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Table of Contents: Description of Course:................................................................................................................. 3 Time Schedule/Budget: ............................................................................................................... 3 Course Philosophy: ..................................................................................................................... 4 Development skills and objectives: .............................................................................................. 4 Course goals: .............................................................................................................................. 5 Resources: .................................................................................................................................. 6 Lesson Plans:............................................................................................................................... 7 Day 1 (Mon) ............................................................................................................................................ 7 Day 6 (Mon) .......................................................................................................................................... 11 Day 11 (Mon) ........................................................................................................................................ 14 Day 16 (Mon) ........................................................................................................................................ 16 Day 21 (Mon) ........................................................................................................................................ 18 Day 26 (Mon) ........................................................................................................................................ 20 Day 31 (Mon) ........................................................................................................................................ 22 Day 36 (Mon) ........................................................................................................................................ 24

Assessment: .............................................................................................................................. 26 Students file silently into the band ........................................................................................................ 26 Rhythm (call and response). .................................................................................................................. 26 Breathing. ............................................................................................................................................. 26 Theory. ................................................................................................................................................. 26 Movement in music............................................................................................................................... 27 Discussion of Music ............................................................................................................................... 27 Ear training. .......................................................................................................................................... 27 Tonal patterns. ...................................................................................................................................... 27 6 Minutes – Long tones on fundamental part of the instrument. ........................................................... 27 2 Minutes – Final announcements. ........................................................................................................ 28 4 Minutes – Students file from their seats. ............................................................................................ 28


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Description of Course: The purpose of 6th grade band is to build fundamental skills that will allow for high-level technical and musically expressive performances. These fundamental skills include both executive skills (using the instrument) and musical skills (not using the instrument). Musical skills include listening, moving, counting/learning rhythms, learning to read notation, learning to hear intonation, differentiating between timbres/tone colors, learning descriptive musical terminology, practicing audiation, improvising, etc. Executive skills include instrument care, posture, embouchure, airstream, fingerings, playing from notation, etc. Because 6th grade band is intended to build strong fundamentals, our class will focus heavily on musical skills while sequencing fundamental executive skills throughout the year. Additionally, this class will demand excellence in all steps of the class sequence before moving on. To keep students from getting bored or discouraged, there will be several activities for each subject that will be woven into quick-paced high-intensity rehearsals. Students will be pushed to listen to and perform music with close attention to detail.

Time Schedule/Budget: This eight-week portion of the school year will occur late September until early November. The class meets for 59 minutes, five days per week during 2nd period (9:19-10:18 AM). In addition to class rehearsal, each student is expected to attend a 45-minute sectional with their instrumental group. If a student is unavailable to meet for a sectional, they may go to a similar instrument’s sectional, or make it up with practice time. Additionally, every four weeks, students must sign up for a brief (5/10-minute) hearing time with the teacher for individual assessment purposes. Budget: ~$30,000.


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Course Philosophy: CC Ch. 2 The fundamental belief of this class is that every student deserves to experience excellent, wellrounded music-making. To have this experience, students must be pushed to listen and play with attention to detail. This class is designed to ensure that all students are highly monitored and assessed to play musically on their instrument at a highly expressive and technical level. This class does not teach to the top, nor bottom, but rather from the lower middle to reach as many students as possible. Rehearsal should be fun and welcoming, but ultimately a place where work is done efficiently. The joy that comes from band should be achieved through the realization of hard work, not from goofing around (although humor is important in moderation). Students will respond best when there is a system for all aspects of instruction, from entering the room, to following instructions, to exiting the room, and practicing. Diversity, equity and inclusion are important parts of band and life. Regular discussion of culture, current events, race, gender, etc. are important. Band is not just a place to make music, but a place to improve as people.

Development skills and objectives: National Standards – CC Ch. 6 Students will create their own rhythms and musical patterns. Students will create ways to move to music that they appreciate. They will improvise tonal patterns. CC Ch. 9/10 Students will perform by singing, patting, and clapping to establish strong musical skills. Fundamental executive skills like posture and tone will be focused on heavily and expected to be performed at a high level. Students will respond to music to which they listen with movement and verbal comments. Students will respond to each other’s rhythmic and tonal patterns. Students will connect their musical ideas to past life experiences, and other curricular phenomena.


Elliot Polot Curriculum Project

Course goals: -

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Classroom structure (Entering/exiting the room) Organizational skills Listening skills CC Ch. 13 o Identifying timbre, tone color o Melody vs. harmony o Tonality o Intervals Music Theory CC Ch. 12 o Note naming o Staff and Clef Signs o Key Signatures o Intervals (hearing/singing) o Scales (based on interval patterns) o Rhythm counting CC Ch. 8 o Music Composition Moving to music (Flow, weight, space, time) CC Ch. 7/11 Executive Skills o Holding the fundamental part of the instrument o Embouchure o Tone production

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Large band room 2 individual practice rooms 2 chamber ensemble practice rooms One additional auxiliary room (dressing room, cafeteria, etc.) Local university/exceptional high school students to hold sectional rehearsals weekly. Local professionals to perform a demonstration recital during sectional time. Video projector and screen in front of class (connects to MacBook or iPad). Stereo speakers in front of room. About 10-15 large posters with illustrations of correct technique and fundamental information (rules of class, director signals for ESL students, important playing points, etc.) Universal Design for Learning CC Ch. 5 Method book: Essential Musicianship for Band: Ensemble Concepts Extensive listening playlist for each instrument – professionally recorded solos. Reference video/audio recordings of all exercises and etudes by local university/exceptional high school students. Harmony Director keyboard for modeling OR Tonal Energy Tuner Exercises/adaptations from The Breathing Gym. To be used as supplemental material. Video equipment in the front and rear of the room to capture 1) teacher, 2) students (for assessment purposes).

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Lesson Plans: Day 1 (Mon) Objectives: Students will create their own movements to music. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. See script from Darcy Potter Williams’ Teaching Music Logically ©2016: <Turn on metronome and wait for kids to start patting their foot without instruction>


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I see some of you have already started doing something without me telling you. There’s 3, 5, a whole bunch... What are we doing? Patting our foot What are we patting our foot with? The beat What does our foot do for each beat? ↓↑ Require them to only pat their toe – no hoedowns in the band hall We have a special way in music to show one beat. Does anyone know what this is called? Quarter note Yes, and every time I see one of these quarter notes my foot goes ↓↑ So now I’m going to draw a bunch of quarter notes. < Draw 8> How many quarter notes did I draw? 8 And how many beats does each quarter note get? 1 And what does my foot do for every beat? ↓↑ Cool, let’s count them together. Get your foot going. Down-up, down-up rea-dy go-oo! Count naturally, not full value, no pulses Awesome, so where was our foot when we said the number? <count again if necessary> Down <draw # sign under down arrow> So the down is taken care of, but now we’re going to add something to the up. Every time my foot hits the ground I’m going to say a number, and on the up we are going to pulse our air so that it sounds like ‘wo-un, two-oo, three-ee, fo- or.’ Let’s go back and count our 8 quarter notes, and this time we’ll pulse every time our foot goes up. <Count, do it again if necessary> That’s great! Now I’m going to add some more beats. <Draw 4 more quarter notes.> How many quarter notes did I add? Four Let’s go back and count all 12 of our quarter notes. <count> How many beats does a quarter note get? What does my foot do for every beat? What do we say when our foot is down? What do we do on the up? <write pulse under up arrow> Answer then count Let’s pretend like these 12 quarter notes make up a song, and I have a question about the 9th note. So I raise my hand and say, ‘Ms. Williams, I have a question about the (counting) 9th note.’ So then I would look at my music and count up to the ninth note and answer your question. Easy, right? But what if I had a song with 1,732 notes, and I had a question about the 432nd note. And I would have to go (counting)... That would take forever to count and find, right? So we need to do something to break up all those notes into smaller chunks. I’m going to


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break them up by adding these little lines. Does anyone know what these are called? <break music into 3 measures> Barlines And who knows what this space between each barline is called? <draw a bracket> Measure How many measures do we have? Three Every time we are counting music something magical happens every time we cross a barline. I start out counting ‘wo- un, two-oo, three-ee, fo-or’ and then I get to the barline and what happens? Go back to one Exactly! <write in a 1 at the start of every measure> Let’s count our 3 measures now. What do we say when our foot is down? What do we do on the up? Count How many beats do we have in each measure? Let’s go ahead and write in the count for all three measures. We already have the 1 written in. What do we write under this one? And I’m going to make them all big, legible numbers. Let’s count it again. <write in numbers and count> So I’ve purposely left out an important piece of information. We already know that a quarter note gets one beat, but what I left out is that it gets one beat of sound. Does anyone know an ‘S’ word that is the opposite of sound? Does anyone know what we call silence in music? Silence, rest For every kind of note we have an accompanying rest. So if we have a note that gets one beat, we’ll have a rest that gets one beat. We just learned our quarter note which means we’ll also have a quarter rest. A quarter rest looks like this. Now I can go back to our 3 measures and replace one of the quarter notes with a quarter rest. Now, has beat 3 disappeared? No, it’s just silent. Since beat 3 is silent, we are going to change the count we wrote to reflect it. I’m going to erase the big 3 we wrote and replace it with a very small 3 with a little line through it. That tells me that beat 3 is silent. It’s not gone; I’m just not going to say it. Is there anyone who thinks they can count measure one for us? <Onslaught of many examples before moving to chart 1, ending with the exact Chart 1 line 1 example> 4 Minutes – Movement in music. Cue professionally recorded clarinet piece. (To be switched daily with another instrument.) Begin in place. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music.


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3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 6 (Mon) Objectives: Students will create their own movements to music. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. See script from Darcy Potter Williams’ Teaching Music Logically ©2016: You’ll notice that at the very beginning of each line we have some numbers. What numbers do we have? A 4 on top of a 4 Yes, we have a 4-4. <draw it on the board> Does anyone know what this is called?


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Time signature <more often that not, I have to tell them the answer> In a time signature, each number tells us something different. The top number tells us how many beats – not notes – are going to be in every measure. So in this case, this 4-4 time signature tells us there are going to be 4 beats in every measure. Is that true? Does anyone see a measure that has more or less than 4 beats? It’s true What if I changed it so that the time signature said 3-4? How many beats would there be in a measure? Three What if I made it say 5-4? How many beats in a measure? Five What if it said 143-4? How many beats in a measure? ONE HUNDRED FORTY-THREE!!! Dude, that would be a seriously long measure! But on Chart 1 we only have 4 beats in a measure. Now the bottom number tells us something kind of weird, and we’ll talk about it more later, but the bottom number tells us what kind of note is going to get one beat. We already know what kind of note gets one beat. What is it? A quarter note Why would a 4 tell us that a quarter note gets the beat? What if we made this a fraction? <draw a line between the 4s> How would we read this as a fraction? Four fourths How else could we say it? If the top number was a 1, it might be easier. It would be what? One quarter Yep! But today, we’re mostly concerned with the top number. What does the top number tell us again? How many beats in a measure Does anyone see anything on this chart that we haven’t talked about yet? Who can tell me which measure has something new? You’ll notice there are little numbers above the measures on this chart that tell us which measure number it is. What measure has the very first new thing? Measure 2 Yep. There’s something in measure that takes up the whole measure. Does it look like a note? No Well, if it’s not a note, it’s got to be a what? What’s the opposite of a note? A rest Does anybody know what kind of rest takes up the whole measure? A whole rest That’s correct! Now, if we look back at our time signature we know that there are going to be how many beats in a measure? Four So in measure 2, we have how many silent beats does that whole rest take up? Four How would we write the count?


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Little one with a line through it, Little 2 with a line through it, Little 3 with a line through it, Little 4 with a line through it

4 Minutes – Movement in music. Cue professionally recorded tuba piece. (To be switched daily with another instrument.) Begin in place. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Answer other questions. Guide questions as to cover important musical terminology. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 11 (Mon) Objectives: Students will create their own movements to music. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Learning the grand staff. Cue MusicTheory.net grand staff program.


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4 Minutes – Movement in music. Cue professionally recorded oboe piece. (To be switched daily with another instrument.) Begin in place. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Answer other questions. Guide questions as to cover important musical terminology. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 16 (Mon) Objectives: Students will create their own movements to music. They will improvise tonal patterns. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Learning the grand staff. Cue MusicTheory.net grand staff program.


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4 Minutes – Movement in music. Cue professionally recorded oboe piece. (To be switched daily with another instrument.) Begin in place. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 21 (Mon) Objectives: Students will create their own movements to music. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Learning to identify intervals on the grand staff. Cue MusicTheory.net interval program.


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4 Minutes – Movement in music. Cue professionally recorded horn piece. (To be switched daily with another instrument.) Begin in place. Be sure to include a variety of meter, as students will not study triple meter in depth during this portion of the curriculum. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 26 (Mon) Objectives: Students will create their own movements to music. They will improvise tonal patterns. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Reviewing Intervals. Cue MusicTheory.net intervals program.


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4 Minutes – Movement in music. Cue professionally recorded flute piece. (To be switched daily with another instrument.) Begin in place. Be sure to include a variety of meter, as students will not study triple meter in depth during this portion of the curriculum. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Ear training. Play intervals on Harmony Director. Call on individual students to assess them. Intervals are to be mastered in this order: PU, P8, P5, P4, m2, M2, m3, M3, m6, M6, m7, M7. Students must demonstrate ability to hear and sing intervals. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


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Day 31 (Mon) Objectives: Students will create their own movements to music. They will improvise tonal patterns. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion.

4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. Use rhythm flashcards if class is excelling at imitation. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Reviewing Intervals. Cue MusicTheory.net intervals program.


Elliot Polot Curriculum Project

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4 Minutes – Movement in music. Cue professionally recorded horn piece. (To be switched daily with another instrument.) Begin in place. Be sure to include a variety of meter, as students will not study triple meter in depth during this portion of the curriculum. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Tonal Patterns. Sing tonal patterns. Call on individual students to assess them. Intervals are to be mastered in this order. Students will occasionally be called on to identify the tonality. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


Elliot Polot Curriculum Project

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Day 36 (Mon) Objectives: Students will create their own movements to music. They will improvise tonal patterns. Students will perform specific rhythm and breathing exercises, as well as long tones on their fundamental instrument part. Students will respond to music that they hear with descriptive words and interpretive motion. Students will connect their prior understanding of music to new descriptive terminology, notation, and guidelines for motion. 4 mins – Students file silently into the band room with music on in the background, through the storage room to retrieve their fundamental instrument part and music, then move to their seat. Students must be prepared to answer questions about the music when they get to their seat. 4 mins – Reminder/drill ready/rest positions. Announcements. Questions regarding music (call on individuals with specific questions.) How many sections did you hear? Was it fast or slow? What was the tonality? What was the texture? Etc. Not to exceed four minutes including announcements. 5 mins – Rhythm (call and response). Reminder/drill ready/rest positions. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen. Counting system: 1 + 2 + 3 + 4 e + a. Four beats rest between each for comments. Stop metronome. Overall comments. 5 mins – Breathing. Reminder/drill ready/rest positions. Students stand. Start metronome 90bpm. Externalization of subdivided pulse = clapping, patting, stomping, etc. Internalization of subdivided pulse = Students stop motion and listen, auditing pulse. In two, out 2, 4, 8. Call on class, individuals to perform with teacher or by section/partners. Four beats rest between each attempt for comments. 15 mins – Theory. Students move silently from their seats to the board. Building scales based on intervals. Cue MusicTheory.net intervals/scales program.


Elliot Polot Curriculum Project

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4 Minutes – Movement in music. Cue professionally recorded bassoon piece. (To be switched daily with another instrument.) Begin in place. Be sure to include a variety of meter, as students will not study triple meter in depth during this portion of the curriculum. Make an even flow of time with your arms. Now show the weight of the music with your body. Spread out, and make space that corresponds to the music. Now move back to your seat in time with the music. 3 Minutes – Discussion of Music – Students describe timbre, tone color, etc. Guide questions as to cover important musical terminology. Answer other questions. Call on individuals to assess. 4 Minutes – Tonal Patterns. Sing tonal patterns. Call on individual students to assess them. Intervals are to be mastered in this order. Students will occasionally be called on to identify the tonality. Students will improvise tonal patterns. 6 Minutes – Long tones on fundamental part of the instrument. Start metronome 90bpm. Drill rest/ready/playing positions. Students respond to question, what is your CCTTLP? (Corners, Chin, Teeth, Tongue, Lips, Placement of the mouthpiece.) This sets their embouchure. Set harmony director to pitch. Sing this pitch. Ready position, playing position. On four, off four. Call on sections, individuals, etc. 2 Minutes – Final announcements. 4 Minutes – Students file from their seats, to the instruments, and out of the band room. Cue music while students leave.


Elliot Polot Curriculum Project

Assessment: To be mentally or quickly noted during individual, section, or large ensemble performances. During a busy task, the ensemble may be video recorded for future assessment. Individual rubrics may be printed to have on hand for quick grading during class. CC Ch. 1, 2 *Note: Course grade will be determined by attendance, not regular musical assessments.

Students file silently into the band _ Student entered room silently and remained silent until directed. _ Student opened case properly and efficiently. _ Student brought fundamental instrument part back to seat. _ Student sat quietly in rest position at seat until further instruction.

Rhythm (call and response). _ Student achieved correct rest position. _ Student achieved correct ready position. _ Student demonstrated externalization of pulse by patting, clapping, etc. with pulse. _ Student stopped and listened when directed. _ Beginning of note was centered correctly in time. _ Sustain of note was constant, steady, smooth. _ Release of note was precisely in time. _ Student listened attentively to comments.

Breathing. _ Student achieved correct rest position. _ Student achieved correct ready position. _ Student demonstrated externalization of pulse by patting, clapping, etc. with pulse. _ Student stopped and listened when directed. _ Student breathed using correct embouchure. _ Air was directed at a specific target. _ Beginning of airstream was placed precisely in time. _ Sustain of airstream was constant, steady, smooth. _ Release of airstream was placed precisely in time. _ Open throat release. _ Student listened attentively to comments.

Theory. _ Student correctly identifies a part of the grand staff and/or an interval. _ Student is quiet and attentive.

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Elliot Polot Curriculum Project

Movement in music. _ Student was non-disruptive. _ Student demonstrated an unjagged, even flow of time with their arms. _ Student demonstrated weight with their body that shared a defendable resemblance to that portrayed by the music. _ Student demonstrated space with their body that shared a defendable resemblance to that portrayed by the music. _ Student moved in time with the music.

Discussion of Music _ Student was non-disruptive. _ Student used legitimate musical terminology. _ Terminology used was relevant to the music.

Ear training. _ Student was non-disruptive. _ Student correctly identified the interval between given pitches. _ Student correctly sang the interval between given pitches. _ Sung interval was placed well in tune.

Tonal patterns. _ Student was non-disruptive. _ Student audiated the pattern before responding. _ Student correctly sang the interval between given pitches. _ Sung intervals were placed well in tune. _ The tonal pattern was rhythmically correct. _ Student correctly the tonality of the tonal pattern. _ Student improvised a pattern that was in the same tonality as that given. _ The improvised tonal pattern was rhythmically even.

6 Minutes â&#x20AC;&#x201C; Long tones on fundamental part of the instrument. _ Student achieved correct rest position. _ Student achieved correct ready position. _ Student achieved correct playing position. _ Student demonstrated externalization of pulse by patting, clapping, etc. with pulse. _ Student stopped and listened when directed. _ Student breathed using correct embouchure. _ Student correctly answered the CCTTLP question. _ Air was directed at a specific target. _ Beginning of note was placed precisely in time.

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Elliot Polot Curriculum Project _ Sustain of note was constant, steady, smooth. _ Sustain of note had presence of overtones. _ Release of note was placed precisely in time. _ Open throat release. _ Student listened attentively to comments.

2 Minutes â&#x20AC;&#x201C; Final announcements. _ Student is quiet and attentive.

4 Minutes â&#x20AC;&#x201C; Students file from their seats. _ Student sat quietly in rest position at seat until further instruction. _ Student brought fundamental instrument part back to case. _ Student opened case properly and efficiently. _ Student exited room non-disruptively.

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Beginning Band Curriculum  
Beginning Band Curriculum  
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