Comprehensive
Music Curriculum
A working document of collaborative
professional ideals
2008
Rockbridge County Schools
Music Curriculum
Acknowledgments:
MaryEtta Broughman
Jennifer Propst
Patricia Reiter
Andrea Townley
Natural Bridge Elementary
Central Elementary
Fairfield Elementary
Mountain View Elementary
Effinger Elementary
Matthew Schucker
Christy Schucker
Maury River Middle School
Rockbridge Middle School
Julia Goudimova
Peggy Nicely
Frank Sampson
Rockbridge County High School
Rockbridge County High School
Rockbridge County High School
Table of Contents
Forward
 Philosophy and Mission Statement
 Process of Development
 Relevance of Standards
 Curriculum Map – Present offerings
Planning
 Materials
 Lesson Plan Forms
Curriculum
 Elementary concept chart
 Benchmarks
Assessment
 Rubrics
Handbooks
 Middle School instrumental
 High School instrumental
Appendix
 Middle school practice logs
 Middle school instrument maintenance and user agreement form
 Concert etiquette for students
 Concert etiquette for adults
 Music code of ethics
Philosophy and Mission Statement
Every student is entitled to the rich educational experiences provided through music
regardless of talent, socio-economic status, disabilities, gender, or race. Music is
crucial to the development of each and every child’s cognitive, affective, and
psychomotor abilities. The intrinsic values of music uniquely contribute to the
comprehensive education of the student.
Process of Development
The process of this curriculum guide began in 2006 as part of the revision of the
previous curriculum dated 1997.
Out of a need for consistent curricular implementation, this committee convened with
the intent to improve the quality of a student’s music education in Rockbridge County
Public Schools. The focus included implementing a unified elementary grading system
for consistent assessment, establishing benchmarks for a seamless progression of a
student’s music education, and adapting for the continual evolution of technology in the
classroom.
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March 2007 – met and discussed elements of curriculum to be included, with
each member collecting information
June 13, 2007 – created Benchmarks for Grades 3, 5, 8 – to be used later for
actual Benchmark testing
June 14, 2007 – Created - Overview, Mission and Philosophy Statements,
Content using VA SOL’S and National Standards, and Benchmarks for 12th
Grade Instrumental
June 15, 2007 – Continued and consolidated materials
October 25, 2007- Collaborated with Lexington City Public Schools
January 10, 2008- finished curriculum
February 15, 2008- Discussed presentation, final proof reading
Relevance to Standards
This curriculum is based on the National Music Standards and the Virginia Standards of
Learning for Music adopted April 2006.
National Standards for Music Education
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of
music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines
outside the arts.
9. Understanding music in relation to history and culture.
Present Music Curriculum Map
VOCAL
Instruction
K
1
Rockbridge County Schools
2
3
4
Chorus
5
Chorus
6
7
8
No vocal music present in
middle school
9
10
11
12
Chorus
Chorale
Recorders
Middle School Band
High School Band
MRMS Percussion class
(after school)
Percussion Ensemble (Auditioned)
INSTRUMENTAL
Instruction
Bells / Chimes
MRMS Jazz Band
(auditioned)
Jazz Band
(auditioned)
Marching Band
Pep Band
Pep Band (Friday Nights Only)
Theory
Strings
Yamaha Keyboards – MIE
Key –
Yellow / Orange = Vocal instruction
Blue / Purple / Pink = Instrumental Instruction
BLANK = no music instruction available
Elementary Music covers 100%, every student in the county (1200 approx) - 2X each week, covering both vocal and instrumental.
Middle School Music covers approximately 29% of the middle school student body
High School Music covers approximately 10% of the high school student body
Planning
Music Curriculum
2008
Materials and Equipment, K-8
School
FES
Materials
Equipment
Old music textbooks – 1976 / 1971
Collection of Various Resources
Minimal Choral Music collection
Yamaha MIE-2 Keybd / Curriculum
System
Suzuki Handchimes- 4 oct
Malmark – diatonic handchimes
Assorted classroom instruments
Yamaha MIE-1 Keybd / Curriculum
System
Malmark tone chimes- 3 octaves
Minimal classroom instruments
Hand drums, temple blocks
EES
MVES
Musick-8 magazine
CES
Music textbooks- 1995
Collection of various resources
Minimal choral music collection
NBES
MRMS
RMS
1971 Making Music your Own K-5 books
and records
1985 Silver Burdett Music K-5 books and
records
2000 Share the Music books and CDs (5th
grade)
Collection of various resources
Standard of Excellence Book 1 + 2 by
Bruce Pearson
Standard of Excellence Jazz Method by
Dean Sorenson
Approaching the Standards by Dr. Willie
L. Hill, Jr.
Standard of Excellence Book 1 + 2 by
Bruce Pearson
Yamaha MIE-1 Keybd / Curriculum
System
Malmark tone chimes- 3 octaves
Assorted classroom instruments
Yamaha MIE-1 Keybd / Curriculum
System
Malmark tone chimes- 3 octaves
assorted classroom instruments
Yamaha MIE-2 Keybd / Curriculum
System
Suzuki Tone Chimes
Assorted Classroom instruments
Various Wind and Percussion instruments
Smart Board
Music library of appropriate literature
Various Wind and Percussion instruments
Smart Board
Music library of appropriate literature
DATES
1 – Singing
4 – Composing
7 – Evaluating Performances
K
1
2
3
4
5
6
7
8
9
10
1
1
2
3
4
5
6
7
8
9
10
2
1
2
3
4
5
6
7
8
9
10
VA
SOL
K.1
K.2
K.3
K.4
K.5
K.6
K.7
K.8
K.9
K.10
K.11
K.12
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.10
1.11
1.12
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
2.10
2.11
MUSIC LESSON PLANS
2 – Instruments
5 – Reading, Notating
8 –Across Discipline Relationships
3 – Improvising
6 – Listening, Analyzing
9 – Cultural
REITER – RM 107
10 - Movement
Concepts
Materials
DATES
1 – Singing
4 – Composing
7 – Evaluating Performances
3
1
2
3
4
5
6
7
8
9
10
4
1
2
3
4
5
6
7
8
9
10
5
1
2
3
4
5
6
7
8
9
10
VA
SOL
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
3.10
3.11
3.12
3.13
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.13
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
5.10
5.11
MUSIC LESSON PLANS
2 – Instruments
5 – Reading, Notating
8 –Across Discipline Relationships
3 – Improvising
6 – Listening, Analyzing
9 – Cultural
REITER – RM 107
10 - Movement
Concepts
Materials
2008 Maury River Middle School
Band 7/8
2.18-2.22
Weekly goals: ♪ continue using proper posture and breathing practices (SOL II.1)
♪ reinforce proper tone and intonation (SOL II.2)
♪ students will play a Bb, F, Eb, Db, C, and Ab scale with varying dynamics and a full tone
(SOL II.6)
♪ students will continue working out of their “Standard of Excellence” book
♪ students will sight read new band literature they are unfamiliar with.
Methods to employ: ♪ students will echo a melodic pattern that is created for them aurally. (SOL II.3)
♪ students will look over a piece before sight reading to enhance the first performance
and begin recognizing problems before they start
♪ students will employ breathing exercises to improve their sound
♪ modeling will be used accurately to help students
♪ call-and-response will enhance inner ear
Monday
Warm-up: Echo me, Ab concert; Ab round
Tune
PENCIL CHECK- explain importance
“Excelcia”- last 3 measures for accents; 64 to end; low voices at 62; ww practice
fp at 58, everyone 56 with good fp at 56; work 28-42; run piece
Core Subject SOL:
Tuesday
Warm-up: Ab round, Ab speed
tune
Work on “Chant and Tribal Dance”- recinforce cutoffs at 17-25; melody at 69;
everybody 69; 16ths at 64; work beginning until very accurate rhythmically, start
increasing the tempo
Core Subject SOL:
Wednesday
Core Subject SOL:
Thursday
Warm-up: count-and-clap with 16ths, trade Ab concert around the room as fast
as possible (2 octaves?)- Clarinets work off of special warm-up sheet
Play-n-tell
tune
Work on “March of the Majestics”- review 41 to the end- require excellent
dynamics; work for clarity in last measure; check tempo tendencies with
metronome; expect excellent phrasing and dynamics
Math: proportions/counting/fractions
Warm-up: Echo me, Bb concert in scale rhythm
Tune quickly
Play/record “Chant and Tribal Dance”- and in a group discussion critique
performance
With remaining time, do some dictation practice
Core Subject SOL:
Friday
Core Subject SOL:
Warm-up: Robert W. Smith printed warm-ups
Review parts of Excelcia- Play/record Excelcia
Depending how week goes- potential rhythm around the world?
Curriculum
Music Curriculum
2008
Rockbridge County Public Schools
MUSIC BENCHMARKS: THIRD GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• sing a repertoire of songs in tune with a clear tone quality (3.1)
• notate and perform rhythmic and melodic patterns using
traditional notation (3.2, 3.3)
• respond to music with movement (3.4)
• perform in two-part instrumental ensembles (3.5)
• create music through a variety of experiences (3.7)
• identify and perform sets of beats grouped in twos and threes,
identifying strong and weak beats (3.8)
• identify ABC form in music (3.9)
• recognize music symbols and terminology (3.10)
• explore music through world cultures (3.11)
• identify the four orchestral families (3.12)
• demonstrate melodic shape (3.13)
• exhibit respect for contributions of self and others (3.14)
• experience cross-curricular integration (3.15)
• experience musical concepts through available technology
Performance and
Production
Cultural
Music Theory
Sing melodies in tune
Perform 2-part ensembles
Use music terminology
Perform quarter note / rest,
eighth note, half note / rest
Perform melodies from treble
staff using tempo and
dynamic markings
Recognize beat groupings
Create ostinato patterns
Create new lyrics
Recall a folktale and its musical
setting
Identify world instruments
Perform traditional dances
Identify the Orchestral
Instrument Families
Perform sets of beats in twos and
threes
Use descriptive terminology
Identify ABC form
Recognize music symbols
Demonstrate melodic shape
Learning Expectations
Contribute to group through
creating and listening
Demonstrate good citizenship
Cross-Curricular Integration
Mathematics:
• make patterns
• counting
• identify fractions
• equality
• measurement
Social Studies:
• American Icons
• maps and globes
• ethnic connections
• diversity
Language Arts:
• rhyming words
• reading skills
• syllable recognition
• song interpretation
Science:
• senses
• earth resources
• scientific terms
• investigation
• simple instruments
• the physics of high and low sounding instruments.
Rockbridge County Public Schools
MUSIC BENCHMARKS: FIFTH GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• sing in tune with a clear tone quality demonstrating appropriate
choral behaviors and skills (5.1)
• notate and perform rhythmic and melodic patterns from the
grand staff using traditional notation (5.2, 5.3)
• respond to music with movement (5.4)
• perform in vocal and instrumental ensembles with multiple
voices (5.5)
• create music through a variety of experiences (5.6)
• identify rondo and theme and variations form in music (5.7)
Performance and
Production
Sing in 2 – 3 part harmony
Demonstrate age appropriate
singing skills including
phrasing, breath support,
posture, and diction
Perform eighth notes / rests,
quarter notes / rests, half
notes / rests, dotted half
note, dotted quarter notes,
whole notes / rests, tied
notes
Notate and perform for voice
and instruments using
Grand Staff
Compose using technology
Perform as ensembles
Improvise melodies and
rhythms
Cultural
Identify ethnic instruments by
sight and sound
Identify various styles of music
Explore vocal styles
Perform a variety of music styles
Identify music of various
cultures
Identify composer / composition
from four different periods of
music history
• use music terminology to describe musical performances (5.8)
• identify instruments from various cultural music ensembles by
sight and sound (5.9)
• identify the functions of the top and bottom numbers of meter
signatures in duple and triple meters (5.10)
• experience a broad variety of musical styles (5.11)
• exhibit respect for contributions of self and others (5.12)
• experience cross-curricular integration (5.13)
• experience musical concepts through available technology
Music Theory
Identify Theme and Variation
Use music terminology
Identify time signatures
Cross-Curricular Integration
Mathematics:
• equality
• fractions
• math functions and symbols
• pattern recognition
Social Studies:
• Virginia history
• explorers
• historical timelines
Language Arts:
• comprehensive
• writing format
• aesthetics
Science:
• science of sound
• creation of sound
• timbre/quality
• healthy musicianship
Learning Expectations
Contribute to group through
creating and listening
Demonstrate good citizenship
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
KINDERGARTEN
SKILL / STANDARD
Yearly QUARTERS
1
K.1
K.2
Sing Song / Play Instruments
1
Individally and groups
2
Accompany - chants / body perc / classroom instr
3
Play and Sing - Echo sol-mi patterns
X
Differentiate "Sound" and "Silence"
X
Perform Rhythmic Patterns
2
Recognize "INTRODUCTION"
K.4
Repond to Music with Movement
K.5
Demonstrate vocal differences
K.6
Demonstrate steady beat
K.7
Create through variety of experiences
K.8
Fast / Slow - Loud / Soft
K.9
Identify classroom instruments
K.10
Distinguish tone colors
K.11
K.12
play, sing, move appropriately
X
X
Match Movement to rhythmic patterns
2
Emply large body movements
X
X
3
Employ locomotor amd non-locomotor movements
X
4
Enhance literature with movement
5
Perform dances and games from various cultures
6
Illustrate contrasting moods
X
X
X
Singing voice vs speaking voice
X
1
Employ body percussion, instruments, movement
X
2
Use literature, chant, song
1
Utilize classsroom instr, body perc, movement
2
Use voice in speech and song
3
Dramatize literature
X
X
Recognize and Demonstrate
X
X
X
X
X
X
1
Voices and instruments
2
Men's, women's, children's voices
1
Group effort of making music
X
2
Group effort of listening to music
X
3
Demonstrate good citizenship
X
X
X
X
Recognize the Inter-discipline relationship of music
Keyboards - MIE Curriculum Preludes
1
PRELUDES
2&3
2-3 Black keys recognition
X
Steady beat - No beat
X
If You're Happy
Chiapanecas
4
Fast / slow - tempo
X
Clap, Clap your hands
5
Long / short - duration
X
Zip-a-Dee-Doh-Dah
6
High / low
X
7
Up / down / same - direction
X
Ol' Blue
8
Loud / Soft - dynamics
X
BINGO
Tone color - Vocal and Instrumental
X
Jack and Jill
9&10
Glossary
4
X
1
Sight and sound
Exhibit respect, contribution
3
X
Recognize and perform "iconic notation"
K.3
Songs
Concept Introduction
A Ram Sam Sam
Introduction
marching / jump / gallop / skip / walk
clusters
Eency Weency Spider
beat
chant
Keyboard Percussion
Hickory Dickory Dock
same/different
rhythm
right / left
Down By the Bay
high/low
maracas
up / down
fast/slow/tempo
tambourine
volume
singing voice
woodblock
headphones
sound / silence
cymbals
accompaniment
AB form
drum
"ta - ti-ti" / quarter notes
echo
clap
Lullaby / March
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
FIRST
SKILL / STANDARD
1.1
Sing songs / play Instruments
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.1
1.11
VOCABULARY
KEYBOARDS
1.12
Songs containing sol, mi, la pitches
Sing individually or in groups
Play pitched and non-pitched instruments
Perform rhythmic patterns
Notate patterns with quarter notes, paired eighth
and quarter rests
2 Demonstrate melodic rhythm
Respond to music with movement
1 Perform line and circle dances
2 Perform dances, games from various cultures
3 Demonstrate loco motor / non-loco motor movements
4 Dramatize literature and songs
Create through variety of experiences
1 Improvise using classroom instr, movement
2 Use voice in speech and song
3 Create music to enhance songs and literature
4 Create melodies to familiar nursery rhymes, chants
Distinguish melodic rhythm / steady by sight and sound
Recognize changes in contrasting sections of music
Recognize /describe expressive
1 Demonstrate dynamic changes
2 Demonstrate tempo changes
Identify high / low pitches
1 Demonstrate different pitches
2 Distinguish extreme contrast in sound
Identify pitched / non-pitched instruments
Distinguish accompanied / unaccompanied vocal music
Exhibit respect, contribution
1 Group effort of making music
2 Group effort of listening to music
3 Demonstrate Good Citizenship
Recognize the Inter-discipline relationship of music
MIE Curriculum Modules
1 Steady Beat
2 Registers and Clusters
3 Up, Down, and Same
4 Tempo
5 Quarter Notes and Rests
6 Ostinato
7 Music Alphabet
Beat
Rhythmic Pattern
Accompaniment
Echo / Imitate
Sound Effect
Timbre
Registers (VL, L, M, H, VH)
Treble and Bass Clef
Clusters
1
2
3
1
Up, Down, Same
Ensemble
Introduction
Coda
Glissando
Tremolo
Tempo - Fast, Moderate, Slow
Tempo Markings
Quarter Note and Rest
Yearly QUARTERS
Concept
1 Introduction
2
3
4
Songs
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
New River Train
Siamese Cat Song
Noble Duke Of York
X
X
X
X
X
Phrase
Metronome
Ostinato
Interval
Music Alphabet
Melodic Pattern
Moving Up, Down
Ascending, Descending
Supercalifragil…..
There's A Hole In The Bucket
Alphabet Song
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
SECOND
SKILL / STANDARD
2.1
Sing Song / Play Instruments
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
210
VOCABULARY
KEYBOARDS
2.11
1
Sing within range of a sixth
2
Individually or in groups
3
Ostinato and single-chord accompaniment
Perform / Notate Rhythmic Patterns using paired eighth, quarter, half, whole, quarter rest
Respond to Music with Movement
1
Perform line / circle dances
2
Dances and games from various cultures
3
Loco motor and non-loco motor movements
4
Dramatize songs, stories, and poems
5
Perform choreographed / non-choreographed mvts
Read lyrics - one verse and divided word syllables
Create music with varied experiences
1
Lyrics to familiar melodies
2
New verses to songs
3
Accompaniments and ostinatos
4
Enhance songs, stories, poems
5
Movement to illustrate meter and form
Recognize form in music
1
Identify like / unlike melodic phrases
2
Identify / Perform AB and ABA forms
3
Identify Beginning and end of phrases
Recognize expressive changes
1
Dynamic and tempo changes with movement
2
Use terminology to describe changes
Identify selected Folk and Orchestra Instruments by sight and sound
Identify melody pattern movement
1
Use voice, instruments, and movement
2
Use music terminology
3
Seven letters of the music alphabet
Exhibit respect in music setting
1
Contribute to group effort of making music
2
Contribute to group effort of listening to music
3
Participate, sharing, taking turns, good citizenship
Recognize the Inter-discipline relationship of music
MIE - Curriculum Modules
7
Music Alphabet
8
Steps
9
Skips
10 Repeated Melodic Patterns
11 Call / Response
12 Legato / Staccato
13 Grand Staff
Music Alphabet
Melodic Pattern
Ascending, Descending
Step, Same, Repeated
Skip
Repeated melodic pattern
Repetition
Notate
Call / Response
Legato / Staccato
Articulation
Grand Staff
Ledger Lines
Repeat Sign
Yearly QUARTERS
Concept Introduction
1
2
3
4
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Songs
Alphabet Song
DO-RE-MI
Now You Has Jazz
Stick Game
Love Somebody
Cape Cod Shanty
Ghost of John
Ragg Mopp
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
THIRD
SKILL / STANDARD
3.1
Sing songs in tune, clear tone
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
310
3.11
3.12
3.13
3.14
VOCABULARY
MODULES
3.15
1
Sing within range of an octave
2
Perform 2-part music ensemble
3
Accompany singing with rhythm/melody instruments
4
Use music terminology to interpret music selection
Perform / Notate Rhythmic Patterns- adding dotted half, sixteenth to previous
Notate / perform melodies - treble
1
Using voice / melodic instruments
2
Use wide range of tempo / dynamics
3
Recognize importance of measures
Respond to Music with Movement
1
Perform line / circle dances
2
Dances and games from various cultures
3
Dramatize songs, stories, and poems
4
Perform choreographed / non-choreographed mvts
Perform in 2-part ensemble , using pitched and non-pitched instruments
Perform I and V (V7) chords to accompany a 2-chord melody
Create music with varied experiences
1
accompaniments, ostinatos for songs - chants
2
Movement to illustrate meter and form
3
New lyrics to familiar melodies
4
New verses to songs
Identify / perform beats in groups of 2 and 3, using "strong - weak" terminology
Identify ABC form
Recognize music symbols in musical score, using terminology to describe functions
Explore music of world cultures
1
Study folk tales
2
Listen to non traditional band/orchestra instruments
3
Interpret music through movement
4
Perform traditional dances
Identify the four orchestral families by sight and sound
Demonstrate melodic shape of a phrase, using terminology describing upward, downward, same
Exhibit respect in music setting
1
Contribute to group effort of making music
2
Contribute to group effort of listening to music
3
Participate, sharing, taking turns, good citizenship
Recognize the Inter-discipline relationship of music
Keyboards - MIE Curriculum
13 Grand Staff
14 Strong/Weak Beats
15 Half Notes / Rests
16 Duple Meter 2/4
17 C Major Pentachord
18 Harmonic Intervals - 2nds
19 Eighth Notes and Rests
20 Dynamics
Grand staff
Half Notes / Rests
Treble and bass clef
metronome
Ledger Lines
duple meter
Repeat sign
meter signature
strong / weak beat
bar line
bass drum
measure
high-hat cymbals
pentachord
forte, piano (f, p)
home tone, tonic center
volume
Dynamics
Yearly QUARTERS
Concept Introduction
1
2
3
4
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
major
countermelody
interval
second, third
accompaniment
harmony
eighth notes / rests
phrase
tie
Songs
Alphabet Song
Ragg Mopp
Minka
Mickey Mouse March
Kookaburra
Polly Wolly Doodle
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
FOURTH
SKILL / STANDARD
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
410
4.11
4.12
4.13
4.14
RECORDER
S
VOCABULARY
MODULES
4.15
Sing songs in tune, clear tone
1
With expression, dynamics and phrasing
2
Sing simple harmony, in groups
Perform / Notate Rhythmic Patterns- adding whole/half rests to previous
Notate / perform melodies - treble
1
Using step, skip, leap
2
Use voice or instruments
Respond to Music with Movement
1
Perform choreographed / non-choreographed mvts
2
Traditional folk Dances
3
Body percussion
Perform in 2-part ensemble , using pitched and non-pitched instruments
Perform I, IV, and V (V7) chords to accompany a 3-chord melody
Create music with varied experiences
1
Improvise simple melodic/rhythmic accompaniment
2
Enhance literature with melodic/rhythmic motives
3
Create movement to illustrate meter and form
Identify Rondo Form
Recognize dynamic markings and interpret them in performance
Identify instruments from various music ensembles, including those from other cultures
Identify function of the top and bottom numbers of meter - 2, 3, and 4 beats
Distinguish between major and minor
Use music terminology
1
Place music examples into broad style categories
2
Recognize composer/composition from 4 periods
Exhibit respect in music setting
1
Contribute to group effort of making music
2
Contribute to group effort of listening to music
3
Participate, sharing, taking turns, good citizenship
Recognize the Inter-discipline relationship of music
Keyboards - MIE Curriculum
21 G Major Pentachord
22 Meter - 4/4
23 Harmonic Interval - 5th
24 Crescendo / Decrescendo
25 Phrase
26 Question / Answer
27 Sharp Flat - optional
28 D Major Penatchord - optional
29 ABA Form - ABACADA (Rondo)
31 Whole Notes and Rests
Pentachord
Harmonic Intervals - 2, 3, 5
Major
Ledger lines
Home Tone - Tonic Center
Dynamics
Duple Meter
Volume
Downbeat
Forte - Piano
Ostinato
Crescendo / Decrescendo
meter signature
Phrase Marking
strong / weak beat
Sections - same, similar, different
Legato
Ascending - Descending
G/A/B
Tone, Positioning, whole, half notes and rests
C' / D'
Fingering, counting beats, eighth notes and rests
F
Rhythm Accuracy
E
Steady beat with complex rhythms
D / Middle C
Yearly QUARTERS
Concept Introduction
1
2
3
4
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Sharp
Flat
Half-step
Natural
Question / Answer
Whole Step
Rondo - ABACADA
Whole Notes - rests
X
X
X
X
X
Songs
Polly Wolly Doodle
Frere Jacques
Ragg Mopp
He's Got The Whole World
Jingle Bells
Alphabet Song
Swingin' Sharps and Flats
Muppet Show Theme
Candle On The Water
ROCKBRIDGE CO CURRICULUM (MUSIC STANDARD of LEARNING)
FIFTH
SKILL / STANDARD
5.1
Sing songs in tune, clear tone
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
510
5.11
5.12
HANDCHIMES
VOCABULARY
MODULES
5.13
1
Demonstrate beginning choral skills / behaviors
2
Sing 2 or 3-part harmony, in groups
3
Develop age-appropriate singing skills
Perform / Notate Rhythmic Patterns- adding dotted eighth-sixteenth patterns, adding to previous
Notate/perform melodies - treble/bass
1
use voice and instruments
2
Use computer technology
Respond to Music with Movement
1
Perform choreographed / non-choreographed mvts
2
Traditional folk Dances
3
Body percussion
Perform increasingly difficult ensemble music, using pitched and non-pitched instruments
Create music with varied experiences
1
Improvise more complex melodic/rhythmic acc.
2
Create movement to illustrate meter and form
3
Compose melodic/rhythmic phrases w/ guidelines
Identify Theme and Variations Form
Use music terminology to describe performances and compositions
Identify instruments from various music ensembles, including those from other cultures
Identify function of the top and bottom numbers of meter - duple and triple meters
Categorize music into broad styles
1
Use terminology to compare/contrast music styles
2
Explore vocal styles contributions to music
3
Explore / perform variety of music styles
4
Identify notable world music characteristics
5
Identify composer/composition from 4 periods
Exhibit respect for self and others
1
Contribute to group effort of making music
2
Contribute to group effort of listening to music
3
Participate, sharing, taking turns, good citizenship
Recognize the Inter-discipline relationship of music
Keyboards - MIE Curriculum
32 ABA / D.C.al Fine
33 A Major
36 F Major
39 Auto Bass
43 Chord Symbols
44 Major Triads
40 Variations
42 Melodic Sequence
45 Chord Progressions - 12-bar blues
46 Melodic Improvisation
51 Minor (#47 - #49)
whole step
tempo terms
half step
melody
tonal center
accompaniment
texture
conducting patterns
accidentals
chord
dynamic terms
Positioning, Counting, Rhythm patterns - whole, half, eighth and rests
Identifying own note(s) - melody - scale pattern
Identify own note(s) - chords - triad pattern
Conducting Patterns - students
Selections - increasingly more complex - eighth, dotted notes, sixteenth and rests
Sight-Reading moderately difficult selections
Yearly QUARTERS
Concept Introduction
1
2
3
4
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Songs
Somewhere Out There
Swingin' Sharps and Flats
Sweetly Sings the Donkey
America
Oh, How Lovely Is the Evening
When the Saints Go Marching In
Skip To My Lou
Step In Time
At The Hop
Chim Chim Cher-ee
My Favorite Things
Joshua Fit The Battle of Jericho
Scarborough Fair
Rockbridge County Public Schools
INSTRUMENTAL MUSIC BENCHMARKS: SIXTH GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• demonstrate proper playing position (II.1)
• consistently demonstrate proper tone production (II.2)
• demonstrate the ability to adjust and match pitch (II.3)
• demonstrate the ability to echo a short melodic statement (II.3)
• maintain a steady tempo while performing (II.4)
• recognize and accurately perform tempo changes and a variety of
rhythms and meters (II.4)
• demonstrate a variety of articulations (II.5)
• perform a one-octave chromatic scale ascending (II.8)
• use dynamic contrast, tempo modification, and technical skills to
create a musical phrase (II.9, II.10)
• demonstrate ensemble skills (II.11)
• sight-read music of varying styles and tempos from VBODA
levels 1-2 (II.12)
• recognize and create key signatures by name
• sing melodic and rhythmic motifs (II.13)
Notes/Scales
Winds:
Major Scales:
Concert F, Bb, Eb
Percussion:
(all rudiments open-close-open)
Multiple bounce roll
Five stroke roll
Nine stroke roll
Flam
Single paradiddle
• perform music from a variety of cultures, styles, and historical
periods (II.14)
• demonstrate knowledge of the instrument being studied (IB.16)
• demonstrate responsible musicianship (II.16)
• student will improvise short melodic ideas over simple chords (II.17)
• compose an 8-16 measure melody using available technology within
teacher specified parameters (II.18)
• read, notate, and perform music, recognizing all terms and
symbols (II.19)
• explore music in their everyday lives (II.20)
• identify styles and historical periods from materials being
studied (II.21)
• evaluate and correct individual and group
performances (II.22, IAD.23)
• understand and demonstrate concert etiquette as an active
listener (II.24)
Symbols
bass clef
treble clef
measure
staff
key signature
time signature (2/4, 3/4, 4/4)
whole note, whole rest
half note, half rest
quarter note, quarter rest
eighth note, eighth rest
dotted notes (quarter, half)
fermata
dynamics: F, mf, mp, p
tempo markings
slurs
ties
accents
staccato
legato
breath mark
1st/2nd ending
repeat sign
Musical terms
Accidentals: flats, sharps, naturals
Tempo
Allegro, Andante, Moderato
Ritardando
Accelerando
Dynamics: forte, mezzo-forte,
mezzo-piano, piano
Crescendo, Decrescendo
Articulation: legato, staccato
Fermata
Balance and blend
tone
Bar lines
Breath mark
1st/2nd ending
repeat sign
round
sight-reading
unison
solo
soli
tutti
pick-up note
Musicianship
Tone
Recognize characteristic tone
qualities of individual
instruments
Produce a free and unrestricted
tone on individual instrument
Performance
Create Musical phrasing
Use alternate fingerings
Percussion technique on auxiliary
instruments
Blend instrument timbres
Match dynamic levels, style, and
intonation
Respond to conducting gestures
Know the importance of one’s part
Bring out important lines
Learning expectations
Be prepared for class
Participate in concerts
Demonstrate concert etiquette
Be an active listener in class and at
performances
Cross-Curricular Integration (Referenced numbers relate to specific content area Virginia Standards of Learning)
The student will…
Mathematics:
Language Arts:
• solve problems that involve addition and subtraction (6.6)
• interpret data in a variety of graphical methods (6.18)
• solve problems using proportions (8.17)
• write descriptions and explanations (6.6)
• demonstrate comprehension of reading materials (7.5, 7.6)
• read, comprehend, and analyze a variety of informational sources (8.6)
Social Studies:
Science:
• listen and react to music from historical periods
• analyze cultural characteristics of world regions (WG.4)
• analyze trends in cultural interaction (WG.6)
• investigate and understand characteristics of sound (PS.8)
• investigate and understand how applications of physics affect the world
(PH.4)
• understand sound in terms of wave models (PH.9)
Rockbridge County Public Schools
INSTRUMENTAL MUSIC BENCHMARKS: SEVENTH GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• demonstrate proper playing position (II.1)
• sing melodic and rhythmic motifs (II.13)
• consistently demonstrate proper tone production (II.2)
• perform music from a variety of cultures, styles, and historical
• demonstrate the ability to adjust and match pitch (II.3)
periods (II.14)
• demonstrate the ability to echo a short melodic statement (II.3)
• demonstrate knowledge of the instrument being studied (IB.16)
• maintain a steady tempo while performing (II.4)
• demonstrate responsible musicianship (II.16)
• recognize and accurately perform tempo changes and a variety of
• student will improvise short melodic ideas over simple chords (II.17)
rhythms and meters (II.4)
• compose an 8-16 measure melody using available technology within
• demonstrate a variety of articulations (II.5)
teacher specified parameters (II.18)
• perform state required major scales ascending and descending (II.6) • read, notate, and perform music, recognizing all terms and
• perform the Thirteen Essential Rudiments (if percussion) (II.7)
symbols (II.19)
• perform a one-octave chromatic scale ascending and descending (II.8)• explore music in their everyday lives (II.20)
• use dynamic contrast, tempo modification, and technical skills to
• identify styles and historical periods from materials being
create a musical phrase (II.9, II.10)
studied (II.21)
• demonstrate ensemble skills (II.11)
• evaluate and correct individual and group
• sight-read music of varying styles and tempos from VBODA
performances (II.22, IAD.23)
levels 2-3 (II.12)
• understand and demonstrate concert etiquette as an active
• recognize and create key signatures by name
listener (II.24)
Notes/Scales
Winds:
Major Scales:
Concert G, C, F, Bb, Eb, Ab,
Db
Percussion:
(all rudiments open-close-open)
Multiple bounce roll
Five stroke roll
Nine stroke roll
Flam
Single paradiddle
Flam accent
Flam tap
Symbols
bass clef
treble clef
measure
staff
key signature
time signature (2/4, 3/4, 4/4)
whole note, whole rest
half note, half rest
quarter note, quarter rest
eighth note, eighth rest
sixteenth note, sixteenth rest
dotted notes
fermata
dynamics: FF, F, mf, mp, p, pp
tempo markings
slurs
ties
accents
marcato
staccato
legato
breath mark
1st/2nd ending
repeat sign
Musical terms
Accidentals: flats, sharps,
naturals
Tempo
Allegro, Andante, Moderato
Ritardando
Accelerando
Dynamics: forte, mezzo-forte,
mezzo-piano, piano
Crescendo, Decrescendo
Articulation: marcato, legato,
staccato
Fermata
Balance and blend
Timbre
tone
Bar lines
Breath mark
1st/2nd ending
repeat sign
round
sight-reading
unison
solo
soli
tutti
pick-up note
Musicianship
Tone
Recognize characteristic tone
qualities of individual
instruments
Produce a free and unrestricted
tone on individual instrument
Performance
Create Musical phrasing
Use alternate fingerings
Percussion technique on
auxiliary instruments
Blend instrument timbres
Match dynamic levels, style, and
intonation
Respond to conducting gestures
Know the importance of one’s
part
Bring out important lines
Learning expectations
Be prepared for class
Participate in concerts
Demonstrate concert etiquette
Be an active listener in class and
at performances
Cross-Curricular Integration (Referenced numbers relate to specific content area Virginia Standards of Learning)
The student will…
Mathematics:
Language Arts:
• solve problems that involve addition and subtraction (6.6)
• interpret data in a variety of graphical methods (6.18)
• solve problems using proportions (8.17)
• write descriptions and explanations (6.6)
• demonstrate comprehension of reading materials (7.5, 7.6)
• read, comprehend, and analyze a variety of informational sources (8.6)
Social Studies:
Science:
• listen and react to music from historical periods
• analyze cultural characteristics of world regions (WG.4)
• analyze trends in cultural interaction (WG.6)
• investigate and understand characteristics of sound (PS.8)
• investigate and understand how applications of physics affect the world
(PH.4)
• understand sound in terms of wave models (PH.9)
Rockbridge County Public Schools
INSTRUMENTAL MUSIC BENCHMARKS: EIGHTH GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• demonstrate proper playing position (II.1)
• consistently demonstrate proper tone production (II.2)
• demonstrate the ability to adjust and match pitch (II.3)
• demonstrate the ability to echo a short melodic statement (II.3)
• maintain a steady tempo while performing (II.4)
• recognize and accurately perform tempo changes and a variety of
rhythms and meters (II.4)
• demonstrate a variety of articulations (II.5)
• perform state required major scales ascending and descending (II.6)
• perform the Thirteen Essential Rudiments (if percussion) (II.7)
• perform a one-octave chromatic scale ascending and descending (II.8)
• use dynamic contrast, tempo modification, and technical skills to
create a musical phrase (II.9, II.10)
• demonstrate ensemble skills (II.11)
• sight-read music of varying styles and tempos from VBODA
levels 2-3 (II.12)
• recognize and create key signatures by name
Notes/Scales
Symbols
Winds:
Major Scales:
Concert G, C, F, Bb, Eb, Ab,
Db
Percussion:
bass clef
treble clef
measure
staff
key signature
time signature (2/2, 2/4, 3/4, 4/4,
6/8)
whole note, whole rest
half note, half rest
quarter note, quarter rest
eighth note, eighth rest
sixteenth note, sixteenth rest
dotted notes
fermata
dynamics: FF, F, mf, mp, p, pp
tempo markings
slurs
ties
accents
marcato
staccato
legato
breath mark
1st/2nd ending
repeat sign
(all rudiments open-close-open)
Multiple bounce roll
Five stroke roll
Nine stroke roll
Flam
Single paradiddle
Drag
Drag paradiddle
Flam accent
Flam tap
Flamacue
Singe drag tap
Double drag tap
Lesson 25 from the
Percussive Society of
International Drum
Rudiments
• sing melodic and rhythmic motifs (II.13)
• perform music from a variety of cultures, styles, and historical
periods (II.14)
• demonstrate knowledge of the instrument being studied (IB.16)
• demonstrate responsible musicianship (II.16)
• student will improvise short melodic ideas over simple chords (II.17)
• compose an 8-16 measure melody using available technology within
teacher specified parameters (II.18)
• read, notate, and perform music, recognizing all terms and
symbols (II.19)
• explore music in their everyday lives (II.20)
• identify styles and historical periods from materials being
studied (II.21)
• evaluate and correct individual and group
performances (II.22, IAD.23)
• understand and demonstrate concert etiquette as an active
listener (II.24)
Musical terms
Accidentals: flats, sharps,
naturals
Tempo
Allegro, Andante, Moderato
Ritardando
Accelerando
Dynamics: forte, mezzo-forte,
mezzo-piano, piano
Crescendo, Decrescendo
Articulation: marcato, legato,
staccato
Fermata
Balance and blend
Timbre
tone
Bar lines
Breath mark
1st/2nd ending
repeat sign
round
sight-reading
unison
solo
soli
tutti
pick-up note
Musicianship
Tone
Recognize characteristic tone
qualities of individual
instruments
Produce a free and unrestricted
tone on individual instrument
Performance
Create Musical phrasing
Use alternate fingerings
Percussion technique on
auxiliary instruments
Blend instrument timbres
Match dynamic levels, style, and
intonation
Respond to conducting gestures
Know the importance of one’s
part
Bring out important lines
Learning expectations
Be prepared for class
Participate in concerts
Demonstrate concert etiquette
Be an active listener in class and
at performances
Cross-Curricular Integration (Referenced numbers relate to specific content area Virginia Standards of Learning)
The student will…
Mathematics:
Language Arts:
• solve problems that involve addition and subtraction (6.6)
• interpret data in a variety of graphical methods (6.18)
• solve problems using proportions (8.17)
• write descriptions and explanations (6.6)
• demonstrate comprehension of reading materials (7.5, 7.6)
• read, comprehend, and analyze a variety of informational sources (8.6)
Social Studies:
Science:
• listen and react to music from historical periods
• analyze cultural characteristics of world regions (WG.4)
• analyze trends in cultural interaction (WG.6)
• investigate and understand characteristics of sound (PS.8)
• investigate and understand how applications of physics affect the world
(PH.4)
• understand sound in terms of wave models (PH.9)
Rockbridge County Public Schools
INSTRUMENTAL MUSIC BENCHMARKS: TWELFTH GRADE
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
• demonstrate proper playing position (IAD.1)
• perform music from a variety of cultures, styles, and historical
• consistently demonstrate proper tone production (IAD.2)
periods (IAD.14)
• demonstrate the ability to adjust and match pitch (IAD.3)
• identify and repair minor problems pertaining to their
• demonstrate the ability to echo a short melodic statement (IAD.3)
instrument (IAD.15)
• maintain a steady tempo while performing (IAD.4)
• actively participate in class everyday (IAD.16)
• recognize and perform tempo changes and a variety of rhythms and • improvise melodic ideas over a I-IV-V-I progression (IAD.17)
meters (IAD.4)
• read rhythmic patterns in complex meters, demonstrating technical
• demonstrate a variety of articulations (IAD.5)
facility and precision with VBODA Level 4-5 (IAD.19)
• perform state required major scales ascending and descending (IAD.6) • research career and non-career options in music (IAD.20)
• perform the 26 standard rudiments from the Percussive Arts Society • identify, define, and apply music terms and symbols from the
(if percussion) (IAD.7)
materials being studied (IAD.21)
• perform a chromatic scale in sixteenth notes ascending and
• evaluate and correct individual and group
descending for the full range of the instrument at quarter=72 (IAD.8) performances (IAD.23)
• use dynamic contrast, tempo modification, and technical skills to
• understand and demonstrate concert etiquette as an active
create a musical phrase (IAD.9, IAD.10)
listener (IAD.25)
• demonstrate ensemble skills (IAD.11)
• discuss relationships between music concepts and concepts of other
• sight-read music of varying styles and tempos from VBODA
disciplines (IAD.24)
levels 3-4 (IAD.12)
• linguistically articulate the expressive qualities of music (IAD.26)
• sing a part while other students sing or play contrasting parts (IAD.13)
Notes/Scales
Winds:
All major scales with relative minor.
Percussion:
(all rudiments open-close-open)
26 standard rudiments from the
Percussive Arts Society.
Jazz:
Dorian, Mixolydian, Aeolian Modes,
Blues scales.
Symbols
D.S./D.C./etc.
coda
repeat measure
dim.
rall.
sfp
sfz
double sharp
double flat
compound meters (9/8, 12/8, etc)
odd meters (7/8, 3/8, 5/8, etc)
grace-note
trill
tremolo
Musical terms
Simile
Rallentando
Rubato
Vivace
Diminuendo
Sforzato
Sforzando piano
Tonic
Dominant
Sub-Dominant
Hemiola
Subito
Vibrato
Attack
Release
Sub-divide
Internalize Pulse
Chord progression
Ictus
Ad. Lib
Pesante
A niente
Grave
Piu/meno mosso
Musicianship Targets
The student will be able to:
The student must:
Tone
Recognize characteristic tone
qualities of instrument.
Be present, prepared and
participating in class every day.
Participate in concerts and
performances as a performer and
listener
Demonstrate concert etiquette as a
performer and listener.
Bring instrument, music and pencil
everyday.
Intonation
Recognize and correct intonation
problems in a horizontal and vertical
tuning structure.
Manipulate pitch (using
embouchure) to correct intonation
during performance.
Performance
Use alternate fingerings
Match dynamic levels by finding
dynamic center
Respond to conducting gestures
Make eye contact with conductor
Understand melody/harmony
relationship in repertoire being
studied.
Curriculum Materials
Symphonic Band
• VBODA Literature Grades III-V
Percussion Ensemble:
• A Comprehensive Musical Method for Individual or Group
Wind Ensemble:
• VBODA Literature Grades IV-VI
String Orchestra:
• VBODA Literature Grades II-V
Instruction and Performance: Timpani, Snare, Mallets, and Accessory
Percussion,
Firth Feldstein Percussion Series, 2001
• VBODA Literature Grades III-VI
Jazz Ensemble
• Standard of Excellence Advanced Jazz Ensemble Method, Dean Sorenson/Bruce Pearson, 2004.
• Standard of Excellence Jazz Combo Session, Dean Sorenson, 2002
Learning Expectations
Soft Skill Targets
The student will develop the following
soft skills through participation in class
activities.
Punctuality
Confidence
Time-management
Peer-leadership
Professional dress (uniforms)
Teamwork
Respect
Positive attitude
Rockbridge County Public Schools
CHORAL MUSIC BENCHMARKS: Intermediate Level
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…














Demonstrate proper posture and breathing techniques to support vocal production (CI.1).
Sing vocal exercises and vocalises with a free and clear tone, using accurate intonation (CI.2)
Produce pure vowel sounds – oo, oh, ah, eh, and ee, and articulate consonants (CI. 3).
Perform dynamics (pp, p, mp, mf, f, ff, crescendo, diminuendo) and tempos (Allegro, Presto, Andante, Adagio, Grave) as indicated
by markings in the score (CI. 4).
Perform music in 2 and 3 parts, with and without piano accompaniment (CI.5).
Sight –read four measure phrases, using a symbol system (CI.5)
Demonstrate and respond to conducting patterns of one, two, three, and four beats (CI.6).
Improvise short rhythmic and melodic patterns (CI.8).
Read and write music notation (dotted notes and rests, sixteen notes and rests, basic symbols, and terms) (CI.9)
Recognize and perform music in various forms, including AB, ABA, and strophic (CI.10).
Study and perform selections that represent various historical, stylistic, and cultural contexts of choral music (CI.11).
Create rubrics and evaluate music performances of peers and professional musicians (CI.12).
Investigate relationship between music and other fine arts (CI.13).
Contribute to the success of the ensemble; demonstrate concert etiquette as a performer and listener (CI.14).
Skills
Vocal production
Correct singing position
Supported vocal tone
Pure vowels
Articulate consonants
Musical phrasing
Following breath marks
Ability to sing part solo
Music sight-reading
Rhythm line with whole, half,
quarter, eighth, and sixteenth
notes and rests
Melody line with name of the
notes in C-Major
Four measures examples for
two and three – parts sightreading examples.
Conducting
Two, three, and four beats
patterns
Symbols
Musical terms
bass clef
treble clef
measure
staff
key signature
time signature (2/2, 2/4, 3/4, 4/4)
whole note, whole rest
half note, half rest
quarter note, quarter rest
eighth note, eighth rest
sixteenth note, sixteenth rest
dotted notes
fermata
dynamics: FF, F, mf, mp, p, pp
tempo markings
slurs
ties
accents
marcato
staccato
legato
breath mark
1st/2nd ending
repeat signs
Accidentals: flats, sharps,
naturals
Tempo
Allegro, Andante, Moderato
Ritardando
Accelerando
Dynamics: fortíssimo, forte,
mezzo-forte, mezzo-piano,
piano, pianissimo
Crescendo, Decrescendo
Articulation: marcato, legato,
staccato
Fermata
Balance and blend
Tone
Bar lines
Breath mark
1st/2nd ending
Repeat signs
Coda
Round, canon
Sight-reading
Unison, 1-part, 2-part, 3-part
Soprano, alto, tenor, bass voices
Solo
Descant
Supplemental Materials
Music Theory for Choirs. Part 1. Masterworks Press Inc.
The High School Sight-Singer. Masterworks Press Inc.
371 Bach Chorales (In Order of Sight-Singing Complexity). Masterworks Press Inc.
Sibelius - computer software program
Musicianship
Performance
Taking care of your voice
Professional attire
Punctuality
Stage presentation
Respect, partnership, and
support to every member of
the group
Learning expectations
Be present and prepared for class
Respect class work materials and
music
Participate in class activities
Participate in concerts
Demonstrate concert etiquette
Rockbridge County Public Schools
CHORAL MUSIC BENCHMARKS: Advanced Level
STUDENT LEARNING GOALS FOR MUSIC
Referenced numbers relate to specific Virginia Music Standards of Learning
The student will…
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Demonstrate proper posture and breathing techniques to support vocal production, dynamics and srticulation (CAD.1).
Accurate intonation in solo and ensemble singing (CAD.2)
Produce pure vowel sounds – oo, oh, ah, eh, and ee,; understanding of voiced and unvoiced consonants (CAD. 3).
Sing with proper dynamics, tempos, tone color, blend, and expressive phrasing as indicated by markings in the score (CAD. 4).
Perform music in four or more parts, with and without piano accompaniment (CAD.5).
Sight –read one, two, three, four parts music, using a symbol system.
Demonstrate and respond to various conducting patterns and interpretive gestures (CAD.6).
Perform a song and/or a vocal part along (CAD.7)
Improvise rhythmic and melodic patterns (CAD.8).
Read and write music notation using available technology and related software (CAD.9).
Study and perform selections that represent various historical, stylistic, structural and cultural contexts of choral music, including
selections in a variety of foreign languages (CAD.12).
Create rubrics, evaluate, and offer constructive suggestions for improvement of personal and group music (CAD.13).
Investigate relationship between music and other fine arts (CAD.13).
Contribute to the success of the ensemble; demonstrate concert etiquette as a performer and listener (CAD.14).
Skills
Vocal production
Supported vocal tone
Pure vowels
Articulate consonants
Musical phrasing
Following breath marks
Ability to sing song and/or
part solo
Music sight-reading
Three - and four - part chorals
Understanding of key
signatures
Conducting
Two, three, and four beats
patterns
Dynamic and rhythmic
challenges of scores
Symbols
key signatures
various time signatures
fermata
dynamics: FF, F, mf, mp, p, pp
tempo markings
slurs
ties
accents
marcato
staccato
legato
breath mark
1st/2nd ending
repeat sign
D.C. al Fine
D.S. al Coda
Subito
Allargando
Stringendo
Musical terms
Accidentals: flats, sharps,
naturals
Tempo
Allegro, Andante, Moderato
Ritardando
Accelerando
Dynamics: fortíssimo, forte,
mezzo-forte, mezzo-piano,
piano, pianissimo
Crescendo, Decrescendo
Articulation: marcato, legato,
staccato, accent
Syncopation
Swing
Fermata
Balance and blend
Tone
Breath mark
1st/2nd ending
Repeat signs
Coda
Unison, 1-part, 2-parts, 3-parts,
4-parts, and more
Soprano I, II, alto, contralto,
tenor, baritone, bass voices
Descant
Supplemental Materials
Music Theory for Choirs. Part 2. Masterworks Press Inc.
The High School Sight-Singer. Masterworks Press Inc.
371 Bach Chorales (In Order of Sight-Singing Complexity). Masterworks Press Inc.
Sibelius - computer software program
Musicianship
Performance
Taking care of your voice
Professional attire
Punctuality
Stage presentation
Respect, partnership, and
support to every member of
the group
Learning expectations
Be present and prepared for class
Respect class work materials and
music
Participate in class activities
Participate in concerts
Demonstrate concert etiquette
Assessment
Music Curriculum 2008
Recorder Performance Rubric
Student _______________________
Points
(Possible 20 Points – Need 15 points to earn belt)
4
3
Fingering
Posture
Tone and
and Note
Pitch
Accuracy
Rhythm
Starting
Over
Student is sitting
with straight
back, recorder at
correct angle,
and head
straight.
Virtually no
errors, no overblowing,
accurate pitch
Notes are
consistent and
accurate
The beat is
secure, rhythms
are accurate.
Student keeps
playing
regardless of
errors
Posture is pretty
good, although
the head or
recorder angle is
not exactly right.
An occasional
error but the
overall tone is
accurate and
secure
An occasional
inaccurate error,
mostly accurate
Student starts
over once
Student has
slumped
shoulders, but
has head straight.
Some accurate
but there are
frequent or
repeated errors
A few inaccurate
notes, distracts
somewhat from
the overall
performance
Student is
slumping
shoulders, head
down, elbows on
legs
Very few
accurate or
secure pitches
Wrong notes,
consistently
distracts from the
overall
performance
The beat is
secure and the
rhythms are
mostly accurate,
few errors that
do not take away
from the overall
performance
The beat is
somewhat off,
some rhythms
are accurate,
frequent or
repeated errors,
takes away
somewhat from
overall
performance
The beat is
usually off,
rhythms rarely
accurate, takes
away from
overall
performance
2
1
Total Points_____________
Student starts
over twice
Student starts
over three or
more times
Handchimes Performance Rubric
Student_________________________
Points
(Possible 16 Points)
Points _________
4
3
2
1
Posture
Position
Stands erect,
Bell is ready to
play, does NOT
touch the clapper,
hand position is
just below name
plate, uses little
elbow mvmt, other
hand at side
Stands somewhat
erect, sometimes
touches the
clapper, and
straightens arm,
hand moves
around in position,
more arm mvmt,
other hand
occasionally on
hip, etc.
Slouches often,
must often be
reminded to get
bell ready, hand
moves around in
position, arms are
used a lot to play,
repeatedly touches
clapper, other
hand often on hip,
etc
Always slouches,
bell is never ready,
changes hands,
drops bell, other
hand never quietly
at side, leans on
elbows and hips
Total
Notes
Rhythm
Non-music
directives
Always
Always recognizes
recognizes and
and plays own
plays own note(s) note(s) accurately.
accurately.
Keeps bell against
shoulder when not
playing, talks very
little, is always
ready, listens well,
is helpful to
classmates
Usually
recognizes and
plays own note(s)
accurately
Usually keeps bell
against shoulder
when not playing,
talks very little, is
usually ready,
listens fairly well,
is usually helpful to
classmates
Usually
recognizes and
plays own note(s)
accurately.
Seldom
Seldom recognizes
recognizes and
and plays own
plays own note(s) note(s) accurately
accurately
Seldom keeps bell
against shoulder
when not playing,
talks a lot, is
seldom ready,
listens somewhat, is
sometimes a
distraction to
classmates
Never recognizes Never recognizes
nor plays own
nor plays own
note(s) accurately note(s) accurately
Never keeps bell
against shoulder
when not playing,
talks constantly, is
never ready, never
listens, is a constant
distraction to
classmates
MUSIC CLASS
INVOLVEMENT
RUBRIC
Poor - 1
Average - 2
Excellent - 3
Involvement
Not involved
Constantly needs to
be reminded
Mostly engaged,
periodically needs
to be reminded
Constantly
engaged, needs no
reminders
Preparation
Needs to borrow
items, did not do
work outside the
classroom
Is mostly ready
with needed items,
has done some
work outside the
classroom
Is ready for class,
has completed
outside work
Attendance
Consistently comes
late, needs to leave
often for bathroom,
water break
Usually on time,
leaves once for a
bathroom, water,
emergency break
Always on time and
in class, no break
Enthusiasm
Acts bored and
doesn’t attempt to
participate
Actively involved
in activity but
doesn’t show desire
to participate, not
excited to learn
Is excited and is an
active participant
Attitude
Negative attitude
Effects the rest of
the class
Indicates mixed
feelings about
projects, negative
and positive
Is positive about
class project and
passes that around
the room
Notation and Playing Rubrics
1
Rhythm
Notation
Pitch
Notation
Majority of
Rhythms are
incorrect, T
would be unable
to play majority
of piece as
written
Majority of Pitch
notation is
Incorrect, T
would be unable
to play majority
of piece as
written
2
3
Some incorrect
rhythms notated, T
would be able to
play some of the
piece
Correct
Rhythm
notation
throughout
tune
Some incorrect
pitches notated, T
would be able to
play some of the
piece
Correct Pitch
notation
throughout
tune
Over-all
Neatness
Majority of
notation is
messy and
unreadable
Notation is fairly
neat and readable
Paper is neat
and readable
Playing
Rhythm
Notation
Student is unable
to play the
rhythm a
majority of the
piece as written
ST is somewhat
able to play
correctly written
rhythm sections of
tune
ST is able to
accurately
play rhythm
as notated
Playing
Pitch
Notation
Student is unable
to play the
pitches a
majority of piece
as written
ST is somewhat
able to play
correctly written
Pitch sections of
tune
ST is able to
accurately
play Pitch as
notated
Percussion
Band Playing Quiz. Name:_____________________
Date:__________
Revised on 1/8/2008
Things to think about:
Posture/Attitude- Are you sitting straight up in your chair, off the back of your seat?
Do you approach the challenge with confidence? Do you continue after making a
mistake?
SOL IB.1
Technique- Are your hands properly gripping the mallets or sticks? Is the instrument
being played properly?
Stickings- Are you using the correct stickings?
Rhythm- Are all rhythms performed accurately? Is a steady beat maintained throughout?
SOL IB.4
Musicality- Were all notes articulated properly? Was there any dynamic contrast?
SOL IB.5, IB.9, IB.10
*Student will get a “0” if refusing to play quiz- this may be made up on the student’s own
time.
___ hands- relaxed grip, correct placement
Posture Score:
Posture
___ wrists- flexible and responsive
___ Posture is tall with drum at correct height
Attitude
___ Position with music stand is in line with conductor
1
Technique
Stickings
Rhythm
Musicality
Hand position is
very poor and
instrument is not
being played
properly
There were greater
than 7 sticking
errors
There were 4 or
more rhythmic
errors OR a nonexistent steady beat
No evidence of
dynamic contrast
OR Student restarts
excessively
2
3
4
Hand position is
Slight hand
poor and use of
position problem
instrument incorrect with the
instrument
The percussion
instrument is being
used correctly
There were 5-7
Sticking errors
There were 3-4
Sticking errors
There were 3
rhythmic errors
and/ore a very
inconsistent beat
Very little evidence
of dynamic contrast
OR student restarts
3+ times
There were 1 or 2
rhythmic errors.
Steady beat
questionable
Some effort was
made to cover
certain aspects of
dynamics and
tempo and/or
student restarts 2+
times.
All stickings were
performed
accurately
All rhythms were
performed
accurately and with
a steady beat
Dynamics and
tempo are
performed
accurately on the
first try
20= 100%, 19=95%, 18=90%, 17=85%, 16=80%, 15=75%, 14=70%, 13= 65%, 12= 60%, 11=
55%
Total: ________/20
Comments:
Rockbridge County High School Band
Instrumental Music Performance – Individual: Performance Test
Student Name:
I. Performance
CATEGORY
4
Tone is
Tone Quality
consistently
focused, clear
and centered
throughout the
range of the
instrument.
Tone has
professional
quality.
3
2
1
Tone is focused,
clear and
centered through
the normal
playing range of
the instrument.
Extremes in
range sometimes
cause tone to be
less controlled.
Tone quality
typically does
not detract from
the performance.
Tone is often
focused, clear
and centered, but
sometimes is
uncontrolled in
the normal
playing range.
Extremes in
range are usually
uncontrolled.
Occasionally the
tone quality
detracts from
overall
performance.
The beat is
somewhat
erratic. Some
rhythms are
accurate.
Frequent or
repeated duration
errors. Rhythm
problems
occasionally
detract from the
overall
performance.
Some accurate
pitches, but there
are frequent
and/or repeated
errors.
The tone is often
not focused,
clear or centered
regardless of the
range being
played,
significantly
detracting from
the overall
performance.
Dyanmic levels
fluctuate but can
be discerned.
Attention to
dynamic levels is
not obvious.
Phrasing usually
consistent and
occasionally
sensitive to the
style of music
being played.
Phrasing is rarely
consistent and/or
rarely sensitive
musical style.
Rhythm
The pulse is
secure and the
rhythms are
accurate for the
style of music
being played.
The beat is
secure and the
rhythms are
mostly accurate.
There are a few
durations errors,
but these do not
detract from the
overall
performance.
Pitch
Virtually no
errors. Pitch is
very accurate.
Dynamic
Dynamics levels
are obvious,
consistent, and
an accurate
interpretation of
the style of
music being
played.
Phrasing is
always consistent
and sensitive to
the style of
music being
played.
An occasional
isolated error,
but most of the
time pitch is
accurate and
secure.
Dynamic levels
are typically
accurate and
consistent.
Phrasing
Phrasing usually
consistent and
sensitive to the
style of music
being played.
The beat is
usually erratic
and rhythms are
seldom accurate
detracting
significantly.
from overall
performance.
Very few
accurate or
secure pitches.
Expression
and Style
Performs with a
creative nuance
and style in
response to the
score and limited
coaching.
Typically
performs with
nuance and style
that is indicted in
the score or
which suggested
by instructor or
peer.
Articulation
Secure attacks.
Markings
(staccato, legato,
slur, accents,
etc.) are executed
accurately as
directed by the
score and/or the
conductor.
Executive Skill
Proper
embouchure and
playing position
are
demonstrated.
Correct posture
demonstrated
(back straight;
feet flat on floor)
Attacks are
usually secure,
though there
might be an
isolate error.
Markings are
executed
accurately as
directed by the
score and/or the
conductor.
Posture slightly
slouching;
Correct
embouchure
demonstrated
Sometimes
performs with
nuance and style
that is indicated
in the score
which is
suggested by
instructor or
peer.
Attacks are
rarely secure, but
markings are
often executed
accurately as
directed by the
score and/or the
conductor.
Rarely
demonstrates
expression and
style. Just plays
the notes.
Leaning back;
legs crossed.
Minor flaws in
playing position.
Holding the
instrument
incorrectly.
Slouching; legs
propped up or
crossed; hand off
the instrument.
Incorrect
embouchure or
playing position
displayed.
Few secure
attacks. Marking
are typically not
executed
accurately.
II.
Regular Attendance with Required Materials - 8 Points Total: One point for each
checked item (will be checked periodically throughout rehearsal without advanced notice).
Points will be added to total score:
Pencil
conductor
Music*
Folder*
Eye contact with
Rehearsal markings in music
Music folder in slot:
Instrument placed in proper location in instrument room (not in the middle of floor):
Regular attendance:
*Must be the student’s own music and not borrowed music.
Grade
I.
Points earned:
/ 32
II.
Attendance/Materials (8 Points)
Total Grade:
(
+
(Out of 10)
)/ 40 * 10 =
Final Grade
Handbooks
Music Curriculum
2008
Welcome Back to Band!
I am so happy to have you again for band this
year! We will be playing lots of fun music and
will have several performances. I realize that
you may feel rusty, but don’t worry- we’ll start
by reviewing all the notes we know so far and
will ease back into playing.
It’s going to be a great year for band!
Everything you need to know…..
Be prepared!
Everyday of class students will need:
♪ instrument
♪ required supplies, specific to instrument (valve oil, reeds, etc.)
♪ binder with class music (see below)
♪ method book: “Standards of Excellence”
♪ PENCIL (not pen)
Notebooks
Every student in the Maury River band is required to have a 3-ring binder
dedicated to band class. Enclosed we will keep important information,
worksheets, articles of interest, practice logs, and of course- MUSIC!
Binder checks will occur regularly! Please note that each student should
always have their own binder in class, even if they regularly share music
with a stand partner.
MRMS Band logo binders are available for $4!
Classroom Expectations
Respect yourself
Bring a positive attitude to class
Respect others
Raise your hand and wait to be called on before speaking
Do not leave your seat without being given permission
Everyone has different talents and skills- do not put others down and
strive to learn from each other.
Classroom Expectations (continued)
Respect property
Do not play other people’s instruments (they could have cooties!)
Do not play percussion instruments at any time unless you are a
percussionist or have been asked to.
No food, candy, or gum allowed in the band room.
Do not write on school property.
Actively participate
When Mr. Schucker steps on the podium, be ready and quiet.
Do not speak out of turn or you may miss some instructions!
Daily Routine
1. Upon entering the band room, students will get their instruments and
go directly to their assigned seats.
2. Students will then look at the board for any special instructions, and
be sure that they have all required materials at their seat (PENCIL!).
3. Students will put their instruments together and begin properly
warming up with low soft notes. It would be wise to begin looking
over the activities listed on the board.
4. Students are to be seated with instruments ready 3 minutes after
the bell or they will be marked tardy.
5. Once Mr. Schucker stands on the podium, class has started.
6. Once dismissed, students will patiently put their instruments in the
lockers and return to their seats.
Consequences
1. If a student chooses to chew gum three times in class they will be
issued a silent lunch.
2. If a student plays a percussion instrument without being asked twice
they will be issued a silent lunch.
3. If a student plays another students instrument repeatedly they will be
issued a silent lunch
4. If a student is continually late they will make up class time in either
silent lunch or ASD.
5. All school rules and consequences apply.
Grading
Students will earn their grade through demonstration of:
♪ 30% Classroom Performance
 being on time with all materials and staying on task.
♪ 25% Performance Opportunities
 performance opportunities will take place to mark progress
♪ 20% Practice
 10 minutes a day (or 70 minutes a week) is required.
Practice logs will be collected every four weeks for 6th and
7th grade. A grace period of one week is in effect.
♪ 15% Written work
 worksheets and written tests/assignments
♪ 10% Attendance at band concerts
 attendance at school concerts is mandatory.
Extra credit is available through:
♪ Attending concerts outside of class- a written paragraph as well as
an accompanying program must be submitted to be rewarded for this
effort. See Mr. Schucker for more details.
♪ Extra practice- if a student shows consistent surpassing of the
minimum required amount of practice time, they will be rewarded
with extra credit points.
♪ Auditioning for special honor bands throughout the year.
♪ Participating in special honor bands throughout the year.
All grading will be done based on the Virginia Music Standards of Learning.
A sample performance rubric is included in this packet.
The SOLS can be found at:
http://www.pen.k12.va.us/go/Sols/musicartsK-12.doc (starting on page 20)
♫Practice♫
Students are expected to practice outside of the class everyday and
record their progress. This is essential for personal growth and for the
success of the band. We are a team and everyone must do their part. A
guideline to aim for is 10-15 minutes a day. This is very easy to accomplish
and will help immensely. If absolutely necessary, the 70 minutes of required
playing may be done over the weekend.
8th grade: Practice logs will only be required if your 9 weeks performance
opportunity grade drops below a 95. You must maintain your practice habits
and if you wish to turn in practice documentation, this will help your grade.
Concert Date!
PLEASE NOTE: Any absence from a concert or other event must be
brought to the attention of the director at least 2 weeks prior to the
event in order for the absence to be excused, and for replacement work
to be assigned. Every student is an important part of our team, and we need
everyone to contribute. Transfer these dates to your family calendar ASAP,
and let Mr. Schucker know immediately if there is a conflict. Location will
be the MRMS gymnasium
December 18th, 2007
7:00PM
Winter Band Concert
Concert Attire
Black and white performance attire is a music performance standard.
Girls: Knee length (or longer) black dress or skirt, or black slacks,
white sleeved blouse or shirt, and dress shoes
Boys: Black dress pants, dark socks and dress shoes, and white long
or short sleeve dress shirt. Appropriate dress ties are welcome.
Stage appearance no-no’s: jeans, athletic shoes, white socks, hats,
shirts untucked. Do not wear these to a concert!
Instruments
Due to the hands-on nature of this class, all students are required to have a
personal instrument in proper working order. These instruments may be
bought or rented through a variety of different companies locally and
nationally. Please see Mr. Schucker for rental flyers. In addition, a small
number of select instruments is available from the school for a small
maintenance fee.
IF PURCHASING AN INSTRUMENT: I cannot insist strongly enough
that a student’s instrument is purchased from a reputable music store.
Cheap instruments bought at convenient locations can hinder a
student’s ability to develop and create a full, rich, characteristic sound.
Method Books
We will be using Standard of Excellence books again this year as a class.
This is a required supply for this class. I will be ordering books in one large
order for any students interested, see the attached form for more information.
Jazz Band
We will once again be forming a jazz band this year to explore this exciting
genre of music! It is an honor to be selected for this group and auditions
will take place as listed below. Typically jazz band practices will take place
Mondays after school from 3:30-5:00. If interested, please plan to attend:
*September 6th- 3:30-5:00- jazz introduction, clinic
*September 11th- 3:30-5:00- jazz introduction, clinic
September 17th- 3:30- auditions (students will sign up for times)
September 24th- 3:30-5:00- first jazz rehearsal
*Please plan to attend both introduction sessions as they will be
different and build on one another. Bring Instruments!!
Help!
I am always available before and after school to help any students who want
individual attention. Please be sure to verify a date and time with me.
I greatly appreciate your time and look forward to having a lot of success in
band this year!
Matthew Schucker, band director
Matt_Schucker@rockbridge.k12.va.us
600 Waddell Street
Lexington, VA 24450
(540) 463-3129
Dear Parent or Guardian,
This is a wonderful time of year and I am thrilled to have your child in the
band program at Maury River middle school! Please look over the policies and
procedures outlined in this packet and feel free to contact me with any questions you
may have at any time.
I cannot stress enough how important you are to the success of your child in
music. The most important thing you can do to help your child is to take an interest
in their budding talent and encourage them to practice at least 10-15 minutes a day,
this is simply the homework associated with band class. Usually setting a time aside
in the daily schedule for practice will help make a habit out of it. With a little
encouragement, you can make all the difference.
Please sign the slip below and have your child turn return it to school
tomorrow. Once again, please feel free to give me a call or stop by anytime.
Matthew Schucker
Matt_Schucker@rockbridge.k12.va.us
(540) 463-3129
------------------------------------------------------------------------------------------------------There will likely be one or two during school field trips that will be taken to perform
at other Rockbridge County schools. Please initial in the box below and provide an
emergency number if you give permission for your child to travel with the school.
(please note that out-of-school events will require an additional permission form)
 I give permission for my
child to travel with the band
during the school day. (initial)
Emergency
number:
Please check the box below for any help you may be willing to offer this school year.
Please note that the band boosters would likely work in collaboration with RCHS.
 Willing to Chaperone?
 Willing to be in Band Boosters?
I have read through the newsletter attached to this sheet with my child and am aware
of the policies in place. I understand the importance of practicing (a minimum of 1015 minutes a day) to my child’s growth in band class.
______________________________
Student name (please print)
______________________________
Parent/Guardian name (please print)
______________________________
E-mail (for important reminders)
______________________________
Home phone
Work phone
Individual commitment to a group effort - that is what makes
a team work…
~Vince Lombardi
Rockbridge County High School
Band Handbook
Frank Sampson, director
143 Greenhouse Road
Lexington, VA
540.463.5555
Band Website: www.rchs.ourbandsite.com
I.
Course Syllabi
Marching Band
Marching Band is a class that it is not offered during the regular school day. It begins two weeks before the start of the
school year. Students must be able to attend Band Camp in August in order to be a part of the marching band. The
marching band rehearses regularly throughout the fall semester on Monday, Tuesday, and Thursday afternoon from 3:305:30, with occasional Friday rehearsals as needed. The marching band performs at all home football games and a few
away games. Students also perform at four or five Saturday events such as competitions or parades. Although students
finish before the end of the semester, they put in as many hours as a typical class. Therefore, all rehearsals and
performances are part of the curriculum and are required. Because this is a performance class, every member’s
participation is crucial. Students must make the commitment to remain for the duration of the marching band season.
(Please see current calendar for dates and times). Marching band is an exceptional opportunity for musicians seeking
outstanding performance opportunities. The marching band is one of the most visible and highly energetic performing
ensembles at our high school!
Curriculum targets: basic marching fundamentals, the importance of music/visual design in marching band (forms and
intervals), proper marching and playing techniques (roll-step, carriage and posture), a strong work ethic, advanced musical
concepts and its relationship to the visual aspect of marching band.
Symphonic Band
Symphonic Band is our intermediate band which is open to all students who have successfully passed 8th grade band, and
who have a serious desire to learn the foundations of playing in a high school ensemble. The Symphonic Band is
designed to give students a strong background in appropriate ensemble performance and help prepare students to audition
for the Wind Ensemble (if they choose). Symphonic Band plays music ranging from Grade III-V and follows the
requirements of Intermediate and Advanced Levels of the Virginia Standards of Learning for instrumental music.
Curriculum targets: basic music theory (i.e. intervals, major/minor modality, triads); sight-reading; major scales with the
relative minor (D, G, C, F, B-flat, E-flat, A-flat, D-flat), arpeggios, and thirds; simple and complex meters (4/4, 3/4, 2/4,
6/8, 9/8, 12/8, 5/4); articulation studies (slur, staccato, accent, marcato, legato, tenuto); quality tone production; blend and
balance of sound; and proper instrumental technique.
Wind Ensemble
Wind Ensemble is our advanced band open to rising 10th through 12th graders who audition for membership. In some
cases, rising 9th graders may be placed in Wind Ensemble if an audition is requested, and the director has determined that
skills are appropriate for placement in Wind Ensemble. The Wind Ensemble builds on the solid foundation of skills that
are gained in Symphonic Band and further enhances the skills of the serious musician. The Wind Ensemble plays music
ranging from Grades IV-VI and follows the requirements of Advanced and Artist Levels of the Virginia Standards of
Learning for instrumental music.
Curriculum targets: apply basic music theory; introduction of advanced music theory (i.e. chord progressions, seventh
chords, dissonance/consonance, suspensions); sight-reading; all 12 major scales with the relative minor, arpeggios, and
thirds; review simple and complex meters; advanced articulation studies; quality tone production; blend and balance of
sound; advanced instrumental technique.
Percussion Ensemble
Percussion Ensemble is designed for the serious percussionist to build on existing skills in an ensemble setting.
Percussionists in Percussion Ensemble will work on their own set of literature as well as literature for Wind
Ensemble and Symphonic Band. Percussion Ensemble will give students the opportunities to explore the
various pitched and non-pitched instruments (snare, timpani, keyboard percussion, auxiliary percussion, etc.)
and to expand their knowledge of the many areas of percussion and its practical application to other areas of
music. The Percussion Ensemble will rehearse with the Wind Ensemble and Symphonic Band as needed prior
to concerts and festivals.
Curriculum targets: explore music fundamentals (melody, harmony, form, rhythm, texture, pitch, dynamics,
etc.), proper grip (matched and traditional), snare drum rudiments (open-closed-open of the 13 essential
rudiments), mallet percussion technique (including note-reading, scales and arpeggios), timpani technique,
auxiliary percussion technique (cymbals, triangle, tambourine, etc), and an introduction to world percussion
(including congas and bongos).
Jazz Band
This class covers aspects of big band and jazz-rock music with special work on the technicques involved in jazz
ensemble and improvisational performances. Instrumentation for Jazz Band: 2 alto saxophones, 2 tenor
saxophones, 1 baritone saxophone, 4 trumpets, 4 trombones, 1 bass guitar, 1 piano, 1 guitar, 1 or 2 drummers.
Jazz Band is open to rising 10-12th graders who successfully pass an audition with the teacher.
Curriculum targets: explore various jazz styles (including swing, rock and Latin), blues scales/progressions, seventh
chords, dorian/mixolydian scales, and improvisation.
II.
Attendance
The success of the program is directly related to the participation of all its members. There is no limit to
the potential of the band as long as we are all working together; and, together, we can make a great
team—-one rehearsal at a time.
Attendance at regular rehearsals for all members is required. Our goal is 100% participation every
time!
(Marching band: One unexcused absence from a performance, three unexcused absences from rehearsal or
five unexcused tardies will result in a failing grade and dismissal from the band.)
Performances
If there is a conflict with the date of a performance and a student must be absent, you must fill out an Absence
Evaluation Form no later than four (4) weeks prior to a performance. After a performance, only emergency
situations will be considered. After one week in which an emergency has occurred and the student has not
turned in an Absence Evaluation Form (purple form), the absence will be “unexcused.”
Rehearsals
Students are expected to be at all rehearsals. A portion of the overall grade in is based on attendance,
preparation and participation in daily rehearsals. Please see the grading guidelines for each class regarding
rehearsal attendance.
Absence Evaluation
Absences that have been cleared by the director are “excused” and do not affect a student’s grade. Please keep
in mind that sports practices and work schedules are NOT excused absences to miss
rehearsals/performances for any ensemble. A schedule of rehearsals/performances will be given out with ample
time to arrange schedules. After submitting an Absence Evaluation Form, the bottom portion will be returned
to the student informing him/her of the director’s decision.
III.
Practice Makes Permanent
1. Set a daily time and place for practice. Keep a schedule and routine.
2. Use a music stand and use good posture while playing.
3. Use the following guidel
A.
Warm-up
-Long tones on comfortable notes (whole notes).
-Percussionists-long rolls with crescendo, decrescendo.
-Play mezzo forte, never forte!
-Increase the Range of notes and shorten note values (half, quarter notes).
B.
Technical Studies (Fluency, Accuracy)
-Begin with scales, quarter and eighth notes, play ascending and descending.
-Increase the tempo for fluency exercises.
-Play for accuracy in pitch, rhythm and tempo.
-Use a metronome to set the tempo (if available).
C.
Assigned Work
-Study assigned music from rehearsal.
-Work on small sections rather than playing from the beginning to end numerous
-Practice until you can perform without error.
-Always play with dynamic quality: crescendos, decrescendos, etc.
times.
D.
Final Work
-Play through a piece you enjoy. Always end a practice on a "good note".
IV.
Rehearsals/Class Meetings
Jazz Ensemble, Symphonic Band, and Wind Ensemble:
Please begin getting ready for rehearsal as soon as you arrive to class.
Please pick up a stand, assemble your instrument, tune, warm-up individually and have your music ready as
quickly as possible. We will begin class/rehearsal at 5 minutes after the tardy bell has rung.
Percussion Ensemble:
Please help move instruments and equipment from the storage room and set up as quickly as possible. Take
great care in moving the instruments. Once rehearsal is over, we will need to move the equipment back to the
storage room and make sure that all mallets and auxiliary percussion are put back in the storage cabinet.
Marching Band:
Section leaders and drum major(s) should begin warming-up/tuning the band, working on marching and
maneuvering, and getting everyone motivated in setting up equipment. When the rehearsal time, as scheduled,
begins, we will begin working on rehearsing our show music and drill as needed.
To be early, is to be on time! To be on time, is to be late. To be late, is to be forgotten. Always be early!
V.
Materials for each class
At every rehearsal, the student should have his/her:
Instrument (including reeds, valve oil, etc.), music, and a PENCIL. You must have each of these items at
every class/rehearsal to receive full credit.
If you forget your instrument, you must still set up as if you are playing and following along marking
instructions on the music with everyone else. You will receive half-credit (1 point) if you forget your
instrument, but still participate in class. If your instrument is being repaired, you must still participate in the
daily activities (but you will receive full credit even if an instrument is not available to loan). See also “Help!
My instrument is broken!”
Success is determined by consistency throughout the year—as a consistent student will learn a
great deal. I wish for a great deal of success in learning for the band, therefore, it is important that
everyone be prepared and be on time. The student’s success will greatly hinge upon a thorough
understanding of the lessons learned when going from the practice room to the performing stage.
VI.
Performances (see current calendar)
All performances are REQUIRED. (Please see also grading procedures and attendance sections).
Performance times, like rehearsals, will be given out well in advance in order to make necessary plans for them.
A report time will be designated in which the student should be dressed in proper attire and ready to perform.
Ladies will need to wear black hose and black closed-toed shoes with your uniform. Gentlemen will need to
wear black socks and black dress shoes with your uniform.
If you do not have any parts of your uniform when you arrive to a performance, you will not participate
and you will not receive full credit. You are responsible for your uniform. We do not have extra to loan.
We will always warm up together as a group before performing. This may include tuning together as a group,
in addition to the individual tuning that should be done prior. Students must remain for the entire concert or
they will lose a portion of their points received for the performance.
VII. Grading
Grading will be based on participation at rehearsals and performances and on written quizzes or
individual performance opportunities, as needed. As it is necessary for the proper functioning of a performing
group, the attendance of each student is extremely important at both rehearsals and performances. The student
must bring all necessary materials required for rehearsal.
Attendance, Preparation and Participation
Individual Performance
Opportunity/Written Test/Forms
Performance (performing and listening)
*Total point value will be dependent on
assignments for the grading term
2 Points (each day)
45 Days
10 Points Each
70 Points
4-6 Tests
1 Performance
90 Points
40 – 60
Points
70 Points
Total
200 – 220*
Points
90 Points for participation in daily rehearsals.
The student must follow each of the guidelines and expectations for proper rehearsal etiquette and be prepared
to play the assigned music.
Students who are present, prepared, and participating for class receive two points each day for a total of 90
points for the nine-week grading period.
Individual Performance Opportunities/Written Tests/Forms. (10 Points Each)
These assignments are given roughly every 2-3 weeks for students to get valuable feedback on individual
performance and knowledge of materials covered in class, as well as keeping track of forms that need to be
turned in.
70 Points for performances.
All performances that are listed on the calendar are REQUIRED performances. Students who miss these
performances without an excused absence will not receive the 70 performance points. Students are expected to
stay for the entire concert to receive full credit.
Extra Credit
Extra Credit will be offered if initiated at the student’s request. Please plan ahead and do not wait until the end
of the grading term. No extra credit will be given AFTER the end of the nine-week term. Private lessons
may count as a portion of extra credit but may not exceed more than 6% of the total possible points for the nineweeks. For private lessons to count as extra credit, please fill out the log and have your private instructor sign
the form and turn it in to Mr. Sampson for evaluation.
VIII.
Student Conduct/Rules
Students are expected to conduct themselves with appropriate classroom behavior. The school’s student
code of conduct will be strictly enforced during rehearsals as well as performances.
Musicianship, positive attitudes, punctuality, and a desire for excellence are expected from each student.
We must focus on our goals and not be hindered by problems arising from misconduct. Infractions of
expected student conduct will result in disciplinary action (or as directed by the RCHS student conduct
handbook).
Rules governing the bandroom, equipment and all other music department facilities. (See also the
Student Handbook for disciplinary actions)
The following are a list of rules and the corresponding level of disciplinary action per the RCHS Student
Handbook.
1. The director’s office is off-limits to students. Only students with expressed permission from the director
are allowed in the office and strictly for the purposes designated. If you need to see me, please knock on my
door (even if it’s open!). (Level I)
2. Do not destroy, deface, or otherwise damage any uniforms, equipment or instruments. (Level II:
Destruction of School Property)
3. Percussion instruments are for percussionists or students who have been designated to play those
instruments only.
4. Be respectful to the director, other people, their property, and the property of the school. (Level II:
Destruction of School Property & Level III: Disrespect to School Employees).
5. No food, drink, or gum is allowed during class or in the instrument, equipment, uniform room, and the
music library.
6. Only persons who have reason to be in the percussion cabinets or storage rooms are allowed.
7. Profane or vulgar language will not be tolerated. (Level II: Inappropriate Communications).
8. NO talking during class. (Level I: Disruption of Instruction).
10. No use of cell phones during any ensemble rehearsal. If you have them, turn the ringers off and keep
them out of sight. Electronic devices will be taken immediately and sent to the office. (Level II: Electronic
Devices).
11. Be on time to class. Students should be in their seat and ready to begin class five (5) minutes after the
tardy bell has rung. (Level I: Tardy – Assignment of working lunch).
*For Level I infractions, as well as: talking during class; bringing food, drink or gum into class; or playing
on percussion equipment when asked not to do so, you will receive ONE verbal warning. For a second
offense, your parents will be contacted. After that, your parents will be contacted and a parent conference
scheduled.
**For Level II, III, and IV infractions, a parent conference will be scheduled and referral may be issued.
Band Classroom/Rehearsal Policies and Expectations
1. Be respectful of other people, their property, and the property of the school.
2. Be ready to play when asked to do so. This means having your instrument assembled, tuned, and ready.
For marching band, it means being at your spot when ready to start the show.
3. NO talking during rehearsal.
4. Listen carefully. Instructions will be given out during the entire rehearsal. Please be attentive to what is
being said, it may be important, and it may concern you!
5. Please put away all music stands after rehearsal and clean up your area, making sure it is free of paper,
music, etc.
6. Please use the restroom and get a drink of water before class. Do not ask during class. I highly
encourage you to bring water bottles with you to class.
The guidelines and rules that are set are designed to maximize the learning environment for all students of the
RCHS Band Program. Persistent failure to adhere to these rules and procedures may result in dismissal from
the program at the director’s discretion.
IX.
Uniforms/School Instruments/Equipment/Music
Uniforms:
Marching band and concert uniforms are provided by the school. They are to be treated with respect, as they
are symbolic of the school. The uniform will be checked out to the student and the student must assume
all responsibilities of the uniform (i.e. dry-cleaning, repair, etc if needed). The fee to use the school-owned
uniform is $5.00 per uniform.
Uniform accessories that need to be purchased by the students:
Marching Band
Gloves:
$2.00/pair
Shoes:
$26.00/pair
Band T-shirt $10.00
Wind Ensemble/Symphonic Band/Percussion Ensemble/Jazz Ensemble
Tuxedo Shirt: $13.00 (Gentlemen)
Concert Blouse $29.00 (Ladies)
Instruments/Equipment:
The following instruments are available for use at RCHS: (tubas, baritones, bass trombone, bass clarinet,
bassoon, baritone saxophone, and French horn). Students who wish to use these instruments may check them
out at the beginning of the school year with the appropriate rental fees. Students need to purchase their own
mouthpiece to use with a school instrument.
Folders/Music:
You will be given a folder to hold your music. Please take great care of the folders. The folders must be
returned in the same condition that they were checked out.
Music must also be turned in when it is collected by the director. Markings on the music are fine, as long as it
is done lightly in pencil. In fact, I will ask and encourage you to use a pencil during rehearsal often. Please—
no pens!. If music is not turned in, or is turned in with markings other than in pencil, there will be a $5.00
charge to replace it. Music is very expensive to replace. Please treat it with care.
**Any instrument/equipment or parts thereof that are not turned in will result in any fees that may be required
for replacement and an “Incomplete” grade will be given. This helps to keep our costs down from year to year
so more opportunities can be provided to the students of the RCHS Music Program.
X.
Instrument Storage/Repair
Instruments may be stored in the instrument room when they are not being used. I highly suggest that students
use the locks on their instruments (if they are provided). While the room will be secured during non-class
times, it will help to avoid the tampering of instruments during other classes. This is not a frequent occurrence,
but it does happen from time to time. Make sure instrument cases are latched and placed neatly in their
properly designated areas in the storage room. Do not leave instruments in the middle of the floor of the
instrument room.
XI.
Help! My instrument is broken!
If you are having a problem with your instrument, please see Mr. Sampson. Occasionally, it is only a minor
problem that can be fixed easily. If Mr. Sampson cannot fix it, you will need to have it repaired by an
instrument repair company. Star Music, Inc., of Roanoke, sends a representative each week to pick up any
instruments in need of repair. Please fill out an instrument repair form (see sample below) in Mr. Sampson’s
box of forms outside his office; place the form inside the case; and leave the instrument with Mr. Sampson.
You may also send a repair order by going to our band website at:
www.rchs.ourbandsite.com/repairform.html
The instrument will be picked up on the next visit by our instrument repair technician. 1
If there is no instrument that you can borrow while yours is being repaired, you must still follow along during
rehearsal each day with your music. It is excused, but it is not free time.
XII. Performance Opportunities Outside of RCHS
Central Highlands All-Area Honor Band
Students enrolled in band class in the counties of Rockbridge, Allegheny, and Bath; and cities of Lexington,
Buena Vista, and Covington are eligible to audition for the Central Highlands All-Area Honor Band. The bands
consist of a high school and middle school band with guest conductors who work the students in preparation for
a culminating concert at the end of the event. The two-day event is generally held the third weekend in January.
Auditions are generally held in November (please see attached calendar). Please see Mr. Sampson for a list of
audition requirements. This is an exceptional opportunity for students of our area. **Students who audition
and make the ensemble are required to stay for the ENTIRE rehearsal both days in order to perform. Work and
sports will NOT be excused.
VBODA District V Honor Band
Students enrolled in a band class are also eligible to audition for the Virginia Band and Orchestra Director’s
Association’s District V Honor Band. District V Honor Band consists of two high school bands—a Symphonic
and Concert Band. Students who make a top chair in the Symphonic Band will be eligible to audition for
VBODA’s All-State Honor Band. Students should see Mr. Sampson for a list of audition requirements. Please
see the attached calendar for audition and event dates and locations. **Students who audition and make the
ensemble are required to stay for the ENTIRE rehearsal both days in order to perform. Work and sports will
NOT be excused. This is a state requirement.
Virginia Tech Honor Band
The director selects students through a nomination process. The students will be notified by mail from Virginia
Tech to participate in the concert—which is generally held the third weekend in January. For more information,
please see Mr. Sampson.
VBODA District V Concert Festival
This is our high-water mark for our concert ensembles (Wind and Symphonic). The festival is typically held
during the second week of March. The ensembles will be adjudicated by a panel of three judges on their stage
performance of three prepared selections and on a sight-reading selection by a fourth judge. The judges will
rate the performance on a scale of I-V (I being the highest). The scores are then combined for an overall
festival rating. This is an outstanding opportunity for all schools in our district to get valuable feedback from
highly qualified adjudicators.
XIII. Field Trips
Students are expected to ride with the bus to festivals, concerts, and band events away from the high school.
Students may ride with their parents back from the event with prior notification in writing. On occasion, there
will be no buses that return from an event (such as All District V Honor Band). Parents typically take the
students home after the performances. If a student does need transportation back to RCHS after such an event,
we can, and will, gladly accommodate this. Please let Mr. Sampson know ahead of time to make arrangements.
***No student will be allowed to ride with anyone else other than a parent/legal guardian from an event. I will
not release students to anyone other than the parents, even with written permission from the parent or guardian.
This is for the safety of the students.
All school and handbook rules apply to trips away from RCHS. ***
XIV. RCHS Music Boosters
The boosters help organize fundraisers, provide chaperones for trips, and assist in the director(s) in
organizational duties of the RCHS music program. Governed by bylaws, the boosters elect an executive
committee on a yearly basis and provide support to the RCHS music program and the director(s). All parents
of RCHS music program students are invited to join the RCHS music boosters. Meetings are held the first
Monday of each month at 7:00PM (executive meeting at 6:30) in the bandroom. For more information, please
contact Mr. Sampson.
Fundraising
Fundraising is an optional activity for students to earn money for the RCHS Music Department for instrument
and equipment purchases, spring trip, and other valuable opportunities. Fundraising is a vital part of bringing
these exceptional opportunities to our students.
Students who fundraise will earn a portion of the overall sales that he/she makes to be used for the spring trip,
instrument repairs, mouthpieces/reeds, etc. The students’ total sales will be recorded and they will receive
information regarding his/her total amount of sales that are applied to their individual accounts. Note: These
student accounts are not their own personal money that can be refunded. It is merely a way to keep a record of
the hard work and contribution to our band program. Students who are top sellers for the entire year will be
recognized and rewarded with U.S. Savings Bonds at our end-of-year banquet.
Spring Trip
Each year the RCHS Music staff works hard to find exciting festivals and/or competitions in exceptional
locations to provide an outstanding educational experience for our students. The spring trip is an optional
activity for our students to participate. Past destinations have included Atlanta, Toronto, St. Louis, and more!
Information about the spring trip is given out at the beginning of the year. Please check the calendar and
website for information and dates regarding the spring trip.
Payments
Trip payments should be made on the due dates listed in the calendar at the end of the handbook. Students who
have participated in fundraisers should have the amount of the payment minus the amount earned in the
fundraiser by the due date. This helps us keep our payments on schedule for the trip company. Payments can
be made by check** or cash*.
*If paying by cash, the students MUST bring the money in a sealed envelope (extras are provided in the box
outside my office) with the following information filled out:
Name of Student;
Amount Enclosed;
Date;
What the Payment is For.
**If paying by check, please make sure that the student’s name and what the payment is for is listed in the
memo section of the check. Make checks payable to RCHS Band.
*Students must NOT have extensive disciplinary problems in order to participate on the trip. No refunds can be
made if disciplinary action is taken after the last day for refunds resulting in the student not going on the trip.
The director(s) reserve the right to dismiss any student from the trip at any time.
XV. Student Leadership Positions
Student leadership is an integral part of the program. Strong leaders are needed in all aspects of band. Being a
part of the band program, especially the marching band, will prepare students with valuable leadership
experience that they will benefit from in the years following high school. There are a variety of positions that a
student can fulfill and gain such experience.
Band Librarian: The band librarian will be responsible for distributing all sheet music to the band. The
librarian will also catalog and file unused music in the music library. The librarian will oversee the major
functions of the music library; ensure that all music is neatly filed away; assist the director with entering all
music into databases; and prepare copies as needed for temporary replacement parts. Students who need
parts should see the band librarian. The band librarian will serve as the chief liaison to the library aside
from the director.
Equipment Manager(s): The equipment manager will be responsible for all equipment used for both
concert and marching band. Equipment managers insure that all equipment is properly moved to the needed
rehearsal or performance area. This may include designing a method of dispersing the responsibility of
moving equipment among the band. The equipment manager will not move each piece of equipment by his
or herself. Everyone in the band must help move equipment. To be a great band, we have to take care of
each other. The equipment managers will inventory equipment, report broken equipment to the director,
and oversee that everyone helps in the equipment’s safe transport. This position is open to all students.
Drum Major(s): The drum major serves as field commander and conductor during the halftime show. The
drum major(s) is also the chief motivator for the band. A good drum major will be proactive and
enthusiastic and, as a result, pass on those qualities on to the band. Skills that a drum major should possess
include: exceptional leadership skills, positive attitude, showmanship, humility, knowledge of advanced
musical principles (tempos, conducting various styles of music, terminology, score reading), etc. The drum
major must be able to call commands, read drill charts, and teach music and drill effectively. A leadership
camp session during the summer prior to band camp is required for all drum majors. This position is open
to rising sophomores, juniors and seniors.
Section Leaders:
Section leaders serve as the principle chair of their sections. They are the main
motivator and teacher of that section. They must be able to help with both returning and new marchers.
Section leaders must communicate effectively with other section leaders, the drum major and the director
and handle any issues or problems that arise within the section. The section leader will be enthusiastic and
help encourage teamwork among the different sections in the band.
Public Relations:
The public relations student will be responsible for chronicling the bands
throughout the year. This will include taking still photographs and video/audio recordings. The student
may also prepare press releases for the local papers, as well as for school announcements. The public
relations student will work closely with the director on how to handle the band’s public relations. This
position is open to all students.
Uniform Assistant(s): The uniform assistant(s) will be responsible for insuring that each student is fitted
with the proper fitting uniform and all of its parts. The uniform assistant(s) will keep all uniform contracts
on file and handle any issues with forgotten or lost parts. They will report any parts that are deemed lost to
the director for further action. The assistant(s) will keep spare parts and items such as safety pins, needle
and thread on hand prior to performances in the case that parts are missing, damaged or worn. Uniform
assistant(s) may be called upon to have uniforms cleaned during the season; however, uniform assistant(s)
normally would only clean uniforms at the end of the season. Uniform assistant(s) will also distribute
plumes prior to performance and retrieve after the performance. This position is open to all students.
XVI.
Band Awards/Scholarships
John Philip Sousa Band Award
Created in 1954 in cooperation with the daughters of the famous composer and bandmaster, thousands of
high schools have honored their top band students with the John Philip Sousa Award. This is the pinnacle of
achievement in a high school band program. The Sousa Award is given based on qualities found in a
student that typically include: outstanding dedication, superior musicianship, leadership, enthusiasm,
dependability, and character. The award has become a nationwide symbol of excellence in musical
achievement in a band program. (Source: The Instrumentalist Publishing Co.)
Patrick S. Gilmore Band Award
A prominent 19th-century bandleader, Gilmore and his band played during the Civil War for the troops and
cared for wounded soldiers during General Burnside's expedition to North Carolina. Gilmore also played
for every president of his day, from Buchanan to Cleveland, including Abraham Lincoln. Introduced in
1994 in honor of the legendary 19th-century bandmaster and impresario, the Patrick S. Gilmore Award is
given to a deserving student in recognition for exceptional contributions and service to his/her high school
band program. (Source: The Instrumentalist Publishing Co.)
Louis Armstrong Jazz Award
Introduced in 1974, with the approval of his widow, Lucille Armstrong, the Louis Armstrong Jazz Award
honors outstanding jazz students in high school band programs across the nation. "Louis's greatest
personality traits were humility and generosity...He just loved people, and he always tried to understand
them too...He was compassionate, generous, and understanding with everyone...He was loved, not only for
his style, but as a person as well." Those words by his wife best capture the qualities found in exceptional
jazz musicians that the Louis Armstrong Jazz Award recognizes. Students who receive this award will
exemplify the qualities of musicianship, leadership, loyalty, enthusiasm, dedication, and character. (Source: The
Instrumentalist Publishing Co.)
Third Year/Fourth Year Awards
Students who have participated in an RCHS Band Class for three and four years will receive special
recognition for their contributions and dedication to the program.
Music Booster Scholarship
Band and chorus members are invited to apply for the Music Boosters Scholarship, a one-time grant of
$500.00 to a college bound senior.
Qualifications:
Applicants must have (1) participated in an RCHS band or chorus program (Marching
Band, Symphonic Band, Percussion Ensemble, Wind Ensemble, Jazz Ensemble, Mixed Chorus, or Chorale)
in each of his/her four high school years; (2) maintained an A grade average in band or chorus classes; and
(3) participated in at least one of the following each year: All-Area Band, All-District Band, Solo/Ensemble
Competition, All-District Choir, or All-State Choir.
Applicants need not plan to major in music and no audition is required. The following factors will be
considered: academic performance, school activities in general, band/chorus participation, and financial
need. The recipient will be a student who has actively and enthusiastically participated in music activities
and who well represents RCHS and music program.
Bissett/Bryant Scholarship
The Bissett/Bryant scholarship carries a stipend of $500-$1000 and is awarded to students who clearly
stands above his or her peers in most clearly reflecting the dedication to the RCHS band. No application is
necessary. Students are nominated and selected by the directors and/or members of the music boosters
advisory board.
I, _______________________________, the parent of ________________________________, have read over
the band handbook and syllabus with the student. We fully understand the policies and guidelines that form the
basis of the band program at the school. We agree to contact the director for any reason to help resolve any
conflicts. We also understand that the director will be available outside of normal school hours for any
questions, concerns, or comments. The director reserves the right to amend the syllabus and handbook as
needed with proper notification.
Student’s Signature ______________________________________
Date ______________
Parent’s Signature _______________________________________
Date ______________
Appendix
Music Curriculum 2008
Rockbridge County Practice Log
Date
Monday
Tuesday
Name: ____________________________________
Wednesday
Thursday
Friday
Saturday
Sunday
2/4-2/10
2/112/17
Interims
Distributed
Early Dismissal
2/182/24
2/25-3/3
♪ Band students are expected to practice a minimum of 10 minutes everyday (or 70 minutes per week)
♪ Grading will be 100 pts per week: (10) Parent Signature, (90) for 70 minutes. Each minute less = 1 pt. less
I attest that my child practiced the above stated amounts: _________________________________
Please sign after the final practice day
Parent/Guardian Signature
Total
Band Instrument Maintenance and User Agreement Form
Maury River Middle School
600 Waddell Street
Lexington, VA 24450
Phone (540) 463-3129
The listed instrument has been issued to your child for the 2007-2008 school year.
Please read, sign and return to Mr. Schucker ASAP.
Instrument
Serial Number
Condition
Accessories
I agree to pay a non-refundable $70.00 maintenance fee for my child’s use of a school owned
instrument while a member of the MRMS Band for the 2007-2008 school year. The
maintenance fee is a yearly fee that covers repairs necessary from normal daily use.
It is agreed that my child will take good care of this instrument and that I am responsible for
repair bills caused by my child’s neglect, carelessness, and/or abuse. The instrument will be
returned at the end of the 2007-2008 school year with no more damage evident than typical
wear and tear.
I am also responsible for the replacement of the instrument if lost or damaged beyond repair
due to my child’s neglect, carelessness, and/or abuse. The student agrees that he/she will not
allow anyone else to handle nor play the assigned instrument.
Student name___________________________________________
Parent/Guardian_________________________________________
______________________________
Student signature
______________________________
Parent signature
____________
date
______________
date
Please return this agreement with the $70.00 maintenance fee to Mr. Schucker.
Please make checks payable to Maury River Middle School.
For your convenience, the maintenance fee may be made in two $35.00 installments, one at
this time and again in January.
The
Music
Code
of
Ethics
An agreement defining the jurisdictions of music educators and professional
musicians
The Music Code of Ethics Music educators and professional musicians alike are
committed to the importance of music as an essential component in the social and
cultural fiber of our country. Many of the ways that they serve this commitment
overlap--many professional musicians are music educators, and many music
educators are, or have been, actively engaged in the field of professional
performance. Based on training and expertise, however, educators and professional
musicians serve fundamentally different functions:
 Music educators contribute to music in our society by promoting teaching music in
schools, colleges and universities, and by promoting a greater interest in music and
the study of music.
 Professional musicians contribute through their performance of music to the public
in promoting the enjoyment and understanding of music. This Code is principally
concerned with this role, though professional musicians also contribute by providing
music for weddings, funerals, and religious ceremonies .
When the line between these different functions is blurred, problems may arise:
Music educators may find that school programs they have built over the years are
thrown into disarray. Musicians may suffer harm to their prestige and economic
status. And those served by both educators and musicians students and the public-may find that they are poorly educated and poorly entertained.
This Code of Ethics sets out guidelines that will help educators and performers avoid
problems stemming from a lack of understanding of each others' role. It does not
address the many other issues that shape ethical behavior in performance and in
education.
Music Educators and the student groups they direct should be focused on the
teaching and learning of music and on performances of music directly connected with
the demonstration of performances at:
 School functions initiated by the schools as a part of a school program, whether in
a school building or other site.
 Community functions organized in the interest of the schools strictly for
educational purposes, such as those that might be originated by the parent and
teachers association.
 School exhibits prepared as a courtesy on the part of a school district for
educational organizations or educational conventional organizations or educational
conventions being entertained in the district.
 Educational broadcasts that have the purpose of demonstrating or illustrating
pupils' achievements in music study or that represent the culmination of a period of
study and rehearsal. Included in this category are local, state, regional, and national
school music festivals and competitions held under the auspices of schools, colleges,
universities, and/or educational organizations on a nonprofit basis and broadcast to
acquaint the public with the results of music instruction in the schools.
 Student or amateur recordings for study purposes made in the classroom or in
connection with contest, festival, or conference performances by students. These
recordings are routinely licensed for distribution to students, but should not be
offered for general sale to the public through commercial outlets in any way that
interferes with the normal employment of professional musicians.
In addition, it is appropriate for educators and the school groups they direct to take
part in performances that go beyond typical school activities, but they should only do
so where they have established that their participation will not interfere with the
rights of professional musicians. and where that participation occurs only after
discussion with local musicians (through the local of the A F of M). Events in this
category may include:
 Civic occasions of local, state, or national patriotic interest, of sufficient breadth to
enlist the sympathies and cooperation of all persons, such as those held by the
American Legion and Veterans of Foreign Wars in connection with Memorial Day
services.
 Benefit performances for local charities, such as the Red Cross and hospitals
(when and where local professional musicians would likewise donate their services.)
Professional Musicians provide entertainment. They should be the exclusive
presenters of music for:
 Civic parades (where professional marching bands exist), ceremonies, expositions,
community-center activities; regattas; nonscholastic contests, festivals, athletic
games, activities, or celebrations, and the like; and national, state, and county fairs.
 Functions for the furtherance, directly or indirectly, of any public or private
enterprise. This might include receptions or public events sponsored by chambers of
commerce, boards of trade, and commercial clubs or associations.
 Any occasion that is partisan or sectarian in character or purpose. These occasions
might include political rallies, private parties, and other similar functions.
 Functions of clubs, societies, and civic or fraternal organizations.
Interpreting the Code is simple. This is not to say that the principles set forth in
this Code will never be subject to differing interpretations. But if educators and
performers keep to the core ethical idea, that education and entertainment have
separate goals, conflict should be kept to a minimum. Additional considerations:
 School groups should not be called on to provide entertainment at any time--they
should be involved exclusively in education and the demonstration of education.
Statements that funds are not available for the employment of professional
musicians; that if the talents of school musical organizations are not available, other
musicians cannot or will not be employed; or that the student musicians are to play
without remuneration of any kind, are all immaterial.
 Enrichment of school programs by presentations from professional entertainers
does not replace a balanced, sequential education in music provided by qualified
teachers. Enrichment activities must always be planned in coordination with music
educators and carried out in a way that helps, rather than hinders, the job of
bringing students the skills and knowledge they need. The mere fact that it may be
easier for a school administration to bring in a unit from a local performing arts
organization than to support a serious, ongoing curriculum in the schools has no
bearing on the ethics of a professional entertainer's involvement.
Should conflicts occur in issues touched by this Code, the American Federation of
Musicians (AFM) and MENC: The National Association for Music Education suggest
that those involved:
1. First, attempt to resolve the situation by contacting directly the other party
involved.
2. Second, attempt resolution through the local representatives of the associations
involved. The local of the AFM should is accessible through directory assistance. The
officers of MENC state affiliates can be found through the MENC site on the World
Wide Web (www.menc.org) or by calling MENC headquarters at 1-800-336-3768.
3. Finally, especially difficult problems should be resolved through mediation. Help
with this mediation is available by contacting the national offices of the AFM and
MENC.
This code is a continuing agreement that will be reviewed regularly to make it
responsive to changing conditions.
Endorsing organizations:
American Association of School Administrators
National Association of Elementary School Principals
National Association of Secondary School Principals
International Association of Jazz Educators
This document was originally created in 1947 by a committee of representatives
from MENC, the American Federation of Musicians, and the American Association of
School Administrators.