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