Alexis Johnson, Elizabeth Vaughn, Jensen Gonzalves, Joseph McN

MUED 3

Curriculum Pro

mmunity Context

Our high school is located in Charlottesville, Virginia. The population of our particular district is primarily white and
ustrial/economic base is mostly middle class. The primary stakeholders in this educational systems are students, parents,
ructors and the administration. These are the people mainly responsible for guiding the curriculum.
There are many cultural opportunities in the surrounding area including: BlueGrass Jams, jazz and classical. Students are
e to explore different genres that interest them because the area is so diverse. This location also offers a lot of opportunities for
dents. There are a lot of private teachers in the area for instrumentalists and vocalists. This helps students focus and study thei
rument outside of a school classroom. There are a also lot of jazz and Bluegrass jams, which can offer students an opportunity
y music in a more informal setting. Community orchestras offer students the chance to play classical music. Lastly, both JMU a
A are nearby and offer opportunities for students to observe and learn from the teachers and camps they offer.

ogram Description

w many schools are involved in the program? Music Teachers?

● 3 feeder schools
● 2 music teachers

at ensembles are included in the program? Create course descriptions for each.

ncert Band (For Freshman/beginners)

● This class is for students who want to learn new instruments, or learn more basics for their instrument.
● This will scales, tuning, articulation, tonguing and other basic concepts when learning an instrument
● This class will before 2 concerts over the course of the year
mphonic Band (no audition)
● This class is for students to explore the concepts from concert band more in depth
● This class will play various repertoire and perform several concerts over the course of the year
nd Ensemble (audition)
● This class will explore difficult band repertoire
● Students will have to chance to explore mixed meter
● Students will also have to opportunity to compose their own work
hestra (audition)
● Students will explore various orchestral repertoire from a number of different time periods.
● This class allows students to play with other instruments besides just band and percussion, or just strings.
● We will explore the techniques (tuning, dynamics, articulation and style) of playing in an orchestra
z Band
● Students will learn about the stylistic consistencies across multiple eras of jazz, about improvisation through jazz
based harmony and language, and analyze other jazz performances to engage in discussion about jazz performanc
culture.
● Students will play and rehearse repertoire that reflects multiple eras of jazz
cussion Ensemble
● Students will learn about the different percussion instruments and how to play them
● Students will perform pieces will small groups as well as other bands and orchestras in the program
● Students will learn the history behind the creation of the different percussion instruments

at electives in music are available? Create course descriptions for each.

AP Music Theory
● Students will learn the basic knowledge of the fundamentals of music and theory
● Students will learn some basics about music history

Chamber Music
● Students will play in chamber groups and have rehearsal time in order to receive the benefits of learning how to pla
in a small ensemble and work on tuning and playing without a conductor.
Songwriting/Guitar class
● Students will write songs and learn how to play guitar at the same time so at the end of the class students will be ab
to play the song that they wrote.

at is/are the scheduling system(s) for the district? How does instrumental music fit into the schedule?
● Rotating schedule
● music is during the day in 90 minute classes
● 4 blocks a day.

gram Philosophy (Paragraph format)

Our philosophy for our instrumental program is to be able to have each student get a well rounded music education no mat
at classes they choose to be apart of. If a student chooses to take a music elective such as Music Theory then they should be
e to walk away from the class with the same basic knowledge that someone takes away from an ensemble class. All music
dents have the right to get the same musical education no matter the classes and they will have the ability to walk out of any
sic classroom and develop a comprehensive set of musicianship skills that can lead to a lifelong knowledge of musical concept
rder for students to receive this type of education it is important to us that there is a safe learning environment so that no stude
s out of place or feels like they are being judged for not understanding material. Another important aspect is that students will b
e to gain instrumental techniques on their own instruments but also work with playing together as an ensemble. The primary
ectives of the program is for students to develop a set of comprehensive music skills in pitch, rhythm, ensemble and solo playin
heir own instruments.

rriculum
ction A (Introduction)

It is important that students are able to learn basic responsibility through music. It will be their responsibility to make sure th
y are making the benchmarks when needed and learning their music as they are suppose to. It will also be their responsibility to
ctice as they seem like they need to in order to make progress. For each student to meet the next grade level they will need to
wing progress throughout the year and showing effort to make sure that they are trying to reach the benchmarks that they need
et.. Each grade level will have a set of SOL’s to meet throughout the year along with specific benchmarks. Each month student
be gaining more and more knowledge that will build on students’ musicianship. By the end of year four students will be able to
k away with a comprehensive skills in pitch, rhythm, ensemble, and solo playing on their own instruments.
ction B (Table)
sy reference for: yearly/monthly/weekly objectives, benchmark skills and concepts, literature and materials
://www.doe.virginia.gov/testing/sol/standards_docs/fine_arts/2013/music/std_finearts_music.pdf

de Yearly Monthly Weekly Benchmarks

Materials
HIB.1 The student will echo, read, and September: The students will first
notate music, including 1. identifying, have the opportunity to improve
defining, and applying standard their rhythm by clapping out
notation for pitch, rhythm, meter, simple rhythms that are written on
articulation, dynamics, and other the board. Once they are
elements of music; and 2. singing comfortable with that they will
similar and contrasting parts from the then move to call and repeat
music being studied. patterns on rhythms
HIB. 2 The student will echo, read, and October- Students will then
perform rhythms and rhythmic translate their knowledge to some
patterns, including whole and half introductory pieces and get to
notes, quarter notes eighth notes, learn how it is to play as an
dotted half notes, dotted quarter notes, ensemble. This is a good time to
corresponding rests, and syncopations. figure out what type of students
are in the classroom.
HIB. 4 The student will identify, read,
and perform music in simple meters. November: Students will start
HIB. 5 The student will identify and rehearsing material for their
notate key signatures of scales and holiday concert while learning
literature being performed. about the different key signatures
that could be in the pieces. The
HIB 5. The student will identify and students will be introduced to the
notate key signatures of scales and circle of 5ths.
literature being performed
December: The students will be
working on putting the finishing
touches on their concert music
and they will also learn about how
important dynamics are to a piece
of music.
January: Once students return
from break it is a good time to
start introducing the basic scales
and using the circle of 5ths to
understand different kinds of key
signatures.
February: As the band begins
working on assessment music
they will be using their knowledge
about key signatures and apply it
to their pieces.
March: Students will continue
working on their major scales and
keep building up their abilities.
Some students will exceed better
Week 1: Students will 1.
begin working with
simple rhythmic
patterns that are drawn
on the board by
clapping and not on
instruments.
Week 2: Students will 2.
then move to repeat
after me rhythms where
the rhythm is not
written on the board.
3.
Week 3: Students will
then transition their
rhythm patterns that
they have learned to
instruments in a call
and response process 4.
Week 4: Students will
get the introductory 5.
pieces and the
students will have to 6.
name some of the
rhythms that are in the
pieces and then they
will sing through all the 7.
rhythm patterns.
Week 5: Once the
students feel 8.
comfortable with the
rhythm patterns then
they will transition onto
their horns which will
be the first time that
they will play as an
ensemble.
Students will be able Highlights from the 1812
to completely play Overture arr. By Robert
simple rhythms while Longfield
clapping that are
written on the board Above the Clouds by
and be able to do Chris Bernotas
call and response
with those rhymes Risk Everything for a
Students will be able Dream by Richard L.
to identify different Saucedo
rhythm patterns in
their music when
handed out. Lightning Field by John
Students will start Mackey
understanding key
changes in their
music and start
associating them
with the circle of 5th.
Students will be able
to play a full range of
dynamic markings.
Students will learn
their C major.
Students will
continue to work on
their scales and
further improve.
Students will be able
to identify a key
signature to the key
it is associated with.
Students will play
their 12 major scales
at the end of the
year for the band
director.
than others.

April: New music will be handed

out for their next concert and the
students will be asked to identify
what the key signatures mean.

June: Students will continue to

work on their pieces till their
concert and many students will
complete all 12 of their major
scales and some still might be
struggling.
HII.1 The student will echo, read, and
notate music, including 1. identifying,
defining, and applying standard
notation for pitch, rhythm, meter,
articulation, dynamics, and other
elements of music; and 2. singing
similar and contrasting parts from the
music being studied.
HII.10 The student will demonstrate
and describe proper instrumental
techniques, including 1. adjusting and
perfecting intonation while playing; 2.
producing tones that are clear, free of
tension, sustained, and unwavering in
pitch; 3. wind student—proper
breathing techniques and consistent
embouchure; contrasting articulations
(marcato, sforzando, forte-piano,
tenuto); 4. string student—proper bow
placement, weight, angle, speed, and
pressure; contrasting articulations
(accents, hooked bowing, multiple-note
slurs, slurred staccato, sforzando,
martelé, spiccato); and 5. percussion
student—13 Standard Rudiments and
Lesson 25, open-close-open, on snare
drum (PAS); tuning timpani while
playing; playing techniques on timpani,
mallet, and auxiliary instruments,
including single-stroke roll.
HII.11 The student will demonstrate
and describe ensemble skills at an
intermediate level, including 1.
balancing and blending instrumental
timbres; 2. making adjustments to
facilitate correct intonation; 3. matching
dynamic levels and playing style; 4.
responding to conducting patterns and
gestures; and 5. maintaining a steady
beat at various tempos in the music
literature being studied
September - The students will
play Concert C, F, Bb, and Eb
scales according to the
benchmark guidelines. Students
will Identify major chords by ear
(they don’t need to identify the
chords that aren’t major, other
than that they are something
other than a major triad).
October - Students will complete
basic interval ear training
according to the benchmark
guidelines.
November - Students will arrange
a primary melody according to
harmonic guidelines in
preparation for duet counterpoint.
Students will practice tuning to a
unison drone pitch.
December - Students will play
Concert Ab, Db, Gb, and B scales
according to the benchmark
guidelines.
January - Students will sight read
rhythms based on the benchmark
guidelines, first by clapping and
second by instrument.
February - Students will begin
arranging for duet counterpoint for
a few measures with harmonic
guidelines.
March - Students will record one
etude and receive feedback from
the teacher. Students will begin
identifying minor chords along
with already identifying major
chords.
April - Students will play Concert
E, A, D, and G according to the
benchmark guidelines.
May - Students will continue
sight-reading rhythms against
Week 1 - Students will Benchmarks - Jurassic Park Soundtrac
practice the concert C Highlights Arr. Paul
scale in sectionals with Students will be able to play Lavender
like-instruments, the twelve major scales at
ascending and quarter note = 90 (in eighth
descending as many notes, and in thirds). The Stars and Stripes
octaves as possible. Forever - John Philip
Students will complete short, Sousa
Week 2 - Students will basic duet writing for two
identify a major chord instruments or voices.
and build one based on Theme from Schindler’s
a given root. Students Students will be able to identify List, Arr. Itzhak Perlman
will hear the major major, minor, and diminished
chord that they built to chords by ear.
identify it. Mambo from West Side
Students will be able to identify Story - Arr. Michael
Week 3 - Students will major seconds, thirds, fifths, Sweeney
practice the concert F and fourths by ear.
scale in sectionals with
like-instruments, Students will be able to tune a An American Elegy -
ascending and unison pitch (can be done by Frank Ticheli
descending as many singing or by instrument
octaves as possible. against a drone). Method - The Rubank
Students will continue Intermediate Method
to identify major Book
chords, with non-major Students will be able to clap
triads incorporated into combinations of quarter note
a series of chords. and eighth note rhythms will
tapping or singing the pulse.
Week 4 - Students will
practice the concert Bb
and Eb scales in Students will record and be
sectionals with like- assessed on two etudes of
instruments, ascending their choice in the keys of
and descending as concert F, C, or G from the
many octaves as Rubank Intermediate method
possible. Students will books.
be assessed on
identifying major triads.
Week 5 - Students will
begin identifying major
seconds and perfect
fifths.
producing a steady pulse by feet
or voice. Students will record
their two etudes.
HIAD.2 The student will read, analyze,
perform, and compose varied rhythmic
patterns in complex meters,
demonstrating technical facility and
precision commensurate with VBODA
Levels 4 and 5.
HIAD.3 The student will identify and
notate all key signatures.
HIAD.4 The student will read, notate,
and perform all ascending and
descending major scales as per
VBODA All-Virginia audition
requirements, as well as selected
minor scales.
HIAD.7 The student will use music
composition as a means of expression
by 1. composing a rhythmic-melodic
variation; and 2. notating the
composition in standard notation, using
contemporary technology.
HIAD.13 The student will demonstrate,
describe, and analyze ensemble skills
at an advanced level, including
1. balancing and blending instrumental
timbres;
2. making adjustments to facilitate
correct intonation;
3. matching dynamic levels and playing
style;
4. responding to advanced conducting
patterns and gestures;
5. demonstrating conducting patterns
and gestures; and
6. maintaining a steady beat at various
tempos and performing tempo changes
in the music literature being studied.
HIAD.17 The student will perform
accompanying harmonies and/or
counter melodies to a given melody.
September -
Students will sight read,
compose, and play their peers
compositions of short rhythmic
ideas in simple meters.
Students will play all major scales
on quarter notes at 120 BPM.
Students will learn and be able to
describe the characteristics of
natural, harmonic, and melodic
minor scales.
October -
Students will sight read,
compose, and play their peers
compositions of short rhythmic
ideas in complex meters with
strict pitch parameters.
Students will play all natural minor
scales on quarter notes at 120
BPM.
November -
Students will sight read,
compose, and play their peers
compositions of short rhythmic
ideas in complex meters that
utilize natural and harmonic minor
scales.
Students will play all harmonic
minor scales on quarter notes at
120 BPM
December -
Students will sight read,
compose, and play their peers
compositions of short rhythmic
ideas in complex meters that
utilize melodic minor scales.
Students will play all melodic
minor scales on quarter notes at
Week 1 - Benchmarks:
Hans Zimmer: Movie
Students will begin Students will be able to sight Milestones
sight reading rhythms read and compose simple Arr. Michael Brown
without pitch in simple rhythmic ideas. Comp. Hans Zimmer
meters in the Rubank (Grade 3)
Advanced Method Students will be able to play
Book using various and record all major scales for Bach, J. S. Fantasia in G
body percussion and submission and teacher Bennett, Robert Russell
singing. assessment. (Grade 4)
Students will identify Students will be able to sight Incantation and Dance
and notate all major read and compose short Chance, John Barne
key signatures in rhythmic ideas in complex (Grade 4)
worksheets and begin meters with strict parameters
to practice all white key around pitch. The Rebellion is Reborn
major scales (C, D, E, (from Star Wars:The Las
F, G, A B) Students will be able to play Jedi)
and record all natural, Arr. Jay Bocook
Week 2: harmonic, and melodic minor Comp. J. Williams
scales for submission and (Grade 4)
Students will sight read teacher assessment.
rhythms pulled from Do Not Go Gentle Into
future repertoire Students will be able to sight That Good Night
starting with body read and compose short Del Borgo, Elliot
percussion and then rhythmic ideas in complex (Grade 5)
with instruments for meters with the addition of
each exercise. more melodic content. Suite of Old American
Dances 5 Major
Students will continue Students will be able to play Bennett, Robert Russell
working on white key and record all major and minor (Goldman/Leist)
major scales. triads arpeggiated for (Grade 5)
submission and teacher
Week 3: assessment.
The Rubank Advanced
Students will sight read Students will work together to Method Book
short passages that are create musical ideas in
rhythmically complex complex meters while utilizing
but melodically simple the minor scales currently
on their instruments. being studied in class.
Students will self- Students will be able to play
assess in class how and record all augmented
well they know the triads arpeggiated for
white key major scales submission and teacher
by playing as a group assessment.
with a metronome at
progressively faster Students will compose and
tempos in preparation play these compositions in
120 BPM
January -
Students will sight read,
compose, and play their peers
compositions of longer phrases of
music that utilize both melodic
and rhythmic ideas to make a
definite musical statement with
simple parameters around mode
and meter.
Students will play all major and
minor arpeggios and identify
characteristics of major, minor,
diminished, and augmented
triads.
February -
Students will compose short
duets that utilize both melodic and
rhythmic ideas to make a definite
musical statement without mode
or meter parameters. Students
will focus on balancing and
blending two instruments
dynamically and stylistically while
matching intonation.
for future test. groups to create a well
balanced and blended
Students will begin performance.
working on all black key
scales (Db/C#, Eb/D#, Students will be able to play
Gb/F#, Ab/G#, Bb/A#) and record all half diminished
and learn about and fully diminished chords
enharmonics arpeggiated for submission
and teacher assessment.
Week 4:
Students will further develop
Students will work on their original works with the
all natural minor scales addition of harmonic voices
and chordal movement
Week 5: provided by peer analysis of
each work.
Students will play all scales,
triads, and 7th chords studied
throughout the year in class for
“Scale Olympics”.
Students will prepare their
quartets and quintets for
performance in the spring
concert and in possible
performance opportunities in
the community.

Students will arpeggiate

augmented triads in every key.

March -

Students will compose short trios

or quartets that utilize both
melodic and rhythmic ideas to
make a definite musical statement
without mode or meter
parameters. Students will focus
on balancing and blending three-
four instruments dynamically and
stylistically while matching
intonation. Student trios and
quartets will demonstrate their
progress to the class through both
performance and presentation of
 their compositional processes.

Students will arpeggiate half

diminished chords in every key
and identify the differences
between half and fully diminished
chords.

April -

Students will take their previous

compositions and work with their
peers to establish chords to
accompany the melodies and add
harmonic voices to support the
melody and chords. This will
expand the instrumentation of the
duets, trios, and quartets into
slightly larger groups. Students
will also use this time to exercise
their skills in matching pitch,
balancing voices, and blending
parts in larger chamber groups.

Students will arpeggiate fully

diminished chords in every key.

May -

Students will refine their

developed compositions and
prepare for performances
alongside the full ensemble
literature studied for the spring
concert and potential community
performance opportunities.

Students will compete in a series

of “Scale Olympics” to test their
knowledge of the scales and
chords studied throughout the
entire year.

HIAR.2 The student will read, analyze, September: Week 1 Benchmarks: Literature
perform, and compose advanced Students will play all their scales Students will identify a Strange Humors- John
rhythmic patterns in complex meters, at quarter note equals 120. song they want to Students will arrange a popular Mackey
demonstrating technical facility and Students will arrange a popular arrange tune for band
precision commensurate with VBODA tune Students will play all Postcard - Frank Ticheli
Levels 5 and 6. their scales in quarter Students will compose their

HIAR.8 The student will identify,
explain, and apply music terminology
found in the music literature being
studied
HIAR.13 The student will demonstrate,
describe, analyze, and assess
ensemble skills at an artist level,
including
- balancing and blending instrumental
timbres
- making adjustments to facilitate
correct intonation;
-matching dynamic levels and playing
styles;
-responding to advanced conducting
patterns and gestures
-demonstrating conducting patterns
and gestures; and
- maintaining a steady beat at various
tempos and performing tempo changes
in the music literature being
studied.
October:
Students will play all their scales
in sixteenth notes at 120bpm.
Students will compose their own
song 1 minute (doesn’t need
lyrics)
November:
Students will be able to play their
d, g, c, and f minor scales (all
three modes) at 90 bpm
Students will perform
Tchaikovsky’s symphony no. 4
and Ballet Suite no. 4
Students will arrange a piece of
their choice 3-4 minutes
December:
Students will play their bb, eb, a
and e minor scales in all three
modes at 90 bpm
Students will perform a solo of
their choice for the class.
January:
Students will play g#, c#, f#, and
b minor scales in all three modes
at 90 bpm
Students will compose their own
piece (3-4 minutes)
February:
Students will play all their scales
in all three modes at quarter note
equals 100
Students will perform several
pieces in mixed meter
Students will arrange a piece in
mixed meter (1-2 minutes)
March:
Students will play all their scales
in three modes at quarter note
equals 120.
Students will work on an original
composition for the spring
concert.
April:
Students will play all their major
notes own 3-4 minute works using Ballet Suite no. 4 -
Week 2 various parameters. (mixed Shostakovich
Students will arrange meter, key changes.)
the chorus to the song. Selections from The
Students will play all 12 Students will review all their Planets - Gustav Holst
scales in eighth notes minor scales (in all versions)
Elsa’s Procession to the
Week 3 Students will learn their Major Cathedral - Richard
Students will arrange and Minor arpeggios Wagner
the intro and outro to
their song Students will play a solo of Finale from
Students will sight read their choice for the class Symphony no. 4 -
the Ballet Suite no. 4 Tchaikovsky
Shostakovich Students will play all their Czech Suite - Dvorak
Scales will play all their major scales in sixteenth notes
scales in sixteenth at at quarter note equals 120 Scheherazade- Nikolai
100 bpm Rimsky-Korsakov
Week 4 Students will play their minor
Students will edit and scales in all three modes at Overture from Candide -
add harmony to their quarter note equals 120. Leonard Bernstein
arrangement
Students will work on Students will play literature, Method Books
notes and phrasing in and rhythms in mixed meters. Bach- 12 chorales for
the Shostakovich piece. concert band
Students will play all
scales in sixteenth Treasury of Scales for
notes at 110 bpm. Band and Orchestra -
Week 5 Leonard B. Smith
Students will perform
their arrangement for
the class.
Students will play all 12
major scales at the
correct tempo.
Students will sight read
Scheherazade by
Rimsky-Korsakov
arpeggios at 120bpm
Students will finish a 4-5 minute
original composition (using mixed
meter, and rhythm learned
throughout the year)

May:
Students will play all their minor
arpeggios at 120 bpm.
Students will perform their
compositions in the spring concert