

Exercise Four - “This One Is Not Like the Others!”

· The teacher selects a variety of Canadian folk songs (or similar repertoire).

· The teacher provides a This One Is Not Like the Others! Peer Evaluation sheet (P-5) and a copy of the This One Is Not Like the Others Checklist (P-6) for each student.

Prior Knowledge Required

· successful completion of Grade 8 Music as prescribed by The Ontario Curriculum, Grades 1-8, The Arts, 1998.

· knowledge of the elements of music

· ablility to perform within an octave in the key of B flat concert key (Exercise Two)

· proper breath support

· aural concept of the characteristic tone

· initiation and release of the tone

· articulation

· aural concept and understanding of intonation, good tone production, balance and blend

· knowledge of transposition (Exercise 3)

Teaching/Learning Strategies

Exercise One - Concert Time!

1. The teacher divides the class into heterogeneous groups of three to five representing a range of instruments/voicings.

2. Students choose a program of three short pieces from their current class repertoire. It could be taken from method books, warm-ups, short selections, or other appropriate sources.

· Optional activity: Students may choose a name for their ensemble which includes the initials of the group members, and reflects the choice or repertoire.

3. Students rehearse their program for 20 to 30 minutes, encouraging each other and making suggestions for improvement.

4. The teacher encourages active listening and attention to balance, blend, and intonation.

5. During the last part of the period, student groups introduce and perform their repertoire.

6. Students complete a reflective journal entry, commenting on the choice of repertoire, the rehearsal and refinement process, and the performance.

Exercise Two - Duo Decimo

1. The class performs the model given on the worksheet (Appendix P-4) to experience the process of performing a two-part composition.

2. Each part of the model example should be performed separately so that students understand what is required.

3. Students are given class time to compose their own melody to the accompaniment using the guide notes and the specified rhythmic values.

4. Students are given time to practise, with a partner or in small groups, these two-part compositions.

5. Students share their work with their peers.

Exercise Three – “With My Friends”

1. The teacher divides the class into traditional ensemble/chamber groups (e.g., brass quintet, flute trio, string quartet, vocal trio, woodwind quartet, etc.).

2. The teacher provides each group with some works for small ensembles; each group chooses two to perform.

3. Students have six 40-minute sessions to choose their two ensembles and rehearse them for performance.

4. Each ensemble completes the With My Friends Progress Log (P-7) at each rehearsal, which will be handed in at their performance.

5. The teacher evaluates the ensemble using the With My Friends Evaluation (P-8).

Exercise Four -“This One Is Not Like the Others!”

1. The teacher divides the class into heterogeneous groups of four or five representing a range of instruments/voicings.

2. Each group chooses one of the folk songs from those provided by the teacher.

3. Students arrange their folk songs into three different parts and rehearse their arrangement.

4. Additional parts may be added (e.g., a drum part, a vocal part, or another sound, such as, clapping, snapping, stamping, etc.).

5. Students have six 40-minute sessions to arrange and rehearse this folk song. Students refer to This One Is Not Like the Others! Checklist (P-6) as they prepare their performances.

6. Students write out a score for the ensemble and separate parts for all members.

7. The ensembles perform their folk song arrangement for the class. The teacher evaluates the written score and parts using the This One Is Not Like the Others! Checklist (P-6).

Assessment/Evaluation Techniques

· Self-/peer monitoring and feedback

· Exercises One and Two: Each student completes a Reflective Journal.

· Exercise Three: Each ensemble group completes the With My Friends Progress Log (P-7).

· Exercise Three: The teacher evaluates each ensemble using the With My Friends Evaluation (P-8).

· Exercise Four: Students complete the This One Is Not Like the Others! Peer Assessment Sheet (P-5).

· Exercise Four: The teacher completes the This One Is Not Like the Others! Checklist (P-6).

Accommodations

· Students with advanced performance skills may choose more advanced repertoire, or may choose to prepare one or more pieces with which they are not familiar.

· Exercise Two: If students are not comfortable performing in a duet or time and space are restricted, groups may be doubled or tripled in size to allow them the opportunity of performing a two-part work.

· Exercise Four: As an extension, the students may add another element to the performance to make it even more interesting (e.g., in costume, with a program, with a narration before the performance, with some dramatics, etc.).

Resources

Method books, studies, short pieces

Copies of a variety of Canadian folk songs

Small rehearsal areas or break out rooms

A variety of ensemble repertoire

Appendices

Appendix P-4a, b, c, d, e – Duet Worksheet

Appendix P-5 – This One Is Not Like the Others! Peer Assessment Sheet

Appendix P-6 – This One Is Not Like the Others! Checklist

Appendix P-7 – With My Friends Progress Log

Appendix P-8 – With My Friends Evaluation

Activity 3: On My Own

Time: 600 minutes

Description

Exercise One: Solo Mio (240 minutes)

This ativity is designed to give students the opportunity to prepare a solo for performance in front of the class. Students are asked to make decisions about the musical aspects of their solos, and to focus on incorporating them into their performances. It is suggested that teachers preselect three solos for students to raise the comfort level of students in preparing the technical aspects of the performance, and to ensure that diverse material of a suitable level is chosen. Students choose one of these solos to perform. Alternatives are addressed in Accommodations. Students are asked to comment on the process of performing publicly and how they may apply these concepts to other aspects of life.

Exercise Two: My Turn to Teach (240 minutes)

This activity is designed to allow students to develop their abilities as teachers. In this role they have an opportunity to make decisions regarding technical challenges and make artistic decisions about interpretive aspects of a performance. They are challenged to listen critically and offer suggestions in a positive, helpful way. They are paired to allow each to act in the role of teacher and of performer.

Exercise Three: Struttin’ My Stuff! (120 minutes)

This activity is linked to the composition activities of Unit 3. Students have the opportunity to rehearse and perform their creations and present them using a variety of assessments.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 – read and understand musical notation;

CRV.01 – play or sing technical exercises and diverse repertoire that reflect the theory expectation at this grade level (including improvisation and their own creations when appropriate);

ANV.01 – demonstrate a detailed understanding of music history and its cultural context to interpret repertoire;

ANV.02 – use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads, diminished and augmented intervals);

ANV.05 – identify, research, and describe connections between music education and their future careers and post-secondary education.

Specific Expectations

TH1.01 – identify and describe a greater variety of musical indicators of speed and changes in speed (e.g., prestissimo, molto, piu mosso, sempre, stringendo, and terms related to the performance medium);

TH1.02 – identify and define musical indicators of metre, including compound, asymmetrical, and alternating metres;

TH1.04 – identify and define major and relative minor (natural, harmonic, and melodic) key signatures and scales up to and including a minimum of four sharps and four flats;

TH1.05 – identify and define the degrees of a scale (i.e., tonic, supertonic, mediant, subdominant, dominant, submediant, leading note);

TH1.09 – use appropriate terminology to describe how repetition and contrast of musical elements are used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glisando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct dynamic while maintaining good tone quality);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.09 – play or sing in various metres and accurately change metres as found in the exercises and repertoire being performed;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR2.03 – make effective creative choices in performance within the musical parameters

(e.g., call and response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulation, and tempi to existing music);

AN1.04 – analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances and performances by themselves and their peers, using appropriate music vocabulary to suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics, articulation, phrasing, rhythm, balance and blend, overall effect);

AN2.01 – identify and correct improper postures and/or performance practices that may have negative musical effects and/or cause physical injuries;

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress;

AN2.06 – demonstrate an understanding of the creative process by attending a live performance and responding to it orally or in writing, using terminology appropriate to the grade level.

Planning Notes

Exercise One: Solo Mio

The teacher:

· selects three suitable solos for study. They can be from a method book, technique book, vocalize collection, or solo collection. It is recommended that the solos be somewhat different in character or purpose.

· provides sufficient copies of the “Solo Mio” Working Sheet (P-9) and the focussed listening sheet (P-10) for the class.

· monitors students throughout this activity to ensure that they are on task and engaged.

Exercise Two: My Turn to Teach

The teacher:

· finds two suitable pieces for study. They may be drawn from a study or technique book, a vocalize collection, a folk-song collection, or a collection of simple solos to which students have access.

· photocopies the following worksheets for the class:

· The Private Teacher Preparation Worksheet, P-11 (double-side)

· My Teacher’s Suggestions Today!, P-12

· Here’s How You Sounded to Me! Performance Assessment, P-13

· My Teacher Evaluation Form, P-14

· Self-Evaluation Sheet, P-15

· monitors students throughout this activity to ensure that they are on task and engaged.

Exercise Three: Struttin’ My Stuff!

The teacher:

· co-ordinates the theory and composition writing activities from Unit 3, Activities 5, 6, and 7, with a performance opportunity in this exercise.

· provides students with Ideas for Better Practising sheet (P-16b) to assist them in their individual practice sessions.

· provides students with practice “Monitoring” form to assess their individual progress.

· provides specific rehearsal time and instruct/encourage students to do individual home study to prepare for these activities.

Prior Knowledge Required

· Students must be able to sing or play an instrument at the appropriate grade level.

· Students must be able to read music at the appropriate grade level.

Teaching/Learning Strategies

Exercise One: Solo Mio

1. The class learns the notes and rhythms of all three solos selected by the teacher.

2. Students then choose one for their own personal study.

3. Students complete their “Solo Mio” Working Sheet (P-9) and submit to teacher for verification.

4. The teacher returns the focussed working sheets (P-10); students place them in their portfolios.

5. Students practise their solos, always referring back to their focussed working sheet to ensure that they are on task and improving all aspects of their performance.

6. The teacher monitors students’ involvement at all stages of this activity to ensure that they are on task and engaged.

7. Students perform their solos for the class.

8. The teacher may, at this point, wish to complete a summative evaluation of each solo.

9. Students who are listening to the performances complete the focussed listening sheets (P-10).

10. Students then complete the reflective portion on the bottom of their listening sheet.

11. Students submit the focussed listening sheets to the teacher for verification.

12. The teacher guides the class in a discussion about the reflection portion of their focussed listening sheet.

Exercise Two: My Turn to Teach

1. Students choose a partner with whom to work; the partner may or may not be someone of the same voice or instrument.

2. The teacher identifies for students the two pieces that serve as the source of study.

3. The teacher distributes The Private Teacher Preparation Worksheet (P-11) to the class and explains the activity.

4. Each pair of students decides which of the two pieces they will teach, which they will perform, and completes the worksheet.

5. Over the next few classes the partners work together learning their pieces, helping each other correct note and rhythm mistakes, perform articulations, improve diction, add dynamics, phrasing, tone quality and other considerations which they have found while completing the Preparation Worksheet. They should complete My Teacher’s Suggestions Today! worksheet (P-12) several times during this step of the activity.

6. Students perform their piece for their “teacher” for a final time. The “teacher” completes a performance evaluation sheet (P-13) for their partner and submits it to the teacher for verification.

7. The performers now complete the My Teacher Evaluation Sheet (P-14) for their partner and submit it to the teacher for verification.

8. Students complete the self-evaluation sheet (P-15) and submit it to the teacher for verification.

9. The teacher may, at this point, wish to listen to each study as a summative evaluation.

10. The teacher monitors student involvement and interaction at all stages of this activity.

Exercise Three: Struttin’ My Stuff!

1. Melody (Unit 3, Activity 5): rehearsed independently and presented to the class with designated accompaniment.

2. Transposed melody (Unit 3, Activity 6): rehearsed with a partner to verify accuracy.

3. Study (Unit 3, Activity 7): rehearsed independently and presented to class with explanation of the music intent as indicated in the title.

4. Students make artistic choices about their performances, incorporating effective phrasing, appropriate tempo, and musical expression into their presentations.

Assessment/Evaluation Techniques

Exercise One: Solo Mio

· “Solo mio” Working Sheet (P-9)

· Focussed Listening and Reflection Sheet (P-10)

· Teacher observation of students’ practising

· Observation of discussion of reflection material

· Performance evaluated by the teacher (optional)

Exercise Two: My Turn to Teach

· My Teacher’s Suggestions Today! worksheet (P-12)

· Here’s How You Sounded to Me! Performance Assessment (P-13)

· My Teacher Evaluation Sheet (P-14)

· Self-evaluation sheet (P-15)

· Playing test evaluated by the teacher

Exercise Three: Struttin’ My Stuff!

· Students work with a partner to receive peer input.

· Students keep a practice log to monitor their personal growth.

· Teachers are encouraged to develop their own tools for assessment

Accommodations

· Students with less prior knowledge and skills may be partnered/paired with students possessing greater knowledge and skills in order to facilitate success.

· For purposes of enrichment, students may wish to keep a taped log of their piece. This tape may be placed in their portfolio.

· For purposes of support, some students may require easier material to successfully perform or teach.

· Students may also choose appropriate repertoire approved by teacher.

Exercise One: Solo Mio

· Students may wish to select their own solo, rather than one chosen by the teacher. This is encouraged in circumstances where this is possible.

Exercise Two: My Turn to Teach

· For purposes of enrichment, students may select their own material to perform or teach.

Exercise Three: Struttin’ My Stuff!

· Increased rehearsal time may be provided for students who require it.

· For enrichment, students may use digital technology to provide their own accompaniments where applicable.

· Students may wish to record their work for either enrichment or remediation.

Resources

Selected technique or study books, vocalize collections, folk-song collections, or easy solos

Appendices

Appendix P-9 – “Solo Mio” Working Sheet

Appendix P-10 – Focussed Listening and Reflection Sheet

Appendix P-11 – The Private Teacher Preparation Worksheet

Appendix P-12 – My Teacher’s Suggestions Today!

Appendix P-13 – Here’s How You Sounded to Me! Performance Assessment

Appendix P-14 – My Teacher Evaluation Sheet

Appendix P-15 – My Turn to Teach Self-Evaluation

Appendix P-16b – Ideas for Better Practising

Activity 4: Come Together

Time: 1500 minutes

Description

This activity involves students in a large group. Students study technical material and repertoire that leads to a deeper understanding of musicianship. Teachers are encouraged to draw upon all of the concepts explored in the other units. A variety of musical styles and idioms should be performed. In particular, teachers are encouraged to have students perform music written by Canadian composers.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 – explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 – read and understand musical notation;

Specific Expectations

CR1.01 – accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents, col legno, hammer-on, glisando);

CR1.02 – play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised, or stylistically correct dynamic while maintaining good tone quality);

CR1.03 – control detailed and subtle notated or stylistically correct dynamics while maintaining good tone quality;

CR1.04 – play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 – play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 – play or sing with accurate pitch;

CR1.07 – play or sing with accurate intonation, both melodically and harmonically;

CR1.08 – maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 – accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR1.11 – play or sing with detailed attention to the subtleties of balance and blend;

CR2.01 – demonstrate an understanding of simple homophonic composition (e.g., compose a melody with a simple triad accompaniment) with a variety of media;

CR2.02 – demonstrate an understanding of arranging and transposing by adapting an existing polyphonic work of at least three parts for a small ensemble (e.g., four-part chorale for brass, woodwinds, or strings; two voices and midi);

CR2.03 – make effective creative choices in performance within the musical parameters

(e.g., call and response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulation, and tempi to existing music);

AN2.02 – analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas;

AN2.03 – reflect on learning by maintaining a journal and/or practice log that records progress;

AN2.05 – describe the distinctive nature of participating in individual and group musical performances for a variety of audiences (e.g., peers, community, teacher).

Planning Notes

· The teacher is encouraged to provide a varied and creative program of performance activities which facilitate the effective development of technique, tone, expression and ensemble cohesiveness. These may be developed either in unison or harmonically.

· Printed resources should be varied and supportive of all of the concepts being explored in the daily lessons.

· The teacher should always try to involve the entire group in all aspects of the activity as much as possible.

· Use of performance exemplars to emphasize a concept is encouraged.

· The use of a tape recorder can be beneficial for presenting the ensemble with immediate feedback on how they are progressing as well as recording their ongoing progress.

Prior Knowledge Required

· ability to read music and sing or play an instrument at the Grade 10 level

Teaching/Learning Strategies

The following is a variety of rehearsal techniques that will help students perform more musically, with better intonation, technique, blend, balance, and tone quality. These develop both the vertical and horizontal aspects of performance. A teacher who employs a directed-listening approach should consider the W5 approach to rehearsals:

· Who to listen for

· What to listen to

· Where to direct the listening

· When to shift the listening

· Why to listen at all

· How to make sense of what is heard

The teacher is encouraged to incorporate the following concepts and strategies in rehearsal situations:

· Focussed listening: In situations where balance or ensemble precision is lacking students can be directed by the teacher to listen for a specific voice. Asking all students who have the melody in a passage to perform it, identifies whether students know what their role is in the score. Those students who do not have the melody must realize that they need to adjust their intensity level so that the melody may speak clearly. Furthermore, by listening across the ensemble, the performers become acutely aware of others performing the same part. This awareness will improve the ensemble’s precision

· Paired listening: To improve balance, blend, and intonation, have the students play in pairs. The teacher asks students to listen carefully and to sound as one. This can also be effective by having students perform with the person who is directly in front or behind them performing the same part. Concepts such as “put your sound inside the other” can help.

· Independence: When students are more familiar with their repertoire and the teacher feels that the students are able to be challenged, students can be seated next to an instrument or voice performing a different role. With occasional use of this method students gain confidence in their individual role in the ensemble. An extension of this activity would be to arrange the seating of the class in a large circle with students sitting beside students who are performing different parts.

· Using your voice: In the instrumental setting, it is vital that everyone is able to at least sing in unison as a full ensemble. By vocalizing a single note all members of the group develop a better aural sense (getting the correct sound in their heads). An extension of this would be to have the ensemble singing their parts to improve balance, intonation, and blend.

· Sizzling: To reinforce ensemble accuracy and articulation, have students use a short “ s” (sizzle) while performing the rhythmic content of their parts.

· Bopping: This is an extension of the sizzle concept where students are asked to perform only the beginning of each note. In essence they are performing in a staccato style which reveals all of the rhythmic and harmonic content of the piece. Vocalists can “bop” to a neutral voiced consonant (e.g., nun, pom)

· Chanting subdivision: In slower music this technique helps the students feel an undercurrent of pulse while singing pitch to the melodic contour of the piece. The class would subdivide using 1&2&3&4&, or 1e&a, 2e&a, etc. singing the pitches of their music. Once you remove the subdivision, you should notice an improvement in the accuracy of both rhythm and pitch. This also improves intonation and a sense of musical line.

· Clapping: Clapping or tapping the rhythm of the music the students are performing is an effective means to improve ensemble precision.

· Motivic patterns: Many compositions have motifs, which are shared across the ensemble. It is possible to have all students perform these melodic fragments to understand the shape, detail and expression. In some cases, the teacher might want to create a motivic worksheet containing important themes that can be duplicated for all students to perform in a demonstration process.

· Standing: An extension of the motivic development would be to have the students visualize where the theme is in a composition by standing as they perform the theme. This works well in selections which are imitative and have recurring themes.

· Hide your sound: Students can improve their blend and intonation by thinking about “fitting” or hiding their sound inside another performers. This is connected with the focussed listening described earlier.

· Energize your sound: When a specific voice is required to be more prominent in the musical texture the students should be encouraged to “energize” their sound. This avoids a forced tone quality, rather a slightly more intense quality. This does not work in every setting, but can assist with balance. An extension of this would be to have students think about “getting your sound out there” in order to project accordingly.

· Internalizing pulse: When the ensemble is having difficulty performing together, the teacher can have them try this exercise. Count “1, 2, 3, 4” at a steady pace, then wait four beats at the same tempo and say aloud “one” where the downbeat of the next bar would be. This should be repeated at differing tempos and extending the rest portion to two bars or even longer.

· Metre counting: In music which uses constantly shifting metres, the teacher can have the ensemble count aloud the changing metres. As a warm-up to this activity, the teacher can have students follow varying patterns that he/she directs from the podium while they count aloud.

· Pyramid balance: In the instrumental setting it is important that the ensemble have a concept of balance which places the most weight on the bottom note (root) in a given chord. The third of the chord should be next with less weight on the fifth and the least on the upper octave. Most ensembles tend to be top heavy. The teacher identifies specific chords in the music being rehearsed where the students can take time to play the chord in isolation and adjust the balance. This technique can also be incorporated into the warm-up and students can sing the chord to improve pitch focus as described above.

· Breathing together: Having the ensemble breathe and begin a phrase or chord without any conducting from the teacher is a skill which they can use in their small ensemble and solo work as well as large ensemble activities. To start this process, the teacher should ask the group to exhale all of the “old” air, then say “breathe” to get them started. Initially, the group will have some problems getting everyone to come in together, eventually, they will be more successful at listening to each other and breathing rhythmically. This improved focus can be applied to all phrases in the repertoire being studied.

· Context: At all times teachers are encouraged to put the music being performed into some type of context. This may involve an in depth study of the origins of the music in a historical perspective. When dealing with programmatic music, students can become more aware of the various elements that create the atmosphere of the music. Visualization exercises can often reinforce the context of an entire piece or a particular phrase.

Assessment/Evaluation Techniques

· The nature of a large ensemble requires monitoring of student performance and continual response from the teacher with appropriate feedback.

· Performance tests (rubrics to be developed collaboratively by teacher and students: see examples in the Theory and Composition (Unit 3), Music and Technology Units(Unit 4), and Listening and Analysis (Unit 5), as well as the Grade 9 Course Profile).

· Students should be encouraged to reflect upon their own practice and performance in their rehearsal log. See Listening and Analysis (Unit 5, Activity 5 – Appendix LA-7),

Accommodations

· For the purpose of remediation students are encouraged to focus upon only one or two of the elements of music in their performance.

· The teacher should be aware of extreme challenges of tempo and tessitura and adjust accordingly to ensure the success of all students within the ensemble.

· Students requiring additional time to complete certain performance assignments should be accommodated.

Resources

See resource list in Appendix P-9.

Appendix P-1

Basic Warm-ups

Appendix P-2

Basic Warm-ups II

Appendix P-3

Thinking Exercise

To be learned in all keys from memory. Practise with a pulse, then remove the pulse.

Appendix P-4a

Duo Decimo Model

C Instruments

Comment on each member of your group as well as yourself using the following considerations as a guide: musical contribution to the group, use of ensemble time, contribution to final written product and final performance, attitude, and leadership within the group.

Name of Group Member	Comments (please refer to the criteria noted above)
	Positive Contributions
	Suggestions for Improvement
	Positive Contributions
	Suggestions for Improvement
	Positive Contributions
	Suggestions for Improvement
	Positive Contributions
	Suggestions for Improvement
	Positive Contributions
	Suggestions for Improvement

Appendix P-6

This One Is Not Like the Others! Checklist

Evaluation of score and parts of This One Is Not Like the Others! ensemble

Parts and score accurately notated	o
Parts and score neatly notated	o
Transposition (if applicable) is accurate	o
Tempo accurate during the performance	o
Notes accurate during the performance	o
Rhythm accurate during the performance	o
Good tone quality evident	o
Artistically performed	o

Appendix P-7

With My Friends Progress Log

Each ensemble must complete the following progress log and hand it in at the performance. For each rehearsal comment on the participation and contribution of each member, progress made, problems solved, and suggestions for improvement.

Rehearsal Date	Comments
1	Positive Contributions
	Suggestions for Improvement
2	Positive Contributions
	Suggestions for Improvement
3	Positive Contributions
	Suggestions for Improvement
4	Positive Contributions
	Suggestions for Improvement

Appendix P-8

With My Friends Evaluation

Each criterion demonstrates one or more of the categories of The Achievement Chart (pp. 60-61) of The Ontario Curriculum, Grades 9 and 10, The Arts - Theory (Knowledge/Understanding), Thinking/Inquiry, Communication, and Creation (Application).

Criteria	Level 1 (50-59%	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
Pitch	- demonstrates limited pitch accuracy	- demonstrates some pitch accuracy	- demonstrates considerable pitch accuracy	- demonstrates thorough pitch accuracy
Balance	- demonstrates limited balance within ensemble	- demonstrates some balance within ensemble	- demonstrates considerable balance within ensemble	- demonstrates excellent balance within ensemble
Tone quality	- demonstrates limited tone quality	- demonstrates fair tone quality	- demonstrates good tone quality	- demonstrates excellent tone quality
Rhythm	- demonstrates limited rhythmic accuracy	- demonstrates some rhythmic accuracy	- demonstrates considerable rhythmic accuracy	- demonstrates excellent rhythmic accuracy
Tempo	- demonstrates limited understanding of tempo markings	- demonstrates some understanding of tempo markings	- demonstrates good understanding of tempo markings	- demonstrates excellent understanding of tempo markings
Dynamics	- demonstrates limited use of dynamics	- demonstrates some use of dynamics	- demonstrates good use of dynamics	- demonstrates thorough use of dynamics
Articulation	- demonstrates limited accuracy of articulation	- demonstrates some accuracy of articulation	- demonstrates considerable accuracy of articulation	- demonstrates thorough accuracy of articulation
Phrasing	- demonstrates limited understanding phrasing	- demonstrates some understanding of phrasing demonstrates	- considerable understanding of phrasing	- demonstrates thorough and insightful understanding of phrasing
Communication (eye contact for accuracy of entries and exits, phrasing, etc.)	- demonstrates limited communication between ensemble members	- demonstrates some communication between ensemble members	- demonstrates good communication between ensemble	- demonstrates excellent communication between ensemble members

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

Appendix P-9

“Solo Mio” Working Sheet

Name:

Fill in the chart below to help you incorporate these important artistic elements into your performance. As you practise your solo, check back to ensure that you are performing them as well!

Artistic Element	Things I may need to look out for:	Things I may need to do about them:
Articulations
Dynamics
Style
Tempo
Diction
Phrasing
Range
Tone Quality
Metre
Other – Comment here on things you would like to add.

Appendix P-10

Focussed Listening and Reflection Sheet

NAME:

Name of performer	I liked this about your solo performance:

Write a short reflection on your feelings about performing for the class. What did you learn that could help you in other areas of your life or for the future?

Appendix P-11a

The Private Teacher Preparation Worksheet

Over the next few classes you will both learn a new piece, and teach one to your partner. You will teach your partner his/her piece, helping with technical challenges, and with all the musical things that make a piece of music come alive! At the same time, your partner will be helping you with your piece. When you have had some time to prepare, you will each perform your pieces for each other for assessment. You will then have a chance to assess your partner as a teacher; and finally, assess yourself in both capacities.

In your first session together decide, in consultation with your partner, which piece each of you will teach. Each of you will perform a different piece. Go through each study and find the things that you will need to work on. You will need to look at notes, rhythms, accidentals, key signatures, and other technical aspects, then move on to musical matters: tempo, style, articulations, dynamics, phrasing, diction and other considerations that you can think of. Ask your teacher for assistance if you need it or if you have questions.

At the end of this class answer the questions below and submit this worksheet to the teacher.

MY NAME: ___________________________________________________________

MY TEACHER’S NAME: _______________________________________________

The piece I will be PERFORMING: ________________________________________

My “teacher” helped me find these Technical Challenges:

Challenge	Comments
Key Signature
Notes
Rhythms
Accidentals
Awkward Jumps
Other – Be Thorough!

Appendix P-11b

My “teacher” helped me find these Musical Challenges

Challenge	Comments
Articulations
Dynamics
Style
Tempo
Diction
Phrasing
Range
Tone Quality
Metre
Other

Appendix P-12

My Teacher’s Suggestions Today!

MY NAME:

MY STUDENT’S NAME:

The piece being PERFORMED:

I suggested these things to my “student” today:

Challenge	Today You Improved	You Still Need to Work On
Key Signature
Notes
Rhythms
Accidentals
Awkward Jumps
Articulations
Dynamics
Style
Tempo
Diction
Phrasing
Range
Metre
Tone Quality
Other

Appendix P-13

Here’s How You Sounded To Me! Performance Assessment

MY NAME:

MY STUDENT’S NAME:

The piece being PERFORMED:

Check the box that best applies to your student’s performance.

Criteria	Limited Use	Some Use	Good Use	Excellent Use
Notes
Rhythms
Articulations
Dynamics
Style
Tempo
Phrasing
Diction
Fluency
Tone Quality

Here are my helpful comments about your performance:

Appendix P-14

My Teacher Evaluation Sheet

MY NAME:

MY TEACHER’S NAME:

Check the box that best describes how your “teacher” helped you with your piece:

Criteria Did your “teacher” help you with:	Very Helpful	Sort Of	Not At All
Note problems?
Rhythms?
Articulations?
Dynamics?
Style of the Piece?
Tempo?
Phrasing?
Diction?
Tone Quality?
Fluency?

Here are my helpful comments about your teaching:

Appendix P- 15

My Turn To Teach Self-Evaluation

Questions	Your comments!
Things I enjoyed about this activity:
Things that could have been changed:
I worked my best as: (please circle)	Teacher Performer
As a teacher I liked the way I:
As a teacher I would like to improve:
As a performer I liked the way I:
As a performer I would like to improve:
More comments?

Appendix P-16

My Chance For Some Practising!

NAME:

Today you will have some class time to work on some individual playing problems. Find some things in your music that you need to practise. Identify the pieces and bars below, and at the end of the time given, complete the questions below and hand it in to your teacher for verification.

#1. PIECE

BARS

#2. PIECE

BARS

#1:

I improved:

I still need to work on:

#2:

I improved:

I still need to work on:

Today I: Used my time wisely (please circle):	YES	NO
Made an effort to improve:	YES	NO
Learned Something New:	YES	NO
What did you learn?

Appendix P-16b

Ideas For Better Practising

· Pick a time for practising during the day when your concentration level is at its highest.

· Start with a proper warm-up. Think about what we do before a class or rehearsal. Then go to the most challenging sections and practise them first, while you are most focussed.

· START SLOWLY! Reinforce correctness from the very first reading. Practicing too quickly too soon reinforces errors.

· Use a metronome.

· For the first readings; concentrate on establishing note accuracy, fingerings, and rhythm.

· Repeat difficult passages multiple times; stop and re-focus to see if there is improvement; if not, break down the section into a note-by-note exercise.

· Practise short sections (two or three measures).

· When you need a break from playing, use that time with your pencil to mark the music. Write and think about details of phrasing, dynamics, articulations, alternate fingerings, and rhythms.

· MEMORIZE! It works. If a passage is giving you problems, memorize it so that you can concentrate on the notes without the distraction of the printed page.

· Try using your tape recorder to tape yourself so that you can listen critically for areas of improvement.

· Have a classmate give you feedback about your progress and share your thoughts with them about their progress.

· Seek assistance with any aspect of these practice guidelines, as required.

Appendix P-17

Resource List

GENERAL

Battisti, F. and R. Garagalo. Guide to Score Study. Florida: Meredith Music Publications, 1990.

Canadian Music Centre. 20 t. Joseph St., Toronto, Ontario.

Casey, J. Teaching Techniques and Insights. Chicago: GIA Publications, 1991.

Farrell, S. Tools for Powerful Student Evaluation. Calgary, Alberta: Farrell and Farrell Music Educators, 1994.

Leavitt, J. and E. Crocker. Essential Musicianship Book 2. Hal Leonard Publications.

Lisk, E. Intangibles of Musical Performance. Florida: Meredith Music Publications, 1996.

Lisk, E. The Creative Director, Alternative Rehearsal Techniques. Florida: Meredith Music Publications, 1987.

BAND – texts

Dvorak, Thomas, Robert Grechesky, and Gary Ciepluch. Best Music for High School Band. Brooklyn, N.Y: Manhattan Beach Music, 1993.

Garofalo, R. Guides to Band Masterworks. Florida: Meredith Music Publications, 1992.

Garafalo, R. Rehearsal Handbook for Band and Orchestra Students. Fort Lauderdale, Florida: Meredith Music Publications, 1983.

Garofalo, R. Improving Intonation In Band & Orchestra Performance. Florida: Meredith Music Publications, 1996.

Labuta, J. Teaching Musicianship in the High School Band. Florida: Meredith Music Publications, 1997.

Liberman, J. You Are Your Instrument. Huiksi Music (Hal Leonard Pub.), 1991.

McBeth, W.F. Effective Performance of Band Music. Texas: Southern Music Company, 1972.

Miles, R., ed. Teaching Music Through Performance in Band Vol 1. Chicago: GIA Publ., 1997.

Miles, R., ed. Teaching Music Through Performance in Band Vol 2. Chicago: GIA Publ., 1997.

Pizer, Russell. Instrumental Music Evaluation Kit. West Nyack, NY: Parker Publishing Co., 1987.

BAND – technique and method books

Appleby, Brian and Scott Rogal. Apro Innovative Compositions ad Teaching Materials for young Bands. Edmonton, Alberta: Apro Music, 1990.

Bencriscutto, Frank and Hal Freese. Total Musicianship. San Diego, California: Neil A Kjos, 1983.

Curnow, James. Essentials of Musicianship. Lexington, KY: Curnow Music, 1998.

Green, Barry. The Inner Game of Music. Chicago, IL: GIA Publications, 1991.

O’Reilly, John and Mark Williams. Accent on Achievement. Van Nuys, California: Alfred Publishing Co., 1997.

Pearson, Bruce. Standard of Excellence Comprehensive Band Method. San Diego, California: Neil A Kjos, 1993.

Ployhar, James. I Recommend. Melville, NY: Belwin Mills, 1972.

Appendix P-17 (Continued)

Ployhar, James. Tone and Technique. Melville, NY: Belwin Mills, 1985.

Rhodes, T., Donald Bierschenk, and Tim Lautzenheiser. Essential Elements, A Comprehensive Band Method. Milwaukee, WI: Hal Leonard Corp., 1991.

Rusch, Harold. 24 Arban-Klose-Concone Studies. Miami, Florida: CPP Belwin Inc., 1955.

Smith, Claude T. Symphonic Techniques for Band. Milwaukee, WI: Hal Leonard Corp., 1987.

Williams, Richard and Jeff King. Foundations for Superior Performance, Warm-Ups & Technique for Band. San Diego, California: Neil A Kjos, 1997.

Yaus, Grover. 101 Rhythmic Rest Patterns. Miami, Florida: CPP, Belwin Inc., 1953.

CHORAL

Alderson, Richard. Complete Handbook of Voice Training. West Nyack, NY: Parker Publishing, 1987.

Dlough-Leighter, H., ed. The A Cappella Singer. Boston: E.C. Schirmer, 1964.

Ed Crowe, E. Lawton, and A.W. Whittaker. The Folk Song Sight Singing Series. New York: Oxford University Press.

Ehmann, Wilhelm and Frauke Haasemann. Voice Building for Choirs. Chapel Hill: Hinshaw Music, 1981.

Johnson, D. Choral Techniques: Beyond the Basics. San Diego: Neil A. Kjos Music Co., 1997.

Kodaly, Z. 333 Elementary Exercises. Willowdale, Ontario: Boosey & Hawkes, Inc., 1972.

Porter, Steve. The Secondary Vocal Program. California: Alfred Publishing Co. Inc., 1985.

Rao, D., et al. Sing! Houston: Hinshaw Music, 1988.

Robinson, U. and J. Althouse. The Complete Choral Warm-Up Book. California: Alfred Publishing Co. Inc., 1995.

Royal Conservatory of Music. Vocal Syllabus. Toronto.

Royal Conservatory of Music. Vocalises. Mississauga: Frederick Harris Music, 1998.

Telfer, N. Successful Sight Singing. (Books 1 and 2). San Diego: Neil A. Kjos Music Co., 1992,1993.

Telfer, N. Successful Warm-ups, (Book 1 and 2). San Diego: Neil A. Kjos Music Co., 1995.

Tjernlund, Gordon and Joyce Eilers. Choral Warm-ups Vol. 1. Jenson Publications, 1981.

Willcocks, D. and J. Rutter, ed. 100 Carols for Choirs. Oxford: Oxford University Press, 1987.

STRINGS

Allen, M. Daily Warm-Ups for String Orchestra. Wisconsin: Hal Leonard Publishing, 1993.

Garafalo, R. Rehearsal Handbook for Band and Orchestra Students. Fort Lauderdale, Florida: Meredith Music Publications, 1983.

Garofalo, R. Improving Intonation In Band & Orchestra Performance. Florida: Meredith Music, 1996.

Lamb, N. Guide to Teaching Strings. Iowa: Wm. C. Brown Publishers, 1990.

Pizer, Russell. Instrumental Music Evaluation Kit. West Nyack, NY: Parker Publishing Co., 1987.