AUGUST MERBACK

9/22/16
M344 INSTRUMENTAL METHODS
CMP CURRICULAR PROJECT

Masque (1967)
By: W. Francis McBeth
Grade: 4
Length: 07:15
Publisher: Southern Music Company
Musical Selection
o Needless to call this piece a memorable work, Masque,
written by W. Francis McBeth, takes its place in the
wind band literature as a highly active, expressive, and
dynamic band composition that brings with it musical
benefits for educators looking to expose their students
to high quality exceptional literature.
o Like many of his compositions, McBeths musical intent in Masque is to portray scenery,
in this case to musically illustrate courtly entertainment that would have been popular in
the sixteenth and seventeenth centuries. This sort of entertainment would include
performances such as ballet, dancing, acting, with detailed sets and get-ups. In this work,
McBeth strives to capture the essence of what that was like.
o The first sounds of the piece are surely ones that will grab listeners attention. The work
opens with a big surprise, and the music will move ahead with sections that transition in
and out of one another with artistic and carefully crafted passages to smoothly easy the
music into the next sections. There is depth not only harmonically in this work, but there
is also depth in the different timbers.
o Because of its semi-block structure coupled with the independent aspect of the music, this
composition brings with it challenges that provide opportunity for the students to learn
different musical concepts. There are many tutti moments in the music, such as the very
first measure. The themes of the work are played independent of the accompanying tutti
lines, like in the introduction where the Horns and Trumpets take off with the first
instance of thematic material. Individual responsibilities of the ensemble members will be
highly important when reading this work.
o Listening and playing to your section as a member of the ensemble will be key to fit
within the texture of the work, and to know what is going on in the other lines will aid in
bringing the music together in a lovely manner. The piece also is big on the exchange of
different musical ideas, which will be a fantastic model for the students as they continue
their musical careers with other band works.

o Students get a variety of articulations in this piece, all the way from marcato at ff, to soft
legato and smooth lines. The students will need to have a versatile articulation palette, as
well as an understanding of the soft dynamics. The Horns and low brass enter at letter C
with the second theme at a marked pp, which is difficult for a lot of brass players to do.
Dynamic control must be taken into consideration here. Additionally, there are many
instances of individual dynamics between the woodwinds and brass.
o Fast articulations are another effect that McBeth does not fall short on. There are
moments in the work where there are tutti double-tounging measures. Development of
this technique will be a good challenge not only for the students to learn how to do, but
also for the director to find innovative ways of teaching this to them. Additionally, the
woodwinds and trumpets will need to have a fair amount of finger dexterity already in
order to perform the fast runs at letters N and O.
o Pitch adjustment, especially with harmonies in the slower section will need to be looked
at and addressed to the students in a way that lets them know what the intervallic content
is, and how to adjust accordingly based on which part of the chord they have.
Analysis
o The work as a whole is Symphonic in nature. If W. Francis McBeth wanted to, he surely
could have made this a first movement to a larger work. The form is what makes the
most of this particular aesthetic.
Looking at the beginning, the first them is stated very clearly, and then it is
repeated in the second statement by a different section of the ensemble, fairly
traditional. After that, the second theme is stated, and is closed off by a series of
cadences as well as the double-tounging section, which can be referred to as the
crisis point. This transitions into a more solemn, almost funeral march style of
the main theme. From here the music will slowly build back into a faster
recapitulation of the first theme, and the piece will end after that as well as more
cadences that will ultimately bring it to a close in C major, although the piece is in
C minor.
o McBeth is a masterbater of orchestration, and there is no point in the music where there is
not something that is grabbing your ear. He pairs the melodic content of the piece with
counter themes that do not detract from the melody, but rather showcase it. Not only this,
but the McBeth has composed parts of this work to be fugal and many times there will be
staggered entrances of themes as if it were a fugue. He uses this technique to thicken the
texture in sections of the music, particularly when approaching a cadence or a climactic
point.
o Another thing that McBeth is a fan of deep harmonies, especially in the low winds. Often
times, when the low/mid range instruments take over the melody, the trombones and tuba
melodic lines are spaces fairly close together, making for a warm and rich timbre. These
spots will certainly be ones that the director will want to work on with their students, and
making sure that the sound harmonies do not become lost in the potential muddiness of
the sound. It is through these different compositional techniques that McBeth came out
with a truly outstanding work for wind band.

The Heart of the Piece

At the center of it all, the heart of this piece is to capture the essence of entertainment.
Nowhere in the will the listener be bored. Through the variety of colors and memorable melodies
is this piece a well-respected work.
The strategy I would use to introduce this piece: for introducing this to my students, I would
certainly play it for them, so that they knew that what they are going to work on is really cool! I
would have them do this without looking at their parts, that way they are focusing on the music
as a whole rather than being bogged down by following along in the music and struggle to finger
along.

Skill Outcome 1:
Students will listen to and balance themselves to the overall
sound of the band.
Strategies:
1. DEVELOP A SENSE OF BALANCE
a. Have the students close their eyes, and hum a concert F at a comfortable mf and
then listen to hear that they are singing no louder than their neighbor.
b. Have them do the same thing, but humming at a p.
i. Achieve balance at this dynamic just as they achieved at the mf.
c. Take a passage from the music with both the thematic material as well as the
accompaniment material.
i. They will clap their rhythms, and at their indicated dynamics. This will
help them to listen to how loud they are clapping.
1. Those with the theme, clap with more projection that those who
have the counter melody or accompaniment.
ii. To the non-melodic folks in the band, listen that you are not overpowering
the main melody with what you have.
iii. Once complete, assign the sections of the band a number to indicate who
has the important lines to be heard, and who needs to chill instead of
kill.
d. Have the students play it then with the same balance assignments that they
learned in the clapping. Those of you who do not have the melody right now,
chill instead of kill.
Assessment:
1. BEFORE: there is no regard to the balance of the sound before going through the above
activity. Students will be listened to by their neighbor and will be given a verbal rating 110, 10 being the loudest (soloistic, too much for accompaniment) and 1 being not
supported enough.
a. For a good supporting sound, the student must be given a rating of a 4 or 5, which
shows an understanding of playing under the melody line. If a student has a
melody line, they should be rated at around a 7 or 8.
2. DURING: is it clear that the students are making conscious changes in their sound to fit
into the overall texture of the group?
3. AFTER: we will go through a tutti warm up such as lip benders, and the students will be
evaluated on their ability to fit their sounds within the section, and in turn the entire
ensemble.

Skill Outcome 2:
Students will shape and musically express the phrases of
the thematic material.
Strategies:
1. DEFINE PHRASE
a. I will first ask the students to partner up and collectively write down a definition
of a phrase and explain why it contributes to add interest and intent in music.
i. Write it down with your partner, and when everyone is ready, we will
hear a couple of responses.
ii. Call on one or two groups to hear the responses and have them share with
the class. Defining this as a class will help the students to move the music
in the same direction when looking at the music and interpreting the
musical shaping.
2. APPLY TO THE MUSIC
a. Begin the students on the sixth bar of letter E, and have them play it with a very
straight tone and performed unmusically. T
i. They are not allowed to shape the music at all.
ii. Let them hear it when the music is like when it is played without any
contour or expression.
iii. Play the same section now with a musical direction that has been defined
to the students.
iv. Going into the slower section, allow the phrase to dwindle ever so
gradually into the new section.
1. Hang on to what you can, and then slowly allow it to slip away.
More colorful ways of saying decrescendo into the slow and soft
section.
b. Do the same procedure at another spot in the music. start at Letter H and play
through to letter I.
i. This is the opposite. The phrase builds into the recapitulation.
ii. The first time through, they are not allowed to shape it; only a straight
tone mf.
iii. After that, and they feel musically quenched, define the phrase direction
and then guide them through it a few times; once or twice with you, and
once or twice on their own, without you conducting.
1. This will help to build their independence.
Assessment:
1. BEFORE: examine what the class consensus is of the definition of praise. How do the
views of the students vary, and how are they similar?
2. DURING: the students will play these passages twice, one without musical shaping, and
the other with. We will assess the change in musicality in between the two repetitions of

the same phrase. Is there a great amount of drama that came out of the musical seating of
the students, or does the music have little to no drama?
3. AFTER: to see if the students have caught on to the idea of musical shaping in this
context, have them do the same phrase without you conducting or showing them the
musical line. If theyve done the previous exercises effectively they should be able to
perform the musical idea with expression and contour.
a. As a final assessment of this aspect, each student will compose a two bar, six-note
melody, and then give it contour and emphasis of their choosing. Whatever they
end up doing, it must be dramatic, and reflect musical intention.

Knowledge Outcome 1:
The students will understand the necessary pitch
adjustments needed to tune varieties of sonorities.
Strategies:
1. UNDERSTANDING FINE TUNING:
a. Two trombone players will play simultaneously with one player sustaining an F,
and the other one be getting slightly lower than an F and then raising it to be in
tune with the other player.
i. Explain before hand to the rest of the ensemble what the trombone players
are going to do.
ii. Explain to the students that they will hear waves in the sound, and to raise
their hand when they hear the waves go away as the two trombone players
match pitches.
b. The next interval that you will demonstrate this same concept with is an open
fifth. The same trombone player who played enough will do the same thing, and
the other trombone player will start just below a concert C above the F, and will
then gliss up until the open fifth sonority has no waves in it.
i. Just like the previous interval, the other students in the band will raise
their hand when they hear the waves go away.
2. SONORITY PRACTICE:
a. At letter C when the second theme is presented, have the Tuba and trombones
build up that first cord starting with anyone on C, then the G, and then add in the
E.
i. The bass trombone here will need to slightly lower their pitch in order for
the cord to be in tune in to ring.
b. Once they are sustaining an in-tune C major chord, have everybody else in the
band join in at a reasonable dynamic with their choosing of any note in the chord,
and have them undergo the same adjustments that the bass trombone made.
i. Repeat this step, but ask the players to choose a different note in the chord.
c. Trumpets at G begin in unison, but split off into different pitches in the third
measure, resulting in a sonority that includes Db, Eb, and F, a major third interval

with a major second in between. Here is another good opportunity to feature the
crunch of this sonority, and also to get the students familiar with these sorts of
tight intervals.
Assessment:
1. BEFORE: how many of the students can hear when the two trombones are in tune with
each other, and are putting their hands up because they can hear it? Use showing the
hands up as a sign of who is able to hear this, and perhaps we can then target those who
have a more difficult time identifying when hitches are in tune
2. DURING: see if the students caught on to how the low brass were tuned, and can then
apply it to when they join in. When you ask them to switch notes, are they adjusting the
new note accordingly?
3. AFTER: can more students put their hands up now when they hear chords that are in
tune?
a. Assess this in a group setting, section by section.
i. Consult with each other, and assign notes of a C major chord to one
another.
ii. Have them play and sustain that chord, while you listen for intonation.
1. How quickly did they become in tune?
2. Are there waves in the sound?

Knowledge Outcome 2:
Students will know about the composition as well as W.
Francis McBeth.
Strategies:
1. STUDENTS SHOULD NOT BE LIMITED:
a. Do not only listen to this piece, the student should listen to other works by
McBeth to hear similarities and differences throughout his compositions.
b. Take some time in class to listen to another one of McBeths compositions.
i. Of Sailors and Whales, is another work by W. Francis McBeth.
ii. Have the students listen to a movement or two, and have them be ready to
be called on to discuss things they heard that are similar in Masque.
iii. Call on several students, and have them talk about what they heard that
stuck out to them, or was something similar to something they hear in
Masque.
2. ASSIGN A LISTENING PORTION:
a. Assign this to the students:
i. Go home tonight, and find a W. Francis McBeth piece, (not Masque or Of
Sailors and Whales), and give it a couple of listens so that you are familiar

with the music. Think about things you hear that grab your attention, and
are things that you want to talk about.
ii. Come to class tomorrow ready to briefly discuss the piece you listened to,
and talk about things that you liked, and things you heard that are similar
to things you hear in his works that we have listened to or played as a
class.
Assessment:
1. BEFORE: see if the students have already listened to any other works by McBeth. If so,
ask them to share a little bit on that. Does he use similar articulations? Is the form
similar? How does he develop ideas throughout the work?
2. DURING: if a student has a similarity to Masque they hear when listening to Of Sailors
and Whales, have them share that observation, and then play that section again so that the
other students get another chance to hear these compositional similarities.
3. AFTER: the students should come back to class having listened to another work by
McBeth. Call on a few individuals, you dont want it to take the whole class time, and
have them discuss what they observed in another one of McBeths works, and how it is
similar to what goes on in Masque.

Affective Outcome 1:
Students will apply what they have learned in this piece,
and use that knowledge to improve the other pieces on the
program.
Strategies:
1. MUSICALITY IS NOW APPLICABLE TO ALL OTHER WORKS:
a. Learning how to put phrases together in a musical way, and play those phrases
with interesting contour is something that the students will be able to apply to the
other pieces that are on the program that you are doing.
i. Have the students perform another piece on the program that isnt Masque,
and direct their attention to a particularly impactful moment or phrase of
music.
ii. Decide as an ensemble what the direction of the music is, and what the
contour of the phrase is going to do when they play it.
iii. Use the phrase shaping skills that were developed while looking at
Masque, and apply them to this other work.

Part II
Musical and Instrument-Specific Elements
Form (list
The A section of the work is mm. 1-91. In this section, the 1st Theme is stated in C
sections, A, minor first at mm. 3, and G minor at mm. 22. The 2nd Theme is presented in the A
B, etc. and section as well, mm. 39 and this is the Choral section in C major. This comes to a
measure
close at mm. 69 when the music begins to transition into the B Section, which
numbers)
starts at mm. 92. The main Theme is stated in the B section in a contrasting style to
the first statement of it. Lastly comes a recapitulation of Section A at mm. 136,
where the main theme comes back with new orchestration as well as, but the main
key still exists. At mm. 195 is an extended Coda that extends into a progression of
the main theme in different modes, and eventually ending in C major.

Key(s)
Meter(s
)

C minor: Ms. 1 to 177

4/4: Ms. 1 to 90

F major/minor: Ms. 178 to

229

C major: Ms. 230 to 241

2/4: Ms. 91

4/4: Ms. 92 to end

Range(s)

Flute: Ab4 Bb6

Clarinet: A3 C6
Tenor Sax: Bb3 D5
F Horn: Bb3 F5
Tuba: Bb1- Cb2

Oboe: F4 C6
Bass Clarinet: Eb3 C5
Bari Sax: Bb3 D5
Trombone: G2 F4
Timpani notes: Cb2 G3

Bassoon: Bb1 C4
Alto Sax: Bb3 G5
Trumpet: B3 A5
Euphonium: G2 D4

Percussion
instruments

Percussion, besides Timpani involves the Glockenspiel, Xylophone, Vibes,

Chimes, Triangle, Tambourine, Snare Drum, Gong, Bass Drum, Crash/Suspended
Cymbals.

Where are the primary musical concepts located in this piece? Include issues related to: melody,
form, harmony, timbre, rhythm, texture, expression, style (indicate measure numbers)

Form is a very large aspect of this piece, and there are points in the music that we can
label as major checkpoints that will indicate the transitions into new material, or to introduce
new sections. From mm. 1, the main theme is stated twice, and then the second theme is stated in
the major mode of C major from C minor. What McBeth does to accent these changes in the
form is his choices of harmony in the different themes. It is very obvious and clear when the
second theme comes in, because not only is it new melodic material, but it is also done in the
major key instead of the established minor key.
The harmonies in this work give the music not only depth, but direction as well. towards
the end, the extended Coda plays with F major as well as minor. It came into this through C
minor, and will exit out of it with C minor. When transitioning back into the realm of C, the
harmonic structure points downward from F, and moves through sonorities rooted in Eb, and Db,
but will eventually land on C. McBeth is able to do this through repetition of short motives in the
music, but alters the harmonic structure to fit a downward sequence that leads the listener back to
the tonic, making for dramatic transitions.
While the piece is in 4/4, it is sometimes difficult to determine what the meter is. At the
very beginning the first statement of the melody in the horns reveals to us that the melodic
content is a hemiola. If one is not counting accurately, they are going to have difficulty being
accurate with their attacks.
Dramatic expression is featured at letter E going through the transition into letter F, the
slow section. It begins as a tutti section, but then slowly dies off as the music transitions. McBeth
not only composed this music to have climactic moments as a result of increased orchestration,
but also with increased intensity from the individual parts, and it makes for a dramatic piece.

What technical skills are required to execute the musical concepts in this piece? (refer to specific
instruments as well as ensemble issues)
At letter N is where the trumpets take off with some sixteenth note runs. A technical skill
here that can be worked on and developed is general finger dexterity. The fast passage here
requires that the players fingers need to be firing off very quickly and accurately. In order to
help with this, the passages must be practices slowly and gradually sped up to performance
tempo. Being able to play these sorts of licks at a slow tempo will help immensely with the
confidence of the players when you start to crank up the metronome.
Shortly after the trumpets begin playing these runs, the woodwinds also join in. It will
benefit them as well to be able to play this music slowly first before trying to go at performance
speed.
This work is not technically demanding for the most part. The challenges come from the
thick layering of instrumentation that occurs a lot in the work. A challenge for the students is
certainly going to be being able to achieve a balanced sound in this music. Knowing when you
have the melody and when you do not is important. Orchestration in this work causes a lot of
challenges, especially for young players.
In the low winds, if the players are not mature enough musicians, they may not be able to
hear that there is muddiness to the sound in the lower registers of their instruments. Along with
that, having players that are mature enough to follow their dynamics well is a must for this work.
Some of the players may not be used to playing a true pp, but this piece is far more dramatic
when the extreme soft dynamics are achieved at a high level.

What specific problems would you anticipate when rehearsing the piece? Consider ensemble
issues as well as instrument-specific issues. (Indicate measure numbers)
One of the first things I look at is range of the instruments, and there is not anything out
of the ordinary in the piece as far as the range of each instrument is concerned. McBeth writes
very well, and orchestrates so that the instruments do not need to go into extreme registers in
order to create impact and drama. One range consideration that I would make is the flute high
note, which is a Bb, seven leger lines above the staff. This occurs in the 4th bar of letter H. At
ranges that are higher, it is important that this notes sound as good as lower ones; otherwise the
sound may become crass.
Another problem I would surely anticipate is that counting is going to be a wreck the first
time we read it through. The melody is displaced to no be on very strung beats, and has
interesting durations that make it more difficult to pinpoint where the beat is and what the meter
is. In order to help with this, I would have the students clap, sing, and the play their rhythm on
one note. Once they can do that, then they can add in the written pitches for their instruments.
I also see the percussion parts being an issue as far as tempo goes. My guess is that they
will want to rush their repeated sixteenth-note patterns. After keeping a beat with me, I would
have them continue to keep that beat but repeat after me when I sing the rhythm for them,
making sure that the tempo is right with the beat that we have established. Once I have
demonstrated perhaps two reps of that with the counts (1 & a 2 e & a 3 e & a 4 & a), they will
repeat it back to me, and we might swap every two measures to make it a bit more fun. This is a
rhythmic ostinato that continues from mm. 1 all the way through the first half of the first section,
and will pop up later in the music.

Part III

Responding to Music Project:

This responding project will be a group effort. The class will be divided so that everyone
will be in groups of either three or four.
1. The students will hear a recording of Masque so that it is fresh in their head. Immediately
after that, they will hear a recording of Beethovens 5th. Before it is played, I will explain
to them that they are to look for certain things that are on the worksheet that they have.
On there, they will need to look at the following topics:
a. Which passages, roughly annotated by you (the student), are rhythmically similar
to what you hear in Masque?
b. Using musical terminology, what connections can you make to what Beethoven
does with orchestration, and what McBeth does?
c. Where were points of climax in the Beethoven, and where are they in Masque?
d. What is it in both of these pieces that continuously pushes the drama forward?
What is the musics purpose? Utilize as many aspects of the piece as you can to
answer this.
e. Were the recordings played musically? Address both both pieces and explain why
yes/no.
2. What they are going to do is group up, and they are going to take that worksheet, and
complete it on their own to the best of their ability.
3. After the individuals have completed filling it out, they will then group into their pods of
three or four, and they will talk about what they wrote down for each question.
a. In doing this, there will be one person to write down the thoughts of the group
regarding each question, so it is important that the questions on the worksheet are
in great detail.
This plan, while simple, focuses in on the essence of what these two pieces are saying
without words. Working individually will help with the critical thinking that needs to take place
in order to make the connections between these two pieces. Working in groups will be really
good for each of the students, because they each get to hear an outside perspective on the same
topic that they are working on. I have aligned this project to address the areas of thought
describes by the NAfME standards, as well as the Indiana State standards.
Utilizing different emotional responses and gauging where the music sounds like it is
going to the students addresses the first of each set of standards. At the same time, it is getting
them to think about other aspects of music such as using musical terms to help critique the music
they are going to listen to.
Aside from the analytical aspects of this activity, they are also going to be able to rate the
performance quality of the recordings.

Performing Assessment Project:

This will be an opportunity for students to take what they know of the McBeth work, and
create their own etude based off of the main theme of Masque.
1. Everybody will receive a sheet with the main theme of the melody on it. These students
will be advanced enough to be able to annotate notes onto sheet music. The students will
be able to talk about the work that their peers come up with, as well as what they
composed.
2. Take this opportunity to be creative and come up with a new composition based on the
main theme of the piece we are working on that would compliment the main theme if
they were to be played side by side.
3. The students are to compose their take on the main melody within these parameters:
a. Length should be 4-5 measures.
b. They are restricted to use only the notes that appear in the main theme on the
sheet of paper that they will be given.
c. CANNOT be a replica of the main theme, it has to be original.
d. They may choose the tempo and the meter.
e. There must be slur markings to show the direction of the phrase.
i. The composition must be expressive. The goal of this is to be able to
perform your etude with others, so it is important to make the expressive
side of this music obvious and clear for other students on what to do for
the contour of the composition.
f. The students are not allowed to work together on this project. They will come
together to play these compositions later.
g. It will be written out in concert pitch.
4. The students will come in the next day having done this small composition assignment,
even if they do not know exactly what they are doing, and are just putting notes on the
page randomly. As long as there is some sense of expressiveness, they will have reached
their goal for this activity.
5. They will come in and gather into groups of five per group.
6. The groups will disperse into different areas to go over their compositions with their
group.
a. This is to go over the works so that the students are playing the correct notes, and
its an opportunity to go over the contour of all of the compositions.
b. Some instruments may need to transpose.
7. The groups will then go one by one, and perform the compositions for the rest of the
band.
a. After each composition has been played, the audience is encouraged to make the
performers feel really good about it and give them a round of applause!
b. Additionally, the floor will then be open for comments, suggestions, critiques, and
observations on what they heard in the compositions.
c. There will be three comments per group to ensure that we remain on track, time
wise.
The time that they have to go over the compositions in groups is to be certain that
everybody is playing with excellent tone, and great intonation. This aligns with the Indiana

Standardss H.2.1. They are composing an original based on the minor scale. The performances
are not improvised since they are preparing them before hand, but this does align with the
NAfME standard MU.Pr4.2.E.8a where they need to demonstrate their ability to analyze,
rehearse, refine, and evaluate. They must be showing the expressive quality of the composition,
which is a NAfME standard.

Grading Policy
Performance Assessments 25 Points
This is part of the students grades that will be evaluated throughout the year. I will keep
a sheet that tracks the students progress, not only as an instrumentalist, but also as a musician
and a performer. The main purpose of these criteria is to show that the student is making
progress, so you will be able to physically see where they started, and there they have ended up.
Written assignments 10 Points
For these assignments, they will mostly deal with parts of the students grade such as
concert review, or lesson reflection. These are meant to get the students to think critically about
the way they are learning music. These will be good to keep for the students to show them how
their thought process may have changed over the course of the semester.
In-class exams 10 Points
These exams are not going to be super intense, but they are to help the students to
understand musical terminology a little better, and to see their interpretation of other musical
terms like phrase, or even something more abstract like art. The sections that ask them to
define these more abstract ideas will not be graded, but will be an opportunity for them to share
their thoughts on those terms, and tell the director what something like art means to them.
Performance exams 25 Points
These will be the big playing tests that will involve scales, two contrasting excerpts from
the repertoire that we are working on, a lyrical etude and a technical etude. There will be a rubric
for this that rates them 1-5 on concepts such as tempo, tone, articulation, rhythm, dynamic, and
musicality,
In-class Assignments 20 Points
These will be simple pop-quiz-like assessments that could cover any number of subjects
or ideas that we have been looking at during that semester. Something like this could be as
simple as, Name three Sousa Marches, or What should you do to the third of a chord in a
major sonority? These are meant to keep them sharp and its an easy way to earn points.
Take home assignments 10 Points
These assignments are ones such as the performing assessment project. The workload for
this type of assignment is not large. I will give them a simple task such as to have them compose
a short four-bar phrase that is based off of a melody in a piece that the band is working on. As
long as there is attempt to come in with a meaningful product, they will receive credit for these
criteria.
TOTAL: 100 POINTS

Weight of Criteria:
Performance Exams 30%
Written Assignments 25%
Take home/in class assignments 20%
Performance Assessment 15%
Participation 5%
o Attendance 5%
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