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Resource Notebook
Table of Contents
1. Classroom Management Plan
.Page 2
2. Recruitment Plan

.Page 5
3. Advocacy Tool Kit
...
Page 8
4. Grading Plan/Policy
.
..Page 10
5. Concert Checklist

..Page 12
6. Method Book Comparison
..Page
15
7. Literature/Curriculum Unit
..Page
18
8. Printed Program

.Page 30
9. Assessment over Bachs Toccata and Minuet
Page 32
10.Lesson Plan over CMP Unit
.Page
34
11.CMP Unit

..Page 36
12.Classroom Management Article and Summary
..Page 41
13.Recruitment and Retention Article and Summary
Page 43
14.Reflection over My First school Laboratory Experience
.Page 46

Classroom Management Plan

________________ (Middle School) Music Department

Rules:
1. Be respectful of yourself, your peers and the
teacher. Do not exhibit behaviors that display
disrespect. Bullying is a serious offense and will not
be tolerated.
2. Keep your arms, feet, and other objects to yourself.
3. Band students must be ready to play with your
instrument, music and a pencil 2 minutes after the
bell has rung. Choir and general music students must
be in their seats when the bell rings.
4. There is to be no food, drink, or gum in the
classroom at all times.
5. Before and after class is a time to socialize, NOT
DURING CLASS.

If a rule is broken, a student will receive a check. The system of checks

breaks down as follows:
1. His or her name will be written down with a warning given.
2. The student will stay after class to discuss behavior.
3. The student will have a half hour detention after school in the music
department on a selected date (including staying after class).
4. The student will be sent straight to the referral office for a half hour
(with a half hour detention after school.)
5. For repeat offenses, the student will be sent to the office and
parents will be contacted.
Students who have repeated multiple offenses throughout the year will not
be able to participate in the end-of-the-school-year Cedar Point trip. Every
student starts fresh the next day. Checks will not carry over to the next day.
Tardies: Failure to be ready to play in band 2 minutes after the bell has rang
or not ready to sing in choir or general music will result in a tardy. You must
have a pass if you are late coming from another class to not be tardy. Three
tardies will result in a music department detention. Any tardies after three
will result in the schools tardy plan: referrals to the office, lunch detention, in
school suspension, and/or a parent conference. If you dont want to lose
privileges, dont be tardy!
Positive consequences will be integrated in the classroom individually as well
as collectively.

Any disruptions in class can and will take away time and
focus from your peers!
This lesson plans gives the students a general idea of what I and their peers expect
of them. The goal of the lesson plan is to provide an environment that students will
learn the best in, while spelling out how consequences will be carried out. This plan
is fairly simple and it should work. I am sure there is something I am missing in this
plan, but this is a general outline. The goal is to be student focused with the teacher
leading the ensembles/groups. This will benefit my classroom because both
students and parents will understand what is going on when I send this home to the
students parents. I will give these to students to give to their parents and I will also
email/mail these management plans to all my students to ensure that parents get
them. Discipline does not affect a students grade. I do not put it in my plan
because that might give the students more of a reason to goof off and disrupt the
classroom. Some students will try to push your buttons as much as possible.
Grading is based on knowledge. The rules plan will be near the entrance/exit to the
band room and behind the conductor during class so it is always viewable.
Questions:

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1. Rules are the guidelines of what I expect for behavior. Rules are needed to
have a correct behavior to learn and grow as an ensemble. If a rule is broken,
then a student is not behaving correctly and is most likely not invested in the
music. Procedures are a general set of patterns that everyone should follow
to keep the classroom running efficiently and smoothly. Procedures are like a
list of how the classroom should be. Procedures do not always need to be in
the same order every day, but they generally should be to ensure efficiency.
Procedures are an order of operations. Procedures have to be understood by
everyone in order to run nicely.
2. Some teacher strategies that have a direct impact on the classroom are
enforcing the rules and procedures. Generally, the teacher needs to be
consistent in applying the rules and procedures. If a teacher lets an offense
pass, students will see how far they can go being disruptive before receiving
a serious remark or consequence. A teacher needs to be firm and at times
gentle. A teacher should be an example to the students; he or she needs to
continue to strive for excellence and to not give up when things get difficult.
If a student commits an offense, a teacher should not react with very much
emotion. A teacher should calmly lay out the consequence for breaking a
rule. Dismissing rows at the end of each class can help determine behavior. If
students cooperate and are quiet, especially at the end of class, they can be
dismissed first.
3. Some specific things that I can do in the first few days of school to create a
positive learning environment would be to go over the rules, procedures and
expectations of the entire school year. They must know that before and after
class, I will be friendly and open to talking. During class, however, they need
to know that I mean business and class time is teaching/learning time. They
are under my jurisdiction and they will know that rude behavior/disobedience
will not fly in my classroom. I would repeat this at the beginning of the winter
semester. I would also tell the students that I do not directly attack the
students if they break a rule, but I will make sure that they understand the
consequences. However, I will also smile when I tell them that we are here to
grow and rules should not be broken. I can have students write some of their
hobbies on pieces of paper to get to know my students a little better. I will tell
them that if they behave well, I will have more options for them during the
school year (such as what we warm up on, which pieces we should play at the
end of the school year concert, and if we can take a trip to a festival/fun
event). Be an encouraging teacher! Dont put down your students unless they
have discipline problems.

Fair Field Middle School

2205 Mountain Ridge Lane
West Woods, Nebraska
Principal: Mr. Steinberg
Phone number (777)555-5551
Recruitment Plan
Recruit as many students as I can:

1. Get permission to get have a pre-concert/instrument display at my local elementary

schools. Try to hype up the children as much as possible. Have all children attend;
children not going to middle school yet are still susceptible to the influence of music and
the instruments.
2. Bring sign-up sheets for all students in the 5th grade. These sheets will have some
information about band and basically be permission/interest slips to join band. These
sheets will be instructed to be given to the parents, who will fill them out.
3. Bring a letter for students to bring home to their parents about information, such as
benefits to the children, financial costs, and scheduling for band/choir. This letter fully
discloses information that was not on the sign-up sheet. Much of this information will
also be covered in the parent teacher meeting.
4. Engage in relationships with other teachers and have them promote joining a musical
ensemble in middle school while they are in elementary school. Have some teachers who
have played instruments show off their instruments and playing abilities if possible.
5. Host 3 meetings in one night at various times (right after school, 6pm, and 7:30pm) for a
parent teacher meeting to discuss benefits to children by joining an ensemble,
buying/renting an instrument, local music store options, supplies, and discussing
instrumentation. In these meetings, I will have several instruments that will be needed for
middle school band. I will do my best to host the meeting in the band room, if not, the
gym or cafeteria. I will try to have the local music store be present and be able to give
answers to questions that parents might have. I want the local music store representatives
to have a sheet of information
6. about their business and contact information.
7. If the display night is poor or few parents show up, I will send emails to parents of
potential band students and phone call as many as I can with the information I presented
at those meetings.

A few weeks before school:

8. I will have a fitting session 4 weeks before school to determine final instrumentation.
There will be a series of tests to determine which instrument a student would excel at. I
will have only 5 students try instruments at a time to keep the group small and each
student can have some individual attention. It will be an all-day event that will welcome
all students that lasts from 10 am to 4 pm.
9. I will have the local music store deliver all instruments (bought/rented) to the school a
few days before and not to the individual families. I will have students open their
instruments together on the first day of band.

10. If I have an abundance of percussionists, I will have auditions for percussion placement
after the first half of the year. This way, every student can have a chance to try out for
percussion.
Common questions:
Q: How much will instruments cost? Which should I buy? (parents)
A: Instruments vary in price due to quality, brand name, and availability. The local music store
has all the information on which instruments to buy. In general, you should ask for a beginner
model of any instrument. DO NOT BUY A WALMART OR EXTREMELY CHEAP
INSTRUMENT. These will not last very long and many instrument repair shops will not fix
them if there is a problem. This way, students can continue on these horns until high school and
if they do not continue after a few years, you have not spent as much as you could have.
Q: Can I rent an instrument? (parents)
A: You can rent an instrument from the local music store. You can also potentially rent one from
the school, if we have one available. Renting can be cheaper than buying in the short term.
However, if students decide to continue playing, buying can be a safer option.
Q: How will this music program benefit our school system? (administrators)
A: All great schools have some sort of musical program. It has been shown that students who
participate in the musical arts, generally perform better in their other disciplines. Music develops
discipline in students and they become more aware of the world through music. In an ensemble
there are lines of communication being established that connect students together.
Q: Can I play ____ (any instrument a student asks)? (student) or I want my child to play ____.
Can he play this? (parents)
A: There will a session that will determine which instrument the child might play. It is good to
keep a list of the top 3 instruments the child may be interested in playing.
Q: What can I do to help my child succeed? (parent)
A: You can tell them to practice every day for at least 20 minutes. They need to keep their focus
while practicing and not getting distracted. You need to tell them that they need to practice with a
metronome that you can buy from the music store.
Checklist
___ Information for school administration
___ Have I been given access to the elementary school to have an opening concert to potential
students?
___ Have I held a pre-concert to the elementary school students?
___ Have I held a display meeting to show potential new students about the various instruments?

___ Letter sent home to parents

___ Have I posted a sign-up sheet in a common area in the elementary schools where students
congregate (such as a cafeteria/gym)?
___ Have I contacted other teachers inviting students to sign up?
___ Followed through with the written plan
___ Held a parent teacher meeting about instruments and ensembles in the school gym/cafeteria
___ Held a meeting right after school (3pm)
___ Held a meeting at 6pm
___ Held a meeting at 7:30
___ If for any case few parents show up for the meetings on a single night, phone call the
parents of their children who did not show up about joining musical ensembles.
___ Have you called all parents from letters A to H?
___ Have you called all parents from letter I to Q?
___ Have you called all parents from Letter R to Z?
___ Have I discussed the benefits of allowing their students to participate in a musical ensemble?
___ Have I told parents the financial commitments?
___ Have I told parents about the music store and how they can help their children?
___ Do they know that they can rent instruments from the school or the local music
store?
___ Do parents know what supplies and method books each student will know?
___ Have I told parents how they can help their students succeed?

Advocacy Tool Kit

Date: November 24, 2015
Statement: This advocacy hearing is being held on the behalf of the music department because
of recent interest to cut all music classes down to one day a week. Our statement is to have this
dissension revoked or modified to better accommodate both parties. The music department
advocates that the limitation of music classes to one day a week will be inefficient to student
learning, bonding, and creativity.

Music gives us a language that cuts across the disciplines, helps us to see connections and
brings a more coherent meaning to our world.
Ernest Boyer, President, Carnegie Foundation
Presenter 1
There will be less instructional time which will lead to students developing bad habits
and improper technique.
There will be less rehearsal time, making it impossible to prepare a concert for each
grading period.
Cutting class periods will mean that students will NOT have time to learn through
national music standards, and retain musical concepts
Presenter 2
The band, orchestra, and choir are all group related courses, where every student is
responsible for their part or it will affect the ensemble.
These music ensembles are great systematic organizations where students learn teamwork
and how to blend with each other, these skills learned are unique compared to any other
classroom.
With infrequent visits, an ensemble cannot function smoothly and the students will not
connect with each other the way they need to.
http://www.musicforall.org/who-we-are/advocacy/why-music-why-band
Presenter 3
Beginning music students need to meet more frequently in order to gain any real benefits
from music.
These benefits from music will improve IQ and SAT scores, as well as auditory skills.
Students will also become more emotionally developed, and are more likely to have
higher self-esteem, and to cope with anxiety.
http://www.nafme.org/20-important-benefits-of-music-in-our-schools/
http://www.spring.org.uk/2013/09/10-magical-effects-music-has-on-the-mind.php
Presenter 4
Majority of all students learn music only in the classroom.
Music is a life skill that students can take with them after grade school.
There will be a lack of interest among the students and parents.

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Grading Plan/Policy
Grading in the musical arts classes will be broken down as follows:
Playing/Singing Tests: Each student will be tested on materials covered in class.
Accuracy of notes, rhythm, dynamics, articulations, etc. will be graded as well. The
playing tests will occur before each concert. The singing tests can occur at any time
and can be unannounced (in the general music course).
Written/Section Work:

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There will be worksheets, tests, etc. throughout each of the nine weeks to assess
your knowledge of musical concepts. Different musical concepts will be assessed,
such as note and rest values, dynamics, musical terminology, rhythm, etc.
Rehearsal Grade:
Students will occasionally be checked for having his or her music, instrument,
pencil, etc. in class each day.
Performances:
The dates of all performances will be given out early in the school year. Students
are expected to be at all performances of the ensemble(s) they are in.
Practice Logs:
Each 9 weeks, a record of individual practice time outside of class will be turned in.
A parental signature is required for full credit on the practice log.
Due to the nature of the grading periods, specific points will be distributed at the
beginning of each 9 weeks grading period. There may be changes from one grading
period to another grading period.

At the beginning of the semester, I will give out the above sheet to the students. I
do not plan on giving this sheet to the students or parents. If I do give them this
sheet, they might try to plan out how to game my grading plan. Students and
parents might try to maximize their grade by not putting in all the work.
Playing/Singing Tests The singing and playing tests will be worth 3 points each.
There will be a total of 4 tests throughout the year (one before each concert for the
ensembles). Each playing test will be made up of at least 2 scales and passages

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from the music the ensemble is currently playing. Each singing test will be material
covered in class (such as rhythm, note, and articulation accuracy).
Written/Section Work The written/sectional work will be worth 5 points each. There
will be a worksheet given before each test. Each worksheet will cover what will be
on the test and be worth 2 points each. The test following the worksheet will be
worth 3 points each. Each test will cover different areas of musicianship. Tests will
be given in increasingly more difficult levels. For example, the first test will have
student notate the rhythm of a basic pattern, spell note names of selected pitches,
definitions of common and well-known markings. The beginning band will receive a
slightly easier test than the other 2 ensembles. The intermediate and top band will
be given the same exams. The final test will be a CMP project for all students
aimed at fostering information and knowledge about a work that a composer that
we are studying and performing.
Rehearsal Grade Each check for music, instrument, pencils, etc will be worth a
total of 8 points (2 points per grading period). There will be at least 2 checks per
every 9 weeks (I hope to do 4 or more, but that might be a little too much and a
little too hard to keep track of half/quarter points). There will be random checks
during the school year for the supplies.
Performances Each concert will be worth 12 points. The beginning band will only
have 3 concerts to perform (Their first will be the winter concert). Because of the
missed concert, there will be an additional writing test that will be worth 12
points. It will cover fundamental music ideas, such as the definitions of tempo,
meter, articulation, etc. and rhythmic notation. This test will be given before the
first test given to the other ensembles. The intermediate and top band will have a
total of 4 concerts (2 in the fall and 2 in the spring). If a student fails to perform at a
concert, then he or she will have to make it up. If the student is excused, he or she
will be required to write a summary (3 page paper for the excused and 15 page
paper for the unexcused absence) of the biography of one of the composers whose
piece we are playing in the missed concert.
Practice Notes Every practice note will be worth 3 points. There will be a total of 4
practice logs during the year. Students who fail to complete the log may receive
partial credit for how much they have practiced. If there is no parental signature,
there will be a small grade reduction (of 1 point). Students need to practice for a
minimum requirement of 1 hour every week. Students who take lessons can use
their lesson times as a fulfillment of some of the time of the practice note
(depending on the duration of the lesson).
Behavior does not influence students grade. I grade students based on their
attendance at performances and the content that they should know by the end of
the semester.

Checklist for Concert

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Students:
____ Have I told the students to bring home their instruments every day (on
concert day) for a week before the concert?
____ 5 days before
____ 4 days before
____ 3 days before
____2 days before
____ 1 day before
____ The day of the concert.
____ Have I reminded the students (and their sections) of their jobs
before/after the concert on concert day? (If at the school and setting up just before
the concert/warmups)
____ Flutes put chairs on stage
____ Clarinets put stands on stage
____ Saxes Have them clean up the stage/practice rooms (for
warmups).
____ Trumpets putting chairs for the audience (if we are not playing in
an auditiorium).
____ Have I reminded the students that they need to be at the designated
warmup location at certain times?
____ Beginning Band call time: 6:30
____ Intermediate Band call time: 5:55
____ Symphonic Band call time: 5:30
____ Have I reminded the students of their attire? (White dress shirt, nice
black pants no jeans, black socks, black shoes)
____ Have you reminded students about reed caps?
____ Have I told the students the consequences of not showing up to the
concert?
____ Have I told the students that they have to stay for the entire concert?

Parents:

14
____ Have you sent out a reminder email to the parents about the date and
time of the concert?
____ Have I reminded (by email or by calling) parents about their volunteering
for the concert? (such as help setting up, tearing down, being an usher, etc from the
flyer sent out at the beginning of the year)?
____ In the email, have I told the parents about concert etiquette?
____ Have I told the parents of the location of the concert (did you
specify that the concert is at a nearby location?)
____ Have I told the parents consequences for their child(ren) to not show up
for the concert?
____ Have I emailed the parents that the students must stay at the entire
concert?
Administration:
____ Have I written to our administrators inviting them to our concert?
____ Is the letter hand written?
____ Have I told them the date and time of the concert?
____ Have I told the administration the location of the concert?

Custodians (if at the school):

____ Have I asked the custodians to make the room clean before the students
call time?
____ Have I asked the custodians to unlock the doors on the day of the
concert?
____ Acknowledge their efforts in preparing the room in the cue card.
Miscellaneous:
____ Is the offsite location for the concert available and ready? Have you
called them?
____ Have I paid for the stage of the offsite location or is the money
ready to be given to them?
____ Is the truck I am renting available and ready for pickup?
____ Have others and I put the larger and heavier instruments in the band
hallway to remind ourselves to move the equipment?
____ Are the concert programs ready to go?

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____ Are they in an easy to see and spot location (just in case you
forget them)?
____ Are there more than enough programs to make sure everyone has
at least one and there wont be a shortage?
____ Have I created a cue card for myself for the performance of the concert?
(such as order, information about the pieces, solos, announcements, etc).

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Method Book Comparison
Books being used: Rubanks, Elementary Method for Saxophone, Traditions of
Excellence for Clarinet (Book 1), and Accent on Achievement for Trombone (Book 1).
1. In what way is this book appealing/not appealing to a young beginning band
student? (overall impression)
Rubank Elementary Method To young students, this book comes with a fingering
chart that could easily explain fingerings, but some other students may find it
difficult to understand. Some students may welcome the sheer amount of content
that is presented, however, some students may be overwhelmed due to the amount
of content and lack of different colors. If students want to, they can play duets
together without the aid of a supervisor or with a private teacher.
Tradition of Excellence The book is heavily color coordinated. It uses colors to
signify material before and during playing. For young students, the amount of
content at the top of the pages discussing theory and technique could be
overwhelming, but it spaced out on each page. This book also opens up playing
music with others early on. This book also comes with a cd a student can play with.
Accent on Achievement The book opens with how to position yourself with your
instrument. The beginning includes basic ideas and how to read music if a student
doesnt know by the first week of band class. This book is also color coordinated to
a lesser degree than Tradition of Excellence. This books has a few duets early on.
Many of these folk songs will be familiar to the students. There are a few pictures in
this book that can open the idea of a line of music to the students before playing.
2. How does the book share information about putting the instrument together,
how to hold it, embouchure, posture, etc. Which book seems best suited for a
beginner? Why?
Rubank Elementary Method This book includes nothing about seat position,
embouchure, or posture. This book is slightly beyond how to assemble an
instrument. This book is solely to improve playing abilities.
Tradition of Excellence This book goes through step by step on how to assemble
the clarinet without an instructor present. It also details how to how the instrument
and how to sit on a chair with pictures. The book discusses how to form an
embouchure and make a beginning tone with a daily care and maintenance section.
I would say that Tradition of Excellence would be best because of the color
coordination and how easy it is to read to assemble in the beginning. It has enough
space for a young student to not feel overwhelmed. There are an abundance of
pictures in the beginning to hold, sit and play the clarinet correctly.
Accent on Achievement This book wrote out how to assemble the trombone and
has a picture of a trombone fully put together with its different parts labeled. It also
discusses how to care for the trombone. This book gives a method on how to check
your playing position and offers a large picture of a middle school student sitting

17
properly with his instrument. The following page has instructions on how to form the
embouchure of a trombone and the first few tones.

3. When does each book indicate the time to start addressing articulation? Does it
seem appropriate?
Rubank Elementary Method This book addresses musically notated articulations
on lesson 7. The first articulation is the tie. By this time, students should be able
to play almost an octave. I would say that this would be an appropriate time to
introduce articulations.
Tradition of Excellence When it discusses to form a good embouchure, it says you
should use a too articulation. The first musically notated articulation starts on
page 10. It discusses the use of the slur. This seems to be a good time to introduce
the articulation. This way, students should be aware of different ways to articulate
and what their effects do.
Accent on Achievement It recommends that beginning trombonists should use a
tah articulation. The first musically notated articulation is the tie. This is slightly
better to address before the slur in Tradition of Excellence. The page it talks about
the tie is on page 10. By this time, students are playing a 6 note range and is
needed.
4. Does the book offer opportunities for you as the teacher to include audiation?
Rubank Elementary Method To a degree, this book can be mostly audiated in the
first half. If the instructor or private teacher wanted, he or she could thoroughly
develop a young beginners voice before reading any notes. However, some of the
duets could prove to be a problem when singing both voices at the same time.
Tradition of Excellence As long as the instructor devotes time to developing the
beginners mental voice, the instructor could use most of the book as audiation
material (minus the solos and band pieces).
Accent on Achievement Due to some of the familiar tunes, about half of the book
could be used as audiation material. It is up to the discretion of the instructor on
how he or she wants to go about teaching the students. The second half can get
somewhat more complex with added in accidentals.
5. What offerings does the book provide for students who advance more quickly
and may need extra things to practice?
Rubank Elementary Method In the back of the book, there are challenging etudes
that a student can try to play. Some of these are actually quite difficult for a
beginner.
Tradition of Excellence The student can move ahead of the group by playing some
selections in advanced. There are a few solos interspersed throughout the book. The

18
back of the book has some etudes to master excellence. There are various scale
studies that a student can play in the back of the book as well as some rhythms he
or she can clap/learn.
Accent on Achievement The student could play ahead if he or she wanted to.
There are different scales and patterns that a student can learn in the back of the
book. There are also rhythms and mini etudes that a student can try out. However,
these are not as advanced as the Rubank elementary Method.
6. What opportunities are available regarding technical exercises, scale studies,
etc?
Rubank Elementary Method This book has a lot of technical exercises and scalar
patterns littered throughout. The end of the book is chock full of exercises and
scales (both major and minor).
Tradition of Excellence This book has skill builders. These are as close as
technical exercises in this book until the end of the book. This book also doesnt
really have many scales mixed in as students progress. The back of the of book has
a few scales that students can learn.
Accent on Achievement There arent any sort of technical exercises except for 2
pages in the back of the book. The only scales and patterns are found also in the
back in limited numbers.
7. What ensemble opportunities are provided in the book - consider both full
ensemble opportunities and small ensembles. When/where could you use the full
ensemble music found in the book?
Rubank Elementary Method There are duets almost on every page. Some
selections from the book could potentially be used as a full ensemble, such as
America, the Beautiful, or a March in the back of the book. This book is more
suited towards individual students and duets/trios. All of the ensemble music is
sprinkled around in the 2nd half of the book. It would take several weeks of lessons
before I could use the ensemble music.
Tradition of Excellence This book is littered with duets. There are also some pages
solely dedicated to ensemble music. The ensemble music is shown throughout the
book. I could use the full ensemble music fairly early on.
Accent on Achievement Duets start on page 7. This book is fairly good about
having duets early on. This book also has its first full ensemble music on page 11.
This book could be utilized early on if a concert had to happen early. Every couple
of pages has ensemble music. Much of the material learned on previous pages is
incorporated in the full ensemble music.
8. How are new concepts introduced? Is it done in a way that is sequential for the
student and easy to understand? How does the book lay out new material?
Rubank Elementary Method New concepts are introduced above notes in a new
lesson. Sometimes, if need extra space is needed, there will be a see footnote

19
to look at the bottom of the page for new information. This book generally requires
a private instructor to disseminate information to the beginners. There is not much
in terms of new concepts and when there is, it takes the meaning of each concept to
its fullest extent. All of the pages are black and white and students may not be as
interested as they could be if they used this book.
Tradition of Excellence New concepts are introduced on every page and each
concept has a color associated with it. Terms are orange, notes are green. Time
signatures and rhythms are blue. Theory and composition is labeled in purple. This
book seems to lay out information that builds on each other. Students using this
book should be able to make connections more easily by referring to earlier
material. Concepts are layered very well. All new information is addressed at the top
of each page (with the exception of little interesting information about select
pieces).
Accent on Achievement All concepts are introduced at the top of the page with
some color coordination. This information gradually builds on each other and
provides enough for a student to understand and not enough to suffocate a
students mind. This book would be best out of all three for the introduction of
concepts.

Curriculum/Literature Unit
Fall concert:
Intermediate Band:
1. Title: Liturgical Fanfare. Composer: Robert W. Smith. Publisher: Alfred
Publishing Co. Inc. Grade Level: Easy. Key: E-flat Major. Time Signature: 4/4.
Rhythmic Challenges: It isnt really rhythmically hard. One thing that might
be addressed is to have students not tighten the spaces between staccato
eighth notes in the beginning. Trumpets may want to rush the melody
comprised of straight eighth notes. Musical Concepts to address: When you
give this to your students, you need to tell them what a fanfare is. In
measure 14, it states Bell Tones. You need to explain to the students on
how to play their instruments as if they were bell tones. You need to also tell
the students what to do when holding out a long duration (such as a whole
note or 2 whole notes tied together). Do not just play a note and not let it go
anywhere.
2. Title: Two Russian Folksongs. Composer: Ralph Gingery. Publisher: William
Allen Music, Inc. Grade level: Easy (1.5). Key: E-flat major. Time Signature:
3/4 until it switches to 4/4 in measure 32. Rhythmic challenges: There are
few places where there is a dotted quarter, followed by three eighth notes

20

that could give students a minor problem with such a slow tempo. There are
also some quarter notes followed by a dotted eighth and sixteenth note that
most students get to eventually play. Starting in measure 41, the flutes,
clarinets, and trumpets have a quarter, dotted eighth, sixteenth, eighth, 2
sixteenths, and 2 eighth notes passage that might give a few students
trouble. Musical concepts to address: You could ask what other Russian
folksongs the students know. You could also explain to the students what the
first section sounds like compared to the march style in the 2nd dance. You
could also ask them if they know anything about Russian history and how
this piece might reflect Russian history. You could also introduce what a
sequence is that is present in the melody in the first dance.
3. Title: Adversary. Composer: Larry Clark. Publisher: Carl Fischer LLC. Grade
Level: Easy (1.5). Key: C minor. Time Signature: 3/4. Rhythmic Challenges:
The melody in the beginning seems to be easy, but students may become
too energized and begin to rush the eighth notes and quarter rests.
Beginning in measure 17, some sections will begin to have a hemiola-like
part in contrast to the brass melody. Students may become more
rhythmically confused between both parts. Musical concepts to address: In
the beginning it says to be aggressive, in which the conductor could describe
what it means to be aggressive while playing. You could (re)teach accents,
which play a very important part in the music. In measure 16 (and in similar
measures later on), you could describe how much to increase their dynamic
level. You can describe the hemiola beginning in measure 17 in the
woodwinds. You could teach the students what a repeat sign is in measures
59 and 74. You could explain what a forte-piano is in measure 75 and 97.

Advanced Band:
1. Title: Above the Clouds. Composer: Chris Bernotas. Publisher:
Northeastern Music Publications. Grade Level: Medium Easy. Key: E-flat major.
Time signature: 4/4. Rhythmic Challenges: There are several sixteenth runs
in the faster portion of the piece that will have students tripping up on them.
There is also an eighth note accompaniment in the flute section behind the
trumpet melody that could get muddy. Musical concepts to address: You
could address how the beginning needs to sound majestic, as if it was music
from above the clouds. You could comment on how the second section differs
from the first (besides tempo). It sounds more straightforward and precise.
You could address how it sounds almost march like as well. You could also
bring up what the bassoon is doing in the softer section of the second portion
of the piece. It is playing a background part that is adding harmony to the

21

oboes the flutes. You could also address what the clarinet is doing at the
same time (adding a countermelody).
2. Title: Arisoso. Composer: J.S. Bach. Arranger: Alfred Reed. Publisher: C L
Barnhouse Company. Grade Level: Medium. Key: F Major. Time Signature: 4/4.
Rhythmic challenges: Measure 1 to 17 the brass have a quarter note rest,
eighth note, eighth note rest, eighth note, followed by an eighth note and
quarter note. There are triplet eighth notes in measure 52 in the upper
woodwind section. Musical concepts to address: You could also explain a little
bit about the Baroque era and Bach himself. There is the recurring
accompaniment part that most students will eventually play. You could
explain texture and how it is relatively thick until the end. You could address
the trill in measure 4 in the clarinet part and discuss how the Baroque era
used ornaments heavily (even though this piece does not use very many).
3. Title: Achilles Wrath. Composer: Sean OLoughlin. Publisher: Carl Fischer
LLC. Grade Level: Medium-Easy (2.5). Key: C minor and changes to g minor in
measure 10 and switches back to C minor in measure 54. Time Signature:
4/4 until it switches in measure 54 to 3/4. Rhythmic challenges: The
percussion section may rush the eighth notes in measures 54 to 74
(especially if they struggle with not rushing). In measure 66 to 68, the
clarinets, trumpets, saxes, oboes and horns have a melodic passage that
overlaps between measures. Students need to understand the next portion
of the phrase begins on the and of beat 1. The flutes, clarinets, and
trumpets have the same thing in measure 74 to 76, 78 to 80, 88 to 90, and
92 to 94. Measure 94 has the woodwind sections (without saxes) and
trumpets has the melody as if it is in 6/8 instead of 3/4. Musical concepts to
address: you could ask the students in measures 104 and 105 what meter it
feels like instead of 3/4. You could ask about who was Achilles in history and
show where the piece gets its name from in the music. You could ask what
happens in measure 10 that is different from the beginning (besides the
tempo change). You could also ask what a fp means in measure 47. You
could show what the repeat sign is in measures 54 and 57. You could ask
what key we start in, what key we eventually go to, and what key we end
with.

Holiday concert:
Beginning Band:
1. Title: All Through the Night. Arranger: Rob Romeyn. Publisher: C L
Barnhouse Company. Grade level: Very Easy. Key: E-flat Major. Time

22

Signature: 4/4. Rhythmic challenges: Since this is a beginning band at its first
concert, measure 4 could be a little difficult for the flutes, oboes, and mallet
percussion for them to gauge when to come in on the and of 1 during a
ritardando. When there are entrances, they come in usually on the and of
either beat 1 or 3 on an eighth note, followed by 2 more eighth notes. This
piece is fairly rhythmically simply. Musical concepts you could address: You
could address what rit means, especially as you approach a fermata
followed by a caesura. You could also address what is similar in measures 4,
18, 34, and 40. New students dont really understand what it means to be
expressive when playing your instrument and you could explain it in this
piece. You could ask what is similar in between measures 13 to 18 and 29 to
34. You could ask what is similar between the beginning and end.
2. Title: Holiday Sleigh Ride. Composer: Wolfgang Amadeus Mozart. Arranger:
Andrew Balent. Publisher: Ludwig-Masters Publications. Grade Level: Easy
(1). Key: B-flat Major. Time Signature: 3/4. Rhythmic challenges: Students
may want to rush the beginning due to the quarter rests on beat 3 in the first
two measures. Generally, when the students have eighth note passages,
they may rush those. Musical concepts you could address: You could discuss
the repeat signs that are present in measures 8, 9, and 16. You should
explain how the two are different (and why there is no repeat sign in the very
first measure). You need to address what D.C. al Fine and Fine mean, and
where to go when it says D.C. al Fine. Beginning in measure 17 until the
D.C. al Fine, you should ask them what (dance) style it feels like it is in. It
feels like a slow waltz until we go back to the beginning. You have to, address
what staccatos are and how short they should be in this piece.
3. Title: B B Christmas. Composer: Nicholas Forte. Publisher: Forte
Publications. Grade level: Beginner/Easy. Key: E-flat major. Time signature:
4/4 and eventually switches to 3/4 and back to 4/4. Rhythmic challenges: The
students may potentially be uneasy about a quarter note, dotted quarter
note, followed by an eighth note and another quarter note rhythm, but that
shouldnt be difficult. Musical concepts you could address: You could ask the
students what they think spirited means in the beginning of the piece and
how it should function until the 2nd theme comes in. You could address what
the low brass and woodwinds are doing (they are the harmonic support that
makes the melody sound better). You could say that while the melody is
important, without the harmonic support from the low brass and woodwinds,
the melody wouldnt be as enticing.

Intermediate Band:

23

1. Title: Bobsled Run. Composer: Lloyd Conley. Publisher: Ludwig-Masters

Publications. Grade level: Easy. Key: It begins in B-flat major and switches to
E-flat major in measure 23. Time signature: 4/4. Rhythmic challenges:
Students will likely rush eighth note passages (such as in measures 5 to 12).
From measure 25 until the end, there is some upbeat eighth notes that will
make the melody rush (the upper woodwinds have the upbeats and the
saxes and trumpets have the melody). Musical concepts you could address:
How could you categorize this piece in terms of themes and form? It starts
off in an A section, goes to a B section and eventually comes back to the A
section, but this A section is slightly different. It would teach the students
ternary form. If I were to teach ternary form, I would have had to already
teach binary form from another piece. You could also teach what the triangle
note is before everyone plays the final chord. The triangle plays an
anticipation before everyone comes in for the final note.
2. Title: Canon for Christmas. Composer: Johann Pachelbel. Arranger: Larry
Clark. Publisher: Carl Fischer LLC. Grade Level: Easy (2). Key: E-flat major.
Time Signature: 4/4 until it switches to 3/4 in measure 37 until it switches
back to 4/4 in measure 54. Rhythmic Challenges: There is a steady stream of
eighth notes from the flutes, oboes, alto saxes, and 1st clarinets that has
potential to rush against the quarters notes from the trumpets. Starting in
measure 53, there are sixteenth runs in the flutes, oboes, 1st clarinets, and
alto saxes that could give the students trouble, especially when the land on
eighth notes and continue more sixteenth runs. Musical concepts to address:
You could address what a canon is and who are some famous canons that we
all know. You could address which students enter in the canon at what times,
as well as why the low woodwinds, tuba, and clarinets have the canon in the
beginning (similarities in timbre). You could ask what happens in measure 37
and 54 (meter changes).
3. Title: The 3-Minute Nutcracker. Composer: P.I. Tchaikovsky. Arranger: Lloyd
Conley. Publisher: Hal Leonard Corporation. Grade level: Easy (2). Key: E-flat
major until measure 17 and it switches to B-flat major. Time Signature: 2/4
until it switches to 4/4 in measure 17. It switches to 3/4 in measure 44.
Rhythmic challenges: Many notes (eighth and quarter) are staccato and
students may want to rush the space left by the staccato articulation.
Measure 44 has the clarinet section playing offbeat eighth notes that are not
easy. Musical concepts you could address: What are some similarities
between each theme? What are some differences? You need to explain the
difference in staccato notes between the themes. You need to explain how
long each staccato should last. You should also address the overall different
styles of each theme. For example, the Dance of the Sugar Plum Fairy is very
light and playful, while the March is march-like.

24

Advanced Band:
1. Title: A Cambridge Carol. Arranger: Vince Gassi. Publisher: Alfred Music
Publishing. Grade level: Medium-Easy (2.5). Key: E-flat major then A-flat
major. Time Signature: 4/4. Rhythmic Challenges: Percussion 1 has a quarter,
eighth note triplets, and eighth notes rhythm in the beginning that may need
a little fine tuning as you learn the piece. Make sure that there is a distinct
difference between the triplets and eighth notes. An advanced band
shouldnt have too much difficulty with this piece rhythmically. Musical
concepts you could address: You could explain what a carol is and what other
famous carols your students may know. You could also discuss what type of
style this is similar to (a march). Everyone eventually plays the melody
throughout the piece. However, you can ask students to describe it. How is
the melody constructed? Are there repeated sections or notes? You would
eventually tell them that the melody is a long sequence of a simple idea.
2. Title: Bell Carol A La Big Band. Arranger: Rob Romeyn. Publisher: Alfred
Music Publishing. Grade Level: Medium. Key: F Major. Time Signature: 3/4.
Rhythmic Challenges: This is a jazz waltz that uses heavy syncopation for the
melody and overall feel. Students may mess up (such as in measures 19 and
20) by miscounting the rhythm as the feel of 1 over a duration of 3 beats.
Students will have some trouble with the melody switching back between the
flutes, oboes, and trumpets and alto saxes and horns beginning in measure
34. They have the same rhythm, but the flutes and oboes play 1 measure
ahead of the trumpets. It is an accented eighth note, tied to a quarter note,
followed by an eighth note, and a quarter note tied to an eighth note into the
next measure. This melody stays throughout the entire piece. Musical
concepts to address: You need to explain what the original piece of music
was that is in this song (Ukrainian Bell Carol). You should also ask what
makes a waltz, a waltz (such as where do you normal accent in a measure?).
You could also ask what makes this jazz waltz different, as well as similar
from a normal waltz. You could also ask and discuss how to swing eighth
notes.
3. Title: Holiday Flutecake. Composer: David Shaffer. Publisher: C L
Barnhouse Company. Grade Level: Medium-Easy (2.5). Key: E-flat major. Time
Signature: 4/4. Rhythmic challenges: There arent any really rhythmically
challenging parts. There is no syncopation and almost all the parts only have
eighth notes, quarter notes, or half notes. If students are struggling with

25

dotted quarter notes, there are several in this piece that could trip up
students. Musical concepts you can address: You can address the difference
between the marcato notes and accented notes in measure 8 in the flute
part. Listen to the flutes in measures 32 to 33. What does it sound like they
are playing? There are two parts I am looking for: the descending scale that
leads to B-flat and the chord outline in measure 33. You could ask if the scale
happens again (measures 44 to 48).

Festival/contest:
Intermediate Band:
1. Title: Bachs Toccata and Minuet. Composer: J.S. Bach. Arranger: Foster.
Publisher: Wingert-Jones Publications. Grade Level: 2 - Medium-Easy. Key: Bflat Major. Time Signature: 4/4 and switches to 3/4 later and back to 4/4 near
the end. Rhythmic Challenges: Nothing in particular that could give the
students too much trouble (as long as they are looking up to the conductor).
The only area that could give the students trouble is playing the accent on
the and of 2 in measures 47, 49, and 51. Musical concepts I could address:
You could (re)teach what a fermata is, as well as accents. You could reexplain what a slur and tie are.
2. Title: Two Russian Folksongs. Composer: Ralph Gingery. Publisher: William
Allen Music, Inc. Grade Level: Easy. Key: E-flat major. Time Signature: 3/4.
Rhythmic challenges: In measure 24, there are dotted eighth notes that have
not appeared in the piece so far and to teach them how they are different
from sixteenth and eighth notes. There are not really any truly rhythmically
challenging sections. The lead in to measures 9 and 17 have the flutes,
oboes, and clarinets have them playing 2 eighth notes to start the passage.
Musical concepts to address: You could ask the students if they have heard
any other pieces that are Russian in style or in the title. You could explain
what feeling the students should play with at the beginning where it says
Slowly, with feeling. The clarinets have a cue in measure 18. Beginning in
measure 22, you could ask what style of music this piece becomes (even
though it says slow march). You could address how you play a march and
what is traditionally associated with a march.
3. Title: Armenian Dances (Part 1). Composer: Alfred Reed. Arranger: Douglas
E. Wagner. Publisher: Alfred Publishing Belwin Division. Grade level: MediumEasy (2). Key: B-flat major until it switches to E-flat major in measure 13. It
switches back to B-flat major in measure 28. It switches back to E-flat major
in measure 46. Time Signature: 4/4 until it switches to 2/4 in measure 8 and

26

switches back to 4/4 in measure 9. It switches to 2/4 in measure 27 and then

to 3/4 in measure 28. It changes to 2/4 in measure 46. Rhythmic challenges:
The beginning has the bassons, saxophones, and the brass (minus tuba)
playing 2 sixteenths, followed by an eighth tied to a quarter note. Students
may need a little fine work on that rhythm. The bass clarinet, alto saxes,
baritone sax, and tuba have 2 sixteenth notes leading into measure 5 that
they might need to work on. The horn, baritone, bassoon, and tenor sax have
a difficult rhythm in measure 4. There are 5 eighth notes, with the last 2 tied
together followed by 2 sixteenth notes an at least one eighth note. Measure
46 has the bassoons, clarinets, saxes, horns, trombones, baritones and tubas
playing eighth notes on the beats and offbeats, which will take work to
control so no one rushes. Musical concepts to address: You could discuss
where Armenia is and any other pieces the students might know. You could
ask if and where the meter changes, as well as key changes and what key we
end in. You could also ask if the two broadly sections are the same or
different. You could ask the ensemble what term could be used beginning in
measure 46.
Advanced Band:
1. Title: Celebration for Band. Composer: Robert Palmer. Publisher: C L
Barnhouse. Grade level: 3. Key: B-flat Major. Time Signature: 4/4. Rhythmic
challenges: There is a lot of syncopation in this piece. The third measure for
the woodwinds may prove to be difficult with an eighth note, eighth rest,
quarter rest, eighth rest, quarter note, eighth note, and an eighth note
downbeat in measure 4. Students may rush when they have several
repeated eighth notes, such as in measures 7 to 10. Flutes and oboes have
quarter note triplets in measures 36 and 37, especially against the eighth
notes in the rest of the woodwind section. Starting in measure 81, there is
some syncopation again that everyone plays together. This section repeats
later in measure 91. The flutes, oboes, and clarinets have a 2 sixteenth,
eighth, 2 sixteenths, 2 eighths, 2 sixteenths and an eighth note passage in
measure 171. Musical concepts to address: If students do not know already,
teach them what D.S. al Coda means and the symbols associated with that
and to mark in their music where to go back to. You could discuss that when
students have passages of uninterrupted eighth notes (such as measures 710), those are like the rhythm keepers. Students need to keep a steady
rhythm and help the band propel forward into the next section. You could
address what a celebration is for band in general. What is it celebrating? Why
are we celebrating our tradition of band? In measure 131, you could address
what a singing style is in relation to the other parts of this piece.
2. Title: Annie Laurie. Composer: Carl Stronmen. Publisher: Carl Fischer LLC.
Grade level: Medium-Easy. Key: It begins in E-flat major and switches to F

27

major in measure 39. Time Signature: 4/4 until it switches to 2/4 in measure
36 and back to 4/4 in measure 37. Rhythmic Challenges: Measure 6 has the
flutes, piccolo, oboe, and first clarinet playing a syncopated rhythm. It is an
eighth note, quarter note, eighth note, dotted quarter note, eighth note and
finishes with a whole note. It might be a just a little hard at a slow tempo, but
it is very manageable. Flutes, piccolo, oboes and clarinets have an eighth
note entrance on the and of beat 3 in measure 15 that you would need to
cue in. Alto clarinet, tenor sax, horn, and baritone has an eighth note
followed by a sixteenth run in measure 39 that they would need to keep
time. Measure 41 has alto clarinet, tenor sax, horn, and baritone has a
difficult syncopated rhythm that will take some practice. The saxes, flutes,
piccolo, oboe, and clarinets have sixteenth runs in measure 42 that they will
need help on. Musical concepts: Ask about Scottish pieces and the culture of
Scotland that the students might know. You could ask if and where the key
changes and what key does it change to. You could also ask where the meter
changes. You could also ask who has the melody at various parts of the
music (for example the baritone has the solo/melody in measure 7 and the
horns, trombones, and baritones have the melody in measure 28).
3. Title: Highlights from 1812 Overture. Composer: Peter Ilyich Tchaikovsky.
Arranger: Robert Longfield. Publisher: Neil A Kjos Music Co. Grade Level:
1/2/3 Medium Easy (There are multiple levels because you can skip over
some parts if needed. However, for this contest, we would play level 2). Key:
B-flat Major. Time Signature: 3/4. Rhythmic Challenges: Measure 34 to
measure 37 may give the woodwinds trouble (at least when combining the
notes and rhythm together). Measures 47 to 50 are straight eighth notes, but
the woodwinds and bells may potentially want to rush this section. The same
type of passages may happen in measures 55 to 64, but this has a
ritardando halfway through it. Woodwinds also may rush measures 80 and 81
(they have sixteenth runs). Students may have trouble with eighth note
triplets in measure 98 to 100. Measure 102 to 105 have quarter note triplets
(the entire band) and those may have to be clearly explained, especially
coming from eighth note triplets. Measures 120 and 121 in the woodwinds
may rush or be confused when to start the sixteenth runs. Musical concepts
to address: You could address the differences between largo, andante, and
allegro are. You could teach the students what ritardando poco a poco is. You
could also teach what the difference is between eighth note triplets and
quarter note triplets (such as in measures 98 and 102). You could also
discuss where the themes come from that are in the piece.

Spring Concert
Beginning Band

28

1. Title: Appalachian Hoedown. Composer: Scott Watson. Publisher: C L

Barnhouse Company. Grade Level: Easy. Key: B-flat Major. Time Signature:
2/4. Rhythmic Challenges: Flutes and oboes may rush at measure 9 with
percussion accenting the upbeats. Flutes and oboes may rush measures 41
to 46 when they have staccatos. Horns, clarinets, and saxophones may rush
between measures 41 and 46 and measures 57 to 63 due to staccato
articulations and upbeat notes. Horns, clarinets, and saxophones may rush in
measures 83 to 98. They may rush upbeats. Musical concepts you can
address: Discuss staccatos, accents, sforzato in measure 112, slurs
throughout the piece, grace notes in the beginning in the clarinet section,
and syncopation with notes on the upbeats beginning in measure 41.
2. Title: Nottingham Castle Composer: Larry Daehn. Publisher: Daehn
Publications. Grade level: 1. Key: Concert F major (with Aeolian and Dorian
modes). Time Signature: 2/4. Rhythmic challenges: Students will likely rush
melodic passages. Most students have eighth notes as the shortest
durational note, but the percussion part (snares) have a few 16th notes.
Musical concepts you could address: You could teach them the meaning of
Moderato, which is at the beginning of the musical score (which also has
how fast it should be). Even though this piece is in a few different modes,
you could address the key it is in. You could tell them how the accidentals
make the piece sound different. It is in like a rondo form. Additional info: You
could do the CMP project over this (the history of this piece and English
music). Students need to understand major and minor scales before learning
the different modes.
3. Title: Modal Song and Dance. Composer: Elliot Del Borgo. Publisher:
William Allen Music, Inc. Grade level: Easy (1.5). Key: D Minor (Aeolian) and
changes and ends in G Dorian. Time Signature: 4/4. Rhythmic challenges:
Students will need to count their rests between when they play. Students
may feel insecure when entering by themselves. The rhythm in this piece is
fairly simple and not too difficult. Musical Concepts: In measure 41, the flutes
have a 8va. You could explain that to everyone, which means take up the
passage an octave. Like in Nottingham Castle, you could show them measure
13 in the trumpet section and discuss what scale it looks like (major or
minor). From there, you could talk about what makes it different from
normal scales (major/minor). You could do that same thing in measures 64
to 65 in the horn and trombone section. You could also discuss what
inspiration was for this piece (such as why it is a song and dance). You could
also explain the marcato sign at the end and how it should be elongated for
resonance.
Intermediate Band

29

1. Title: Apollos Chariot. Composer: Nathan Daughtrey. Publisher: C Alan/

McClaren Productions. Grade level: Easy (2). Key: B-flat Major. Time
Signature: 4/4. Rhythmic Challenges: Students will need to count their rests
to be sure to come in on time. There is slight syncopation rhythm near the
end of the piece, but it should easy to play (due to the other pieces we have
played earlier in the year). There is a basic timpani rhythm that the timpanist
would have to learn in measures 8 and 9. Musical concepts to address: What
type of stylistic music does the beginning sound like (ballade, fanfare or
dance?). How does is the middle section different from the first and last
sections? The god Apollo played the lyre and lute. Which section best
demonstrates these 2 instruments? Beginning in measure 80, the piece
becomes much more war-like. How do we show this contrast from the
middle section?
2. Title: Aria: Without Words. Composer: Clarence Barber. Publisher: LudwigMasters Publications. Grade: Medium-Easy. Key: B-flat Major. Time Signature:
4/4. Rhythmic Challenges: Measure 3 for flute 1, B-flat Clarinet 1, and all
horns may rush the sixteenths or delay the sixteenth notes to the dotted half
note. The melody that starts in the flute section that is carried throughout
various sections of the band throughout the piece has some syncopation,
which students may find to be a little tough. They may hold onto a note for
too long before moving to the next or potentially rush the held note (such as
in flute 1, measure 4). Flutes 2/3, Oboes , B-flat Clarinet 2/3s, Alto Saxes ,
and Tenor saxes have a dotted eighth, followed by a sixteenth tied to an
eighth note and ends with another eighth note. These sections may rush this
little motive (in measure 7). Measure 26 has a run in the clarinet section and
alto saxophone section that will make the students unsure of how to play. It
has 3 sets of sixteenth runs with beat four consisting of triple sixteenths.
Measures 28 to 29 have the saxes playing a sixteenth run and ends with a
syncopated quarter note. Students will mess it up. The horns, euphoniums,
clarinets, and cornets have a difficult runs beginning in measure 43 to
measure 46. Musical concepts to address: You can discuss what a fermata is
(at the end of the piece). Approaching the end, there occurs a meter change
from 4/4 to 2/4, which changes back quickly by the next measure. This
happens twice. You could discuss meter change. There is also key change
from B-flat major to E-flat major in measure 19. You could discuss what the
a2 means in measure 19 in the bassoon section. You could teach the
students what the // symbol means right before the final fermata in measure
68.
3. Title: Andromeda Overture. Composer: Mark Williams. Publisher: Alfred
Music Publishing. Grade Level: Easy/1.5. Key: F Major. Time Signature: 4/4.
Rhythmic Challenges: There is use of syncopation throughout the entire

30

piece (such as measure 1 for everyone and measures 54 to 57 in the

saxophone, clarinets and bassoon parts. Measures 70-71 (for everyone who
plays in those measures they all have the same parts). Horn, B-flat
clarinets, saxophones, and percussion from measures 2 to 15. Musical
concepts you could address: You could discuss what syncopation is and show
what measure everyone has it in (measure 1). You could address what
Allegro means. You can teach what Coda means and the symbols attached
with it. You could also talk about slurs. You could discuss accents and
staccatos that are present in this piece (like in measure 32.) You could also
teach what andante means. Students could also be taught what subito
means (such as between forte and piano).
Advanced Band
1. Title: C141 Starlifter. Composer: Randall D. Standridge. Publisher: Grand
Mesa Music. Grade level: Medium-Easy. Key: F major. Time signature: It
begins in 4/4 and switches to 5/4 in measure 15. It switches to 3/4 in
measure 22 and 4/4 in measure 23. In measure 24, it returns to 5/4. In
measure 40, it switches to 4/4 and back to 5/4 in measure 44. In measure 55,
it switches to 3/4 and back to 4/4 in measure 56. Measure 77 switches to 5/4
and 3/4 in measure 84 with measure 85 switching to 4/4. Measure 86 goes
back to 5/4. Measure 100 is back in 4/4 and measure 104 is in 5/4. Measure
113 is in 4/4 with it switching to 5/4 in measure 121. Measure 125 finishes
the piece in 4/4. Rhythmic challenges: Starting in measure 15, eventually
everyone plays a rhythm that consists of 2 dotted quarter notes followed by
2 quarter notes. In measure 19 to 22, the upper woodwinds have eighth note
repeating notes that will give the students trouble (this also comes back
periodically throughout the piece). A rhythm that comes and goes in this
piece through all sections is during the 5/4 sections (for example in measure
34). It is 3 eighth notes, quarter note, eight note, and 2 more quarter notes.
It sounds as if it is in 10/8, but the composer has simplified it. Musical
concepts to address: How does the composer make this piece sound like an
aircraft? What meter does this rhythm sound like it should belong in? (2
dotted quarter, and 2 quarter notes). Where are the stress on the beats in
the 5/4 sections? While we reference an aircraft, does this sound march like?
Why or why not? How can you tell?
2. Title: Ballade. Composer: Darren Jenkins. Publisher: Alfred Music
Publishing. Grade Level: Medium-Easy. Key: B-flat major. Time signature: 4/4.
Rhythmic challenges: There is a constant underlying rhythm of an eighth
note, and another eighth note tied to a quarter note in the beginning of the
piece. As long as students are counting in time, they should not mess up that
part. There are occasional syncopated rhythms that students will need to
count and not listen to other sections. For example, in measure 18, the alto

31

clarinet, tenor sax, trombones and baritone have an eighth, quarter, eighth
and half note measure that goes against the rest of the ensemble. Musical
concepts you could address: You could address what a ballade is and how
this piece correlates with a normal ballade. You should also tell them that
while the rhythms and pitches arent hard, you should ask them what else
might give the students trouble (such as intonation and endurance). You
should ask about how each section of the piece relates to one another (such
as how many students are playing). You could also ask how the beginning is
different from the end and how they are similar.
3. Title: Festivo. Composer: Vaclav Nelhybel. Publisher: Alfred Publishing
Company. Grade Level: Medium. Key: Concert B-flat Major. Time Signature:
4/4. Rhythmic Challenges: The accented upbeats may be rushed or counted
incorrectly in the first four measures. Musical Concepts you could address:
You could reteach what accents are and what style of accent students should
be playing in the beginning. You could also teach the students there are
different levels of forte and fortissimo and how the music shifts through
being loud during the beginning. You could teach students the different
between slurs and ties in measures 5 and 15.

Orchestra pieces
1. Title: Ancient Aires and Dance. Composer: Ottorino Respighi. Arranger:
Jerry Brubaker. Publisher: Alfred Publishing Belwin Division. Grade Level:
Medium-Easy. It would be appropriate at the beginning of the year for an
intermediate orchestra (if theya re good enough). You could also put this at
the end of the year concert or contest. It isnt too difficult, but it has a few
challenging bowings and little syncopations that will keep the students on
their toes.
2. Title: The Barber of Seville Overture. Composer: Gioacchino Rossini.
Arranger: Richard Meyer. Publisher: Alfred Music Publishing. Grade level:
Easy. It would be appropriate for an intermediate orchestra at the beginning
of the year (if they are a relatively good orchestra). There is some
syncopation that could confuse the students rhythmically and have them
rush their parts. There are no alone sections so that whoever is playing will
be more confident than just playing by themselves. To help the students
understand this, I would play the bugs bunny version of this just so that they
know what they are getting in to (especially if they are not motivated to
play).
3. Title: Egmont Overture. Composer: Ludwig van Beethoven. Arranger:
Richard Meyer. Publisher: Alfred Music Publishing. Grade level: Easy (2). It
would probably be best for an intermediate orchestra at the beginning of the

32

year. If you need to, this could be a contest piece for an intermediate
orchestra. It will take some work that the stringer players will need to do.
4. Title: Fanfare Rondeau. Composer: Jean-Joseph Mouret. Arranger: Douglas
E. Wagner. Publisher: Alfred Publishing Belwin Division. Grade level: VeryEasy (1.5). I would give this to a beginning orchestra at the end of the year. It
isnt very hard, and it has enough material for it to be challenging enough for
a beginning orchestra.
5. Title: Hallelujah Chorus. Composer: G.F. Handel. Arranger: Richard Meyer.
Publisher: Alfred Music Publishing. Grade level: Very Easy (1). It says that it is
very easy and grade 1. However, I am not well versed in string instruments
and it sounds like it could potentially be too much for a beginning orchestra.
If a beginning orchestra would play this, it would be at the end of year
concert. If an intermediate orchestra would play this, they would at the
beginning of the year concert.

33

34

SPECIAL
THANKS

The Fairfield Middle School

Music Department
Presents

The Fairfield Music Department would

like to thank all those who made this
concert possible: the parents of the
students, custodial staff, and the band
booster organization. We would like to
give special thanks to our Head
Principal, Mr. George Schumaker, and
assistant principals, Mrs. Julia Dietman
and Mr. Kyle Henderson

Spring
Con

Concert Ettiquette
-

If you arrive late, please

wait until the first piece
is finished.

The audience should not

talk during the
performance

Clap only at the end of

entire pieces, not at the
end of individual
movements (if
applicable).

FairFields M

Tuesday, May 3

Fairfields Middle

2500 N Basket R
6

35

Program

Ann

Beginning Band

The final ba

the academi

5th at 5:00pm

Nottingham Castle..

years achie

Larry Daehn
Allegretto..Ludwig Van

Beethoven

summer ban
Sign-ups for

posted outsi

(arr.

door by tom

Robert Longfield)

not mandato

Andromeda

recommend

Overture..Mark Williams

Concert Band

for the conc

Appalachian

return them

Hoedown..Scott Watson

Failure to do

FestivoVaclav
Nelhybel

(arr.
Adversary.Larry

overdue fee
School instr

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to do so will

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The assessment is loosely based on Bachs Toccata and Minuet. This piece is
used for the intermediate bands festival/contest piece.
Name: ____________________
Date: _____________________
Band: _____________________
Musical Knowledge Worksheet
Keys:
1. Write out a G harmonic scale ascending and descending with
appropriate accidentals

2. Write out a Bb major scale ascending and descending with appropriate

accidentals

3. Write out an E natural minor scale ascending and descending with

appropriate accidentals

Time Signatures:
4-7. Write out rhythms that would be appropriate for the given time
signatures:

Define the musical terms and associated tempo markings

8. Andante
9. Presto
10. Allegretto
(back)
Write the notation (number notation and not takadimi) for each line next to
each line
11.

12.

13.

14.

Symbols:
15. Write a fermata symbol and its function
16. Write an accent and its function
17. Write a breath mark and its function
18. What is the difference between a slur and a tie?
Extra Credit:
1. What year was J.S. Bach born? _____________
2. What country was J.S. Bach born? ________________

Lesson Plan for CMP Unit

Instructor
Date: 3/3/2016
School: Big Buffalo Middle School
Time: 9:00 am
Lesson:
1. Students will listen to a recording of Annie Laurie again.
a. Discuss what makes this piece sound Scottish
b. Go over some general Scottish characteristics.
2. Play select videos for the students to watch about Scottish culture that
represents the Scottish identity. Students must take notes over the videos for
credit. If students dont seem to pay attention, make a quiz for them to
answer.
a. Play https://www.youtube.com/watch?v=Vj25h-Qf1j0
i. There are select times to jump to 12:30 13:20.
ii. 13:55 16:00.
iii. Quiz students about the Loch ness tradition
iv. Quiz students about Scottish clothing
b. Play https://www.youtube.com/watch?v=Ux-uIkywIHk
i. Play until 4:20
ii. Quiz students about the history of Scotland and its identity.
c. Play https://www.youtube.com/watch?v=ktrCbEyM8DM
i. Quiz students about why the Scots joined the British Empire.
d. Play https://www.youtube.com/watch?v=DO1GhwRVd-E
i. Quiz students over why so many Scots joined the military
ii. What did the English soldiers think of Scottish soldiers in the
British empire?
iii. What city did the Scots help capture in North America from the
French?

Instructor
Date: 3/4/2016
School: Big Buffalo Middle School
Time: 9:00 am
Lesson 2:
1. Have students talk about their projects if that is part of their project.
a. Ask students who do not have to present if they would like to for a few
extra credit points.
2. Review what was learned on day 1 of Scottish culture and characteristics of
its music.
3. Play https://www.youtube.com/watch?v=3wL0xmixARQ
a. Discuss the effects of the Crimean War
i. Was Annie Laurie or Auld Lang Syne a popular song/poem to
recite during the Crimean War?
ii. What type of media was developed and first used in the Crimean
War?
4. Play https://www.youtube.com/watch?v=aN-aLQsB69w (if enough time)
a. What percentage of casualties did Scotland suffer in World War 1?
b. Dud Corner in France memorial housed deceased soldiers from which
battle?
5. Play https://www.youtube.com/watch?v=DrTwFUn1lBg (if students are still
interested)
a. Which Highland division represented Scotlands image during World
War 2?
b. After covering the retreat to Dunkirk, where on the globe was that
Highland Division deployed?
6. Overall Scottish culture:
a. What are some aspects that has contributed to Scottish culture?
b. What made Scottish soldiers different from others in the past?
c. What is typical of Scottish people when it comes to music and dance?
d. Despite being united with England for several centuries, what are some
aspects that make Scots cling to their culture and how are they shown?
e. What happened in the past few years about Scottish independence
from Great Britain?
f. When did Scotland become more industrialized like England?
g. What instrument is most associated with Scotland?
h. What is the name of the cross of the flag of Scotland?
i. What is Hogmanay?
j. What popular sport was founded in Scotland?
k. In what way is Annie Laurie characteristic of Scottish music (or at least
to Auld Lang Syne)?
l. Name a traditional Scottish dance.
m. How did music, like Annie Laurie, inspire Scottish soldiers?

CMP Unit
The focus of the CMP project is to have the students learn about Scottish culture
and music through a video and lecture and relate it to Annie Laurie. Students will
complete a project based on either a community action event or research that
relates to Scottish culture. To use this CMP project correctly, I would assign the
project as soon as I pass out the music for Annie Laurie. Students will need time to
do research in order to understand Scottish culture and history better. The day
before the project is due and the day the project is due is when I will discuss the
projects and history. The actual due date will be half way from the time they
students get the music to the time they perform it. I will lightly discuss the material
early on, but much more material will get covered as the students work on their
projects.

Annie Laurie
The song is an old Scottish tune based on a poem by William Douglas of Dumfries
and Galloway. The poem originally had two verses. William Douglas was a soldier in
the Royal Scots and became a captain before retiring from the Scottish military.
During his stay in Fingland in 1694, Douglas met and fell in love with Anna Laurie,
daughter of Robert Laurie, who was a baronet of a town in Scotland. Robert Laurie
did not want his daughter to marry Douglas and later married Alexander Fergusson,
an estate owner. Despite his failed love for Anna Laurie, Douglas eventually married
Elizabeth Clerk of Glenboig and resumed his life as a mercenary soldier. The present
day version of the tune was composed by Lady John Scott, who also added the third
verse of the poem.
Annie Laurie
Maxwellton braes are bonnie,
Where early fa's the dew,
And 'twas there that Annie Laurie
Gave me her promise true.
Gave me her promise true,
Which ne'er forgot will be,
And for bonnie Annie Laurie,
I lay me doon and dee.
Her brow is like the snowdrift,
Her throat is like a swan,
Her face it is the fairest
That e'er the sun shone on.
That e'er the sun shone on,
And dark blue is her ee,
And for bonnie Annie Laurie
I lay me doon and dee.
Like dew on th' gowan lying,
Is the fa' o' her fairy feet,
And like winds in summer sighing
Her voice is low and sweet.
Her voice is low and sweet,
And she's a' the world to me,
And for bonnie Annie Laurie,
I lay me doon and dee.

Poem and Song: Auld Lang Syne

Auld Lang Syne is a Scottish poem (and song) which is used as an ending to events, such as
the end of the year, funerals, and graduations. From the 1700s onwards, Scots (as well as
English, Welsh, and Irish people) emigrated across the globe, and took this song and poem
with them.
Composed by Robert Burns, the lyrics are a collection from other poems when it was created
in the early 18th century as well as from Burns himself. Due to the familiarity across the
world, this song has been referenced and used for the sake of old times.
In Scotland, at the end of the year, Scots commonly come together and form a circle around
a dance floor. Once they reach the last verse, everyone crosses their arms so that the right
arm is reaching towards the neighbor on the left and the left arm is reaching out to the right.
After the song finishes, everyone charges towards the center. As the circle of Scots is
recreated, they turn under their arms to face outside the circle while still holding hands.
(Simplified)

Flag of Scotland
Robert Burns

Scottish Task Options:

Instructions: The project will be due in band by _______. This project will be graded
for Quarter 3. It will be graded on the following:
Accuracy of Content
Effort
Creativity of the Project
Organization
You must choose an idea from the following list or come up with your own project. If
you decide to form your own project, discuss the idea with Mr. Bulow before you
begin.
1. Write a double-spaced, 8 page research paper on the history of Scotland.
Do not use pictures, tables, or graphs in your paper. The font must be
Times New Roman, 12-point font, with 1-inch margins on all sides.
2. Learn a traditional Scottish dance and teach it to the rest of the ensemble.
Besides the dance, you need to write a brief description of the dance and
some history behind it. To teach the ensemble, you will need to use
traditional Scottish music that fits the dance.
3. Find a cause that could improve the school or community. Create a plan
that you will follow through with and write a report about the success and
challenges associated with the plan. You can work in a group for this
project idea. You must come up with a mission statement that defines the
groups overall purpose. You will have to show evidence of the group,
mission statement, and its success.
4. Imagine you are a Scottish soldier fighting away from your homeland.
Write 3 letters to your loved ones, explaining the conditions of war,
general news, upcoming events, etc. The letters must be typed using
Times New Roman, 12-point font, single spaced, and 1 page long, with 1

inch margins along all sides. Include only your loved ones name in the top
write corner and sign the letters when you are done.
5. Wear the traditional highland dress of Scotland and teach us the parts that
make up the clothing. If you are a boy, wear a traditional mans highland
dress. If you are a girl, wear a traditional womans highland dress. Write a
2 page paper about the differences between highland dresses and the
history behind them. Only 1 person from each gender can do this idea.
The two who are do this project can work together.
6. Other ideas? Ask Mr. Bulow. Be creative!

Project Grading Rubric

4.

2.

1.

Accuracy of
Content

All of the
information
presented in
the project is
accurate.

Almost all of the

information
provided is
accurate.

Some of the
information is
accurate, while
some are not.

Half or less of
the project
information is
inaccurate.

Effort

Displayed
thought and
care in work.
There are no
grammatical
errors

Good care and

effort are
displayed.
There are only a
few minor
grammatical
errors.
The project has
some creative
elements, but
could be
improved in a
few areas

Some effort is
displayed but
there is room
for serious
work.

Student(s) need
to put in more
effort and redo
the project.

Project needs to
be more
creative.

Project lacks
creativity and
must be
redone.

Creativity of
the Project

Project displays
unique
creativity.

Organization

The project is
highly
organized and
is easy to
understand.

The project is
most organized
with care.

The project is
somewhat
organized, but
could use some
cleaning up.

The project is
disorganized
and is hard to
understand.

Classroom Management Article and Summary

Link: https://www.teachervision.com/music/behavior/6763.html
Summary
Students need to know that he or she is accepted in the classroom, even if
their behavior is not. Consistency, and organization can prevent many discipline
problems. You need to look at discipline as a type of motivation than controlled
behavior. You need to find ways to turn the students on to make music instead of
making your students behave. One tip to manage your classroom is to learn all of
your students names quickly. Another aspect of discipline is to get the students to
see the value of what they are learning. When you are teaching, you must act with a
sense of urgency and use class time efficiently, but allow for flexibility for
unforeseen events. The lesson plans need to be interesting for both your students
and yourself, which will give both parties more motivation to work. Always maintain
high expectations, as well as a sense of individual responsibility. Students must
understand that they hold the key to their success, and the teacher is there to
merely lead them.
The article then explains behavior contracts. These are tools that aid
teachers in management. A contract serves as a signed agreement between the
student and teacher, and to a degree, the parents. It consists of specific
reinforcement and punishments that will come about from successful performances
or failures to meet the contract regulations. Individual contracts are used to help
students with problems that are more serious than normal troublemakers. One key
reminder is to not create a contract and impose it on a student, but to negotiate
and have the student reflect on his or her behavior and how it can improve.
Reinforcements and punishments need to be reachable, as well as part of the school

program. Group contracts may be required when there is a consistent problem, such
as being tardy, talking too much, etc. The teacher would have to have a class
meeting and have an open discussion. One problem with this is that a few students
might even break the contract both parties set up, due to resentment of the
contract or just bad behavior. Make sure that if you use contracts, make them clear
with a definite structure and have goals in mind on what you want your students to
accomplish.
Establishing rules will set boundaries that students need to conform to. You
need to explain the rules and their benefits early on. The article states that rules
should have an effect on grades or results in notes or calls to parents. To continue
reinforcing classroom management, you need to make direct eye contact with the
students. You also should move into close proximity to the troublemaking student
and they generally will becoming quieter. If a student continues to be disruptive,
meet with him or her after class. Never make threats that you will not or cannot
carry out. There should always be consequences, either good or bad, for actions.
This article brings a few good points for a classroom management outline. It
contains some information that Mrs. Finger has already brought up, such as moving
into close proximity to a student who is causing trouble, as well as outlining the
rules and management plan in the beginning of the school year. I also agree with
the article when it says that it takes lots of high energy to motivate students and to
carry out a lesson plan. Lesson plans need to have more content that what you can
through and you need to be flexible for whatever might happen in a lesson plan.
One thing I like is to change the idea of discipline as a negative and change it into
a more positive light. The same works for the word drill. Many students do not like
the word drill as the music becomes more repetitive and the students grow more

bored. Educators dont like it as well because they have to work with students who
dont want to be drilled on music and the teachers have to be the ones to get the
most success out of students. I also agree with the article when it comes to having
high expectations for students. If you do not expect very much of your students,
they will not rise to their full potential. However, having too high expectations could
also have students feel like they cannot reach your standards. You need to have a
balance between high expectations and students potentials.

Recruiting and Retention and Summary

Link: http://www.banddirector.com/article/pg-music-advocacy/recruiting-and-retention?
productguide=527
Summary
The article opens up stating that while students generally start band at sixth grade, by that
time, they are already getting hooked on other activities and are dedicated to them before they
even get to try out band. Students who drop out of band only a year or two in music will not reap
the benefits if they were to stay for much longer. If students also find your activity too intensive
or expensive, that will also reduce recruiting potential. One key area between all levels of music
programs is communication between all the levels. There are several methods of recruiting and
maintaining students in your instrumental programs. The first is visibility in which students need
to get exposed to our type of music. They see sports and popular music all day, but dont see our
side of the table. You need to have elementary school concerts, community concerts, etc. You
also applies to having feeder program connections. You could take some middle schoolers to
your high school and have the experience a band class and to see the facilities at hand. You could
also take some high schoolers and take them to a middle school and perform. During marching

band season, you could have some middle schools play with the marching band in the bleachers
playing stand tunes.
Another method is to send a newsletter to each middle school student and show how
much fun the high schoolers are having in band. You should introduce the opportunities for
performance, travel, and social interactions. You could also have the feeder programs put up
flyers about upcoming events. You need to schedule a meeting for all 8th grade parents to discuss
music and ensembles before their students register for classes. You should also have special
shirts for your ensembles activities and advertise them (if appropriate and possible). When you
have high schoolers (or middle schoolers) performing in elementary schools, have them wear the
special music ensemble shirts. You could also have middle schoolers come and sit in with high
schoolers while in rehearsal.
One interesting idea for your ensemble is to develop a sense of family. You could
schedule activities for all students that let them relax and unwind, instead of always being pushed
in their musical journey. If band is a fun place to be, students will tell others. One word of
caution though, do not let this become too focused on just the fun. Students are here to work, and
then maybe have fun. You have to have a professional boundary with the students as well as the
outside world. You might want to consider to have a facebook or blog site about your ensembles
and news that pertain to the music organization.
You should plan and be proactive to get students in your program and to keep the
students in there. You need to communicate with your administrators and counselors about
scheduling. Students need to be reminded about their participation in the long term. Some
students will come and find band, however, many students will not. You need to be active in the
community and other music programs to have large numbers in your own ensembles. What work

you put in now, can be greater in the future. Always try to have positive influence on your
current and future students. They will remember key events that you might personally not
remember in the future.
I liked this article as it contains many basic fundamentals to recruiting. Students who
only hear about your program have a chance to join yours, but actually seeing the ensembles has
a greater impact on the potential students likelihood to join. One key area that was addressed in
this article was the use of feeder programs. You must communicate with elementary and middle
schools to bolster your high school programs. You need to be on friendly and good terms with
those music directors. Almost all of your future students will come from those smaller schools.
The article recommends having an 8th grade student parent night to discuss marching band, but I
would use that night for band in general. Parents need to know as much as possible about the
ensembles offered at your organization, as well as the benefits it brings. I would agree that all the
points that this article brings up are great and could be implemented into your own organization.
Recruiting is a continually ongoing process, but retention also requires attention. Having a sense
of family in the ensembles is a way to keep students in the band. One problem with this article is
that it doesnt explain too much more about retention, except for making it more family oriented.
One aspect it could use is peer pressure from friends that could force students to remain in the
ensemble, but that could produce effects that would not be good for the ensemble as the whole.

Field Teaching Experience at Burris Laboratory School

My time at this laboratory school was my first real outside experience. I was opened to
the real world and what my potential future band program could be. It seemed that if there was
little to no organization, the band would not be able to perform or rehearse at all. The instructor
had strict organizational rules that everyone had to follow in order to maximize the amount of
time she had. The number of students in her morning ensemble was large compared to the size of
the school, but the room itself was too small for them. It was great that she has several ensembles
and they seemed to be progressing in a positive way. I also was introduced to the teachers
strategy about running the classroom and maintaining a high energy to the students. She would
demand that the students be prepared to play as soon as it was 2 to 5 minutes after the official
bell schedule. Once she was on the podium, most students would become quiet (except for a few
stragglers). I saw how she made them be quiet by questioning why they were still talking and
how they thought they were more important than everyone else. I also got to see her blow up
in front of the class because of the low number of attendance at pep band rehearsals. I personally
found that very informative and educational because I know I must do that in my future, whether

it be public schools or other musical organizations. Once the classroom is running, it generally
goes smoothly. There are not many interruptions that distract students. One time when I was
warming up the ensemble, we had a drug search and had to wait until it was over. There are
something in the school that you cannot account for and have to follow.
I believe that since this was my first time in an actual school setting, I was getting my
feet wet. I had never done anything like this and my actions reflected it. I did not always know
how to react when students would be disruptive (in part, because I am like that as well), and how
much I could push the various sections and ensemble before time was up or how much they
could handle. One thing to personally address was that I was somewhat unsure of myself when at
the school. I wanted to do a good job overall, but I could have been more assertive and
demanding from the students. As time went on, I did progress some by being more assertive and
more like a teacher. When I first went there, I should have had a solid foundation for a frame that
would not change. By this, I mean that I need to set up who I am on day 1 when they first meet
me. I did not do that this time, but I know to do this in the future.
As I move on through my time here at Ball State, I will need to develop the fast-paced
setting of rehearsal. I generally try to be fast when teaching (and I believe I am improving
slowly), but it is not where I want it to be. I need more teaching experience to make seem as a
part of myself and not something that I need to fabricate every time I walk into a band
classroom. Another aspect I need to work on is the amount of content I need to teach, as well as
the extra content that is not present on any given lesson plan. I generally always needed more
material than what I had. I also need to be prepared to talk about the history, culture, or whatever
else is associated with whatever I am working on. For example, in my 2nd field teaching, I was
rehearsing Water Music by Handel and I knew some details about it and the Baroque era. I

should have known more, but there was only so much time and I didnt explain everything to the
students. I know I need to also work on talking less because the students are there to play. They
do not want a lecture instead of playing.
What surprised me at this school was the strong contrast between ability levels. I was not
prepared at all for the differences between freshmen and junior/senior level musicianship. It
threw me off and I didnt really know how to teach everyone while making sure that everyone
was learning at around the same pace. This was very important for me to learn as this band was
the only high school band in Burris. This could be a potential reality for me in the future,
depending on where I end up.