Randolph Township Schools Department of Visual and Performing Arts

INSTRUMENTAL MUSIC (STRINGS) Grades 9 - 12 Curriculum

Department of Visual and Performing Arts Frank Perrone, Supervisor

Curriculum Committee Kim Chiesa Sherry Griggs Eric Schaberg

Curriculum Developed: Summer 2014

Curriculum Revised: Summer 2016

Date of Board Approval: October 18, 2016

1 Randolph Township Schools Music Department Instrumental Music: Grade 9 - 12 Strings

Table of Contents

Mission Statement and Education Goals – District 3

Affirmative Action Compliance Statement 3

Educational Goals – District 4

Introduction 5

Pacing 6

Tone Production 7

Rhythm 12

Music Theory 14

Music Expression 17

Knowledge and Maintenance of Instruments 19

Listening and Analysis 22

Advanced Solo Literature 24

Research and Writing 27

Appendix A - Smartmusic 30

Appendix B – Honors Booklet 31

2

Randolph Township Schools

Mission Statement

We commit to inspiring and empowering all students in Randolph schools to reach their full potential as unique, responsible and educated members of a global society.

Randolph Township Schools Affirmative Action Statement

Equality and Equity in Curriculum

The Randolph Township School district ensures that the district’s curriculum and instruction are aligned to the state’s standards. The curriculum provides equity in instruction, educational programs and provides all students the opportunity to interact positively with others regardless of race, creed, color, national origin, ancestry, age, marital status, affectional or sexual orientation, gender, religion, disability or socioeconomic status.

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

3 Randolph Township Board Of Education Educational Goals Values in Education

The statements represent the beliefs and values regarding our educational system. Education is the key to self-actualization, which is realized through achievement and self-respect. We believe our entire system must not only represent these values, but also demonstrate them in all that we do as a school system.

We believe: ● The needs of the child come first ● Mutual respect and trust are the cornerstones of a learning community ● The learning community consists of students, educators, parents, administrators, educational support personnel, the community and Board of Education members ● A successful learning community communicates honestly and openly in a non-threatening environment ● Members of our learning community have different needs at different times. There is openness to the challenge of meeting those needs in professional and supportive ways ● Assessment of professionals (i.e., educators, administrators and educational support personnel) is a dynamic process that requires review and revision based on evolving research, practices and experiences ● Development of desired capabilities comes in stages and is achieved through hard work, reflection and ongoing growth

4 Randolph Township Schools Music Department

Introduction

The Strings/Orchestra program in the Randolph School District grades 4 through 12 is designed to allow each student to progress as a musician and achieve musical independence at an extremely high level. Students build upon previously learned musical concepts and knowledge regarding note reading, pitch, melody and rhythm, and other aspects of instrumental music performance.

Group lessons are the backbone of this successful program, teaching the orchestra members of Randolph the necessary skills on their individual instruments and creating a meaningful orchestral ensemble experience. At RMS and RHS, the “string orchestras” are the centerpiece of the program with the following ensembles serving as extensions of the orchestra program: Con Brio, Arietta, Symphonic Orchestra and various trios, quartets and other chamber ensembles.

It is the common goal of each orchestra director in the Randolph Township School District to help develop life-long learners who will have a love and appreciation for music. Through the use of the NJCCCS for Music, careful lesson and rehearsal planning, meaningful daily or weekly rehearsals and a multitude of performance opportunities on and off campus (concerts and festivals/competitions), students are given experiences that will allow them to be productive members of society and supporters of the arts.

*The Honors program is available for grades 10-12. The program is inclusive of all string skills as indicated in this curriculum. Students who are enrolled in the Honors program will go above and beyond the string curriculum as indicated by two additional concepts and noted in the listening and analysis section. The Honors program booklet can be found in Appendix B to provide clear expectations

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Randolph Township Schools Music Department Instrumental Music: 9th – 12th Grade Strings

Pacing

The concepts set forth in this curriculum – tone production, rhythm, music theory, musical expression, knowledge and maintenance of instruments, and listening and analysis – are designed to be taught simultaneously throughout the school year. The depth and complexity of those concepts builds throughout the middle school string experience and continues into high school. By the end of twelfth grade, students are expected to be evaluating and creating with these concepts as they perform music in a wide range of styles. Extensive performance opportunities are provided to students as they progress through the 4 – 12 string program.

The concepts are taught simultaneously because of the way they are intertwined in order to create music. In a musical setting, each concept is dependent on the others. For example, tone production, musical expression, and listening are related to each other when performing, as are rhythm, theory, and listening and analysis. Varied repertoire provides students with the opportunity to work with many different types and styles of music, thus allowing them to be exposed to different expressive qualities, technical demands, etc. Students also must maintain their instrument in proper playing condition in order to properly execute these skills.

Concepts Tone Production – Strings Rhythm – Strings Music Theory - Strings Music Expression - Strings Knowledge and Maintenance of Instruments – Strings Listening and Analysis – Strings Advanced Solo Literature – Honor Strings Research and Writing – Honor Strings

6 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Tone Production

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

There are several specific bow holds that are acceptable for performance.  Why do professional string players use different types of bow holds?

Tone quality of a string instrument is largely dependent on bow speed, bow pressure (weight),  How do we determine the amount of bow hair used and bow contact area between the bow hair and the strings. in contact with the string in relation to bow pressure and bow speed to make a quality sound on a string instrument? Why is this knowledge important?

High School string literature requires understandings of left hand positions up to 5th position.  Why is it important to learn shifting above third position?

Good tone quality for a High School string player is achieved through left hand finger tip  How can different finger positioning affect tone positioning and vibrato control in conjunction with right hand bow control. quality?

Variations in vibrato speed in the left hand help shapes musical phrasing as well as tone  What constitutes “good tone quality”? production.  Why do different professional string players have different vibrato and vibrato speeds?

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KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.1, 1.4

Where to properly place the right hand fingers/wrist/thumb on the Analyze the function of each finger and thumb while fingerboard of their string instrument for maximum bow control. adjusting each appendage for the maximum effectiveness for proper bow control when performing string literature:

Index finger: control pressure with the index finger and play spiccato bow stroke.

Middle and ring fingers: play string literature with proper bow balance and weight distribution.

Pinky finger: control finger for proper balance.

Thumb: stabilize the bow hand using the thumb as a counterweight under the fingers of bow hand.

The correct distribution of arm weight/pressure, bow speed, & bow Analyze, comprehend, and adjust the bow distribution point on string needed to produce a “good quality sound” speed/pressure/point of distribution in the bow hand in with various levels of volume. The student will also comprehend the order to achieve the maximum tone quality while right hand bow angle and how the bow hair affects tone production and performing string literature. volume. Increase/decrease level of bow speed needed to create the best tone quality based on tempo of music being played.

Right bow hand tilt is adjusted for level of tone clarity

8 and volume depending upon dynamic level of the string literature being performed.

The musical vocabulary associated with specific right hand bow control Adjust weight/speed/point of contact of bow to perform needs. advanced spiccato, martele, staccato, and ricochete, & detache bowings in string literature.

Perform string literature with an understanding of specific bow marking vocabulary and how the right bow hand executes the bow strokes such as:  Spiccato – short and off the string bow stroke  Staccato – short and on the string bow stroke.  Detache – smooth separate bow stroke on the string.  Legato – Smooth and connected bow stroke on the string.  Martele – Accented and sharp percussive bow stroke.  Loure (Portato) – gently pulsating bow stroke on the string.  Sautille –bouncing bow stroke less percussive than spiccato.

 Jete - thrown bow stroke from above the string.

 Colle – Glued to the string bow stroke that has a

sharp pinch before being released, lifted and repeated.

Demonstrate the correct left hand and arm positions Correct left hand placement when executing shifting techniques in 1-5 shifting positions on the fingerboard. when shifting in 1-5 shifting positions on the fingerboard.

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Violin/Viola/Cello players will understand and implement in Utilize knowledge of the different shifting positions on performance fingerings up to 5th position. the fingerboard when performing string literature and know when to shift to each position up to 5th position.

Bass players will understand and implement performance fingerings for Perform and Analyze marked fingerings on music and all positions up to thumb position and will familiarize themselves with be able to debate the pros and cons for shifting to the thumb position. higher positions.

Understand and perform string literature using different types of vibrato Demonstrate the proper techniques of vibrato: and how to change the speed of the vibrato to help musical phrasing. Step I: securely holding the instrument while moving the left arm (thumb in place). Step II: securely holding the instrument, moving the left arm, and pressing the string with individual fingers. Step III: apply all techniques above and perform string literature with different speeds of vibrator depending on the musical phrasing that is being performed.

Understand the importance of the left hand thumb/finger placement and Evaluate/critique/demonstrate his/her left hand discuss how it affects intonation of the music being performed and tone thumb/finger placement and the effects of good and bad quality. placement.

Violinist’s finger placement will be very vertical except the 4th finger of the left hand when paying the violin.

Violist’s finger placement will be somewhat vertical except the 4th finger of the left hand when paying the viola.

10 Cellist’s finger placement will be less vertical on the fingerboard so that they have more of their finger pad to cover the cello string properly.

Bassists finger placement will be the least vertical on the fingerboard so that they have much more of their finger pad to cover the thick bass string properly.

11 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Rhythm

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

Having a steady internal pulse is essential in performing music, especially for rhythmic  How do musicians practice rhythmic accuracy? accuracy.  How can technology be useful in improving Technology is useful in practicing and improving rhythmic accuracy. rhythmic accuracy?

 Why is steady rhythm essential in ensemble Understanding the mathematical subdivisions and equivalencies of the various musical rhythmic playing? notations must be understood, in order to perform string music literature correctly.  Why is having a steady internal pulse even more Without rhythmic accuracy, ensemble playing would be impossible to keep together. important than being able to play steady with external pulses?

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.1, 1.3, 1.4

The importance of performing with steady pulse in an ensemble and Perform High School level string literature in an will perform music with a steady pulse. ensemble holding a steady pulse. Perform accelerando and retardants in music and then hold a steady tempo when the music goes back to an a tempo marking.

12 External pulse Play music and stay rhythmically steady using the metronome or Smart music accompaniment.

Internal pulse Perform High School music with a steady internal pulse as a soloist and as a member of an ensemble.

Rhythmic notation with the knowledge of rhythmic subdivision is the Analyze, Count, & Perform the following notes and rests backbone of reading and performing music. in music: . Dotted Whole, Half, Quarter, Eighth, Sixteenth, The use of dotted whole, half, quarter, eighth, sixteenth notes and & thirty second notes & rests. combinations of these notes. . Groupings of small value notes equaling a larger value note. Combinations using whole, half, The knowledge and use of ties between notes. quarter, eighth, sixteenth, & thirty-second notes & equivalent value rests. How to perform music containing grouping of notes equaling the beat . Various dotted notes used in complex such as duplets, triplets, & quadruplets. syncopated rhythms. . Duplet, triplet, & quadruplet notes equaling 1 beat.

The universal counting system of instrumental music is the common Analyze and perform Level Grade 4 & 5 Music with the language of all musicians and is taught at all high level music universal counting system such as 1+2+3+4+ and 1e+a institutions such as music conservatories. 2e+a 3e+a 4e+a.

How swing style rhythm is a different interpretation from the literal Perform swing rhythm in Jazz Music and interpret the printed rhythm. uneven rhythm from the printed even rhythm keeping a steady internal pulse.

13 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Music Theory

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

The approach to learning musical symbols in music is the same as the approach to learning any  Does a professional string musician always have unfamiliar language. music theory knowledge? If not, why? What is the advantage to having music theory knowledge for a professional string player or a High School string player? Basic music knowledge is just as important to know as string specific music knowledge.  How do High School string musicians apply the knowledge from general music class into orchestra lessons or string ensembles? Having a strong music theory knowledge base is essential to a string player sight reading music.  What music theory knowledge is essential to a High School string player’s musical education?

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.1, 1.2, 1.3, 1.4

The use of Time Signatures (2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 9/4, 2/2, 3/8, Perform and differentiate common time and cut time. 5/8, 6/8, 7/8, 9/8, 12/8 & 12/4) and apply the knowledge to their music performance. Compose music in Simple and Complex meters. Common time vs. cut time Identify and perform time signatures of (4/4, 3/4, 2/4,

14 5/4, 6/4, 7/4, 2/2, 3/8, 5/8, 6/8, 9/8, 12/8 & 12/4). Compound meters vs. simple meters

The knowledge of Key Signatures (all Major and minor key Perform music in major and minor key signatures up to 5 signatures) and apply that knowledge to their performance of High sharps and four flats. School string literature. Understand and play 2 – 3 octave scales, arpeggios, and Major keys of C, G, D, A, E, F, B flat, E flat, A flat thirds in Major and the three types of minor (Natural, Harmonic, & Melodic). Natural, Harmonic, & Melodic Minor keys of a, e, b, f#, c#, g#, d, g, c, f Perform scales, arpeggios, and thirds in one/two octaves up to three sharps and flats in the key signature. Accidentals Compose short single lined music for their specific instrument in common time, cut time, compound meter, simple meters in various Major and minor key signatures.

Differentiate and perform High School level music containing half steps and whole steps created through accidentals.

Perform 2 – 3 octave Major and minor scales with correct intonation using knowledge of half and whole step relationships for each specific scale. Identify, compose music, and perform music containing the following musical notations:

The frequently use of general musical symbols as well as strings General music symbols: staff, clefs (treble, alto, tenor,

15 specific musical symbols. bass,) bar line, pitch, ledger lines, rests, repeats, dynamics, D.C./D.S. al coda/fine, fermatas, first and second endings, sharp, natural, flats signs, and tempo markings.

Strings only symbols: slurs, pizzicato and arco, down and up bows, bow retake, left hand pizz., position fingering symbols, glissandos, tremolos, sul ponticello, divisi, and advanced articulation markings.

16 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Music Expression

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

Every musician will have their own individual thoughts and feelings towards musical phrasing  What factors are considered in musical expression and expression. A Composer puts their individual interpretation on paper to help guide the of a musical composition? intended music expressions they wanted to convey.

Many musical compositions were the result of significant events from the composers’ life  How does a composer write music in order for the experiences. audience to understand the expressive intent of the music? What does a composer write in their compositions to help guide the performers performing the composition in music expressiveness?

A conductor is essential in interpreting a musical composition for a music ensemble’s direction  Is there room for music expressiveness towards one interpretation. interpretation by the performer? If so, is it different as a soloist from an ensemble player?

 What is the roll of a conductor in musical expression?

 Will a piece of music get performed with different Different cultures create different feelings and emotion, which affect music expressiveness. musical expressions based on which culture it is being performed in? If so, why?

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KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.1, 1.3,1.4

How to analyze a composer’s intent of musical expression in a Interpret musical expression in music with and without composition and how to add their own interpretation of musical specified dynamic and articulation markings from a expression. composer.

How string players have limits in musical expression depending on Determine what bowings will match the musical the musical phrase and the amount of notes played on a bow to expression that is trying to be achieved. achieve it.

How to phrase music and interpret music expression, when there are Decipher musical phrasing with the use of singing no dynamic markings or bowings. phrases, bowings, articulations and dynamic markings.

Use different speeds of vibrato to enhance musical expression and phrasing.

Why articulation markings affect music expression in string music. Demonstrate the following bow strokes for better expressive performance: jete, detache, colle, slurs, legato, sautille, hooked, staccato, spiccato, ricochete, martele, loure, and bow retake.

Use a composition of just rhythmic notes and set their own set of dynamics, articulations, & bowings to help create their own music expression.

Musical expression differs between orchestras from different cultures, List the differences and similarities in musical expression performing the exact same piece of music. of the same piece, being performed by various performers with different cultural background.

18 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Knowledge and Maintenance of Instruments

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

A string instrument must be properly maintained and cleaned in order to achieve the maximum  Why is it necessary to know how to maintain a playability for the performer playing it. string instrument and know the different parts of the string instrument?

There are many levels of quality in strings, rosin, bows, string instruments, which affect the tone  What factors does a string player look for when quality and playability of a string player. purchasing strings, rosin, bows, or a string instrument? Why is this important?

It is every High School String Player’s responsibility to be able to properly tune their instrument  Why is it essential to know how to tune your own for performance. string instrument as it relates to the individual and the ensemble that they are playing in?

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.2, 1.3, 1.4

The proper tools and cleaners to use while cleaning the instrument. Analyze and use the appropriate tools and cleaners for cleaning their own instruments. . Use cotton materials only while cleaning . Use the string cleaner for cleaning the body of the instrument and when its dried, apply polish to protect the instrument . Use rubbing alcohol to clean the fingerboard and protect the top of the violin with another cloth

19 while cleaning with rubbing alcohol

What to look for when purchasing rosin, strings, bows, and string Differentiate what strings and rosin are most efficient for instruments for the best quality possible. their string instrument.

Evaluate the need & use accessories needed for instrument maintenance & performance.

Apply the proper amount of rosin for performing.

Violin/viola: adjust the shoulder rest for maximum comfort and instrument playability.

Cello/bass: use of endpin to raise the proper height of the instrument for performance position.

Use a sound post setter to pick up the sound post when it falls down.

Use a chin rest tightener (violins and violas) to relocate and tighten their chin rest. Put on and move the wolf tone eliminator to get rid of wolf tones (cellists & bassists only).

Mark each string notch on the nut and the bridge with pencil lead for Evaluate the need for tuning one’s instrument and tune it lubrication of the string when tuning. when needed with the use of the fine tuner or the pegs/gears. The appropriate way to adjust a bridge on a string instrument and why it is important to constantly maintain the vertical angle with the bridge.

20 The appropriate ways to tune their instrument with and without the use of a tuner.

Use of fine tuners vs. pegs.

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

The correct way to change a string on their instrument. Restring a broken string independently.

Stringing from the inner part of the peg and threading it outward Adjust a bridge on a string instrument and why it is towards the peg box. important to constantly maintain the vertical angle with the bridge.

21 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Listening and Analysis

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS

At the most prestigious music institutions in the world, ear training is an integral and needed  What is ear training in music and why is it part of a musician’s music education. important?

An essential part of music education includes knowing the different genre and styles in music.  Why is it necessary to know different styles and genres for musical performances?

Listening and critiquing recordings of your own playing, as well as professional musician  Why is it important to listen/watch to our own recordings, is an important process for self-improvement. playing as well as listen/watch the great musicians? How can we take what we see from the great musicians and apply it to our own playing?

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: 1.1, 1.2, 1.3, 1.4

Intervallic relationships. Identify intervallic relationships.

Major/minor chords and sounds. Using knowledge and listening skills of intervallic relationships for improving intonation. Recognize individual intonation within the Ensemble. Identify when to adjust individual pitch to match the Recognize octaves. ensemble’s pitch.

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The importance of adjusting the individual’s pitch in relation to the Identify the relation of the individual pitch within the ensemble. chord structure of the ensemble.

Recognize major and minor sounding pieces of music. Knowing when to apply different technical skills in order to match the style of each genre of music that is being Recognize individual tone production within an ensemble performed.

Styles/genre of music from Bach to Rock. Identify structures of a piece of music. Ex: A, B, A sections.

Ensemble balance and blend of the individual part within the Evaluate the importance of their individual part within ensemble. the ensemble.

When adjusting intonation within the ensemble is needed. Record themselves through Smart Music as individuals for evaluation of what to improve in their own performance.

How to critically evaluate college/professional musicians for better Know what to analyze in their own playing as they listen understanding of their own skills and performance. to recordings of themselves performing.

Critique live college/professional level performance to gain musical understanding applicable to their individual development (Honors).

23 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Advanced Solo Literature

*This concept applies to the Honors Music Program.

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS The preparation and performance of solo literature is very different from  How do musicians approach learning solo literature independently? that of ensemble literature.  What unique challenges are presented in the preparation of solo literature?

Musicians can utilize technology as a tool to prepare solo literature.  How can technology be incorporated into the preparation of solo literature?

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: CC CCSS.ELA-Literacy.L.9-10.6 CCSS.ELA-Literacy.L.11-12.6 The technical difficulty and musical complexity of each piece Select appropriate solo literature relative to their must be considered during the selection process. individual musical development and the unique CCSS.ELA-Literacy.RST.9-10.3 CCSS.ELA-Literacy.RST.11-12.3 requirements of the performance.

NJCCCS Specific strategies that can be utilized to learn and perform Prepare solo literature independently. 1.1.12.B.1 solo literature successfully. 1.3.12.B.1 Proper performance etiquette, considering the event and venue, Perform in front of an audience. 1.3.12.B.2 is an essential component of the successful presentation of solo literature. Demonstrate professionalism within the 1.4.12.B.1 performance venue.

24 Select, rehearse, and perform with a professional 1.4.12.B.2 accompanist (Honors Music Recital).

Technology can enhance the individual rehearsal process, such Utilize both simple and advanced types of as tuners, metronomes, or interactive assessment software. technology to enhance the preparation of solo literature.

25 RANDOLPH TOWNSHIP SCHOOL DISTRICT Curriculum Pacing Chart Instrumental Music – Strings Grades 9-12 Concept: Advanced Solo Literature

SUGGESTED CONTENT-UNIT OF STUDY SUPPLEMENTAL UNIT RESOURCES TIME ALLOTMENT

Concept: Advanced Solo Metronome Literature 1 Month with Advisor Input  Selection of Appropriate Tuner Music SmartMusic 2-4 Months  Individual Preparation of Solo Literature www.musicnotes.com

Culminating Performance Activity  Performance of Solo www.jwpepper.com Literature www.youtube.com of their invidual pieces performed by professionals on their instruments.

The cycle above is completed twice each year - once Periodicals such as Teaching Music, Music Educator’s for the Midyear Assessment and once for the Journal, Strad Magazine, String Magazine, The New Jury/Recital Performance. York Times.

26 RANDOLPH TOWNSHIP SCHOOL DISTRICT Instrumental Music – Strings Grades 9-12 Concept: Research and Writing

*This concept applies to the Honors Music Program.

ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS Musicology is the formal study and research in the field of music.  How can we find new information to gain a more thorough understanding of music?

Students can gain a deeper understanding of their musicianship through  How does research and personal reflection enhance musicianship? metacognition.

KNOWLEDGE SKILLS CCCS

Students will know: Students will be able to: CC CCSS.ELA-Literacy.RI.9-10.1 CCSS.ELA-Literacy.RI.11-12.1 Reflective journaling can yield meaningful and efficient Clearly articulate honest thoughts and reflections about CCSS.ELA-Literacy.RL.9-10.1 practice. their musical experiences. CCSS.ELA-Literacy.RL.11-12.1

CCSS.ELA-Literacy.RI.9-10.2 Compose clearly structured free journals on topics of their CCSS.ELA-Literacy.RI.11-12.2 choosing relative to their interests and experience. CCSS.ELA-Literacy.RL.9-10.2 CCSS.ELA-Literacy.RL.11-12.2 CCSS.ELA-Literacy.RI.9-10.4 Select appropriate research articles. CCSS.ELA-Literacy.RI.11-12.4 Research periodicals are quality resources which can enhance CCSS.ELA-Literacy.RL.9-10.4 students’ learning and widen students’ perspectives. Decipher article contents and reflect on the application of CCSS.ELA-Literacy.RL.11-12.4 the information presented on their own musical CCSS.ELA-Literacy.RI.9-10.5 development. CCSS.ELA-Literacy.RI.11-12.5

27

Written performance critiques must be expressed in an Critically assess live college/professional level CCSS.ELA-Literacy.RI.9-10.6 CCSS.ELA-Literacy.RI.11-12.6 articulate manner and demonstrate a thorough understanding of performances and clearly communicate their opinions in an key musical concepts. organized and comprehensive written critique. CCSS.ELA-Literacy.RI.9-10.8 CCSS.ELA-Literacy.RI.11-12.8

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

CCSS.ELA-Literacy.RST.9-10.3 CCSS.ELA-Literacy.RST.11- 12.3

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

NJCCCS 1.4.12.B.1

1.4.12.B.2

RANDOLPH TOWNSHIP SCHOOL DISTRICT

28 Curriculum Pacing Chart Instrumental Music – Strings Grades 9-12 Concept: Advanced Solo Literature

SUGGESTED CONTENT-UNIT OF STUDY SUPPLEMENTAL UNIT RESOURCES TIME ALLOTMENT

Concept: Advanced Solo Metronome Literature 1 Month with Advisor Input  Selection of Appropriate Tuner Music SmartMusic 2-4 Months  Individual Preparation of Solo Literature www.musicnotes.com

Culminating Performance Activity  Performance of Solo www.jwpepper.com Literature www.youtube.com of their invidual pieces performed by professionals on their instruments.

The cycle above is completed twice each year - once Periodicals such as Teaching Music, Music Educator’s for the Midyear Assessment and once for the Journal, Strad Magazine, String Magazine, The New Jury/Recital Performance. York Times.

29 APPENDIX A - SmartMusic

Since 2011, the Randolph School District band program has experimented with the online assessment tool SmartMusic. The Randolph music faculty has dedicated many hours to professional development in order to fully implement this program. As of 2014, the department received a Randolph Education Foundation Grant for the hardware needed for our rehearsal and lesson facilities in the High School and Middle School. As of the 2014 - 2015 school year, the Middle School Band program has rolled out a comprehensive SmartMusic initiative integrating SmartMusic into the band and lesson program.

All Randolph Middle School band students will be asked to purchase a subscription. Assignments will be sent to the students from both the lesson teachers as well as band directors. Any student unable to purchase a SmartMusic subscription, will have the opportunity to submit their assignments via school owned practice room subscriptions.

The Randolph orchestra program has also begun to implement SmartMusic into daily reherasals and lessons. All teachers have yearly subscriptions for the program, and practice room subscriptions have been implemented in the high school and middle school. Students use this program for individual practice. Assignments are graded using assessment tools available in SmartMusic.

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Appendix B

31 HONORS MUSIC PROGRAM

Band Choir Orchestra

Randolph High School

Included in this packet:

Honors Program Outline Honors Program Timeline Grading Rubric Journal Entries

32 Randolph High School Music Department Honors Credit Program Outline

Goal: The overall goal of offering honors credit is to provide an opportunity to award due credit to music students who tirelessly dedicate themselves to their art. The program seeks to develop and enrich a student’s performance capabilities, musical perceptivity, artistic sensitivity, and overall musicianship. Students, in turn, earn honors credit that is be weighted in their GPA.

Prerequisites:

1. Be part of a high school music ensemble that meets during the school day (Band/Choir/Orchestra). 2. Be a member in good standing in this school ensemble, meaning that the student: - Exhibits a consistent level of effort and preparedness in rehearsals and lessons; works to best of ability - Demonstrates a high level of rehearsal etiquette - Consistently meets or exceeds expectations set forth by the director 3. Be recommended by a music faculty member after completing the application process

Activities: An honor student’s portfolio is comprised of various ensemble experiences and activities, some of which are assigned, some of which are selected. A student’s requirements are based on a three-tier system (see below).

Tier One (Mandatory) Participation in classroom music ensemble, monthly meetings with advisor, monthly journal entries, four music article reading responses, 2 college level or professional concerts with a written critique

Tier Two (Participate in at least two of the following co- or extra-curricular ensembles) Chamber Choir, Arietta, Jazz Ensembles, Marching Band, Color Guard, Percussion Ensemble, Spring Musical (including cast, crew and pit), an audition for County, Area, Region or All-State Ensembles, Equivalency recording in place of an Honors Ensemble Audition (per advisor’s approval), MS Ensemble Rehearsal Assistant (full year commitment)

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

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

RANDOLPH HIGH SCHOOL MUSIC DEPARTMENT Honors Program Outline

TIER ONE (ALL MANDATORY)

Participation in classroom music ensemble for the full year Student must be registered for classroom music ensemble and attend weekly rotating lesson.

Reflective Journal Student is responsible for submitting two journal entries per month; one assigned and one free. Journal entries should cover reflections on the following: . Current musical growth and progress as it relates to initial goals as stated in application. . Reflection: ensemble experiences, your personal contribution and role to the ensemble. . Thoughts about how your interest in music has shaped your life.

Guided outside reading – one per marking period PRE-APPROVED PRIOR TO MEETING!!!! Article from music magazine or journal as approved AND SIGNED by your advisor in advance of your meeting. A one page typed summary and reflection, along with a copy of the article are due once per quarter as per the timeline.

34 Advisor-approved concerts – one per semester PRE-APPROVED PRIOR TO CONCERT!!!! Attendance of a concert of professional, conservatory or college/university faculty level in the classical, jazz or musical theater idiom as approved by your advisor prior to the concert. A program, ticket stub and written summary/review are due as per the timeline.

CONCERT CANNOT BE AN “IN SCHOOL” PERFORMANCE

Meetings with advisor Student is required to schedule monthly appointments with advisor as per timeline. If a student is absent on the day of a scheduled meeting, they must reschedule that meeting the first day they return.

* All written work must be typed, double-spaced, 12 pt. font or larger, and have 1 in. margins. All written assignments must contain a minimum of 250 words – this will be about 1 full page. *

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

TIER TWO (CHOOSE TWO)

The following RHS ensembles do not require an audition. Marching Rams (band students) Percussion Ensemble (percussion students) Color Guard

35 The following RHS ensembles require a successful audition. Chamber Choir Arietta Jazz Band Jazz Ensemble Spring Musical (including cast, crew and pit orchestra)

The following ensembles require monitored preparation and audition. Region Ensembles All-State Ensembles Area Band County Chorus

Middle School Ensemble Rehearsal Assistant / Elementary Tutor A full year commitment to assist weekly at an RMS after-school rehearsal. Assist the conductor with many different tasks including finding music for students who forgot their music, basic instrument assistance, playing or singing with the ensemble, and other jobs as requested by the director. This position must be applied for, see your advisor for details

Equivalency recording in place of an Honors Ensemble Audition If you are a dedicated Honors Music student, but maybe not ready for a competitive audition you may do a recording of the audition piece and submit that recording for a Tier Two requirement (per advisor approval).

36 TIER THREE (CHOOSE ONE)

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

PLEASE NOTE: ALL STUDENTS MUST PERFORM REPERTOIRE THAT HAS NOT BEEN STUDIED PRIOR TO SECOND SEMESTER OF THIS SCHOOL YEAR.

Faculty jury . Repertoire will be selected with guidance of advisor as per the timeline. . Jury – Solo pieces(s) (1 for Instrumental / 2 for Vocal) to be performed live for music faculty. Approximately 5 minutes of music total.

Recital . Repertoire will be selected with guidance of advisor as per the timeline. . Student will schedule guided practice sessions with accompanist. STUDENT WILL HIRE AND PAY ACCOMPANIST (a list of accompanists will be provided). STUDENT IS RESPONSIBLE FOR SCHEDULING REHEARSALS. If hiring an accompanist is not financially viable, the student may select unaccompanied music for the recital. . Musical Selection(s) with background research and program notes. Performance will be in an evening recital. 5 - 10 minutes of music.

37 (Tier Three information continued on next page)

Vocal Honors Students:

 Memorization. o All vocal performance assessments, juries, and recitals are to be sung from memory. o If music is used for one piece, the grade will drop one full grade. Example: An A- would become a B- if music were used. o For recitals and juries, if music is used for both pieces, the grade will be lowered two full grades. Example: An A- would become a C- if music were used.

 Language Sequence Year January Assessment Jury or Recital First Year Latin or Italian Latin or Italian English* Second Italian Fourth Language English* Year Third Year Any previous Fifth Language English* language (not English) *Seniors may sing a musical theatre piece for their Jury or Recital as their English- language work.

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

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OR

Faculty-guided interdisciplinary research paper Student must be enrolled in AP or Honors English “English Research Paper Requirements” guidelines must be followed

RANDOLPH HIGH SCHOOL MUSIC DEPARTMENT Honors Program Timeline

October Meeting with your advisor to discuss/finalize plans for fulfilling requirements in Tiers 2 and 3. Discuss concert assignment First journal entries due

November Meeting with advisor Discuss plans for concert assignment Journal entries due Performance assessment piece is selected. Students must bring proposed piece(s) and photocopy for the portfolio to meeting. 1st guided outside reading and summary due. Controlling idea/Thesis Statement due for interdisciplinary research paper (if applicable)

39 December Meeting with advisor Journal entries due 2nd guided outside reading and summary due Note cards and source cards due for interdisciplinary research paper (if applicable)

January Meet with advisor for the PERFORMANCE ASSESSMENT (JURY/RECITAL OPTION WILL BE DETERMINED BY ADVISOR) **Honors Equivalency Recording (if applicable) due the first Monday in January that school is in session 1st concert assignment and summary due Outline for interdisciplinary research paper due (if applicable) **NO JOURNAL ENTRIES ARE DUE

February Meeting with advisor Journal entries due 3rd guided outside reading and summary due Jury/Recital piece selected (student brings proposed selections to the meeting) Interdisciplinary research paper rough draft due (if applicable)

March Meeting with advisor Journal entries due Jury/Recital piece(s) finalized and copy of music placed in student portfolio *Include typed list of repertoire with movements (number and name) and composers in performance order – put your name on this list. *MOVEMENTS BEING PERFORMED MUST BE CLEARLY IDENTIFIED! *Include the name and phone number or email of your accompanist (recital students only) Recital students – play recital piece(s) for advisor. Interdisciplinary research paper rough draft revisions due (if applicable)

40 April Meeting with advisor 4th guided outside reading and summary due **NO JOURNAL ENTRIES DUE May Meeting with advisor Journal Entries Due 2nd concert assignment and summary due

June NO MEETING WITH ADVISOR Recitals and juries to be performed throughout June Interdisciplinary research paper due (if applicable) ** NO JOURNAL ENTRIES DUE

**JURY/RECITAL MUSIC MUST BE DIFFERENT REPERTOIRE FROM JANUARY ASSESSMENT Recital date/time is on the District Calendar, the juries will be scheduled by the faculty during the students’ lunch periods.

***STUDENTS: Please be advised that any failure to fulfill your obligations and commitments within the timeline will result in the lowering of your orchestra, band or choir grade.  See Grading Rubric  Articles must be pre-approved one month prior to meeting when it is due  Concerts must be pre-approved one month prior to meeting when it is due and cannot be in-school concerts provided by music department

Honors Music Grading Rubric 2015-2016

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Honors Music students receive a monthly Honors grade in addition to the weekly ensemble grades. The grading criteria for Honors work submissions are listed below.

Grade Criteria - Attended meeting on scheduled date A+ / A / A- - All work is submitted on time - All work is of high quality

- Attended meeting - All work is submitted, but some of the work is not of high quality B+ / B / B- OR - Attended meeting - Submitted work is of high quality, but some of the work is not submitted on time

- Attended meeting - All work is submitted and is of average quality

C+ / C / C- OR - Attended meeting - Submitted work is of average quality, but some of the work is not submitted on time

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

42 D+ / D / D- OR - Attended meeting - Submitted work shows a lack of serious effort and some of the work is not submitted on time

- Did not attend scheduled meeting OR F - Scheduled and attended meeting, but no work is submitted OR - Failure to turn in performance recording or to complete a jury/recital

* Forgetting to attend a scheduled meeting or failing to reschedule a meeting if absent on the day of a meeting=1 full letter grade lower than the grade earned according to the criteria above (i.e. A to B) * Failure to get article or concert approved = Student must select another article/concert and receive approval before summarizing in order to receive credit for the assignment. * Missing work not submitted within 1 week of the meeting = F for the month’s grade.

Sample Journal Entries

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

Due at your OCTOBER meeting: How will the self motivation and discipline requirements of the honors music program benefit you? In what ways? How can this be applied to other disciplines of your education at Randolph High School?

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

Due at your DECEMBER meeting: Research/write about your Jury selection and include background information about the composer, piece(s), style, genre and relate it to the historical context.

No JANUARY Journal Entries Required Mid-Year Performance Assessment

Due at your FEBRUARY meeting: Why do think the requirement for seeing and hearing professional musical ensembles and/or soloists is such an important part of the honors music program? How does this benefit you as a musician?

Due at your MARCH meeting: Describe what role your voice/instrument plays in your performing ensemble and relate to your own life experience; how you see yourself fitting into different situations.

No APRIL Journals Entries Required

Due at your MAY meeting:

44 Submit research on chosen Recital or Jury repertoire and composer.

No JUNE Journal Entries Required

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