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Literature and Concert Programming

:
Improving Student Learning through the Music
Matt Temple, New Trier High School Dr. Rick Jaeschke, Augustana College
templem@newtrier.k12.il.us frederickjaeschke@augstana.edu

Questions to Ponder:
 What would you play if there wasn’t a concert?
 What is the ‘nutritional’ value of the music that we’re consuming?
 How can daily rehearsals create deeper, more meaningful student understanding?
 How can we sequence student learning from concert to concert… and year to year?

I. Music Selection

a. Where do we start?

b. Comprehensive Musicianship Through Performance

i. edTPA

ii. Danielson Evaluation Model

iii. National Core Arts Standards

c. Selection Criteria

II. Long-Term Planning

a. Programming Considerations and Philosophy

b. Full Year Concert Cycle

c. Four Year Rotation of Literature

III. Student Learning

a. Common Vocabulary

b. Classroom Strategies

c. Concerts that Teach

IV. Closing Thoughts

a. Paradigm Shift

b. Next Steps

original. resulting in a mystery that depicts the swaying and writhing intervals. II) 7 parts. II. aleatoric. countermelody. 6-7 players Concepts Implied articulations. Ab (implied). open 5ths. caesura. glissandi. pedal point. ternary. marcato. agogic accent (scale study sheet provided by publisher) From the Latin root peregrinari. the synthetic scale creates a composers and Aaron Copland. dorian mode. and Terms tonal centers. Eb. Allegro Vivo. The movements are composed in early English the musical styles of different cultures. of snakes captivated by a charmer. Peregrin Based on a 10th century couplet. Andante I: Allegretto. the three Altered scales are frequently associated with History and means to travel in foreign lands. suspensions. Quarter note triplets Metric accent. In Culture composer was influenced by the music of film folk song style. implied modulation. Dance Slow/Fast Tonal Centers F. III: Allegro Andante. Eb (implied) F. homophony. though all of the music is Snake Chamer . chromaticism. diminution. tetrachord. extension. chromatic alteration. middle-eastern sound. Bb. Peregrin is intended to capture the spirit of Folk song styles emphasize tuneful and The use of a synthetic scale with specific Heart of the American adventure and idealism through the singable melodies that are memorable to articulation patterns creates an air of exotic Piece use of programmatic writing and open both the listener and performer. relative minor. accent. phrase suspension. Music Theory retardation. ABA I. 2-3 players (tacet in Mvt. minor Time Signatures 4/4. unisonal writing. strong aural tradition. minor 2nd. (3/4) I: 2/2. binary. harmonic minor scale. Metric accent. March. 5-6 players 3 parts. II:Lento. d dorian Synthetic scale based on g and c harm. Presto Percussion 6 parts. instrumental choirs. Ayre. Song vs. Created by Matt Temple ©2014 . III. II: 3/4.New Trier High School Freshman Concert Band Composition Comparison Chart Name____________________________________ Essential Question: What makes each composition unique? Title Peregrin: A Traveler's Tale Three Ayres from Glouchester Snake Charmer Composer Douglas Akey Hugh Stuart Randall Standridge Difficulty Medium Easy (at level) Medium (stretch) Medium Easy (at level) Year 1994 1969 2009 Genre Programmatic Multi-movement Suite Programmatic. To/From quintal harmony. and III: 6/8 4/4 Tempi Allegro Vivo. call and answer. altered/synthetic scale. Novelty Form Overture. (2/4). augmented 2nd. Dance Articulation patterns. canon. dm.

multiple Time Signatures 3/4. glissando. Mood simple vs. Song vs. motive. parallel keys. subdominant. exposition. mixed modes. and response. dominant. horn fifths. 5-6 players 4 parts. who lost both his business in the form used by composers since that by Washington Irving (1783-1859) Chicago Fire and then his children at sea time The ambiguity of duple and triple The composer's economical use of The use of through-composed form The story behind the text informs the Heart of the rhythmic groupings propels the dance. tritone. Created by Matt Temple ©2014 . antecedent/consequent phrase. pointillism diatonic cluster. allegro form. aleatoric. Smith David Holsinger Frank Ticheli Erik Morales Difficulty Medium Easy Medium (at level) Medium Hard (stretch) Medium (at level) Year 1989 1989 2005 2006 Genre Dance Ballad Neo-Classical Programmatic Form Overture Hymnsong (Verse. counter melody note shaping coda. meter (word).New Trier High School Varsity Wind Ensemble Composition Comparison Chart Name____________________________________ Essential Question: What makes each composition unique? Title Encanto On a Hymnsong of Philip Bliss Abracadabra Through Darkened Sleepy Hollow Composer Robert W. 9-8 and 4-3 suspension. Bb. programmatic work that is dark and the lyrical center section. cross-rhythm. (2/4) 4/4 (5/4) 4/4 4/4 Tempo Vivace. transition. half diminished chord. minor seventh chord. 4-6 players 5 parts. stanza. pedal tone The development of Sonata-Allegro Arrangement of the hymntune. multiple cm. 6 players 3 parts. Dance Phrasing." lyrics written by Horatio Based on The Legend of Sleepy Hollow music on the pervasive use of 2 vs. compound time signatures. Bb Db gm. tonic. agogic subdominant. rubato. 6 players Concepts Rhythmic Integrity. 4/4. motives demonstrates exceptional enables the composer's creation of a composer's sensitive and emotional Piece like feel and contrasts the repose of setting of the hymntune. craft in constructing a solid Sonata. call recapitulation. Music Theory accent. development. link. chromaticism. Andante. and Terms suspended 2 chord. modulation. Vivace Andante Allegro Varied by section Percussion 4 parts. implied 6/8. fragment. melodic contour. metric stress. Blend Vertical Alignment/Pulse Tone Color. mysterious. mode. augmented fifth. theme. 3 its prevalence as the most substantial Culture cross rhythms in American music Spafford. parallel harmony. Refrain) Sonata-Allegro Through-Composed Tonal Centers Eb. episode. sub phrase. "It is Well The influence of Sub-Saharan African form during the Classical period and History and with my Soul. caesura.

Composition Comparison Chart Name____________________________________ Essential Question: What makes each composition unique? Title Composer Difficulty Year Genre Form Tonal Centers Time Signatures Tempo Percussion Concepts Music Theory and Terms History/ Culture Heart of the Piece .

Sousa. A Traveler’s Tale • Variations on “Scarborough Fair” by Mark Williams by Michael Daugherty by Douglas Akey by Calvin Custer • Willows of Winter by BJ Brooks • A Longford Legend • Ammerland by Jacob de Haan • Farandole (From "L'Arlesienne") • Snake Charmer by Robert Sheldon • Nathan Hale Trilogy by Georges Bizet. Paul Murtha • Fanfare for a Festive Day • Encanto by Robert W.New Trier High School Full Year Concert Cycle 2012-2013 Fall – 8 week Holiday – 5 week Winter – 8 week Spring – 5 week Freshman Band • Fantasy on Yankee Doodle • Alligator Alley • Peregrin. arr. Grainger. Bocook • Sedona by Steven Reineke • The Gallant Seventh by Brian Balmages by John P. Schissel by Timothy Mahr • Baron Cimetiere’s Mambo • Symphonic Dance No. ed. Reed trans. Hunsberger by Franz Biebl. Krance by Timothy Mahr • Très Moutarde by John Barnes Chance • Ceremonium by John Moss by Cecil Macklin. Rogers by Eric Whitacre • Elegy for a Young American • Ave Maria • REST by Frank Ticheli • O Magnum Mysterium by Ronald LoPresti by Franz Biebl. Mathews • Danzon by Leonard Bernstein. Cameron • Second Suite in F arr. ed. ed. arr. Robert Reynolds by John P. ed. Smith by Roger Cichy Varsity WE • On a Hymnsong of Philip Bliss • Variations on “Scarborough Fair” • Overture for Winds • With Quiet Courage by David Holsinger by Calvin Custer by Charles Carter by Larry Daehn • Abracadabra by Frank Ticheli • Farandole (From "L'Arlesienne") • Sòlas Ané by Samuel Hazo • Hebrides Suite by Clare Grundman • Through Darkened Sleepy Hollow by Georges Bizet. 3. ed. H. arr. trans. trans. Bourgeois • Ave Maria • Dusk by Steven Bryant • Salvation is Created by Tchesnokov. Cameron • La Procession du Rocio by Morten Lauridsen. arr. trans. • Chimes of Liberty • Fantasia in G By Joaquin Turina. ed. Fennell • March of the Belgian Paratroopers • Cenotaph by Jack Stamp • Galop by Dmitri Shostakovich. Concert WE by Pierre Leemans. Houseknecht • Urban Dances by Erik Morales • Fantasia in G by Gustav Holst. Contorno • Festive Overture • The "Gum-sucker's" March • Noisy Wheels of Joy Symphonic WE by Shostakovitch. Sousa. Hunsberger by Percy A. • Variations on a Koren Folk Song arr. "Fiesta" • With Heart and Voice By Donald Grantham by Clifton Williams by David Gillingham . Bocook by Randall Standridge • Irving Berlin’s America (combined) by James Curnow • Trail of Tears by James Barnes arr.

Mvt. Bach. Fennell At Morning’s First Light by David Gillingham The Star and Stripes Forever by John Philip Sousa. de Haan Armenian Dances. arr. Year 4 ed. Brion & Schissel Snake Charmer by Randall Standridge Amazing Grace by Frank Ticheli Bist du Bei Mir by J. Year 3 Ghost Train by Eric Whitacre arr. West Highlands Sojourn by Robert Sheldon trans. H.New Trier High School Four-Year Rotation of Literature 2009-2013 Intermediate Band Advanced Band Creed by William Himes Shortcut Home by Dana Wilson Abracadabra by Frank Ticheli Children’s March by Percy A. Midwest Golden Jubilee Overture by James Curnow arr. Allied Honor by Karl L. Jay Bocook Variations on America by Charles Ives. King. Grainger. trans. Fred Allen Southern Harmony by Donald Grantham Folklore for Band by Jim Andy Caudill Hands Across the Sea by John P. Trail of Tears by James Barnes arr. Year 1 ed. arr. Commissioned Work Hebrides Suite by Clare Grundman Stomp Your Foot by Aaron Copland. Mark Williams Rejouissance by James Curnow Choreography by Robert Sheldon Esprit de Corps by Robert Jager When the Stars Began to Fall. Sun Cycles by Brian Balmages trans. Grainger. ed. Fagan O Magnum Mysterium by Morten Lauridsen. ed. ed. arr. Grainger. Swearingen ed. I by Paul Hindemith Concerto in C for two trumpets by Vivaldi. Robert Reynolds Willows of Winter by BJ Brooks Overture to “Italian in Algiers” by Gioacchino Rossini.S. Reed Prairie Songs by Pierre LaPlante Baron Cimetière’s Mambo by Donald Grantham Amparito Roca by Jaime Texidor. Colin Matthews Nathan Hale Trilogy by James Curnow Dreamland by Michael Markowski. Part I by Alfred Reed Ballet Music from “Faust” by Charles Gounold. Hunsberger Cajun Folk Songs by Frank Ticheli Yiddish Dances by Adam Gorb Washington Post March by John P. ed. Grainger Alligator Alley by Michael Daugherty Paragon by Wataru Hokoyoma. Cailliett American Riversongs by Pierre La Plante Bells for Stokowski by Michael Daugherty Prelude and Fugue in Bb Major by J. Roland Moehlman Colonial Song by Percy A. arr Mark Rogers Brazilian Folk Dance Suite by William Rhoads October by Eric Whitacre Overture for Winds by Charles Carter Folk Dances by Dmitri Shostakovich. Robert Reynolds Chorale and Shaker Dance II by John Zdechlik Symphonic Dance No. Traditional arr. A. Courtly Airs and Dances by Ron Nelson Year 2 arr. Marlatt Quiet City by Aaron Copland. arr. Percy A. ed. Sousa. Colin Matthews In the Forest of the King by Pierre LaPlante Give Us This Day by David Maslanka Farandole from “L’Arlesienne” by Georges Bizet. Schuman The Lion of Lucerne by James Curnow Lincolnshire Posy by Percy A. arr.S. Commissioned Work A Tallis Prelude by Douglas Akey The “Gum-Suckers” March by Percy Grainger. American Salute by Morton Gould arr. Mark Rogers A Longford Legend by Robert Sheldon Ride by Samuel Hazo Grand Ledge Overture by John Moss Canzona by Peter Mennin Heartbeats in Shadows by Chris Bernatos Second Suite in F by Gustav Holst. 3 by Clifton Williams Developed by Matt Temple . H. Brion Passages by Michael Sweeney Symphony in Bb. Sousa Suncrest March by Rick Kirby Aurora Awakes by John Mackey Fantasy on Yankee Doodle by Mark Williams Shepherd’s Hey. Bach. Mark Rogers Heartbeat Five by Gary Gilroy REST by Frank Ticheli Highbridge Excursions by Mark Williams La Procession du Rocio by Joaquin Turina. Thomas Duffy Peregrin: A Traveler’s Tale by Douglas Akey American Overture for Band by Joseph Willcox-Jenkins On a Hymnsong of Philip Bliss by David Holsinger First Suite in E flat by Gustav Holst.

when tuning octaves. Reminder: “To play in tune.” Articulation Every sound has three parts: 1) attack.” “Listen to your neighbor on both sides. and breathing are required to produce a consistent tone. Are all sounds arriving together in time?) LEVELS OF LISTENING – There are three levels of listening that must occur in ensemble playing: 1. STACCATO – light and separated. Use the recommended tuning note for your instrument first: Bb. and 3) release. typically performed with a slight stress on the note and short taper before the next note SLUR – all notes are connected with no articulation except for the first note which is typically played tenuto. 2) sustain. each note has the shape of a mini decrescendo ^ MARCATO – lifted and separated with audible space. Because sound is directional.” “No Heroes. hard (tongued. LEGATO – smooth and connected style with a light articulation at the beginning of each note (“du”).” BLEND – The ability to match all elements of your sound with other players (including tone. each note is marked and well-pronounced TENUTO – sustained full note value. A. with the lowest part being the loudest and each higher part being progressively softer. This is the final synthesis of all the above concepts. 50% silence). 2. .” leg. and the upper voices to be the softest. The ultimate test of vertical alignment is the audible result. Reminders: “Listen louder. Reminders: “Spin the notes forward. and 3. approximately 50% of the original rhythmic value (50% sound. An individual player must monitor all three levels constantly and simultaneously to be a true ensemble player. You must learn the characteristic pitch tendencies of your instrument. volume. you must play in tone. ensemble members must carefully watch and listen to ensure tight alignment. The same pyramid applies to each section. embouchure. pitch. Correct posture. (i. Section.” INTONATION – The ability to play in tune with yourself and with the pitch center of the ensemble. VERTICAL ALIGNMENT – The ability to align all rhythms from the top to the bottom of the ensemble. The band pyramid requires the lowest voices to be the loudest.) Use the three point check list: 1. play softer.” Types of Releases: Taper (decrescendo). the lower octave should be louder. Reminders: “Blow across (or in between) the notes.” BALANCE – The relative presence of a given musical part. style. Self. stopped) . articulation. Am I matching the same pitch center? Reminders: “Lose your identity.e.New Trier High School Name___________________________________ Wind Ensembles Developing a Common Vocabulary Ensemble Concepts TONE – The characteristic sound or “color” of a given instrument. or F. Reminders: “Hear the space between the notes. Reminders: “Get inside the sound of your neighbor. etc. Articulation determines the overall shape of the sound produced and typically has the greatest effect on the attack and release of the sound.” “Round staccato. Am I playing with the same tone color? 3.” “Listen back for pulse. Am I playing the same volume? 2. For example. The sustained part of each sound should be steady and consistent.” > ACCENT – lifted and separated with implied space.” “Support your sound. lifted (open). Scientifically. Ensemble. 100% length to every pitch in a phrase.” “Match your neighbor on either side. tone is the relative presence or absence of the overtone series. Tuning in ensemble requires you to eliminate all beats in the sound. the middle voices to be relatively softer.

L. (1). Dvorak. H. NY: Manhattan Beach Music. (2005. K. Music Educator’s Journal. R. Hopkins. J. (2014). 1993. S. D. (2000). Music for concert band. Repertoire is the curriculum. Choosing repertoire for middle school band. (Ed. (2013). K. Reynolds. R. (2013). K. (2014). R. (2009). Delray Beach. NBA Journal. (2009). FL: Meredith Music Publications. (2007). B03. high school] band. Rhodes. . Galesville. 22-25. MD: Meredith Music Publications. Galesville. & Aarhus. 87.). 26-29. (3). L. (2).37. FL: Meredith Music Publications. January 30). 95. B. Analysis Battisti. Neidig (Ed. Weller. (4). 2000). FL: Meredith Music Publications. Guide to score study for the wind band conductor. Stepping aside: Teaching in a student-centered music classroom. 53. Ft. R. M. 46-47. MD: Meredith Music Publications. 31-33. Delray Beach. Best music for [beginning. Garofalo. Rapp. Instructional designs for junior high school band. Performance study guides of essential works for band. (2007). Garofalo. (Ed. F. 2nd ed. Guides to band masterworks. The kids play great. But that music… Washington Post. J. Guides to band masterworks. (2005). (2000). 99. F. Ft. Brooklyn. Building better musicians through thoughtful literature selection. (1986. Laudermilch. An understandable approach to musical expression. The wind band masterworks of Holst. V. & Garofalo. C. E. Swimming Upstream. Kreines. Neidig. VI. (1990). 21. L. C. (2013). J. Programming in the zone: Repertoire selection for the large ensemble. Music Educator’s Journal. 68. 69-74. Galesville. (2000). The Instrumentalist. Rehearsing and Performing with Understanding Blair.). Teaching Music. volume III. Kish. S. Recommended Reading Literature Selection Budiansky. Lance. Lauderdale. MD: Meredith Music Publications. D. FL: Meredith Music Publications. (4). T. MD: Meredith Music Publications. Fennell. V. (1992). 42-45. Lauderdale. 22-24. Great music for wind band: A guide to the top 100 works in grades IV. Galesville. M. Ft. p. 34.). Lauderdale. (2005. young. Vaughan Williams and Grainger. V. & Hansbrough. MD: Meredith Music Publications. Swiggum. R. Margolis (Ed. R. Melisma.). Finding high-quality music. Winter). A conductor’s interpretative analysis of masterworks for band. Nicholson. Galesville. Music Educators Journal. FL: Meredith Music Publications. (2013). T. W. (4).

Labuta. J. J. Music Educator’s Journal. N. S.org Recordings: www. In R. The assessment of student learning in band. Wiggins. Websites Standard Literature List: http://en. Shaping sound musicians: An innovative approach to teaching comprehensive musicianship through performance. IL: GIA Publications.). 97. & McTighe.wikipedia. Lauderdale. Teaching music through performance in band (Vol.org Wind Repertory Project: www. Alexandria. pp. FL: Meredith Music Publications. VA: Association for Supervision and Curriculum Development. E. P.) Little. Miles (ed. 37-43. The creative director: Alternative rehearsal techniques. (2010).org/wiki/List_of_concert_band_literature Comprehensive Musicianship Through Performance: www. (2003). Curricular Design Blocher. Lisk. teaching. Galesville. transforming. (1972. (1). (1997).teachingmusic. O’Toole. 67..ilcmp. Inc.org Teaching Music Through Performance: www. Ft. MD: Meredith Music Publications.markcustom. Inc. 1. Theory conspiracy: Helping students find meaning inside the music. 27-30). S. Nicolucci. 1997). (1998) Understanding by design. 37-41. IL: GIA Publications. (2013). (7). G. Cultivating audiences: Taming. Chicago. Teaching musicianship in the high school band. A. Chicago. (1991). The Instrumentalist.Rehearsing and Performing with Understanding (cont. L.com .windrep.

 the Danielson Evaluation Model. to play above themselves. to realize more fully their  individual and collective potential. any ensemble  Professional  Teaching with intention…Performing with understanding  You Tube  Word of Mouth CMP connects to edTPA. and to interface  with the finest minds and spirits that have ever lived. Augustana College December 19.  And through quality music‐making practices and substantive  literature will our students be challenged to go deeper inside  themselves.   Commissioned Works and the new National Core Arts Standards… 1 . Rick Jaeschke.”  What would you play if there wasn’t a concert?  What is the ‘nutritional’ value of the music that  we’re consuming?  How can daily rehearsals create deeper. 11/14/2014 “For a director. selecting music to play is the first and most  crucial action. 2014 To engage in a creative dialogue across time. and  Inconsistent/low  tangential student  intentional student   How can we sequence student learning from  quality of literature learning learning concert to concert… and year to year?  Established in Wisconsin in 1977  Literature Lists  A proven model for:  State lists  Choosing quality repertoire  Focusing teaching outcomes  Teaching/Resource Guides  Developing strategies to enrich rehearsals  LIVE performances  Create meaningful assessments  Recordings:  NOT a curriculum. more  Needs  Proficient: Excellent: meaningful student understanding? Improvement: High quality  High quality  literature. New Trier High School The Midwest Clinic Dr. but only  literature. all schools. but it is a model for planning  Student centered instruction  Publisher Discs and Websites  All levels. CHOOSE WISELY…  Because only through quality music‐making. The identity of our band is shaped more by what we play than by  how well we play it.  Matt Temple.

 Engaging Students in Learning NATIONAL CORE ARTS STANDARDS Three (STUDENT CENTERED) Artistic Processes for Music Education  Creating Performing Responding Conceiving and  Realizing artistic ideas and  Interacting and reflecting on  developing new artistic  working through interpretation  works and performances to  ideas and work and presentation develop understanding Performing PHILOSOPHICAL FOUNDATIONS AND LIFELONG GOALS • The Arts as Culture. History. Demonstrating Knowledge of Resources 1e Designing Coherent Instruction Instruction 3c. and Connectors  CORNERSTONE ASSESSMENTS • Curriculum embedded  • Authentic contexts for performance   • Understanding and transfer via genuine performance  Danielson Framework National  Evidence of  Core Arts  edTpa Planning: Standards The teacher  demonstrates  Planning for  knowledge of  CMP Ensembles =  resources Music Selection Evidence of planning:  Lessons  that support  instructional concepts M 2 . 11/14/2014 CMP Planning and Preparation 1c. Setting Instructional Outcomes 1d.

 etc. etc.  Audience and Community Composition Comparison Chart (By Concert) 1. Include a minimum of two pieces of core  repertoire on every concert 4. but over‐programmed  Personnel: Instrumentation. 11/14/2014  Uniqueness  Unpredictability One Composition  Form  Consistency  Design (Pacing)  Transcendence Concert  Depth  (Text) Annual Cycle  Orchestration/ Voicing Four Year Rotation  Historical Periods  But it’s my Favorite Piece!  Musical Genres  Most Prestigious Concert  Variety of Forms  World’s Longest Concert  Tonal Centers. Difficulty: 1 easy. Time signatures. Sight‐read music that you don’t actually  play in concert 3 . Play less total music per concert  3‐4 pieces for an 8‐week cycle  15‐20 minutes of music 2.  World’s Hardest Concert  Rehearsal Time  Right length. Solos. Tempi. Limit new music to one or none per  concert 3. 1‐2 at level. 1 challenge 5.

 cadences. etc. etc. etc. Performers. 11/14/2014 Annual Cycle Four‐Year Rotation  Ensemble Concepts  Time of  Year?  Typical Course   Tone. intonation. Board. balance.  Genres and Forms?  Composers?  Music History and Culture  March  Curricular Goals?  Period.  Medley  Transcription Define. Chalk/Dry‐erase/Smart   Guest Artists: Conductors. and use it daily  Warm‐ups/Daily Exercises  Audience Etiquette  Sight‐reading  Program Notes in the Concert Program  Take Out the Piece… …written by Frank Ticheli…composed in 2005…in   Pre‐Concert Lecture Sonata‐Allegro form…in g minor…etc.  Number of Weeks to  Progression through   Music Theory prepare? the program?  Scales.  Students Supporting Students  Composer’s Intention  Concert themes. intervals. etc. 9th grade = 90 min)  Select music with a focus on quality over   Become more familiar with core repertoire quantity  Read:   Create a classroom environment that values:  “Classic” and recent articles on music selection  Shaping Sound Musicians by Patricia O’Toole 1. chords. Process over product  Review your own programming: 2. cultural   Broadway/Movie  times. Expression over perfection  Complete a “Composition Comparison Chart” 3. or join a consortium centered = authentic student engagement  Develop your own written curriculum  Teach with intentionality  Attend a CMP Summer Workshop 4 . composer’s life/background. Understanding over knowledge  Create Four‐Year Rotation Cycle  Move from Teacher‐directed to Student‐  Commission a piece. blend. Combined Groups  Transfer of Previous Understanding  Music markings. Document Cam  Maximum Length of Concert: 10 minutes   In‐class Recordings per grade level (ex. re‐define.