INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum

1

Randolph Township Schools

Department of Visual and Performing Arts

INSTRUMENTAL MUSIC (STRINGS)

Grades 9 - 12

Curriculum

Department of Visual and Performing Arts

Frank Perrone, Supervisor

Curriculum Committee

Kim Chiesa

Sherry Griggs

Eric Schaberg

Curriculum Developed:

Summer 2014

Curriculum Revised:

Summer 2016

Date of Board Approval:

October 18, 2016

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Music Department

Instrumental Music: Grade 9 - 12 Strings

Table of Contents

Mission Statement and Education Goals – District 3

Affirmative Action Compliance Statement 3

Educational Goals – District 4

Introduction 5

Pacing 6

Tone Production 7

Rhythm 12

Music Theory 14

Music Expression 17

Knowledge and Maintenance of Instruments 19

Listening and Analysis 22

Advanced Solo Literature 24

Research and Writing 27

Appendix A - Smartmusic 30

Appendix B – Honors Booklet 31

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Mission Statement

We commit to inspiring and empowering all students in Randolph

schools to reach their full potential as unique, responsible and

educated members of a global society.


Affirmative Action Statement

Equality and Equity in Curriculum

The Randolph Township School district ensures that the district’s curriculum and instruction are aligned to the state’s standards. The

curriculum provides equity in instruction, educational programs and provides all students the opportunity to interact positively with

others regardless of race, creed, color, national origin, ancestry, age, marital status, affectional or sexual orientation, gender, religion,

disability or socioeconomic status.

N.J.A.C. 6A:7-1.7(b): Section 504, Rehabilitation Act of 1973; N.J.S.A. 10:5; Title IX, Education Amendments of 1972

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Randolph Township Board Of Education

Educational Goals

Values in Education

The statements represent the beliefs and values regarding our educational system. Education is the key to self-actualization, which is

realized through achievement and self-respect. We believe our entire system must not only represent these values, but also

demonstrate them in all that we do as a school system.

We believe:

● The needs of the child come first

● Mutual respect and trust are the cornerstones of a learning community

● The learning community consists of students, educators, parents, administrators, educational support personnel, the community

and Board of Education members

● A successful learning community communicates honestly and openly in a non-threatening environment

● Members of our learning community have different needs at different times. There is openness to the challenge of meeting

those needs in professional and supportive ways

● Assessment of professionals (i.e., educators, administrators and educational support personnel) is a dynamic process that

requires review and revision based on evolving research, practices and experiences

● Development of desired capabilities comes in stages and is achieved through hard work, reflection and ongoing growth

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Music Department

Introduction

The Strings/Orchestra program in the Randolph School District grades 4 through 12 is designed to allow each student to progress as a

musician and achieve musical independence at an extremely high level. Students build upon previously learned musical concepts and

knowledge regarding note reading, pitch, melody and rhythm, and other aspects of instrumental music performance.

Group lessons are the backbone of this successful program, teaching the orchestra members of Randolph the necessary skills on their

individual instruments and creating a meaningful orchestral ensemble experience. At RMS and RHS, the “string orchestras” are the

centerpiece of the program with the following ensembles serving as extensions of the orchestra program: Con Brio, Arietta,

Symphonic Orchestra and various trios, quartets and other chamber ensembles.

It is the common goal of each orchestra director in the Randolph Township School District to help develop life-long learners who will

have a love and appreciation for music. Through the use of the NJCCCS for Music, careful lesson and rehearsal planning, meaningful

daily or weekly rehearsals and a multitude of performance opportunities on and off campus (concerts and festivals/competitions),

students are given experiences that will allow them to be productive members of society and supporters of the arts.

*The Honors program is available for grades 10-12. The program is inclusive of all string skills as indicated in this curriculum.

Students who are enrolled in the Honors program will go above and beyond the string curriculum as indicated by two additional

concepts and noted in the listening and analysis section. The Honors program booklet can be found in Appendix B to provide clear

expectations

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Music Department

Instrumental Music: 9th – 12th Grade Strings

Pacing

The concepts set forth in this curriculum – tone production, rhythm, music theory, musical expression, knowledge and maintenance of

instruments, and listening and analysis – are designed to be taught simultaneously throughout the school year. The depth and

complexity of those concepts builds throughout the middle school string experience and continues into high school. By the end of

twelfth grade, students are expected to be evaluating and creating with these concepts as they perform music in a wide range of styles.

Extensive performance opportunities are provided to students as they progress through the 4 – 12 string program.

The concepts are taught simultaneously because of the way they are intertwined in order to create music. In a musical setting, each

concept is dependent on the others. For example, tone production, musical expression, and listening are related to each other when

performing, as are rhythm, theory, and listening and analysis. Varied repertoire provides students with the opportunity to work with

many different types and styles of music, thus allowing them to be exposed to different expressive qualities, technical demands, etc.

Students also must maintain their instrument in proper playing condition in order to properly execute these skills.

Concepts

Tone Production – Strings

Rhythm – Strings

Music Theory - Strings

Music Expression - Strings

Knowledge and Maintenance of Instruments – Strings

Listening and Analysis – Strings

Advanced Solo Literature – Honor Strings

Research and Writing – Honor Strings

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RANDOLPH TOWNSHIP SCHOOL DISTRICT

Instrumental Music – Strings Grades 9-12

Concept: Tone Production

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

There are several specific bow holds that are acceptable for performance.

Tone quality of a string instrument is largely dependent on bow speed, bow pressure (weight),

and bow contact area between the bow hair and the strings.

Why do professional string players use different

types of bow holds?

How do we determine the amount of bow hair used

in contact with the string in relation to bow

pressure and bow speed to make a quality sound

on a string instrument? Why is this knowledge

important?

High School string literature requires understandings of left hand positions up to 5th position.

Good tone quality for a High School string player is achieved through left hand finger tip

positioning and vibrato control in conjunction with right hand bow control.

Variations in vibrato speed in the left hand help shapes musical phrasing as well as tone

production.

Why is it important to learn shifting above third

position?

How can different finger positioning affect tone

quality?

What constitutes “good tone quality”?

Why do different professional string players have

different vibrato and vibrato speeds?

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KNOWLEDGE

SKILLS

CCCS

Students will know:

Where to properly place the right hand fingers/wrist/thumb on the

fingerboard of their string instrument for maximum bow control.

The correct distribution of arm weight/pressure, bow speed, & bow

distribution point on string needed to produce a “good quality sound”

with various levels of volume. The student will also comprehend the

right hand bow angle and how the bow hair affects tone production and

volume.

Students will be able to:

Analyze the function of each finger and thumb while

adjusting each appendage for the maximum

effectiveness for proper bow control when performing

string literature:

Index finger: control pressure with the index finger and

play spiccato bow stroke.

Middle and ring fingers: play string literature with

proper bow balance and weight distribution.

Pinky finger: control finger for proper balance.

Thumb: stabilize the bow hand using the thumb as a

counterweight under the fingers of bow hand.

Analyze, comprehend, and adjust the bow

speed/pressure/point of distribution in the bow hand in

order to achieve the maximum tone quality while

performing string literature.

Increase/decrease level of bow speed needed to create

the best tone quality based on tempo of music being

played.

Right bow hand tilt is adjusted for level of tone clarity

1.1, 1.4

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The musical vocabulary associated with specific right hand bow control

needs.

Correct left hand placement when executing shifting techniques in 1-5

shifting positions on the fingerboard.

and volume depending upon dynamic level of the string

literature being performed.

Adjust weight/speed/point of contact of bow to perform

advanced spiccato, martele, staccato, and ricochete, &

detache bowings in string literature.

Perform string literature with an understanding of

specific bow marking vocabulary and how the right bow

hand executes the bow strokes such as:

Spiccato – short and off the string bow stroke

Staccato – short and on the string bow stroke.

Detache – smooth separate bow stroke on the

string.

Legato – Smooth and connected bow stroke on

the string.

Martele – Accented and sharp percussive bow

stroke.

Loure (Portato) – gently pulsating bow stroke on

the string.

Sautille –bouncing bow stroke less percussive

than spiccato.

Jete - thrown bow stroke from above the string.

Colle – Glued to the string bow stroke that has a

sharp pinch before being released, lifted and

repeated.

Demonstrate the correct left hand and arm positions

when shifting in 1-5 shifting positions on the

fingerboard.

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Violin/Viola/Cello players will understand and implement in

performance fingerings up to 5th position.

Bass players will understand and implement performance fingerings for

all positions up to thumb position and will familiarize themselves with

thumb position.

Understand and perform string literature using different types of vibrato

and how to change the speed of the vibrato to help musical phrasing.

Understand the importance of the left hand thumb/finger placement and

discuss how it affects intonation of the music being performed and tone

quality.

Utilize knowledge of the different shifting positions on

the fingerboard when performing string literature and

know when to shift to each position up to 5th position.

Perform and Analyze marked fingerings on music and

be able to debate the pros and cons for shifting to the

higher positions.

Demonstrate the proper techniques of vibrato:

Step I: securely holding the instrument while

moving the left arm (thumb in place).

Step II: securely holding the instrument, moving

the left arm, and pressing the string with

individual fingers.

Step III: apply all techniques above and perform

string literature with different speeds of vibrator

depending on the musical phrasing that is being

performed.

Evaluate/critique/demonstrate his/her left hand

thumb/finger placement and the effects of good and bad

placement.

Violinist’s finger placement will be very vertical except

the 4th finger of the left hand when paying the violin.

Violist’s finger placement will be somewhat vertical

except the 4th finger of the left hand when paying the

viola.

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Cellist’s finger placement will be less vertical on the

fingerboard so that they have more of their finger pad to

cover the cello string properly.

Bassists finger placement will be the least vertical on the

fingerboard so that they have much more of their finger

pad to cover the thick bass string properly.

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Concept: Rhythm


Having a steady internal pulse is essential in performing music, especially for rhythmic

accuracy.

Technology is useful in practicing and improving rhythmic accuracy.

Understanding the mathematical subdivisions and equivalencies of the various musical rhythmic

notations must be understood, in order to perform string music literature correctly.

Without rhythmic accuracy, ensemble playing would be impossible to keep together.

How do musicians practice rhythmic accuracy?

How can technology be useful in improving

rhythmic accuracy?

Why is steady rhythm essential in ensemble

playing?

Why is having a steady internal pulse even more

important than being able to play steady with

external pulses?

KNOWLEDGE

SKILLS

CCCS

Students will know:

The importance of performing with steady pulse in an ensemble and

will perform music with a steady pulse.


Perform High School level string literature in an

ensemble holding a steady pulse. Perform accelerando

and retardants in music and then hold a steady tempo

when the music goes back to an a tempo marking.

1.1, 1.3, 1.4

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External pulse

Internal pulse

Rhythmic notation with the knowledge of rhythmic subdivision is the

backbone of reading and performing music.

The use of dotted whole, half, quarter, eighth, sixteenth notes and

combinations of these notes.

The knowledge and use of ties between notes.

How to perform music containing grouping of notes equaling the beat

such as duplets, triplets, & quadruplets.

The universal counting system of instrumental music is the common

language of all musicians and is taught at all high level music

institutions such as music conservatories.

How swing style rhythm is a different interpretation from the literal

printed rhythm.

Play music and stay rhythmically steady using the

metronome or Smart music accompaniment.

Perform High School music with a steady internal pulse

as a soloist and as a member of an ensemble.

Analyze, Count, & Perform the following notes and rests

in music:

Dotted Whole, Half, Quarter, Eighth, Sixteenth,

& thirty second notes & rests.

Groupings of small value notes equaling a larger

value note. Combinations using whole, half,

quarter, eighth, sixteenth, & thirty-second notes

& equivalent value rests.

Various dotted notes used in complex

syncopated rhythms.

Duplet, triplet, & quadruplet notes equaling 1

beat.

Analyze and perform Level Grade 4 & 5 Music with the

universal counting system such as 1+2+3+4+ and 1e+a

2e+a 3e+a 4e+a.

Perform swing rhythm in Jazz Music and interpret the

uneven rhythm from the printed even rhythm keeping a

steady internal pulse.

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Concept: Music Theory


The approach to learning musical symbols in music is the same as the approach to learning any

unfamiliar language.

Basic music knowledge is just as important to know as string specific music knowledge.

Having a strong music theory knowledge base is essential to a string player sight reading music.

Does a professional string musician always have

music theory knowledge? If not, why? What is

the advantage to having music theory knowledge

for a professional string player or a High School

string player?

How do High School string musicians apply the

knowledge from general music class into orchestra

lessons or string ensembles?

What music theory knowledge is essential to a

High School string player’s musical education?

KNOWLEDGE

Students will know:

The use of Time Signatures (2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 9/4, 2/2, 3/8,

5/8, 6/8, 7/8, 9/8, 12/8 & 12/4) and apply the knowledge to their

music performance.

Common time vs. cut time

SKILLS


Perform and differentiate common time and cut time.

Compose music in Simple and Complex meters.

Identify and perform time signatures of (4/4, 3/4, 2/4,

CCCS

1.1, 1.2, 1.3, 1.4

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Compound meters vs. simple meters

The knowledge of Key Signatures (all Major and minor key

signatures) and apply that knowledge to their performance of High

School string literature.

Major keys of C, G, D, A, E, F, B flat, E flat, A flat

Natural, Harmonic, & Melodic Minor keys of a, e, b, f#, c#, g#, d, g,

c, f

Accidentals

The frequently use of general musical symbols as well as strings

5/4, 6/4, 7/4, 2/2, 3/8, 5/8, 6/8, 9/8, 12/8 & 12/4).

Perform music in major and minor key signatures up to 5

sharps and four flats.

Understand and play 2 – 3 octave scales, arpeggios, and

thirds in Major and the three types of minor (Natural,

Harmonic, & Melodic).

Perform scales, arpeggios, and thirds in one/two octaves

up to three sharps and flats in the key signature.

Compose short single lined music for their specific

instrument in common time, cut time, compound meter,

simple meters in various Major and minor key signatures.

Differentiate and perform High School level music

containing half steps and whole steps created through

accidentals.

Perform 2 – 3 octave Major and minor scales with

correct intonation using knowledge of half and whole

step relationships for each specific scale.

Identify, compose music, and perform music containing

the following musical notations:

General music symbols: staff, clefs (treble, alto, tenor,

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specific musical symbols. bass,) bar line, pitch, ledger lines, rests, repeats,

dynamics, D.C./D.S. al coda/fine, fermatas, first and

second endings, sharp, natural, flats signs, and tempo

markings.

Strings only symbols: slurs, pizzicato and arco, down and

up bows, bow retake, left hand pizz., position fingering

symbols, glissandos, tremolos, sul ponticello, divisi, and

advanced articulation markings.

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Concept: Music Expression


Every musician will have their own individual thoughts and feelings towards musical phrasing

and expression. A Composer puts their individual interpretation on paper to help guide the

intended music expressions they wanted to convey.

Many musical compositions were the result of significant events from the composers’ life

experiences.

A conductor is essential in interpreting a musical composition for a music ensemble’s direction

towards one interpretation.

Different cultures create different feelings and emotion, which affect music expressiveness.

What factors are considered in musical expression

of a musical composition?

How does a composer write music in order for the

audience to understand the expressive intent of the

music? What does a composer write in their

compositions to help guide the performers

performing the composition in music

expressiveness?

Is there room for music expressiveness

interpretation by the performer? If so, is it

different as a soloist from an ensemble player?

What is the roll of a conductor in musical

expression?

Will a piece of music get performed with different

musical expressions based on which culture it is

being performed in? If so, why?

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KNOWLEDGE

SKILLS

CCCS

Students will know:

How to analyze a composer’s intent of musical expression in a

composition and how to add their own interpretation of musical

expression.

How string players have limits in musical expression depending on

the musical phrase and the amount of notes played on a bow to

achieve it.

How to phrase music and interpret music expression, when there are

no dynamic markings or bowings.

Why articulation markings affect music expression in string music.

Musical expression differs between orchestras from different cultures,

performing the exact same piece of music.


Interpret musical expression in music with and without

specified dynamic and articulation markings from a

composer.

Determine what bowings will match the musical

expression that is trying to be achieved.

Decipher musical phrasing with the use of singing

phrases, bowings, articulations and dynamic markings.

Use different speeds of vibrato to enhance musical

expression and phrasing.

Demonstrate the following bow strokes for better

expressive performance: jete, detache, colle, slurs, legato,

sautille, hooked, staccato, spiccato, ricochete, martele,

loure, and bow retake.

Use a composition of just rhythmic notes and set their

own set of dynamics, articulations, & bowings to help

create their own music expression.

List the differences and similarities in musical expression

of the same piece, being performed by various

performers with different cultural background.

1.1, 1.3,1.4

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Concept: Knowledge and Maintenance of Instruments


A string instrument must be properly maintained and cleaned in order to achieve the maximum

playability for the performer playing it.

There are many levels of quality in strings, rosin, bows, string instruments, which affect the tone

quality and playability of a string player.

It is every High School String Player’s responsibility to be able to properly tune their instrument

for performance.

Why is it necessary to know how to maintain a

string instrument and know the different parts of

the string instrument?

What factors does a string player look for when

purchasing strings, rosin, bows, or a string

instrument? Why is this important?

Why is it essential to know how to tune your own

string instrument as it relates to the individual and

the ensemble that they are playing in?

KNOWLEDGE

SKILLS

CCCS

Students will know:

The proper tools and cleaners to use while cleaning the instrument.


Analyze and use the appropriate tools and cleaners for

cleaning their own instruments.

Use cotton materials only while cleaning

Use the string cleaner for cleaning the body of the

instrument and when its dried, apply polish to

protect the instrument

Use rubbing alcohol to clean the fingerboard and

protect the top of the violin with another cloth

1.2, 1.3, 1.4

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What to look for when purchasing rosin, strings, bows, and string

instruments for the best quality possible.

Mark each string notch on the nut and the bridge with pencil lead for

lubrication of the string when tuning.

The appropriate way to adjust a bridge on a string instrument and why

it is important to constantly maintain the vertical angle with the

bridge.

while cleaning with rubbing alcohol

Differentiate what strings and rosin are most efficient for

their string instrument.

Evaluate the need & use accessories needed for

instrument maintenance & performance.

Apply the proper amount of rosin for performing.

Violin/viola: adjust the shoulder rest for maximum

comfort and instrument playability.

Cello/bass: use of endpin to raise the proper height of the

instrument for performance position.

Use a sound post setter to pick up the sound post when it

falls down.

Use a chin rest tightener (violins and violas) to relocate

and tighten their chin rest. Put on and move the wolf

tone eliminator to get rid of wolf tones (cellists &

bassists only).

Evaluate the need for tuning one’s instrument and tune it

when needed with the use of the fine tuner or the

pegs/gears.

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The appropriate ways to tune their instrument with and without the

use of a tuner.

Use of fine tuners vs. pegs.

How to maintain tuners/pegs for the best efficiency of use.

The correct way to change a string on their instrument.

Stringing from the inner part of the peg and threading it outward

towards the peg box.

Restring a broken string independently.

Adjust a bridge on a string instrument and why it is

important to constantly maintain the vertical angle with

the bridge.

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Concept: Listening and Analysis


At the most prestigious music institutions in the world, ear training is an integral and needed

part of a musician’s music education.

An essential part of music education includes knowing the different genre and styles in music.

Listening and critiquing recordings of your own playing, as well as professional musician

recordings, is an important process for self-improvement.

What is ear training in music and why is it

important?

Why is it necessary to know different styles and

genres for musical performances?

Why is it important to listen/watch to our own

playing as well as listen/watch the great

musicians? How can we take what we see from

the great musicians and apply it to our own

playing?

KNOWLEDGE

SKILLS

CCCS

Students will know:

Intervallic relationships.

Major/minor chords and sounds.

Recognize individual intonation within the Ensemble.

Recognize octaves.


Identify intervallic relationships.

Using knowledge and listening skills of intervallic

relationships for improving intonation.

Identify when to adjust individual pitch to match the

ensemble’s pitch.

1.1, 1.2, 1.3, 1.4

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The importance of adjusting the individual’s pitch in relation to the

ensemble.

Recognize major and minor sounding pieces of music.

Recognize individual tone production within an ensemble

Styles/genre of music from Bach to Rock.

Ensemble balance and blend of the individual part within the

ensemble.

When adjusting intonation within the ensemble is needed.

How to critically evaluate college/professional musicians for better

understanding of their own skills and performance.

Identify the relation of the individual pitch within the

chord structure of the ensemble.

Knowing when to apply different technical skills in order

to match the style of each genre of music that is being

performed.

Identify structures of a piece of music. Ex: A, B, A

sections.

Evaluate the importance of their individual part within

the ensemble.

Record themselves through Smart Music as individuals

for evaluation of what to improve in their own

performance.

Know what to analyze in their own playing as they listen

to recordings of themselves performing.

Critique live college/professional level performance to

gain musical understanding applicable to their individual

development (Honors).

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Concept: Advanced Solo Literature

*This concept applies to the Honors Music Program.


The preparation and performance of solo literature is very different from

that of ensemble literature.

How do musicians approach learning solo literature independently?

What unique challenges are presented in the preparation of solo

literature?

Musicians can utilize technology as a tool to prepare solo literature.

How can technology be incorporated into the preparation of solo

literature?

KNOWLEDGE

SKILLS

CCCS

Students will know:

The technical difficulty and musical complexity of each piece

must be considered during the selection process.

Specific strategies that can be utilized to learn and perform

solo literature successfully.

Proper performance etiquette, considering the event and venue,

is an essential component of the successful presentation of solo

literature.


Select appropriate solo literature relative to their

individual musical development and the unique

requirements of the performance.

Prepare solo literature independently.

Perform in front of an audience.

Demonstrate professionalism within the

performance venue.

CC CCSS.ELA-Literacy.L.9-10.6 CCSS.ELA-Literacy.L.11-12.6

CCSS.ELA-Literacy.RST.9-10.3 CCSS.ELA-Literacy.RST.11-12.3 NJCCCS 1.1.12.B.1 1.3.12.B.1 1.3.12.B.2

1.4.12.B.1

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Technology can enhance the individual rehearsal process, such

as tuners, metronomes, or interactive assessment software.

Select, rehearse, and perform with a professional

accompanist (Honors Music Recital).

Utilize both simple and advanced types of

technology to enhance the preparation of solo

literature.

1.4.12.B.2

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Curriculum Pacing Chart



SUGGESTED TIME ALLOTMENT

CONTENT-UNIT OF STUDY SUPPLEMENTAL UNIT RESOURCES

1 Month with Advisor Input

2-4 Months

Culminating Performance Activity

The cycle above is completed twice each year - once

for the Midyear Assessment and once for the

Jury/Recital Performance.

Concept: Advanced Solo

Literature Selection of Appropriate

Music

Individual Preparation of

Solo Literature

Performance of Solo

Literature

Metronome

Tuner

SmartMusic

www.musicnotes.com

www.jwpepper.com

www.youtube.com of their invidual pieces performed

by professionals on their instruments.

Periodicals such as Teaching Music, Music Educator’s Journal, Strad Magazine, String Magazine, The New

York Times.

http://www.musicnotes.com/

http://www.jwpepper.com/

http://www.youtube.com/

27



Concept: Research and Writing

*This concept applies to the Honors Music Program.


Musicology is the formal study and research in the field of music.

How can we find new information to gain a more thorough

understanding of music?

Students can gain a deeper understanding of their musicianship through

metacognition.

How does research and personal reflection enhance musicianship?

KNOWLEDGE

SKILLS

CCCS

Students will know:

Reflective journaling can yield meaningful and efficient

practice.

Research periodicals are quality resources which can enhance

students’ learning and widen students’ perspectives.


Clearly articulate honest thoughts and reflections about

their musical experiences.

Compose clearly structured free journals on topics of their

choosing relative to their interests and experience.

Select appropriate research articles.

Decipher article contents and reflect on the application of

the information presented on their own musical

development.

CC CCSS.ELA-Literacy.RI.9-10.1 CCSS.ELA-Literacy.RI.11-12.1 CCSS.ELA-Literacy.RL.9-10.1 CCSS.ELA-Literacy.RL.11-12.1 CCSS.ELA-Literacy.RI.9-10.2 CCSS.ELA-Literacy.RI.11-12.2 CCSS.ELA-Literacy.RL.9-10.2 CCSS.ELA-Literacy.RL.11-12.2 CCSS.ELA-Literacy.RI.9-10.4 CCSS.ELA-Literacy.RI.11-12.4 CCSS.ELA-Literacy.RL.9-10.4 CCSS.ELA-Literacy.RL.11-12.4 CCSS.ELA-Literacy.RI.9-10.5 CCSS.ELA-Literacy.RI.11-12.5

28


Written performance critiques must be expressed in an

articulate manner and demonstrate a thorough understanding of

key musical concepts.

Critically assess live college/professional level

performances and clearly communicate their opinions in an

organized and comprehensive written critique.

CCSS.ELA-Literacy.RI.9-10.6 CCSS.ELA-Literacy.RI.11-12.6 CCSS.ELA-Literacy.RI.9-10.8 CCSS.ELA-Literacy.RI.11-12.8 CCSS.ELA-Literacy.L.9-10.6 CCSS.ELA-Literacy.L.11-12.6 CCSS.ELA-Literacy.RST.9-10.3 CCSS.ELA-Literacy.RST.11-

12.3 CCSS.ELA-Literacy.W.9-10.1 CCSS.ELA-Literacy.W.11-12.1

NJCCCS 1.4.12.B.1 1.4.12.B.2

29

Curriculum Pacing Chart



SUGGESTED TIME ALLOTMENT

CONTENT-UNIT OF STUDY SUPPLEMENTAL UNIT RESOURCES

1 Month with Advisor Input

2-4 Months

Culminating Performance Activity

The cycle above is completed twice each year - once

for the Midyear Assessment and once for the Jury/Recital Performance.

Concept: Advanced Solo

Literature Selection of Appropriate

Music

Individual Preparation of

Solo Literature

Performance of Solo

Literature

Metronome

Tuner

SmartMusic

www.musicnotes.com

www.jwpepper.com

www.youtube.com of their invidual pieces performed

by professionals on their instruments.

Periodicals such as Teaching Music, Music Educator’s

Journal, Strad Magazine, String Magazine, The New York Times.

http://www.musicnotes.com/

http://www.jwpepper.com/

http://www.youtube.com/

30

APPENDIX A - SmartMusic

Since 2011, the Randolph School District band program has experimented with the online assessment tool SmartMusic. The Randolph

music faculty has dedicated many hours to professional development in order to fully implement this program. As of 2014, the

department received a Randolph Education Foundation Grant for the hardware needed for our rehearsal and lesson facilities in the

High School and Middle School. As of the 2014 - 2015 school year, the Middle School Band program has rolled out a comprehensive

SmartMusic initiative integrating SmartMusic into the band and lesson program.

All Randolph Middle School band students will be asked to purchase a subscription. Assignments will be sent to the students from

both the lesson teachers as well as band directors. Any student unable to purchase a SmartMusic subscription, will have the

opportunity to submit their assignments via school owned practice room subscriptions.

The Randolph orchestra program has also begun to implement SmartMusic into daily reherasals and lessons. All teachers have yearly

subscriptions for the program, and practice room subscriptions have been implemented in the high school and middle school. Students

use this program for individual practice. Assignments are graded using assessment tools available in SmartMusic.

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Appendix B

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HONORS MUSIC PROGRAM

Band Choir Orchestra

Randolph High School

Included in this packet:

Honors Program Outline

Honors Program Timeline Grading Rubric Journal Entries

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Randolph High School Music Department

Honors Credit Program Outline

Goal: The overall goal of offering honors credit is to provide an opportunity to award due credit to music students who tirelessly dedicate themselves to

their art. The program seeks to develop and enrich a student’s performance capabilities, musical perceptivity, artistic sensitivity, and overall

musicianship. Students, in turn, earn honors credit that is be weighted in their GPA.

Prerequisites:

1. Be part of a high school music ensemble that meets during the school day (Band/Choir/Orchestra).

2. Be a member in good standing in this school ensemble, meaning that the student:

- Exhibits a consistent level of effort and preparedness in rehearsals and lessons; works to best of ability

- Demonstrates a high level of rehearsal etiquette

- Consistently meets or exceeds expectations set forth by the director

3. Be recommended by a music faculty member after completing the application process

Activities: An honor student’s portfolio is comprised of various ensemble experiences and activities, some of which are assigned, some of which are selected.

A student’s requirements are based on a three-tier system (see below).

Tier One (Mandatory) Participation in classroom music ensemble, monthly meetings with advisor, monthly journal entries, four music article reading responses, 2

college level or professional concerts with a written critique

Tier Two (Participate in at least two of the following co- or extra-curricular ensembles) Chamber Choir, Arietta, Jazz Ensembles, Marching Band, Color Guard, Percussion Ensemble, Spring Musical (including cast, crew and pit), an

audition for County, Area, Region or All-State Ensembles, Equivalency recording in place of an Honors Ensemble Audition (per advisor’s

approval), MS Ensemble Rehearsal Assistant (full year commitment)

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Tier Three (Select one of the following culminating projects) Faculty Jury, Faculty Guided Recital, or Faculty Guided Research Paper

* All students will perform a mid-year performing assessment in January to determine if a Jury or Recital will be performed in June; this decision

will be made by the faculty advisors

RANDOLPH HIGH SCHOOL MUSIC DEPARTMENT Honors Program Outline

TIER ONE (ALL MANDATORY)

Participation in classroom music ensemble for the full year

Student must be registered for classroom music ensemble and attend weekly rotating lesson.

Reflective Journal

Student is responsible for submitting two journal entries per month; one assigned and one free. Journal entries should cover

reflections on the following:

Current musical growth and progress as it relates to initial goals as stated in application.

Reflection: ensemble experiences, your personal contribution and role to the ensemble.

Thoughts about how your interest in music has shaped your life.

Guided outside reading – one per marking period

PRE-APPROVED PRIOR TO MEETING!!!!

Article from music magazine or journal as approved AND SIGNED by your advisor in advance of your meeting. A one page

typed summary and reflection, along with a copy of the article are due once per quarter as per the timeline.

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Advisor-approved concerts – one per semester

PRE-APPROVED PRIOR TO CONCERT!!!!

Attendance of a concert of professional, conservatory or college/university faculty level in the classical, jazz or musical theater

idiom as approved by your advisor prior to the concert. A program, ticket stub and written summary/review are due as per the

timeline.

CONCERT CANNOT BE AN “IN SCHOOL” PERFORMANCE

Meetings with advisor

Student is required to schedule monthly appointments with advisor as per timeline. If a student is absent on the day of a

scheduled meeting, they must reschedule that meeting the first day they return.

* All written work must be typed, double-spaced, 12 pt. font or larger, and have 1 in. margins. All written assignments must

contain a minimum of 250 words – this will be about 1 full page. *

* All assigned work must be submitted at or before the scheduled meeting.

TIER TWO (CHOOSE TWO)

The following RHS ensembles do not require an audition.

Marching Rams (band students)

Percussion Ensemble (percussion students)

Color Guard

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The following RHS ensembles require a successful audition.

Chamber Choir Arietta

Jazz Band Jazz Ensemble

Spring Musical (including cast, crew and pit orchestra)

The following ensembles require monitored preparation and audition.

Region Ensembles All-State Ensembles Area Band County Chorus

Middle School Ensemble Rehearsal Assistant / Elementary Tutor

A full year commitment to assist weekly at an RMS after-school rehearsal. Assist the conductor with many different tasks

including finding music for students who forgot their music, basic instrument assistance, playing or singing with the ensemble,

and other jobs as requested by the director. This position must be applied for, see your advisor for details

Equivalency recording in place of an Honors Ensemble Audition

If you are a dedicated Honors Music student, but maybe not ready for a competitive audition you may do a recording of the

audition piece and submit that recording for a Tier Two requirement (per advisor approval).

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TIER THREE (CHOOSE ONE)

REPERTOIRE TO BE PRE-APPROVED BY ADVISOR WILL REFLECT LEVEL OF MUSICAL COMPETENCY OF STUDENT

PLEASE NOTE: ALL STUDENTS MUST PERFORM REPERTOIRE THAT

HAS NOT BEEN STUDIED PRIOR TO SECOND SEMESTER OF THIS SCHOOL

YEAR.

Faculty jury

Repertoire will be selected with guidance of advisor as per the timeline.

Jury – Solo pieces(s) (1 for Instrumental / 2 for Vocal) to be performed live for music faculty. Approximately

5 minutes of music total.

Recital

Repertoire will be selected with guidance of advisor as per the timeline.

Student will schedule guided practice sessions with accompanist. STUDENT WILL HIRE AND PAY

ACCOMPANIST (a list of accompanists will be provided). STUDENT IS RESPONSIBLE FOR

SCHEDULING REHEARSALS. If hiring an accompanist is not financially viable, the student may select

unaccompanied music for the recital.

Musical Selection(s) with background research and program notes. Performance will be in an evening recital.

5 - 10 minutes of music.

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(Tier Three information continued on next page)

Vocal Honors Students:

Memorization.

o All vocal performance assessments, juries, and recitals are to be sung from memory.

o If music is used for one piece, the grade will drop one full grade. Example: An A- would become a B-

if music were used.

o For recitals and juries, if music is used for both pieces, the grade will be lowered two full grades.

Example: An A- would become a C- if music were used.

Language Sequence

Year January Assessment Jury or Recital

First Year Latin or Italian Latin or Italian English*

Second

Year

Italian Fourth Language English*

Third Year Any previous

language (not

English)

Fifth Language English*

*Seniors may sing a musical theatre piece for their Jury or Recital as their English-

language work.

***RECITAL or JURY option will be determined by the advisor after the January performance assessment.

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OR

Faculty-guided interdisciplinary research paper

Student must be enrolled in AP or Honors English

“English Research Paper Requirements” guidelines must be followed

RANDOLPH HIGH SCHOOL MUSIC DEPARTMENT

Honors Program Timeline

October Meeting with your advisor to discuss/finalize plans for fulfilling requirements in Tiers 2 and 3.

Discuss concert assignment

First journal entries due

November Meeting with advisor

Discuss plans for concert assignment

Journal entries due

Performance assessment piece is selected. Students must bring proposed piece(s) and photocopy

for the portfolio to meeting.

1st guided outside reading and summary due.

Controlling idea/Thesis Statement due for interdisciplinary research paper (if applicable)

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December Meeting with advisor

Journal entries due

2nd guided outside reading and summary due

Note cards and source cards due for interdisciplinary research paper (if applicable)

January Meet with advisor for the PERFORMANCE ASSESSMENT

(JURY/RECITAL OPTION WILL BE DETERMINED BY ADVISOR)

**Honors Equivalency Recording (if applicable) due the first Monday in January that school is

in session

1st concert assignment and summary due

Outline for interdisciplinary research paper due (if applicable)

**NO JOURNAL ENTRIES ARE DUE

February Meeting with advisor

Journal entries due

3rd guided outside reading and summary due

Jury/Recital piece selected (student brings proposed selections to the meeting)

Interdisciplinary research paper rough draft due (if applicable)

March Meeting with advisor

Journal entries due

Jury/Recital piece(s) finalized and copy of music placed in student portfolio

*Include typed list of repertoire with movements (number and name) and composers in performance order – put

your name on this list.

*MOVEMENTS BEING PERFORMED MUST BE CLEARLY IDENTIFIED!

*Include the name and phone number or email of your accompanist (recital students only)

Recital students – play recital piece(s) for advisor.

Interdisciplinary research paper rough draft revisions due (if applicable)

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April Meeting with advisor

4th guided outside reading and summary due

**NO JOURNAL ENTRIES DUE

May Meeting with advisor

Journal Entries Due

2nd concert assignment and summary due

June NO MEETING WITH ADVISOR

Recitals and juries to be performed throughout June

Interdisciplinary research paper due (if applicable)

** NO JOURNAL ENTRIES DUE

**JURY/RECITAL MUSIC MUST BE DIFFERENT REPERTOIRE FROM JANUARY ASSESSMENT

Recital date/time is on the District Calendar, the juries will be scheduled by the faculty during the students’ lunch

periods.

***STUDENTS:

Please be advised that any failure to fulfill your obligations and commitments within the timeline will result in the lowering of your

orchestra, band or choir grade.

See Grading Rubric

Articles must be pre-approved one month prior to meeting when it is due

Concerts must be pre-approved one month prior to meeting when it is due and cannot be in-school concerts provided by music department

Honors Music Grading Rubric 2015-2016

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Honors Music students receive a monthly Honors grade in addition to the weekly ensemble grades. The grading

criteria for Honors work submissions are listed below.

Grade Criteria

- Attended meeting on scheduled date

A+ / A / A- - All work is submitted on time

- All work is of high quality

- Attended meeting

- All work is submitted, but some of the work is not of high quality

B+ / B / B- OR

- Attended meeting

- Submitted work is of high quality, but some of the work is not submitted on time

- Attended meeting

- All work is submitted and is of average quality

C+ / C / C- OR

- Attended meeting

- Submitted work is of average quality, but some of the work is not submitted on time

- Attended meeting

- All work is submitted, but shows a lack of serious effort

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D+ / D / D- OR

- Attended meeting

- Submitted work shows a lack of serious effort and some of the work is not submitted on

time

- Did not attend scheduled meeting

OR

F - Scheduled and attended meeting, but no work is submitted

OR

- Failure to turn in performance recording or to complete a jury/recital

* Forgetting to attend a scheduled meeting or failing to reschedule a meeting if absent on the day of a

meeting=1 full letter grade lower than the grade earned according to the criteria above (i.e. A to B)

* Failure to get article or concert approved = Student must select another article/concert and receive approval before summarizing in order to receive credit for the assignment.

* Missing work not submitted within 1 week of the meeting = F for the month’s grade.

Sample Journal Entries

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(In addition to each journal topic below, you must write a “FREE JOURNAL” entry each month of your choosing pertaining to music)

Due at your OCTOBER meeting:

How will the self motivation and discipline requirements of the honors music program benefit you? In what ways? How can this be

applied to other disciplines of your education at Randolph High School?

Due at your NOVEMBER meeting:

Describe both the similarities and differences between your music class (Orchestra Choir or Band) and your other classes at RHS.

Due at your DECEMBER meeting:

Research/write about your Jury selection and include background information about the composer, piece(s), style, genre and relate it

to the historical context.

No JANUARY Journal Entries Required

Mid-Year Performance Assessment

Due at your FEBRUARY meeting:

Why do think the requirement for seeing and hearing professional musical ensembles and/or soloists is such an important part of the

honors music program? How does this benefit you as a musician?

Due at your MARCH meeting:

Describe what role your voice/instrument plays in your performing ensemble and relate to your own life experience; how you see

yourself fitting into different situations.

No APRIL Journals Entries Required

Due at your MAY meeting:

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Submit research on chosen Recital or Jury repertoire and composer.

No JUNE Journal Entries Required

INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum

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Transcript of INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum