Designing an Instrumental Music Program: Curriculum Guide

Transcription

1 Designing an Instrumental Music Program: Curriculum Guide A Guide for Developers of Learning Programs Department of Education, Queensland in association with Ministry of Education (Office of Schools Administration), Victoria 1990 Policy and Procedure Register at to ensure you have the most current version of this document. Page 1 of 70

2 Acknowledgements This Curriculum Guide forms part of a collection of curriculum support materials in the area of instrumental music. It has been developed by officers of Curriculum Development Services over a number of years. The officers who have made a substantial contribution to the document are Trish Zamora, Alison Tucker and Roy Thompson. This guide has been prepared by Trish Zamora. Acknowledgement is also given of the assistance of various officers in Curriculum Development Services and Music Section, to the Instrumental Music Consultative Committee and the reference group for the project, and to the numerous instrumental music instructors, tertiary educators and others who contributed their knowledge and expertise. National Library of Australia Cataloguing in Publication Entry Curriculum guide. ISBN X ISBN (series). 1. Instrumental music - Instruction and study. 2. School music - Instruction and study. l. Queensland Dept of Education. ll. Victoria. Office of schools Administration. (Series : Designing an instrumental music program) S. R. Hampson, Government Printer, Queensland Department of Education, Queensland, 1990 Copies of this publication are available from EdMart, 270 Lutwyche Road, Windsor, Qld Policy and Procedure Register at to ensure you have the most current version of this document. Page 2 of 70

3 Foreword For some people instrumental music is the epitome of the musical experience. For others, it is the extension of the pleasures of music listening and involvement. From whichever position one starts, instrumental music learning is a powerful adjunct to the development of a student's musical expression and appreciation. We are pleased that our education authorities have been able to share the task of developing this set of booklets to assist the teaching of instrumental music in a systematic fashion. Cooperation of this nature shows the future of curriculum development in Australia, particularly in areas of scarce and valuable resources. Our congratulations go to the authors of the material and our thanks to all teachers and music educators who contributed advice, material and support. We are pleased to endorse these materials to the education community. Ian Matheson Director-General Department of Education, Queensland Peter W. Hill Chief General Manager Office of Schools Administration Ministry of Education, Victoria Policy and Procedure Register at to ensure you have the most current version of this document. Page 3 of 70

4 Acknowledgements Foreword Table of Contents Introduction 1 Curriculum Structure 1 Policy 3 Purposes 3 The Purpose of the Instrumental Music Program 3 Principles 3 Priorities 4 Understanding Individuals 5 Educational Concerns 5 Consequences for Curriculum Planning 5 Generalisations 5 Children of up to about 8 6 Children of about Adolescents of about Content 9 Aims, Goals and Objectives 9 Scope and Sequence 10 General Objectives Across All Levels 12 Improvisation and Composition 13 Range Charts 14 Wind and Percussion Instruments 14 String Instruments 15 Scope-and-Sequence Charts 16 Wind Instruments 16 Percussion Instruments 24 String Instruments 34 Recommended Method Books 46 Ensemble Repertoire 46 Ensemble Scope-and-Sequence Chart 48 Worthwhile Activities 53 Panning Criteria 53 Presentation Criteria 53 Evaluation 55 Program Evaluation 55 Student Assessment 55 Appendix A Overview of Musical Learning Primary Music 60 Appendix B Recommended Resources 62 A lift-out Overview of the Instrumental Music Curriculum Guide is located between pages 28 and 29 of this document ii iii Policy and Procedure Register at to ensure you have the most current version of this document. Page 4 of 70

5 Introduction This Curriculum Guide has been written for the Queensland Department of Education Instrumental Music Program, but it has implications for other ensemble-based programs that foster participation in concert bands, string and full orchestras, and other performing groups. These other groups may be flute choirs, stage bands, percussion ensembles, string quartets etc. Students have the opportunity to gain experience in performing in both a large ensemble and a chamber ensemble. This curriculum is based on a weekly lesson in a small group and participation in a large group ensemble, as appropriate to the student's level and instrument. Instrumentation This curriculum includes band and orchestral instruments as follows: Strings violin, viola, cello, double bass; Woodwinds flute, oboe, bassoon, clarinet, saxophone; Brass trumpet, French horn, trombone, baritone, euphonium, tuba; Percussion tuned and untuned instruments, including snare and bass drum. drum kit, timpani, and auxiliary and mallet instruments. Group Lessons Group lessons retain the interactive learning environment of other school activities and are an efficient way of teaching instrumental music because of the technical similarities within instrument families (for example brass, woodwind). Performance Ensembles Bands, orchestras and small ensembles provide opportunities for musically and socially enriching additions to solo performance. Through cooperative music-making, a far wider repertoire is available to players and audience alike. Curriculum Structure This Curriculum Guide provides an overview of the educational goals and content of an instrumental music program. The curriculum is divided into five levels. These levels are unrelated to school Year levels The progression of learning from Level One to Level Five is sequential and cumulative. Each level covers the scope of musical concepts involved in learning to play an instrument, with successive levels showing increasingly complex applications. Scope-and-sequence charts can be used as criteria for assessing progress, successful completion of each level and readiness to commence the next level of work. The Curriculum Guide is part of a series of books called Designing an Instrumental Music Program. The book entitled An Overview of Areas of Learning and Skill Development explains terminology used in the series and outlines a general standard of achievement for each level. String Instruments and Wind and Percussion Instruments, both teachers' resource books, detail specific objectives and content, outline a sequence of learning and offer instructional assistance. Policy and Procedure Register at to ensure you have the most current version of this document. Page 5 of 70

6 This guide follows the structure for curriculum development outlined in the Queensland Department of Education P-10 Curriculum Framework document, which specifies five major areas that should be taken into account by curriculum developers: policy understanding individuals content worthwhile activities evaluation. This framework is also to be considered in the context of the Queensland Department of Education P-10 Arts Framework, which aims at providing learning experiences that promote achievement, satisfaction and optimum growth in learners, as well as assisting them to participate in and contribute to the society in which they live. In keeping with these goals, instrumental music tuition makes a significant contribution not only to students' music education but also to their personal and social development. Policy and Procedure Register at to ensure you have the most current version of this document. Page 6 of 70

7 Policy Within the terms of the P-10 Curriculum Framework, 'policy' denotes the purposes, principles and priorities of the curriculum for the compulsory years of schooling. Purposes For most people, music is an integral part of life. All children can derive considerable fulfillment and enjoyment from music education, not only those who show a particular talent. The skills, concepts and attitudes that children acquire as a result of their music education should be those that benefit them not only during their schooling but also in the years beyond. Music programs that provide opportunities for children to be actively involved in a wide range of musical experiences are more likely to develop in them an understanding of and sensitivity towards music, giving them a better chance to find meaning in music and become aware of the value of music in their own lives, as well as in the lives of others. The Purpose of the Instrumental Music Program The overarching purpose of the Instrumental Music Program is to provide children with the opportunity to experience the expressive qualities of music through learning to play a band/orchestral instrument and to participate in performance ensembles such as concert bands and orchestras. The program is based on a broad set of objectives that spring from two fundamental goals: the mastery of technical skills and the development of musical sensitivity. Though it is not possible to teach students how to feel about a piece of music, it is possible to improve the quality of perception by fostering the acquisition of musical skills; and with heightened perception comes aesthetic sensibility. The instrumental program requires a balanced and comprehensive approach to the development of musical perception, aesthetic sensitivity and technical mastery. Creative activities are an important component of instrumental music education. In addition, continuity between the class music program and the Instrumental Music Program is needed to ensure compatible and complementary learning experiences. The program provides opportunities for greater participation in music education for the whole school community as well as enrichment experiences for gifted and talented students. Opportunities are also available for fostering interaction between Year levels through participation in school-based ensembles, and also for cross-linking to other areas of the school curriculum. With increased technical mastery, musical perception and aesthetic sensitivity, students are more likely to seek musical experiences after leaving school. They will thus be provided with a wider range of options in vocational choices, leisure pursuits and lifestyle decisions. Principles The principles upon which the Curriculum Guide is based are drawn from what we know about children and culture. Policy and Procedure Register at to ensure you have the most current version of this document. Page 7 of 70

8 Children All children are capable of learning and enjoying music. All children will benefit from an instrumental music education that is an extension of a sound general education. All children will benefit from a music education that recognises and is responsive to their abilities, needs and interests. This means that the program must be appropriate for them as individuals and as members of their particular communities. Children have individual styles and rates of learning, and should be given opportunities to learn about music from various perspectives. Children need activities that will expand and develop their affective skills as well as their intellectual and psychomotor skills. Instrumental music education addresses all three areas of development. Culture It is important for children to have an understanding of the role and function of music in the everyday life of their own and other cultures. The community contains a wealth of human and material resources in music that can contribute greatly to a child's musical education. Priorities The priorities established for all learners in the arts in the P-10 years of schooling reflect aspects of the purposes and principles of the Instrumental Music Curriculum. These priorities are outlined below: Australian cultural identity development of an Australian cultural identity, which can be supported by learning and performing works by Australian composers. Recreation, training, vocation provision of musical experiences comprehensive enough for students to further pursue their various options in recreation, training and vocation. Special needs provision of appropriate, worthwhile musical experiences for students with special needs. Arts education provision of artistic activities that will help children to develop an understanding of and sensitivity to the arts. Excellence provision of opportunities for students to develop their full musical potential. Participation - encouraging all students to participate in and appreciate a range of performing groups and styles of music; - encouraging all students, regardless of gender, to study the instrument of their choice (whether brass, woodwind, string or percussion). New technology exploitation of new technology in providing new media for musical expression. Viable careers presentation of music and related areas as viable career options to students with special talents and interests. Policy and Procedure Register at to ensure you have the most current version of this document. Page 8 of 70

9 Understanding Individuals Each child has a unique learning style, influenced by his or her age, intellectual, social, emotional and physical development, and the social environment in which this occurs. The following chart outlines some general educational concerns and their consequences for curriculum planning. Educational Concerns Children learn at different rates and in different styles. Children in the same age group may be at different stages of physical and mental development. Children's learning patterns are similar to their growth patterns: sometimes there is steady progress; sometimes there are sudden spurts followed by slower development and consolidation. Children are individuals with differences in needs and abilities. Children's attempts in every phase of the educative process are of value. Children's skills are refined over a considerable time span. Motivation and perception of progress are vital to effective learning. Children respond to a teacher's enthusiasm and positive attitude. Consequences for Curriculum Planning Teaching starts from what students already know. New skills and understanding are acquired through teacher-guided sequential stages, each skill grasped sufficiently well to permit further learning. Learning is enhanced by revision and consolidation, with new repertoire using established skills and at the same time extending those skills by adding greater complexity and different implications. A wide range of interrelated skills, concepts and repertoire is worked on at a similar level of complexity. Both long-term and single-lesson learning require variety and balanced reinforcement in activities. The age and developmental stage of students individually and within groups must be considered. Certain approaches to lesson content and vocabulary are appropriate to each stage. Appropriate activities, methods, language and assessment should motivate students and enable them to perceive their own progress. Teachers should take advantage of professional development opportunities to keep themselves motivated and to upgrade their skills. Generalisations Although each child is an individual with a unique learning style, some generalisations can be made, especially about children within the same age group. The following charts list characteristics common to children at various ages and the implications for instrumental teaching. Policy and Procedure Register at to ensure you have the most current version of this document. Page 9 of 70

10 Children of up to about 8 Years of Age Year Levels P-4 Characteristics Children at this age tend to: rely on adult leadership; have a self-centred perspective (relate everything to how it affects themselves, not others); work beside rather than with other children; relate to and understand actual, concrete things rather than abstract concepts; see things as wholes rather than in terms of component parts; accept rules or patterns without understanding the reasons for them; draw often incorrect conclusions on the basis of insufficient evidence; respond to the most recent experience or information at hand; have short concentration spans; cope best with large materials and clear visual cues. Implications for instrumental music teaching Therefore the teacher will: expect practice to be done mainly with adult guidance or support; emphasise personal exploration of situations and materials (guide children to discover things about their instrument, sound production and music generally); concentrate on doing rather than explaining complex principles; develop fundamental skills related to the instrument and musical communication; use language that is simple and direct; be aware that a child may reproduce an activity without understanding the concept behind it; aim at enthusiasm as an outcome of learning experiences; use a variety of short, related activities in each lesson; use resources with large print and notation size. Children of about 8-12 Years of Age Year Levels 4-8 Characteristics Children at this age tend to: extend their focus beyond immediate experience (include other situations, people and knowledge); begin to cope with abstract concepts; enjoy working with others in a group; be able, after guidance, to repeat and extend learning, applying it to similar situations; start formulating and using rules and laws, and become aware of systems of relationships. Policy and Procedure Register at to ensure you have the most current version of this document. Page 10 of 70

11 Implications for instrumental music teaching Therefore the teacher will: encourage learning through awareness of the experience of others; explain abstract concepts by analogy with real experience; encourage group-directed activities/projects; encourage individual application of learning beyond the lesson; expect children to be able to recall information; discuss musical rules underlying pieces being played, and relate them to other pieces of music already known and to other musical elements; plan to consolidate and reinforce earlier learning while introducing some refining and extension activities. Adolescents of about Years of Age - Year Levels 8-12 Characteristics Young adolescents tend to: seek independence from adults and begin to accept responsibility for their own actions; seek conformity with peers, not wanting to stand out; be self-conscious; be able to work alone; try to apply to specific problems a developing capacity to reason abstractly; be able to see interrelationships between ideas, objects or events and their relation to larger designs; increase their ability to consider many points of view and many interpretations of one set of events or information. Implications for instrumental music teaching Therefore the teacher will: encourage student participation in choice of materials and objectives, method of approach and ensemble decisions; provide guidance and retain responsibility for the program content and direction; encourage attempts at individual expression and use of initiative; encourage/share the thinking through of a personal difficulty with subject matter (for example, why a technical problem exists); be sensitive to adolescents' self-image and peer perceptions; approach new learning in a non-abstract way, but encourage students to discover relationships with other knowledge; refine and extend students' technical skills; encourage discussion of stylistic concepts and ways to express them in the music. Policy and Procedure Register at to ensure you have the most current version of this document. Page 11 of 70

12 Policy and Procedure Register at to ensure you have the most current version of this document. Page 12 of 70

13 Content Aims, Goals and Objectives The P-10 Curriculum Framework provides a structure on which schools can base a balanced, comprehensive and sound general education program that is flexible enough to respond to the strengths, interests and styles of learning of individuals. This structure will ensure that all children in the P-10 years have a broad knowledge base in all fields of the curriculum, including arts education. The implication for music education is that all children should have acquired a general knowledge of music in the P-10 years. Students should also have access to activities and studies that enable them to pursue and develop their interests and strengths. The Instrumental Music Program will allow interested students to extend the general musical knowledge they have gained. Aims The aims of the Instrumental Music Program are: to provide an opportunity for the musical development of students through instrumental instruction on a group basis; to provide ensemble experience for these students so that they develop ensemble performance skills as an integral part of their music education; to encourage chamber and solo performances by these students so that they gain confidence and independence in performance and, through music, to develop their sense of artistry, expression and aesthetic sensitivity; to complement the school music program. Goals The goals of the Instrumental Music Program are: to offer students the opportunity to explore and develop their musical abilities through playing an instrument and participating in ensembles; to enhance the students' enjoyment of music by enabling them to respond to it with deeper understanding, gained through a knowledge of its melodic, rhythmic and harmonic properties, and through the personal experience of making music; to involve students at the level of their musical ability so as to enable them to become more sensitive, discriminating and creatively aware musicians, and more educated consumers of music; to acquaint students with the world's musical heritage by providing opportunity for the study, through available literature, of folk music, popular idioms and classics of both the non-western and Western worlds, giving appropriate recognition to all artistic expression that has contributed to our present culture; to motivate the students to explore and come to know a variety of musical literature so that they may discover the value of music as a mode of expression while in school and as a lifetime leisure activity or vocation; to enhance the musical experiences of the school and the community by providing demonstrations, clinics and concerts; to offer students the opportunity for creative experiences, such as improvisation and composition, so that they are encouraged to explore the realm of self-expression. Policy and Procedure Register at to ensure you have the most current version of this document. Page 13 of 70

14 By keeping these goals in mind, teachers will facilitate the development of each students potential as a performer, creator and consumer of music. Performance ensembles should not exist solely for the value of performance but also to contribute to the overall musical growth of the students, including their knowledge of ensemble repertoire. Rehearsals and group lessons should be arranged to promote the development of skills, the resolution of ensemble performance problems, and an understanding of the concepts of musical content, structure and style. Objectives The goals of the Instrumental Music Program are restated in this section as general and detailed objectives that are designed to provide a guide for instrumental instructors when formulating their own programs of work. The objectives can be organised around the basic components of the process of learning to play an instrument. These components are wide-ranging and complex, and are refined over a long period of time. They have been organised here into eleven areas of learning and skill development: the instrument playing posture tone pitch repertoire tuning and intonation articulation symbols and terms rhythmic and melodic perception improvisation and composition sight-reading performance. Specific objectives have been identified in each of these learning areas and are presented here in the form of scope-and-sequence charts. Exit levels of achievement for each level have been developed from the scope-and-sequence charts and are available as a separate document from Music Section, Queensland Department of Education. Scope and Sequence The following charts show the content of the eleven areas of learning and skill development organised into five sequential levels. From the charts the teacher can readily see what learning is appropriate for each level. The first chart expresses the general objectives for each learning area across all levels, exiting at the end of Level Five. This is followed by a scope-and-sequence chart for improvisation and composition. This area has been listed separately, since it is the same for all instruments and is an optional area of study for interested students. Range charts for wind and percussion instruments and string instruments are found at the end of this section. The next set of charts lists specific achievement objectives for each skill at each level. There are separate charts for string, wind and percussion instruments. Some variations in sequence, in response to the demands of repertoire, may occur at the teacher's discretion. However, the scope of each level must be covered before students can receive recognition and accreditation for completion of that level. Policy and Procedure Register at to ensure you have the most current version of this document. Page 14 of 70

15 Relationship to the Australian Music Examinations Board Although the technical work in these levels cannot be aligned with Australian Music Examinations Board (AMEB) technical requirements, instrumental teachers will find the graded repertoire lists available from the AMEB and major music publishers helpful in choosing solo, chamber and ensemble music for each level. Policy and Procedure Register at to ensure you have the most current version of this document. Page 15 of 70

16 By the end of Level Five students should meet these objectives: GENERAL OBJECTIVES ACROSS ALL LEVELS The Instrument Playing Posture Tone and Vibrato Pitch Repertoire Be familiar with all aspects of their instrument and have a general knowledge of the other instruments around them. Have the ability to utilise all the aspects of their instrument (fingerings, Have developed a total body posture (including finger, hand and arm positions) that permits the most efficient movement for playing their instrument and allows for the stamina needed for public performance or Have developed an awareness of what constitutes a good tone quality on their instrument (and others) and strive to produce that quality while playing. (Where appropriate) include vibrato as an aspect of tone. Demonstrate mastery of: the full capabilities of their instrument's range; all scales and arpeggios up to five sharps and four flats (strings) and all major and relative minors (winds and mallet percussion). harmonics, changes of tone colour etc.) personal enjoyment of playing. Tuning and Intonation Articulation Symbols and Terms Rhythmic and Melodic Perception Have developed an 'inner ear' to discriminate between tunefulness and untunefulness. Be able to adjust before and while playing, striving always to play musically and in tune. Be able to match pitches vocally and sing intervals. Demonstrate mastery of articulation through tonguing, breathing, bowing or striking. Be aware of the types of articulation implied in different styles of music and be able to interpret and perform such articulation. Understand all music symbols and terms as used in their repertoire. Be able to contribute to musical playing by the correct interpretation of those symbols and terms. Improvisation and Composition (Optional) Sight-reading Performance Demonstrate the ability to improvise freely, given outside stimulus. Be able to preserve original ideas and/or composition through memorisation, notation or recording on tape. Be able to sight-read music of Level Four standard. Recognise rhythmic and melodic patterns in their repertoire. Be able to transpose at sight simple lines as appropriate to Elixir instrument. Be able to play music not only with rhythmic and note accuracy but also with the style dictated by the music. Recognise forms, textures, tonality, metre and styles in music. Demonstrate the ability to play, by ear, known melodies on their instrument. Have acquired substantial experience in performing both solo and chamber music and in large ensembles. Understand and practise what constitutes traditional concert etiquette, both as a performer and in audience. Be able to follow a conductor in beat, dynamics, cues and other musical gestures. Have developed the ability to play from memory. Be able to perform with a sense of artistry, using appropriate musical interpretation and expression. Policy and Procedure Register at to ensure you have the most current version of this document. Page 16 of 70

17 IMPROVISATION AND COMPOSITION All Instruments The specific objectives for improvisation and composition have been listed separately, since they are the same for all instruments and this area of study is optional for students. Students should meet these objectives: Level One Level Two Level Three Level Four Level Five Improvise rhythmic and melodic patterns of up to two bars duration where: (a) an opening rhythmic/melodic phrase is given as a stimulus; (b) a set of two or three notes for exploration is given; (c) a rhythmic pattern is given for exploration. Compose short works for one instrument (or more if the student so desires) which: (a) (b) demonstrate the acquired instrumental techniques and musical knowledge; arise from sound exploration activities. Improvise rhythmic and melodic patterns: (a) in response to an aural stimulus; (b) in a specified way; (c) over a rhythmic accompaniment; (d) over a harmonic accompaniment in which the tonic chord is used. Compose short works for one instrument (or more if the student so desires) with acquired instrumental techniques and musical knowledge. Improvise a melodic line in a specified key tonality: (a) in response to an aural stimulus; (b) over a rhythmic accompaniment; (c) over a single-line melody; (d) over a harmonic accompaniment, using two chords that change no more than once per bar. Perform original compositions during group lessons or as part of a classroom concert. These compositions should demonstrate: (a) (b) an understanding of the instrument s sound production and quality; a musical sensitivity towards melodic and rhythmic phrasing and development, and also to the expressiveness of sound. Improvise a melodic line: (a) in response to an aural stimulus; (b) over a rhythmic accompaniment of no more than twelve bars; (c) over a single line melody of twelve bars; (d) over a three-chord harmonic accompaniment that changes no more than once per bar within the keys specified for this level and where the progression is of twelve bars duration. Compose works that give evidence of a growing individual style and demonstrate musical sensitivity towards melodic and rhythmic phrasing and development, and also to the expressiveness of sound. Play original compositions at a concert performance. Improvise a melodic line: (a) in response to an aural stimulus; (b) over a rhythmic accompaniment of no fewer than sixteen bars; (c) over a four-chord harmonic accompaniment within keys specified for this level where the progression is of twelve to sixteen bars duration. Perform original compositions of arrangements of known melodies that demonstrate an understanding of: (a) the instrument s tonal qualities; (b) melodic and rhythmic phrasing and development; (c) the expressiveness of sound. Policy and Procedure Register at to ensure you have the most current version of this document. Page 17 of 70

18 RANGE CHART Wind and Percussion Instruments Pitch Repertoire Flute Oboe/Mallets Bassoon Clarinet Saxophone Trumpet French Horn Trombone Euphonium Baritone B b Tuba E b Tuba * Level One is diatonic. All other levels are chromatic Small, blacked-in notes represent alternative fingering to be learned. Policy and Procedure Register at to ensure you have the most current version of this document. Page 18 of 70

19 Pitch Repertoire RANGE CHART String Instruments Level One Level Two Level Three Level Four Level Five Read and play the following notes as they occur in performance: Read and play the following notes as they occur in performance: Read and play the following notes or their enharmonic equivalents: Read and play the following notes as they occur in first, second and third positions: Read and play the following notes as they occur in first to third position, shifting to and from all fingering positions: Policy and Procedure Register at to ensure you have the most current version of this document. Page 19 of 70

20 SCOPE AND SEQUENCE CHART Wind Instruments Students should meet these objectives: Level One Level Two Level Three Level Four Level Five The Instrument Name and identify the parts of the instrument. Assemble the instrument ready for playing. Demonstrate proper procedures in the care of the instrument. Reed instruments choose and care for the reed properly. Playing Posture Demonstrate an appropriate and comfortable playing position to allow proper control of the diaphragm and abdominal muscles. Support the instrument adequately while playing, whether standing or seated. Demonstrate basic embouchure formation. demonstrate appropriate hand, arm and finger positions. Demonstrate basic procedures for keeping the instrument in good playing condition. Demonstrate simple maintenance, such as fixing sticking keys and cleaning valves and slides etc. Demonstrate an effective hand position to facilitate ease and accuracy of fingering and playing. Demonstrate ongoing care of the instrument: cleaning, maintenance and simple repairs. French horn, F B b trombone demonstrate the ability to restring rotary valves and trigger valve. Consistently demonstrate an appropriate and comfortable posture while playing. Maintain effective and comfortable finger, hand and arm positions while playing. Demonstrate consistent care of the instrument. Reed instruments demonstrate the ability to make basic reed adjustments. Consistently demonstrate and appropriate and comfortable posture while playing and performing. Demonstrate, through proper care and maintenance procedures, the ability to keep the instrument (and reeds) in good playing order. Maintain previous objectives in all aspects of playing, sight-reading and performance. Policy and Procedure Register at to ensure you have the most current version of this document. Page 20 of 70

21 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Tone Demonstrate production of an even, sustained tone while playing a note for at least four seconds. Demonstrate an awareness of strategies to improve tone production. Produce variations in loudness and softness of sound. Trumpet, trombone demonstrate knowledge and use of mutes Recognise and produce appropriate tone quality for the instrument. Demonstrate production of even sustained sounds while playing single long notes for eight or more seconds. Demonstrate an even tone while varying the dynamic level in scale and arpeggio patterns and in repertoire. Demonstrate consistent tone quality across the range while playing scales and arpeggios. Develop an awareness of changes in tone quality that can be produced for different styles of music. Demonstrate correct techniques for producing an even vibrato on single long notes where appropriate. Demonstrate consistently good tone quality over all dynamic levels from pp to ff demonstrate the use of vibrato in appropriate repertoire where other simultaneous demands (range, tempo etc.) are of a lower achievement level. French horn demonstrate the ability to play muted and stopped horn when required. Demonstrate a consistently high standard of tone quality in playing and performing repertoire. Demonstrate the use of vibrato, when appropriate, in playing and performing repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 21 of 70

22 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Pitch Repertoire Range (see also the range chart on page 14) Scale and Arpeggio Patterns Play all pitches for the prescribed range. Using articulation patterns for this level, perform one-octave scales and arpeggios in the following concert keys: B b and E b major. Within the given range, play scale and arpeggio patterns derived from repertoire. Play all pitches for the prescribed range. Perform two-octave scales and arpeggios (where possible) in the following concert keys: C, F. B b, E b and A b major. Perform a one-octave chromatic scale, starting on E b concert. Play scale and arpeggio patterns found in performance repertoire. Play all pitches for the prescribed range. Perform two-octave scales and arpeggios (where possible) in the following concert keys; C, F, B b, E b, A b, G and D major and their relative harmonic and melodic minor scales and arpeggios Perform chromatic scales over a two octave range. Identify and play scale and arpeggio patterns derived from performance repertoire. Play all pitches for the prescribed range. Perform two-octave scales and arpeggios in the following concert keys: C, F, B b, E b, A b, D b, G. D and A major and their relative harmonic and melodic minor scales and arpeggios, using articulation patterns found in repertoire. Play the preceding concert major scales in thirds, two octaves where possible. Play chromatic scales over the prescribed range. Identify and play scale and arpeggio patterns derived from performance repertoire. Play all pitches for the prescribed range. Perform all major scales and arpeggios and their relative harmonic and melodic minor scales and arpeggios. Perform the following scales in thirds, two octaves where possible: C, F, B b, E b, A b, D b, G, D and A concert major. Perform chromatic scales over the prescribed range. Play dominant and diminished seventh arpeggios in all keys. Identify and play the above patterns as they occur in performance repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 22 of 70

23 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Tuning and Intonation Demonstrate the ability to tune to a given pitch Demonstrate an understanding of and the ability to utilise the tuning mechanisms of the instrument. Demonstrate the ability to improve intonation while playing by making appropriate embouchure and posture adjustments and by correct breath support. Articulation Demonstrate the correct techniques of attack and release of sounds as single notes and tongued and slurred groups of notes. Brass demonstrate slurs on consecutive harmonics within the range of Level One. Trombone demonstrate an understanding of legato tonguing and slide slurs. Demonstrate an increasing ability to adjust the instrument to a given pitch. Develop awareness of any variation in one s own intonation while playing, and demonstrate the ability to correct. Demonstrate correct articulation techniques as in Level One, including: - two slurred, two tongued -staccato -legato. Brass expand the range of lip slurs. Trombone demonstrate the use of appropriate alternative positions. Demonstrate the ability to tune one s own instrument and make adjustments while playing. Demonstrate an increasing ability to detect and correct intonation problems while playing. Demonstrate correct articulation techniques as in Level Two, adding: - single-tongued and slurred groups of notes; -staccato and slurred; -legato and slurred. Demonstrate the use of simple double tonguing where appropriate. Brass expand the range of lip slurs. Horn and trombone demonstrate a controlled glissando. Demonstrate the ability to tune one s own instrument and make adjustments while playing. Demonstrate an increasing ability to detect and correct intonation problems while playing. Demonstrate an ability to play, in repertoire, a variety of tonguing styles, including mezzo staccato. Play exercises to facilitate double tonguing. Brass expand the range and speed of all lip slurs. Maintain consistently high standards of intonation throughout the range, articulation and dynamic requirements of the repertoire. Demonstrate accurate realisation of articulation patterns found in repertoire, appropriate to the style of the works. Brass demonstrate the use of double, triple and flutter tonguing. Horn and trombone demonstrate the use of lip trills Policy and Procedure Register at to ensure you have the most current version of this document. Page 23 of 70

24 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Symbols and Terms Demonstrate an understanding of symbols and terms found in repertoire and in the glossary of the method book used by defining, interpreting and using them correctly while performing. Demonstrate an understanding of symbols and terms found in repertoire and in the glossary of the method book used by defining, interpreting and using them correctly while performing. Demonstrate an understanding of: - all key signatures for this level; - any musical symbols or terms found in repertoire, including dynamic and tempo markings; any time signature. Demonstrate, through performance, an increased ability to correctly and artistically interpret and apply all musical symbols and terms encountered in repertoire, including multiple clefs appropriate to the instrument. Demonstrate, through performance, fluency and sensitivity in interpreting and applying all the musical symbols and terms encountered in repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 24 of 70

25 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Rhythmic and Melodic Perception Observe breath marks or phrase marks and indicate where they should occur in pieces where the phrasing is easily recognisable. Demonstrate recognition of similar, contrasting and repeated phrases as they occur in repertoire. Demonstrate through imitation an awareness of rhythmic and melodic patterns and phrases of up to two bars' duration where: - the starting note is given; - the melodic movement is by step. Demonstrate recognition of basic styles in repertoire, e.g. march, waltz. Demonstrate an ability to identify and play phrasing in the pieces studied, using breath control and showing an awareness of metre and form. Demonstrate recognition of aspects of form, such as theme and motif, as they occur in repertoire. Recognise modulation in simple melodic and harmonic contexts. Recognise aspects of composition and form that provide expressive variety in playing. Demonstrate recognition of aspects of form, such as rondo, theme and variations, as they occur in repertoire. Recognise, through playing and listening, characteristics of pieces of similar genre from various historical periods or stylistic influences. Recognise appropriate and inappropriate musical contexts in which to use vibrato and the degree and extent of its use in stylistic contexts. Demonstrate recognition of form as it occurs in repertoire, e.g. sonata form, suites. Recognise and interpret pieces from a variety of stylistic periods. Recognise and interpret styles of ornamentation characteristic of various periods, as required in repertoire. Demonstrate recognition of form as it occurs in repertoire, e.g. canon, fugue. Policy and Procedure Register at to ensure you have the most current version of this document. Page 25 of 70

26 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Sight-reading Play, at sight, rhythmic patterns of this level of up to four bars duration at a moderate tempo. Play, at sight, music of this level of up to eight bars duration with recurring patterns or phrases. Play, at sight, short pieces that do not exceed the technical and musical requirements for Level One. Play, at sight, pieces of moderate length that do not exceed the technical and musical requirements for Level Two. Play, at sight, pieces of moderate length that do not exceed the technical and musical requirements for Level Three. Transpose, at sight, melodies of approximately Level One standard, using interval distances typically required of specific instruments (i.e. B b instruments one tone; Eb instruments minor third; non-transposing instruments one tone; etc.). Play, at sight, pieces (solo and ensemble) that do not exceed the technical and musical requirements for Level Four. Policy and Procedure Register at to ensure you have the most current version of this document. Page 26 of 70

27 SCOPE AND SEQUENCE CHART Wind Instruments (continued) Level One Level Two Level Three Level Four Level Five Performance Play, from memory and by ear, familiar tunes that do not exceed the technical requirements for this level. Demonstrate the ability to assess the accuracy of one s own playing of a short work (solo or ensemble). Perform accurately solo pieces that do not exceed the technical and musical demands of this level. While playing, demonstrate the ability to accurately follow conducting patterns of the time signatures for this level. Perform short works as a member of a duo or small ensemble where two or more players are assigned to each part. Play and perform in a large ensemble. Maintain and extend previous objectives to the technical and musical requirements for this level. Demonstrate the ability to assess one s own playing and that of others. Be aware of and demonstrate appropriate performance behaviour. Demonstrate a musical understanding of he purpose or context of major pieces studied or of other background information. Demonstrate an awareness of different textures and balance between instrument sounds in the ensemble repertoire. Perform solo pieces for this level accurately. Play and perform in small and large ensembles. Maintain and extend previous objectives to the technical and musical requirements for this level. demonstrate an increased ability to assess one s own playing and that of others. Demonstrate a greater understanding of the musical form and background of the major pieces studied. Play and perform accompanied solos appropriate to this level. Play and perform in small and large ensembles. Maintain and extend previous objectives to the technical and musical requirements for this level. Play form memory the main themes from solo literature (and/or ensemble repertoire if appropriate). Demonstrate the ability to lead a small ensemble. Play and perform accompanied solos appropriate to this level. Play and perform in small and large ensembles. Play from memory one or more short works (or single movements) from solo repertoire. Play and perform both accompanied and unaccompanied solos appropriate to this level. Attend concert performances and demonstrate n ability to critique these performances. Play and perform in small and large ensembles. Demonstrate an ability to plan a concert of solo and group items. prepare program notes and introduce items. Policy and Procedure Register at to ensure you have the most current version of this document. Page 27 of 70

28 Students should meet these objectives: SCOPE AND SEQUENCE CHART Percussion Instruments Level One Level Two Level Three Level Four Level Five The Instrument Name and identify the parts of the instrument. Assemble the instrument ready for playing Demonstrate proper procedures for the care of the instrument. Playing Posture Demonstrate appropriate and comfortable playing positions, including total body, arm, hand and wrist position. Adequately support crash cymbals and auxiliary percussion while playing. Demonstrate basic procedures for keeping instruments in good playing condition. Demonstrate simple maintenance, e.g. cleaning heads. Demonstrate an effective hand position to facilitate ease and accuracy of playing and sticking. demonstrate ongoing care of the instrument: cleaning, maintenance and simple repairs. Demonstrate an ability to change heads on the snare, tom-tom and bass drums, and the snare assembly on the snare drum. Consistently demonstrate an appropriate and comfortable posture while playing. Maintain effective and comfortable finger, hand and arm positions while playing. Demonstrate consistent care of instruments. Consistently demonstrate an appropriate and comfortable posture while playing and performing. demonstrate, through proper care and maintenance procedures, the ability to keep instruments in good playing order. Maintain previous objectives in all aspects of playing, sight-reading and performance. Policy and Procedure Register at to ensure you have the most current version of this document. Page 28 of 70

29 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Tone Demonstrate the ability to produce a good tone quality by striking the appropriate tonal areas of the instrument while using correct finger and hand/arm action. Demonstrate an awareness of strategies to improve tone production. Produce variations in loudness and softness of sound. Recognise and produce appropriate tone quality for each instrument studied. Demonstrate production of even, sustained sounds while rolling long notes. Demonstrate an even tone while varying dynamic levels in scale and arpeggio patterns and in repertoire. Demonstrate an awareness of tonal variation through the selection of beaters, mallets, and sticks. Demonstrate consistent tone quality across the range while playing scales and arpeggios. Develop an awareness of the changes in tone quality that can be produced for different styles of music. Demonstrate consistently good tone quality over all dynamic levels from pp to ff. Demonstrate a consistently high standard of tone quality in playing and performing repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 29 of 70

30 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Pitch repertoire Range (see also the range chart on page 14) Scale and Arpeggio Patterns for Mallet Percussion Play all pitches for the prescribed range. Perform one octave scales and arpeggios in the following concert keys: B b and E b major. Within the given range, identify and play scale and arpeggio patterns derived from repertoire. Play all pitches for the prescribed range. Perform two octave scales and arpeggios (where possible) in the following concert keys: C, F, B b, E b and A b major. Perform a one octave chromatic scale, starting on E b. Play scale and arpeggio patterns found in performance repertoire. Play all pitches for the prescribed range. Perform two octave scales and arpeggios in the following concert keys: C, F, B b, E b, A b, G and D major and their relative harmonic and melodic minor scales and arpeggios. Perform chromatic scales over a two octave range. Identify and play scale and arpeggio patterns derived from performance repertoire Play all pitches for the prescribed range. Perform two octave scales and arpeggios in the following concert keys: C, F, B b, E b, A b, D b, G, D and A major and their relative harmonic and melodic minor scales and arpeggios. Play the preceding major scales in thirds, two octaves where possible. Perform chromatic scales over the full range of the instrument. Identify and play scale and arpeggio patterns derived from performance repertoire. Play all pitches for he prescribed range. Perform all major scales and arpeggios and their relative harmonic and melodic minor scales and arpeggios. Perform the following scales in thirds, two octaves where possible: C, F, B b, E b, A b, D b, G, D and a major. Perform chromatic scales over the full range of the instrument. Play dominant and diminished seventh arpeggios in all keys. Identify and play the above patterns as they occur in the performance repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 30 of 70

31 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Technical Skills Snare Drum Rudiments Pf Single strokes Pf Double strokes P Flam D Single paradiddle Rolls P Multiple bounce D Single stroke D Double stroke Effects P Rim shot P Playing on rim P Rim click Rudiments Pf Flam P Ruff P Drag P Single paradiddle D Flamaque D Flam accent D Flam tap Rolls Pf Multiple bounce P Single stroke P Double stroke (rudimentary) D Untied Roll D 17 Stroke D 9 Stroke D 5 Stroke Rudiments Pf Ruff Pf Drag P Single paradiddle P Flamaque P Flam accent P Single ratamacue Rolls Pf Single stroke Pf Untied Roll Pf 17, 9 and 5 Stroke P Double stroke (rudimentary) Effects P Brush technique Rudiments Pf Flamaque Pf Flam accent P 4-stroke ruff P Flam tap P Single ratamacue Rolls Pf Double stroke (rudimentary) Effects Pf Brush technique Rudiments Pf Double drag Pf Flam tap P Single ratamacue P 4-stroke ruff Rolls Pf Double stroke (rudimentary) Pf 13 stroke Pf 7 stroke Effects D Basic brush technique *D = Demonstrate } Detailed explanations of these terms are P = Play } presented in Wind and Percussion instruments, Pf = Perform } another book in this series. Bass Drum Strike in the correct playing Perform a single stroke roll Maintain previous objectives Maintain previous objectives. Maintain previous objectives. area. with two beaters. Demonstrate correct dampening/muffling techniques. Policy and Procedure Register at to ensure you have the most current version of this document. Page 31 of 70

32 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Timpani (Roto-toms) Demonstrate the ability to play in the correct tonal areas. Demonstrate the ability to play single strokes. Demonstrate an awareness of: single stroke rolls; correct usage of pedals and gauges; correct dampening/ muffling techniques. Drum Kit Develop basic rhythms in the jazz/rock idiom. Trade prescribed rhythms between hand and foot. Play waltz rhythms. Demonstrate the cross stick effect. Auxiliary Percussion Demonstrate correct striking/muffling technique and hand position for: triangle, wood block, cow bell, tambourine, suspended cymbal and others, as in repertoire. Demonstrate increased fluency of single-stroke fools. Demonstrate increased fluency of dampening techniques. Improvise fill-ins. Demonstrate basic brush technique. Demonstrate increased fluency of previous objectives. Demonstrate simple independence on snare drum in basic rhythms. Maintain previous objectives, adding claves, guiro, maracas, crash cymbals and others, as in repertoire. Demonstrate controlled glissando on one timpano. Demonstrate an fp roll. Demonstrate continued independence of hands and feet. Demonstrate basic Latin rhythms. Maintain previous objectives, adding instruments as in repertoire. Demonstrate slurring between tow notes on one timpano and between two timpani. Demonstrate coperto (muted) playing. Demonstrate double stocking technique. Perform percussion solos appropriate to this level. Maintain previous objectives, adding instruments as in repertoire. Demonstrate 3-stroke ruffs. Perform percussion solos appropriate to this level. Maintain previous objectives, adding instruments as in repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 32 of 70

33 Instrumental Music Curriculum Guide: An Overview This overview of the Curriculum Guide for instrumental music outlines the most important ideas in each of the five sections: 'Policy', 'Understanding Individuals', 'Content', 'Worthwhile Activities' and 'Evaluation'. Policy and Procedure Register at to ensure you have the most current version of this document. Page 33 of 70

34 Policy Policy defines the purposes, principles and priorities of an instrumental music program. Purposes Students should: experience the expressive qualities of music through learning to play a band/orchestral instrument and by participating in performance ensembles; develop musical perception, aesthetic sensitivity to music and technical mastery of their instrument. Principles Children have individual needs that must be catered for, yet every child will benefit from an instrumental experience within their musical education. Priorities All children should participate fully, according to their needs, to reach their own level of excellence in understanding and performance, and to provide a sound base for their future involvement in music. Understanding Individuals Each child has a unique learning style influenced by their age and intellect, and their social, emotional and physical development, all of which must be considered when planning programs, units of work and assessment procedures. The implication for instrumental music teachers is that materials should be presented in a variety of ways and at different levels of complexity, corresponding to the learning styles of each child and/or group of children. Content Aims To provide an opportunity for the musical development of students through instrumental instruction on a group basis. To provide ensemble experience for these students so that they develop ensemble performance skills as an integral part of their music education. To encourage chamber and solo performances by these students and so foster confidence and independence in performance. To complement the school music program. Goals To offer students the opportunity to develop their musical abilities through playing and performing. To help them become more sensitive, discriminating and creatively aware musicians and consumers of music. To provide a variety of styles and experiences in music that will be of benefit to themselves, the school and the wider community. Objectives The objectives for the instrumental music program are organised around eleven areas of learning and skill development: the instrument playing posture Policy and Procedure Register at to ensure you have the most current version of this document. Page 34 of 70

35 tone pitch repertoire tuning and intonation articulation symbols and terms rhythmic and melodic perception improvisation and composition sight-reading performance. Learning in these areas should be part of a sequential developmental program and is organised as specific objectives detailed for families of instruments in the scope-and-sequence charts (pp ) Recommended Method Books A heterogeneous method book must be used; such a book is the most useful source of structured materials for teaching mixed instrument classes. The recommended books are: Standard of Excellence Books 1, 2 and 3, for wind and percussion instruments; All for Strings Books 1 and 2, for string instruments. Ensemble Repertoire Repertoire should be chosen mainly for its educational value to the students. An ensemble should demonstrate continuing musical development over time. Technical mastery may plateau at times, but the tradition of excellence in an ensemble should allow for continual development in musicality, musical concepts and knowledge. A scope-and-sequence chart for ensembles is included in this section (pp ). Worthwhile Activities In order to be worthwhile, activities for students must be planned to engage the interest and suit the ability of the learner, to be varied, relevant to and valid for the discipline, and to use time efficiently. Activities must also be organised for coherence, continuity, comprehensiveness, variety and productivity, and should allow students some responsibility for their own learning. Evaluation Evaluation refers to the monitoring of curriculum programs, practices and outcomes, whereas assessment refers to monitoring the learner's progress. Evaluation of the program should be undertaken so that students, parents, instructors and administrators can be informed about the effectiveness of the educational process. The assessment process for instrumental music is not tied to a particular period of time or to a comparison of one student's work with another's. Assessment is concerned with each student's level of mastery of specific objectives, whether technical or musical. Formative assessment takes place continually and is designed primarily for the improvement of learning. Summative assessment takes place at the end of a given time period (that is, semester, term) and is a summation of the student's achievement. Policy and Procedure Register at to ensure you have the most current version of this document. Page 35 of 70

36 Policy and Procedure Register at to ensure you have the most current version of this document. Page 36 of 70

37 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Tuning and Intonation: Timpani (Roto-toms) Recognise the difference Adjust gauges accurately. between high and low Tune P4ths and P5ths pitches. upwards, given the lower Operate pedals to match a note. given pitch. Articulation: Timpani (Roto-toms) Demonstrate legato playing. Demonstrate staccato playing. Symbols and Terms Demonstrate an understanding of the symbols and terms in repertoire and in the glossary of the method book used by defining, interpreting and using them correctly while performing. Demonstrate an understanding of the symbols and terms in repertoire and in the glossary of the method book used by defining, interpreting and using them correctly while performing. tune M3rds upwards from the lower note. Re-tune within a piece of music. Tune M2nds upwards from the lower note. Demonstrate the ability to tune heads on snare, bass drums and tom-toms Tune M2nds, M3rds, P4ths and P5ths up or down before and within a piece of music Maintain previous objectives. Maintain previous objectives. Perform, with fluency staccato and legato articulation. Demonstrate an understanding of: all key signatures for this level; any musical symbols or terms found in repertoire, including dynamics and temp markings; any time signature. Demonstrate, through performance, an increased ability to correctly and artistically interpret and apply all musical symbols and terms encountered in repertoire. Demonstrate, though performance, a fluency and sensitivity in interpreting and applying all the musical symbols and terms encountered in repertoire. Policy and Procedure Register at to ensure you have the most current version of this document. Page 37 of 70

38 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Rhythmic and Melodic Perception Observe phrase marks or indicate where they should occur in pieces where the phrasing is easily recognisable. Demonstrate recognition of similar, contrasting and repeated phrases as they occur in repertoire. Demonstrate through imitation an awareness of rhythmic and melodic patterns and phrases of up to two bars duration where: the starting note is given; melodic movement is by step. Demonstrate recognition of basic styles in repertoire, e.g. march, waltz. Demonstrate an ability to identify and play phrasing in the pieces studied, showing an awareness of metre and form. Demonstrate recognition of aspects of form in repertoire, such as theme, motif. Demonstrate recognition of repeated patterns thorough annotation in music. Recognise modulation in simple melodic and harmonic contexts. Recognise aspects of composition and form that provide expressive variety in playing. Demonstrate recognition of aspects of form as they occur in repertoire, e.g. rondo, theme and variations. Recognise, through playing and listening, characteristics of pieces of similar genre from various historical periods or stylistic influences. Demonstrate recognition of form as it occurs in repertoire, e.g. sonata from, suites. Recognise and interpret pieces from a variety of stylistic periods. Recognise and interpret styles of ornamentation characteristic of various historical periods, as required in repertoire. Demonstrate recognition of form as it occurs in repertoire, e.g. canon, fugue. Policy and Procedure Register at to ensure you have the most current version of this document. Page 38 of 70

39 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Sight reading Play at sight rhythmic patterns of this level of up to four bars duration at a moderate tempo. Play at sight music of this level of up to eight bars duration with recurring patterns of phrases. Play at sight short pieces that do not exceed the technical and musical requirements for Level One. Play at sight pieces of moderate length that do not exceed the technical and musical requirements for Level Two. Play at sight pieces of moderate length that do not exceed the technical and musical requirements for Level Three. transpose at sight, up of down one tone, melodies of approximately Level One standard. Play at sight, pieces (solo and ensemble) that do not exceed the technical and musical requirements for Level Four. Policy and Procedure Register at to ensure you have the most current version of this document. Page 39 of 70

40 SCOPE AND SEQUENCE CHART Percussion Instruments (continued) Level One Level Two Level Three Level Four Level Five Performance Play simple, familiar tunes by ear. Play from memory familiar tunes that not exceed the technical requirements for this level. Demonstrate the ability to assess the accuracy of one s own playing of a short work (solo or ensemble). Perform accurately solo pieces that do not exceed the technical and musical demands of this level. Demonstrate the ability to accurately follow conducting patterns of the time signatures for this level. Perform short works with rhythmically and/or melodically independent parts as member of a duo or small ensemble. Play and perform in a large ensemble. Demonstrate continued development of playing by ear and from memory. Demonstrate the ability to assess one s own playing and that of others. Be aware of and demonstrate appropriate performance behaviour. Demonstrate a musical understanding of purpose and context of, or background information on, major pieces studied. Demonstrate an awareness of different textures and balance between instrument sounds in the ensemble repertoire. Perform solo pieces for this level accurately. Play and perform in small and large ensembles. Demonstrate an increased ability to assess one s own playing and that of others. Play and perform accompanied solos appropriate to this level. Demonstrate a greater understanding of the musical form and background of the major pieces studied. Play and perform in small and large ensembles. Play from memory the main themes from solo literature (and/or ensemble repertoire if appropriate). Demonstrate the ability to lead a small ensemble. Play and perform accompanied solos appropriate to this level. Maintain and extend previous objectives to the technical and musical requirements for this level. Play and perform in small and large ensembles. Play from memory one or more short works (or single movements) from solo repertoire. Play and perform both accompanied and unaccompanied solos appropriate to this level. Attend concert performances and demonstrate the ability to critique these performances. Play and perform in small and large ensembles. Demonstrate the ability to plan a concert of solo and group items, prepare program notes and introduce items. Policy and Procedure Register at to ensure you have the most current version of this document. Page 40 of 70

41 Policy and Procedure Register at to ensure you have the most current version of this document. Page 41 of 70

42 SCOPE AND SEQUENCE CHART String Instruments Students should meet these objectives: Level One Level Two Level Three Level Four Level Five The Instrument Name and identify the parts of the instrument. Regulate the tension of the bow to a level suitable for playing and for storage. Demonstrate proper procedures in the care of the instrument and bow. Successfully apply rosin to the bow hairs. Playing Posture Demonstrate an appropriate and comfortable playing position for the instrument that will not impede the use of the left hand or arm. Give the instrument adequate support while playing, whether standing or seated. Demonstrate an effective bow hold, with appropriate wrist, arm and elbow positions for playing on each string t the frog, in the middle, and at the point of the bow. Show proper care for the instrument and bow. Show proper care for and maintenance of the instrument and bow. Show proper care for and maintenance of the instrument and bow. Successfully replace a string and re-tune the instrument. Make simple adjustments where necessary to: Violin, viola, cello pegs Double bass machine heads. Demonstrate an appropriate and comfortable playing position. Give the instrument adequate support while playing, whether standing or seated. Demonstrate an effective left thumb, finger, wrist and arm position and an independence of finger movement while playing. Consistently demonstrate, while playing, an appropriate and comfortable posture, both standing and seated. Consistently demonstrate, while playing, an effective and comfortable left hand and arm position, and an independence of finger movement. Consistently demonstrate, while playing, right thumb, finger, wrist and arm positions that allow for effective bow control. Consistently demonstrate correct posture in performance, both standing and seated. Consistently demonstrate, while playing, correct left arm and hand positions and be able to make appropriate adjustments during performance. Consistently demonstrate correct posture and attention in performance, both standing and seated. Policy and Procedure Register at to ensure you have the most current version of this document. Page 42 of 70

43 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Tone Demonstrate the production of an even, sustained tone by drawing the bow in a straight line and parallel to the bridge on each of the open strings. Demonstrate drawing the bow on each string to produce a consistently even tone quality, using both downbows and upbows while the bow remains parallel to the bridge. Demonstrate an acceptable tone quality at dynamic levels of p, mp, mf, and f, using short and long bows. Demonstrate an even and consistent tone quality while playing scale and chord patterns derived from the performance repertoire. Perform simple exercises that are designed to introduce beginning vibrato. Demonstrate an acceptable and consistent tone quality at all dynamic levels from pp to ff, using a variety of bowing styles. Play with consistent tone quality all notes within the range for this level as they occur in all positions specified for this level. Demonstrate success in beginning a satisfactory vibrato, where appropriate, while playing. Demonstrate improved tone quality while playing throughout the range for first to third positions, and while shifting to and from all fingering positions within this range. Demonstrate during performance the use of spiccato, détaché, martelé, hook strokes and slurred bowing, with the tone quality well controlled. Use the bow in such a manner as to produce a variety of tone colourings. Demonstrate an acceptable vibrato when performing works. Policy and Procedure Register at to ensure you have the most current version of this document. Page 43 of 70

44 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Pitch Repertoire: Range (see also the range chart on page 15) Read and play within the range as shown on the preceding range chart (page 15). Read and play using reasonably accurate finger placements for the notes as they occur in the range shown on the preceding range chart. Pitch Repertoire: Double Stopping Demonstrate the ability to perform double stops involving open strings Read and play using reasonable accurate finger placements for the required notes of their enharmonic equivalents as they occur in the prescribed range. Perform simple exercises designed to introduce double stops involving one open string. Read and play using accurate finger placements and producing consistent tone quality for all notes within the required range as they occur in all positions specified for this level. Perform material designed to introduce the natural harmonics as shown on the preceding range chart. Play with good intonation simple double stops and multiple-note chords in first and third positions. Demonstrate improved intonation and tone quality while playing throughout the range of first to third positions, and while shifting to and from all fingering positions within the prescribed range. Ply with good intonation simple double stops and multiple-note chords in first and third positions. Policy and Procedure Register at to ensure you have the most current version of this document. Page 44 of 70

45 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Pitch Repertoire: Scale and Arpeggio Patterns Perform one-octave scales and arpeggios in the following keys: Violin G, D and A major; Viola, cello C, G and D major; Double bass F, B b, and G major. Using notes as specified for this level, play scale and arpeggio patterns derived from the performance repertoire that: (a) maintain an even beat and constant tempo; (b) use a variety of rhythmic patterns. Perform two-octave scales and arpeggios, where possible, in the following keys: Violin C, G, A, D and F major; Viola, Cello C, E, D, F and B b major; Double bass C, B, A, E, F and B b major. Using notes as specified for this level, play scale and arpeggio patterns derived from the performance repertoire that: (a) maintain an even beat and constant tempo; (b) use a variety of rhythmic patterns. Perform two-octave scales and arpeggios and their relative harmonic and melodic minors in keys up to and including three sharps and three flats. Using notes as specified for this level, play scale and arpeggio patterns derived from the performance repertoire that: (a) are played in a variety of rhythmic patterns; (b) demonstrate an even beat, constant tempo and tone quality; (c) use a variety of bowing styles. Perform major scales and arpeggios and their relative harmonic and melodic minors up to and including four sharps and three flats. Using notes as specified for this level and major and minor keys up to four sharps and three flats, play scale and arpeggio patterns derived from the performance repertoire within the parameters of Level Three. Perform major scales and arpeggios and their relative harmonic and melodic minors up to and including five sharps and four flats. Using all keys up to five sharps and four slats, play scale and arpeggio patterns derived from the performance repertoire that: (a) are played in a variety of rhythmic patterns; (b) demonstrate an even beat, constant tempo and consistent tone quality. Policy and Procedure Register at to ensure you have the most current version of this document. Page 45 of 70

46 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Pitch Repertoire: Positions Play all notes in the given range in: Violin, viola, cello first position; Double bass first and half positions. Play all notes in the given range, using: Violin, viola, cello first position; Double bass first and half positions. Perform simple exercises that are designed to introduce: (a) shifting to and from third position on all strings, using all fingering combinations; (b) shifting from first to third position on all strings; (c) shifting from second to third position on all strings. When playing pieces within the given range, students should make appropriate use of: Violin, viola, cello first and half positions; Double bass first, half and second positions. Demonstrate accurate shifting to and from: (a) first, second and third position on all strings, using all fingering combinations; (b) double bass all above, adding half position; (c) Cello all above, adding fourth position, including extensions. Within the given range, students should make appropriate use of: Violin, viola, double bass first, second, third and half positions; Cello first, second, third and fourth position, including extensions. Perform simple exercises and passages that are designed to introduce shifting to and from fourth and fifth (and sixth for double bass) positions on all strings. When performing pieces within the given range and tonalities, students should make use of: Violin, viola first, second, third and half positions; Cello first, second, third and fourth positions, including extensions; Double bass first, second, third fourth, fifth, sixth and half positions. Policy and Procedure Register at to ensure you have the most current version of this document. Page 46 of 70

47 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Tuning and Intonation Tune each string with reasonable accuracy to a given pitch. Improve intonation by adjusting notes when necessary while playing. Use reasonable accurate finger placements when playing notes within the range and tonalities given for this level. Tune each string with reasonable accuracy as follow: Violin, viola, cello to a given pitch, where: (a) the students use the fine tuners, (b) the teacher has first checked each string for approximate tuning; Double bass using open strings and harmonics given an accurate pitch. Improve intonation by adjusting notes when necessary while playing. Use reasonable accurate finger placements when playing notes within the range and tonalities given for this level. Tune the instrument with reasonable accuracy as follows: Violin, viola, cello tuning one string in unison with a provided pitch; tuning the other strings in open fifths; Double bass using open strings and harmonics when an accurate pitch model is provided. Improve intonation by adjusting notes when necessary while playing. Use reasonable accurate finger placements when playing notes within the range and tonalities given for this level. Tune the instrument with accuracy: Violin, viola, cello while bowing open strings in double stops; Double bass using unison harmonics. Play with accurate intonation simple double stops and multiple-note chords in first position as they occur in the chosen performance repertoire. Use accurate finger placements for all notes within the given range as they occur in first second and third positions (including half positions). Demonstrate improved intonation while playing throughout the range of first to third position and while shifting to and from all fingering positions in this range. Play with good intonation simple double stops and multiple-note chords in first and third positions (including half position). Policy and Procedure Register at to ensure you have the most current version of this document. Page 47 of 70

48 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Articulation Using single bows, play successfully in the following positions: (a) while bow; (b) middle bow; (c) upper half bow; (d) lower half bow. Demonstrate making satisfactory bow changes by using effective thumb, finger and wrist action. Demonstrate crossing adjacent strings smoothly and accurately, using separate bows. Demonstrate playing slurs of up to three notes per bow on one string. Play simple pizzicato parts where there is: (a) one pitch per bar; (b) a recurring rhythmic pattern. While playing, demonstrate satisfactory bow changes, using effective thumb, finger and wrist movements. Demonstrate crossing adjacent strings smoothly and accurately, using: (a) separate bows; (b) slurs. Demonstrate playing slurs of up to four notes per bow on one string. Play pizzicato where: (a) there are no more than two pitches per bar; (b) the crotchet tempo is no faster than 96 M.M.; (c) the part is in crotchets or quavers separated by rests. Demonstrate the production of: (a) a crescendo (b) a diminuendo within the length of one bow where: (a) the pitch remains constant; (b) either an upbow or a downbow is required; (c) the duration of the note is a semibreve. Using notes as specified for this level, lay scale and chord patterns derived from the performance repertoire that use detache, martele, slurs and detached slurs. Play pizzicato passages as they occur within a musical composition. Consistently demonstrate effective bow control during performance. Demonstrate an ability to use each bowing style to play at all dynamic levels from pp to ff. Demonstrate spiccato bowing style and increased refinement in playing detache, slurs and martele. Demonstrate during performance the use of spiccato, detache, martele, hook strokes and slurred bowing where: (a) intonation is consistently accurate; (b) tone quality is well controlled; (c) more extreme tempos such as adagio and vivace may be used. Use the bow in such a manner as to produce a variety of tone colourings. Policy and Procedure Register at to ensure you have the most current version of this document. Page 48 of 70

49 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Symbols and Terms Demonstrate an understanding of musical symbols and terms as found in repertoire and in the method book used by defining, interpreting and using them correctly while performing. Demonstrate an understanding of musical symbols and terms as found in repertoire and in the method book used by defining, interpreting and using them correctly while performing. Demonstrate an understanding of musical symbols and terms by using them correctly as they occur in performance. Demonstrate through performance a growing awareness of: (a) music phrasing; (b) cadence points: (c) harmonic change; (d) differences in styles. Demonstrate an understanding of all musical symbols and terms encountered in the chosen performance repertoire by using them correctly. Demonstrate sensitivity towards music played by incorporating appropriate phrasing, balance, dynamic and stylistic interpretation in performance. Maintain previous objectives. Demonstrate through performance basic understanding of the phrasing, ornamentation and articulation appropriate to a variety of musical styles. Successfully interpret the expressive qualities of written scores and display a sense of alertness and presence as a performer. Policy and Procedure Register at to ensure you have the most current version of this document. Page 49 of 70

50 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Rhythmic and Melodic Perception Imitate rhythmic patterns of two bars duration an open string. Imitate simple melodic patterns of up to two bars duration where: (a) the starting note is given; (b) melodic movement is by step; (c) only one string is used; (d) notes are of equal length. Demonstrate recognition of similar, contrasting and repeated phrases as they occur in the repertoire. Identify and perform in an appropriate manner similar, contrasting and repeated phrases as they occur in a composition. Imitate rhythmic patterns on one pitch and of two bars duration. Using notes as specified for this level, imitate melodic patterns of up to two bars duration where: (a) the starting note is given; (b) single bows are used; (c) melodic movement is mostly by step (d) a leap of a third of fifth may be used. Successfully add bowing patterns to passages selected form the performance repertoire. Make decisions regarding musically appropriate fingering and bowing patterns for passages selected from the performance repertoire. Imitate rhythmic patterns on one pitch of two to four bars duration that use a variety of rhythmic features, including syncopation, within simple or compound tie. Using notes as specified for this level, imitate melodic patterns of two to four bars duration within the parameters given in Level Two. Perform works in a manner that demonstrate an awareness of the overall structure of the work, e.g. binary, ternary, rondo. Maintain previous objectives. Imitate rhythmic patterns that use only one pitch per bar and are of up to six bars duration. Use, within performance and imitation, syncopated rhythms in a variety of tempos and metres. Using notes in the range and keys specified for this level, imitate melodic patterns of up to four bars duration where: (a) the keynote and scale are given; (b) various bowing patterns may be used; (C) leaps between the notes of a triad may be used. Maintain previous objectives. Imitate rhythmic patterns of up to eight bars duration that use only one pitch per bar. Use, within performance, rhythmic features such as syncopation, duplets and triplets in a variety of tempos. Using notes within the range and keys specified, imitate melodic patterns of up to six bars duration where: (a) the keynote and scale are given; (b) various bowing patterns may be used; (c) melodic progression is by step of leap within the octave. Policy and Procedure Register at to ensure you have the most current version of this document. Page 50 of 70

51 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Sight-reading Using the rhythmic vocabulary specified, play at sight rhythmic patterns of up to four bars duration on an open string at a moderate tempo. Using the rhythmic and melodic vocabulary specified, play at sight music of up to eight bars duration, that has recurring rhythmic and/or melodic patterns and uses only one string. Play at sight rhythmic patterns of up to eight bars duration on one pitch. Using the musical vocabulary specified, play at sight music that: (a) is of eight to ten bars duration; (b) demands a tempo no faster than 120 M.M.; (c) uses single bowing; (d) does not change pitch within the crotchet or dotted crotchet beat. Play at sight rhythmic patterns on one pitch of up to eight bars duration. Using the musical vocabulary specified, play at sight music that: (a) is of eight to twelve bars duration; (b) demands a tempo no faster than 120 M.M.; (c) uses no more than two notes per bow; (d) is part of a solo or ensemble performance. Play at sight rhythmic patterns, including syncopation, using several pitches per bar and/or up to sixteen bars duration. Successfully play at sight material of Level Three standard. Play at sight rhythmic patterns in simple and compound time of up to sixteen bars duration, using several pitches per bar. Rhythmic patterns should include such features as triplets, duplets and syncopation. Successfully play at sight material of Level Four standard. Policy and Procedure Register at to ensure you have the most current version of this document. Page 51 of 70

52 SCOPE AND SEQUENCE CHART String Instruments (continued) Level One Level Two Level Three Level Four Level Five Performance Play from memory and by ear familiar tunes that do not exceed the technical requirements for this level. Successfully play solo pieces of appropriate technical and musical standard in the keys specified for this level. Demonstrate through performance the ability to accurately follow conducting patterns of the time signatures specified for this level. Perform short works as a member of a duo or a small ensemble (e.g. string orchestra), where two or more players are assigned to each part. Maintain previous objectives. Perform, with musical and technical accuracy, accompanied and unaccompanied solo works in various styles that do not exceed the demands of this level. Some should be from memory. demonstrate through performance the ability to follow a conductor accurately by maintaining the given beat, by correct attack and release, and by changing dynamics as required. Perform short works covering a range of styles in: (a) a duo with melodically and rhythmically independent parts; (b) an ensemble where two or more players are assigned to each part. Demonstrate in solo playing the ability to give adequate cues for the accompaniment to start, stop and change tempo at appropriate times. Demonstrate through performance the ability to follow the conductor or leader by starting, stopping and changing tempo and dynamics at appropriate times. Evaluate the accuracy of a performance by comparing it with those of other students and teachers. Perform works covering a range of musical styles in: (a) a duo or trio, with melodically and rhythmically independent parts; (b) an ensemble where two or more players are assigned to each part. Perform accompanied and unaccompanied solo works, some in concert and from memory. Demonstrate in solo playing the ability to lead the accompaniment in making appropriate tempo and dynamic changes. Demonstrate sensitivity to balance within the full ensemble or a section by spontaneously adjusting the dynamic level, tonal qualities and intonation, and by responding to directions from the leader or conductor. Perform works covering a range of musical styles in: (a) a duo, trio or quartet involving strings s well as non-string instruments; (b) a large ensemble. Maintain previous objectives. Demonstrate sensitivity to balance within the full ensemble or a section by spontaneously adjusting the dynamic level, tonal qualities and intonation, and by responding to directions from the leader or conductor. Successfully lead a small ensemble while playing in the ensemble. Perform works covering a range of musical styles both in solo playing and as a member of: (a) small ensembles involving strings as well a non-string instruments; (b) a string or full orchestra. Policy and Procedure Register at to ensure you have the most current version of this document. Page 52 of 70

53 Policy and Procedure Register at to ensure you have the most current version of this document. Page 53 of 70

54 Recommended Method Books To cater for mixed as well as like instrument classes, a heterogeneous method book must be used. Heterogeneous method books have proved to be the most effective source of structured materials for teaching mixed classes. The recommended method books for curriculum implementation are: Standard of Excellence Books 1, 2 and 3 (by B. Pearson, San Diego: Kjos West Publisher, 1993) for wind and percussion instruments; All for Strings Books 1, 2 and 3 (by G. Anderson and R. Frost, San Diego: Kjos West Publisher, 1986) for string instruments. If instructors use other heterogeneous method books they should ensure that the achievement objectives for each level are matched. The use of Standard of Excellence and/or All for Strings will facilitate continuity across schools in the program and the smooth implementation of the curriculum. It is also strongly recommended that the method book chosen be consistent throughout the families of instruments within a school and a geographical area. These books will complement the curriculum for Levels One, Two, Three and part of Level Four as follows: Wind and Percussion Instruments String Instruments Level 1 Standard of Excellence Book 1 All for Strings Book 1, pp Level 2 Standard of Excellence Book 2 All for Strings Book 1, pp. 43-end All for Strings Book 2, pp Level 3 Standard of Excellence Book 3 All for Strings Book 2, pp Level 4 Not applicable All for Strings Book 2, pp. 36-end Supplementary materials, including other method books and repertoire, will be needed to attain some objectives at all levels and as the primary source of materials in Levels Four and Five. Lists of recommended materials and sample work programs are available through Music Section for all families of instruments at all levels. Ensemble Repertoire The choice of music used in the school ensemble is as important as the choice of a musically sound method book. Both affect the overall sequential development of young instrumentalists. The repertoire chosen for students must present an ongoing challenge if they are to develop their musical skills to their full potential. When choosing the repertoire for ensembles, the teacher should take into consideration the following questions: What level (One to Five) have the majority of students reached? Is the music catering for any students at a higher or lower achievement level than the majority? Does the music challenge the students without being so difficult that they become demoralised? Is the music for study and/or performance? Policy and Procedure Register at to ensure you have the most current version of this document. Page 54 of 70

55 Are the students learning from the music? Does the music show a balance of style, form and historical era, including Australian music? Is there a balance between original compositions and transcriptions/arrangements? Is the music reinforcing skills presently being learned in the students' lessons? The repertoire should be chosen mainly for its educational value to the members of the ensemble. Aspects of programming, availability, cost, personal preferences etc. need to be considered but are secondary to the musical value of the repertoire. 'Good' literature is not always 'difficult' literature. Conductors must bear in mind the difference between technique and musicality. A technically easy piece provides a wonderful opportunity for attention to the musical aspects of the work, such as phrasing, texture, balance and tone. The standard of an ensemble may not improve as consistently as the progress of an individual because of such factors as turnover of players and differing levels of players in the one group. However, it is reasonable to assume that a beginning ensemble will improve steadily for several years after establishment. Later the ensemble may plateau technically, but the tradition of music in that ensemble should allow for continual development in musicality, musical concepts and knowledge. The following chart for ensembles (concert band and string orchestra) outlines a suggested scope and sequence of development across five levels. Conductors may wish to use this chart as a basis for their own work programs for ensembles or to design a chart for specialised ensembles such as flute choir or jazz ensemble. Policy and Procedure Register at to ensure you have the most current version of this document. Page 55 of 70

56 Students in an ensemble should meet these objectives: SCOPE AND SEQUENCE CHART Ensembles Level One Level Two Level Three Level Four Level Five The Instrument Be familiar with all instruments in their instrument s family. Playing Posture Demonstrate good posture for ensemble playing, including placement of music stand and chair Tone Demonstrate good tone quality while playing in an ensemble. Demonstrate an awareness of good tone of other instruments in one s own instrument s family. Be familiar with all instruments in their ensemble. Be familiar with all traditional band/orchestra instruments, including those not in school ensembles, e.g. sousaphone, flugelhorn, harp, alto flute, vibraphone. Be familiar with electronic instruments and equipment commonly used in large ensembles, e.g. synthesiser, electric keyboard, drum machines. Be familiar with electronic instruments and equipment sometimes used in large ensembles, e.g. microphones, amplifiers. Maintain previous objectives. Maintain previous objectives. Maintain previous objectives. Maintain previous objectives. Demonstrate an awareness of good tone of all instruments in the ensemble as well as what constitutes a good ensemble sound. Be able to vary the timbre in ensemble playing according to stylistic requirements. Use vibrato to vary tone colour where appropriate. Be aware of good tone in other types of ensembles. Use vibrato to vary tone colour where appropriate. Demonstrate the ability to constructively critique other ensemble performances for tone. Use vibrato to vary tone colour where appropriate. Policy and Procedure Register at to ensure you have the most current version of this document. Page 56 of 70

57 SCOPE AND SEQUENCE CHART Ensembles (continued) Level One Level Two Level Three Level Four Level Five Pitch Repertoire Range (see also the range charts on pages 14 and 15) Scales and Arpeggios String orchestra Prescribed range in keys of C, D, G major, A and E minor. Concert band Prescribed range in keys of B b and E b concert major. Technical Skills: Percussion Section Play with a steady beat. Accurately hold and play all basic auxiliary percussion found in repertoire. Demonstrate the beginnings of an even multiple-bounce roll. With supervision, set up basic instruments ready for playing. String orchestra Prescribed range in keys of C, D, G and F major, A, E, D and G minor. Concert band Add F, A b and C concert major. Chromatic one octave on Eb concert. Play multiple-bounce rolls with speed and fluency. Without supervision, set up basic instruments ready for playing. Play simple fill-ins on drum kit. Prepare auxiliary instruments before rehearsal. Accurately hold and play all auxiliary percussion found in repertoire. String orchestra Cello, viola, bass add A and E b major. Violin add B b major and C minor. Concert band Add G and D concert major. Play all relative minors (harmonic and melodic). Play basic Latin rhythms. Play with fluency all auxiliary percussion found in repertoire. Organise and pack the instruments required for concerts outside the school. String orchestra Play all scales up to four sharps and three flats, major, minor, with arpeggios. Concert band Add D b and A concert major. Play all relative minors (harmonic and melodic). Be able to lead the section, assigning parts in a fair and logical manner. Play the drum kit with confidence. String orchestra Play all scales up to five sharps and four flats, major and minor, with arpeggios. Concert band Play all major and minor scales and arpeggios. Play the following scales in thirds: C, F, E b, A b, D b, G, D and A concert major. Play the drum kit with fluency and confidence, including improvisation. Policy and Procedure Register at to ensure you have the most current version of this document. Page 57 of 70

58 SCOPE AND SEQUENCE CHART Ensembles (continued) Level One Level Two Level Three Level Four Level Five Tuning Be aware of being sharp of flat to a given pitch and be capable of basic tuning adjustments. Percussionists tune timpani to a given pitch. Be aware of smaller degrees of out-of-tuneness and be able to adjust fairly accurately while playing alone. Percussionists tune timpani in P4ths, P5ths, given lower pitch. Be able to tune fairly accurately from a given pitch while playing in unison. Percussionists tune timpani and set gauges without supervision. Tune from a given pitch independently and with accuracy. Percussionists be aware of tuning practices for all drums. Tune independently from a given pitch Intonation Be aware of intonation discrepancies and be able to adjust posture and/or embouchure appropriately while playing Articulation Demonstrate correct articulations for single tongues, slurs and ties, including attacks and cutoffs. Be aware of smaller degrees of out-of-tuneness and be able to adjust appropriately while playing. Demonstrate increased awareness of intonation problems and their solutions. Demonstrate increased awareness of intonation problems and their solutions. Demonstrate increased awareness of intonation problems and their solutions. Demonstrate continual development of controlled articulation, including legato and staccato tonguing. Demonstrate continuing development. Demonstrate continuing development. Demonstrate continuing development. Policy and Procedure Register at to ensure you have the most current version of this document. Page 58 of 70

59 SCOPE AND SEQUENCE CHART Ensembles (continued) Level One Level Two Level Three Level Four Level Five Symbols and Terms Demonstrate an understanding of all symbols and terms found in repertoire. Rhythmic and Melodic Perception Be aware of melody, counter melody and rhythmic patterns in repertoire. Demonstrate the ability to imitate any short rhythmic and melodic phrase from repertoire. Sight-reading Sight-read: Any piece within the range of Level One, utilising simple rhythms and melodic lines and accompaniment. Demonstrate an understanding of all symbols and terms found in repertoire. Play independent melodic and rhythmic patterns and parts. Imitate longer rhythmic and melodic phrases from repertoire. Demonstrate greater understanding of melody and rhythm in repertoire. Sight-read: Any piece of Level One standard; Technical exercises as warmups. Demonstrate an understanding of all symbols and terms found in repertoire plus those used in chamber scores. Demonstrate continuing development. Sight-read: any piece of Level Two standard; Technical exercises as warmups. Demonstrate the ability to play and follow a score. Demonstrate continuing development. Sigh-read: Any piece of Level Three standard; Technical exercises as warmups. Demonstrate continuing development. Demonstrate continuing development. Sight-read: Any piece of Level Four standard; Technical exercises as warmups. Policy and Procedure Register at to ensure you have the most current version of this document. Page 59 of 70

60 SCOPE AND SEQUENCE CHART Ensembles (continued) Level One Level Two Level Three Level Four Level Five Performance: Memory From memory, play warmups, scales patterns or exercises. Performance: Presentation Demonstrate correct behaviour in concert situations, including walking on and off, posture, accepting applause, back-stage conduct, dress. Follow a conductor for attack and release, including anacrusis, fermatas, tempo and time changes in repertoire. From memory, play warmups, scales patterns or exercises. Where appropriate, demonstrate an ability to lead chamber ensembles for concert presentation. From memory, play warmups, scales patterns or exercises, plus such commonly used works as God Save the Queen and Advance Australia Fair. Perform rhythmically simple pieces without a conductor. Feature a soloist with ensemble accompaniment (vocal or instrumental). Maintain previous objectives. Perform work with electronic tape. Maintain previous objectives. Feature students original compositions where appropriate. Policy and Procedure Register at to ensure you have the most current version of this document. Page 60 of 70

61 Worthwhile Activities The scope-and-sequence chart identifies what students will be learning. Fro that learning to be educationally worthwhile, the way it is guided by the teacher must relate to the aims and goals of the program. Planning Criteria Activities used to introduce, reinforce and revise learning need to be planned so that they are: appropriate to the learner s age, level of maturity, mental and physical development; presented in a variety of ways in recognition of differences in rates and styles of learning; related to some previous experience; organised for coherence with other activities, forming part of a while, continuity in sequence of skills and knowledge, comprehensiveness in breadth and depth of the topic, variety, to cater for different learning styles, students to accept responsibility for their own learning, productivity, by the achievement of several desirable outcomes; recognised as valid for the discipline; able to attract and hold the learner s attention, being sufficiently challenging while also allowing for successful completion; conducive to self-reliance, individual success and caring attitudes; efficient in terms of the time required for the benefit gained. Presentation criteria The following section lists a variety of approaches and gives an example of a specific learning situation. Activity Direct experience learn by doing. Observed demonstration learn by seeing an example, modelling, copying or adapting. Indirect (access stored experience) learn by reading books, hearing recordings, recalling previous learning. Introduced Learn by responding o spoke instructions/stimulus. Respond to visual stimulus. Report to musical/aural stimulus. In the Situation Learn in a variety of group sizes within class of ensemble. Learn in a variety of locations. Policy and Procedure Register at to ensure you have the most current version of this document. Page 61 of 70

62 With Benefit For Individual Lesson group Ensemble School body Community. Each item in one area can relate to most or all of the items in the other areas. Specific Example of a Child Learning about Quavers (Eighth Notes) Activity Direct experience the child has attempted to play quavers (eighths) from information in the method book. Observed demonstration the instructor explains and demonstrates how to play quavers (eighths), and the child imitates. Indirect the child recalls the time name for quavers (eighths) from class music lessons. Introduced Spoken through instructor's explanation. Visual as referred to in the method book. Aural instructor s demonstration, child's own imitation. In the Situation Quaver (eighth) learned in the lesson group and reinforced in ensemble rehearsal and the class music lesson. With Benefit For All concerned. The raising of the standard of the individual holds benefits for the groups listed. Additional Criteria Activities for the eleven areas of development in instrumental music as found in the scope-and sequence charts can be approached through this model. All are affected by local, specific interactions and constraints such as: the time available; the space available; the people involved - individual needs, - age, - physical coordination skills, - number in group; in terms of what is: possible feasible desirable. Policy and Procedure Register at to ensure you have the most current version of this document. Page 62 of 70

63 Evaluation Evaluation and assessment are essential elements of the educational process. Evaluation refers to the monitoring of curriculum programs, practices and outcomes, whereas assessment refers to the monitoring of the learner's progress. Program Evaluation The effectiveness of the total instructional process should be evaluated. Program evaluation and student assessment are not synonymous, although student achievement provides some of the important data for evaluating a program. Other considerations include: the long-term musical and personal growth of the students; the program's effect on and acceptance by teachers and the community; the tangible effect on music groups in the community; and the effectiveness of the management of the program. Students, parents, instructors and administrators need to be informed about the effectiveness of the educational process. Student Assessment The things that students are expected to know can be stated as objectives and organised in sequence from relatively simple to complex. Sequences are arranged into cumulative levels of work Objectives are a public statement of what is to be learnt in a course or in part of a course. Students need to know what they are learning now, what they will be learning in the future, and how they are progressing. This will allow them to take some responsibility for their own learning. Objectives also form the basis for selecting class activities and ways to assess learning. Because the Instrumental Music Program emphasises development of technique and musicality through music-making, most things to be learnt can be demonstrated on the student's chosen instrument. The assessment process is not tied to particular periods of time or to comparison of one student's work with that of another, but with both adequate and accurate mastery of a skill, whether technical or musical. Demonstrated adequacy and accuracy should be considered within the overall musical context. Eleven areas of learning and skill development are identified within the Instrumental Music Program. When assessing an aspect of one area, consideration should be given to how it is affecting other areas of learning. Specific Objectives The specific objectives for each family of instruments at each level are set out in the scope-and sequence charts in this book. These objectives can be divided into the following categories: content objectives; process/skill objectives; and affective objectives. Policy and Procedure Register at to ensure you have the most current version of this document. Page 63 of 70

64 Content Objectives Content objectives refer to the acquisition of knowledge about things; for example, music students should acquire a knowledge of: elements of music (pitch, tonality, rhythm, harmony, timbre, dynamics); elements of structure (motif, phrase, sequence, form etc.); stylistic characteristics, including standard forms (binary, rondo etc.), types of composition (waltz, march etc.), textures (monophonic, polyphonic, homophonic and antiphonal), instrumentation, tonality and modality, as encountered in examples of Western and non-western music; a repertoire of musical works, encompassing a range of musical styles and genres; terminology as encountered in repertoire; performance techniques; the cultural context of the music studied. Process/Skill Objectives The process/skill objectives require that students demonstrate an understanding of the knowledge acquired in the content objectives by applying them to the task at hand. They are assessed through demonstration, such as playing and performing. Students should be able to: perform music in a variety of styles; participate in a range of instrumental activities; play at sight; improvise; observe the conventions associated with being a performer and being part of an audience. Affective Objectives These objectives refer to the attitudes, responsiveness and sensitivity of the student towards music. Students should: respond positively and with understanding to a wide variety of music; value music as an important human activity; develop a respect for their own and others' performances; show sensitivity in playing, singing, conducting, listening to music, improvising and composing; participate with responsibility in class activities and rehearsals; enjoy creating, developing and performing music. Levels of Achievement The student must meet all of the specific objectives in one level before progressing to the next level. How well the student meets these objectives is referred to as the 'level of achievement' reached. The following terms may be used to describe a student's level of achievement across all objectives: Very High Achievement High Achievement Sound Achievement Limited Achievement Very Limited Achievement. Policy and Procedure Register at to ensure you have the most current version of this document. Page 64 of 70

65 The descriptions of the levels of achievement in the following chart are consistent with descriptions used in the classroom music program. Levels of Achievement With reference to the Content /Process/Skill/ Affective Objectives of the Level: Very High Achievement High Achievement Sound Achievement Limited Achievement Very Limited Achievement Playing Skills The student shows a very high standard of performance with very good tone, intonation, articulation and reading skills. The student shows a high standard of performance with good tone, intonation, articulation and reading skills. The student shows a reliable standard of performance with a reasonable tone, intonation, articulation and reading skills. The student shows an uneven standard of performance, with inconsistent tone, intonation, articulation and reading skills. The student shows little ability in playing, both technically and musically. Knowledge and Application The student is very well informed and shows a very high level of understanding and application of the elements of music and stylistic characteristics encountered in repertoire. The student is well informed and shows a high level of understanding of the elements of music and stylistic characteristics encountered in repertoire, and is able to apply this understanding in many situations The student is reasonably well informed and shows understanding of some elements of music and stylistic characteristics encountered in repertoire. The student has limited knowledge and understanding of the elements of music and stylistic characteristics encountered in repertoire. The student shows little knowledge or understanding of the elements of music and stylistic characteristics encountered in repertoire. Assessment can be either 'formative' or 'summative'. Though similar sources of information may be used, formative assessment is designed primarily for the improvement of learning, whereas summative assessment is concerned with judging the merit of learning. In the past the merit of learning has been indicated by ranking students, by verbal description in generally accepted terms, or by means of a numerical scale. In the arts, verbal description is preferred over ranking and numerical scales. Formal methods of reporting distinguish summative assessment, and the audience for which it is designed is broader than for formative assessment. Formalised tests should be used sparingly in the arts and should not be used at all in the early years of schooling. An example of an objective is the ability to demonstrate an appropriate and comfortable playing position. An adequate playing position is one that does not adversely affect tone quality, intonation, or the ability to finger and play the range or articulate as required in the music. Policy and Procedure Register at to ensure you have the most current version of this document. Page 65 of 70

66 These things are considered in relation to the student's age and physique, and how long he or she has been learning, all of which affect what is considered an appropriate standard for the particular level. The assessment for playing skills, knowledge and application would normally be combined with other data, such as attendance and attitude, to form a student profile for reporting to student and parents. Performance Criteria The following criteria should be kept in mind when assessing a student's performance: A performance must be precise and correct in relation to the stage of development. A performance must display the student's clear awareness of beat and pulse. A performance must reflect standards of musicianship that are appropriate for the developmental level with respect to tone quality, intonation, dynamics, phrasing, style, expression and other musical elements. The music must clearly be of the character specified. Improvisation must reflect a genuine attempt to present a performance that shows an awareness of stylistic, historical and cultural traditions of music. The music created must display an awareness of unity, variety and rhythmic interest. Style components must reflect the structural characteristics inherent in the periods and phrases. Identification, demonstration and distinction must be clear and correct. All assessment is at least partly subjective, whether in construction, application or interpretation of the assessment tasks. Observers' judgments of an event will differ as a result of their different values and experience. Assessment will be based on the teacher's perception of student ability to: reproduce an activity; transfer the information/skill to another example in a similar context; recognise a similar context and apply appropriate information or skills. Policy and Procedure Register at to ensure you have the most current version of this document. Page 66 of 70

67 This chart provides some ideas for student assessment and program evaluation. Formative Assessment of Student s Work Summative Assess of Student s Work Evaluation of Program, Teaching Plans By Whom? When? For? How? student regularly personal perception of programs, motivation student s peers, teacher teacher, other qualified personnel in lesson or other interaction each semester or as required by school administrators motivation, diagnosis of difficulties of strengths individual, detailed check on progress, diagnosis of weaknesses, readiness for new areas of learning students occasionally teacher s understanding of the students view of the teaching its ability to meet their needs (aside from problems of motivation etc.) teacher teacher, administrators short-term (daily), longer overview, e.g. month, term as determined by school or Department teacher s own information on pace, need for variety in approach, communication, appropriateness to student needs review of program,staff appraisement examples of work, discussion informal feedback, comment, immediate reaction formalised test from teacher s checklist, rating scales, descriptive summary informal comment, questionnaire reflection, written personal records, checking outcomes against plans formal documentation, discussion Policy and Procedure Register at to ensure you have the most current version of this document. Page 67 of 70

68 Appendix A Overview or Musical Learning This chart shows an overview of musical learning expected to be taught in the P 7 class music program. These skills are identified as rhythmic and melodic development, part work/harmony and structure, and are based on aural perception and recognition. Students should be able to read, write and perform the following: Year One Year Two Year Three Year Four Year Five Year Six Year Seven Rhythmic Development Melodic Development The singing voice Melodic contour Inner hearing Higher/lower Pitch matching High/low on staff s-m handsigns s-l-s-m handsigns s-m-l handsigns read s-m from the staff se handsigns and read from the staff: s-m-d d-m-s m-r-d s-m-r-d l on staff Read B A G E C 1 and D 1 on staff G clef Recorder or other melodic instrument Read from staff: F D C S 1 m-r-d (C = doh) d-s 1 -d (G = doh) Pentatonic scale Read from staff and handsigns: d s 1 d (F = doh) d 1 s n d d s 1 l 1 s 1 s f m r d Major scale Major/minor tonality Read E 1 from staff Key signature (F & G major) B b F# on staff Write doh pentatonic scale and soh pentatonic scale Atonality Major scale and intervals on staff Natural minoraeolian Graphic notation Policy and Procedure Register at to ensure you have the most current version of this document. Page 68 of 70

69 Appendix B Overview or Musical Learning (continued) Year One Year Two Year Three Year Four Year Five Year Six Year Seven Part Work: Harmony Song and: beat rhythmic pattern Rhythmic ostinati Movements and actions Structure Question-andanswer phrases Song and: canons (2-part) rhythmic accompaniment melodic ostinati rhythmic ostinati Melodic and rhythmic phrases Rhythm canons Partner songs Binary form Repeat sign Repeated patterns Canons (3-part) Ternary form Sequence Canons (4-part) Descant Simple 2-part singing from handsigns Concurrent sounds Chordal accompaniments Motifs Themes Variations I-V and V chord progressions 2-part singing Harmonic accompaniments 2-part recorder Texture: monophony polyphony homophony Rondo form Suite I-IV-V chord progressions Overture Performance Elements Faster/slower Louder/softer Style: lullaby march Vary tempo Vary dynamics Legato/staccato < > Lento Style waltz Allegro Moderato p piano f forte Combinations of instrumental timbres Style spiritual Dolce mp mezzo piano mf mezzo forte Vivace pp pianissimo ff fortissimo Rubato Andante Style: experimental music calypso Policy and Procedure Register at to ensure you have the most current version of this document. Page 69 of 70

70 Appendix B Recommended Resources Australian Music Examinations Board Publications, Allans Publishing, Melbourne, 1989: - Ian Wood, Clarinet Technical Work Book - David Cubbin and Alison Rosser, Flute Technical Work Book - Graham Wood, Violin Violin Technique Book Brass Instruments - N.J. Hunt 1984, Guide to Teaching Brass Instruments (3rd edn), Wm C. Brown Publishers, Dubuque, Iowa. Conducting - W. Francis McBeth 1972, The Effective Performance of Band Music, Southern Music, San Antonio, Texas. - Richard Lawn 1986, The Jam Ensemble Director's Manual, Barnhouse, Oskaloosa, Iowa. - Conducting Anthology 1989, Vols 1 and 2, The Instrumental Publishing Company, Northfield, Illinois. - Elizabeth Green 1969, The Modern Conductor, Prentice Hall, Englewood Cliffs, New Jersey. Percussion Instruments - Ronald A. Holloway and Harry R. Bartlett 1984, Guide to Teaching Percussion, Wm C. Brown Publishers, Dubuque, Iowa. - M. Goldenberg 1955, Modern School for Snare Drum, Chappell Music Co., New York. - M. Goldenberg 1950, Modern School for Xylophone, Marimba and Vibraphone, Chappell Music Co.. New York. String Instruments - Norman Lamb 1984, Guide to Teaching String Instruments (4th edn), Wm C. Brown Publishers, Dubuque, Iowa. Woodwind Instruments - Frederick W. Westphal 1985, Guide to Teaching Woodwind (4th edn), Wm C. Brown Publishers, Dubuque, Iowa. Policy and Procedure Register at to ensure you have the most current version of this document. Page 70 of 70