Greenwich Music Objectives Grades 9-12 -- Chorus

Elements and Styles Proficient Student 1. Learns and performs music of various composers and of varying styles (*6a) 2. Identifies which voice parts contain melody at any given time (*6a) 3. Demonstrates knowledge of basic rhythm/tempo terminology (i.e. adagio, andante, allegro, moderato, accelerando, rallentando, ritardando and tie) (*6b) 4. Demonstrates knowledge of basic dynamic terminology (i.e. pianissimo, piano, mezzo- piano, mezzo-forte, forte, fortissimo, crescendo and diminuendo) (*6b) 5. Demonstrates knowledge of expression terms (i.e. accent, staccato and legato) (*6b) 6. Demonstrates knowledge of formal structure (i.e. barlines, repeat signs, D.C., D.S. and coda) (*6b) 7. Aurally identifies the tonality (major or minor) of a work (*6c) 8. Aurally identifies any and all instruments used in a recorded performance (*6c) 9. Aurally identifies the meter (simple or compound) of a recorded example (*6c) Advanced Student 1. Describes in detail four significant events in a work such as Handel’s Hallelujah Chorus or another piece the choir is singing (*6d) 2. Uses technical vocabulary to explain the importance of these events in unifying and varying the composition (*6d) 3. Gives examples which parallel these events in other pieces they are singing (or have sung) (*6d) 4. Compares and contrasts various works they are singing, describing similarities and differences using musical terminology (*6e) 5. Analyzes and discusses pieces being prepared for performance using appropriate and sophisticated musical terminology (*6f) 6. Describes how a musical climax is achieved in three pieces of contrasting style (*6f)

Notation Proficient Student 1. Identifies the staff containing their voice part from a system which includes up to four voice parts and a grand staff for piano accompaniment (*5a) 2. Performs at sight rhythms (using neutral syllables) in 2/4, 3/4, 4/4 meter using note values of whole, half, quarter and eighth notes at a tempo of quarter note = 72 beats per minute (*5a) 3. Performs at sight step-wise diatonic pitches and diatonic intervals of M/m3, P4, P5 and M6 (*5a) 4. Identifies lines and spaces of the appropriate clef (i.e. women: treble; men: treble (tenors) and bass (tenors and basses))(*5a) 5. Demonstrates the use of basic accidentals (i.e. sharp, flat and natural) (*5a) 6. Demonstrates knowledge of basic rhythm/tempo terminology (i.e. adagio, andante, allegro, moderato, accelerando, rallentando, ritardando and tie) (*5a) 7. Demonstrates knowledge of basic dynamic terminology (i.e. pianissimo, piano, mezzo- piano, mezzo-forte, forte, fortissimo, crescendo and diminuendo) (*5a) 8. Demonstrates knowledge of expression terminology (i.e. accent, staccato and legato) (*5a) 9. Demonstrates knowledge of formal structure (i.e. bar lines, repeat signs, D.C., D.S. and coda) (*5a) 10. Performs at sight one four-part choral composition with the difficulty of a church hymn daily (*5b) 11. Attempts to sing at sight all but the most difficult passages of the performance literature (*5b) 12. Identifies major key signatures up to three sharps and three flats (*5b) 13. Applies solfege syllables to all identified keys (*5b) Advanced Student 1. Identifies the staff containing their voice part from a system which includes up to eight voice parts and a grand staff for piano accompaniment (*5a) 2. Performs at sight rhythms (using neutral syllables) in 2/4, 3/4, 4/4, 3/8, 6/8, 9/8, 12/8 and 2/2 meter using note values of whole, half, quarter, eighth and sixteenth notes at a tempo of quarter note = 72 beats per minute (*5a) 3. Performs at sight dotted quarter notes when paired with an eighth note and dotted eighth notes when paired with a sixteenth note (*5a) 4. Performs at sight step-wise diatonic pitches and all diatonic intervals (*5a) 5. Identifies lines and spaces of treble and bass clefs up to two ledger lines above and below (*5a) 6. Demonstrates the use of all accidentals (i.e. sharp, flat, natural, double sharp and double flat) (*5a) 7. Demonstrates knowledge of all rhythm/tempo terminology (i.e. adagio, allegro, andante, moderato, largo, lento, presto, accelerando, rallentando, ritardando, dot, tie, hemiola, triplet and duplet) (*5a) 8. Demonstrates knowledge of all dynamic terminology (i.e. pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo, crescendo, diminuendo, and sforzando) (*5a) 9. Demonstrates knowledge of expression terminology (i.e. accent, staccato, legato. marcato, maestoso and dolce) (*5a) 10. Demonstrates knowledge of formal structure (i.e. bar lines, repeat signs, D.C., D.S. and coda) and basic forms (binary, tenary and rondo) (*5a) 11. Performs at sight one four-part choral composition with the difficulty of a Bach Chorale daily (*5e) 12. Attempts to sing at sight all of the performance literature (*5e) 13. Identifies all major key signatures (*5e) 14. Identifies minor key signatures up to three flats and three sharps (*5e) 15. Applies solfege syllables to all identified keys (*5e)

Vocal Performance Proficient Student 1. Matches pitch, using as a source either a piano or another student(s) (*1a) 2. Demonstrates an awareness of, and acquires proficiency in the use of, diaphragmatic breathing techniques (*1a) 3. Demonstrates proper standing and sitting posture (*1a) 4. Demonstrates an awareness of, and acquires proficiency in the use of, basic rounded vowel concepts, specifically and most importantly, “aw” as opposed to “ah” (*1a) 5. Demonstrates an awareness of, and acquire proficiency in the use of various appropriate registers; female students will understand the “head voice”, and use it at all times unless excessively low; male students will understand the “falsetto” concept, utilizing it when necessary for range or dynamic purposes (*1a) 6. Demonstrates and gains confidence in the use of one of the following vocal ranges: Soprano: a - c3 Alto: f - g2 Tenor: c - g1 Baritone/Bass: G-e1 (*1a) 7. Sings a varied repertoire of classical choral literature representing master composers from significant historical periods (renaissance, baroque, classical, romantic and 20th century) (see Appendix) (*1a) 8. Sings a varied repertoire of non-classical choral literature from musically valid popular genres (Broadway, film, jazz, patriotic) (see Appendix) (*1a) 9. Demonstrates an awareness of and beginning proficiency in the use of distinctive stylistic choices befitting different genres and historical periods. (*1a) 10. Demonstrates musical independence by singing one’s choral part alone or as part of a quartet (*1a) 11. Sings at least one selection per concert in a language other than English (*1a) 12. Demonstrates articulation of sixteenth notes at a metronome marking of 60 quarter notes per minute (*1a) 13. Performs, as a member of Chorale or Concert Choir, in at least four annual concerts and in an appropriate adjudication setting (*1a, *1b, *1c) 14. Aurally discriminates more than one vocal part (*1b) 15. Visually identifies a specific voice part in a system (*1b) 16. Consistently remains on a harmony part without “drifting” to the melody (*1b) 17. Understands the concept of, and aurally identifies, roots, thirds, and fifths of major and minor chords (*1b) 18. Sings at least one a cappella piece in each concert, maintaining the original key within one half-step see (Appendix) (*1b) 19. Sings his or her part on rhythmic syllables (*1c) 20. Demonstrates the ability to hear, and tune to, a different pitch while singing their own pitch (*1c) 21. Maintains appropriate sectional balance within the ensemble (*1c) 22. Maintains appropriate blend within the ensemble section (*1c) 23. Demonstrates awareness of basic conducting gestures (*1c) 24. Demonstrates an internal beat, with first-level subdivisions (*1c) 25. Matches the internal beat to the conductor’s beat (*1c) 26. Demonstrates appropriate rehearsal discipline while providing encouragement for other students’ efforts (*1c) Advanced Student 1. Matches pitch, using as a source either a piano or another student(s) (*1d) 2. Demonstrates an awareness of, and acquires proficiency in the use of, diaphragmatic breathing techniques (*1d) 3. Demonstrates proper standing and sitting posture (*1d) 4. Demonstrates an awareness of, and acquires proficiency in the use of, basic rounded vowel concepts, specifically and most importantly, “aw” as opposed to “ah” (*1d) 5. Demonstrates an awareness of, and acquires proficiency in the use of, rounded vowel concepts using the five basic Latin vowel sounds (aw, eh, ih, oh, oo) (*1d) 6. Demonstrates an awareness of, and acquires proficiency in the use of various appropriate registers; female students will understand the “head voice”, and use it at all times unless excessively low; male students will understand the “falsetto” concept, utilizing it when necessary for range or dynamic purposes (*1d) 7. Demonstrates, and gains confidence in the use of, one of the following vocal ranges: Soprano: a - e3 Alto: f - c2 Tenor: c - a1 Baritone/Bass: F-e1 (*1d) 8. Sings a varied repertoire of classical choral literature representing master composers from significant historical periods (renaissance, baroque, classical, romantic and 20th century) with an emphasis on advanced harmonic language and rhythm (see Appendix) (*1d) 9. Sings a varied repertoire of non-classical choral literature from musically valid popular genres (Broadway, film, jazz, patriotic) (see Appendix) (*1d) 10. Demonstrates musical independence by singing one’s choral part alone or as part of a quartet (*1d) 11. Demonstrates articulation of sixteenth notes at a metronome marking of 88 quarter notes per minute (*1d) 12. Performs as a member of Chamber Singers, Witchmen or Madrigals in at least four annual concerts, additional civic or community service events, and in an appropriate adjudication setting (*1d, *1e) 13. Aurally discriminates more than one vocal part, in a texture up to and sometimes beyond eight parts (*1e) 14. Visually identifies a specific voice part in a system (*1e) 15. Consistently remains on a harmony part without “drifting” to the melody (*1e) 16. Understands the concept of, and aurally identifies, roots, thirds, and fifths of major, minor, augmented and diminished chords (*1e) 17. Understands the concept of, and aurally identifies, dominant seventh chords, including chordal seventh and leading tone tendencies (*1e) 18. Sings their voice part alone and as a member of a quintet, sextet (*1e) 19. Sings programs comprised of mostly a cappella literature with little or no key drift (see Appendix) (*1e) 20. Achieves full independence regardless of the number of voice parts (*1f) 21. Demonstrates the ability to hear their part as a piece of the overall musical context tuning, balancing and blending as appropriate (*1f) 22. Demonstrates an internal beat, with first and second-level subdivisions (*1f) 23. Adapts and adjusts to the tempi and breathing of the other singers (*1f) 24. Demonstrates appropriate musical sensitivity to phrasing and dynamics without a conductor (*1f) 25. Demonstrates all of the above in required and regular quartet performances in class (*1f)

Instrumental Performance Proficient Student 1. Performs on percussion or simple melody instruments, in small ensembles with more than one student on a part, up to level 4 music, demonstrating well-developed ensemble skills and good posture and playing position (*2b) 2. Plays rhythm instruments with select choral pieces (*2b) 3. Plays their part on keyboard instruments or recorder with good posture and playing position (*2b) Advanced Student 1. Performs on percussion or simple melody instruments, small ensembles with one student on a part, level 3 music, demonstrating well-developed ensemble skills and good posture and playing position (*2c) 2. Performs keyboard or another harmonic/accompaniment instrument, in small ensembles with one student per part, up to level 5 music (*2b) 3. Plays a selected melody, from the choral literature, on a keyboard instrument or through loading that data onto a sequencer (*2b) 4. Plays their part on keyboard instruments or recorder with good posture and playing position (*2b) 5. Records an instrument representing their vocal part using a MIDI lab (*2d)

Improvisation Proficient Student 1. Improvises harmonies to well-known songs (e.g. Happy Birthday, Star-Spangled Banner, etc.) (*3a) 2. Executes basic “voice leading” from one chord tone to the nearest new chord tone when given a chord progression on the piano (*3a) 3. Demonstrates an awareness of parallel third and sixth harmonies (*3a) 4. Recognizes and sings roots, thirds and fifths of major and minor chords (*3a) 5. Imitates the melody of a composition using rhythmic and melodic material (*3b) 6. Creates melodies over a harmonic setting of Tonic, Subdominant, and Dominant chords using a neutral syllable when given the “blues” scale (*3b, *3c) Advanced Student 1. Improvises harmonies to well-known songs (e.g. Happy Birthday, Star-Spangled Banner, etc.) (*3d) 2. Executes basic “voice leading” from one chord tone to the nearest new chord tone when given a chord progression on the piano (*3d) 3. Demonstrates an awareness of parallel third and sixth harmonies (*3d) 4. Demonstrates an awareness of the use of non-functional color tones (sixths, sevenths, ninths) (*3d) 5. Demonstrates appropriate usage of non-chord tones (e.g. passing tones, appoggiaturas and suspensions) (*3d) 6. Recognizes and sing roots, thirds and fifths of major and minor chords (*3d) 7. Recognizes and sing roots, thirds and fifths and sevenths of dominant seventh and minor- minor seventh (*3d) 8. Sings simultaneous spontaneous melodies, using solfege and using only chord tones and passing tones, over a given chord progression played on the piano (*3e) 9. Uses rudimentary “scat” syllables (*3e)

Composition Proficient and Advanced Student 1. Has the opportunity to arrange a song of their choice for as many as four voice parts with a possibility of performance by a school ensemble (*4b) 2. Has the opportunity to accompany one or more choruses as part of an instrumental combo playing an original student arrangement (*4c) Evaluation Proficient Student 1. Learns the standard criteria, as used in adjudication festivals, for evaluating their own work (*7a) 2. Compares and contrasts their own performances, using concert audio tapes, to one or more other performances, including those of professional ensembles (*7a) 3. Reflects upon rehearsals using student-designed criteria and identifies improvements (*7a) 4. Evaluates the ensemble’s concert recordings in light of earlier performances, taking note of improvements and continued shortcomings (*7a) 5. Uses positive comments and constructive criticism when discussing performances (*7a) 6. Attends concerts in the Connecticut/New York City metropolitan area (*7a) 7. Compares and contrasts their own performances, using concert audio tapes, to one or more other performances, including those of professional ensembles (*7b) 8. Attends an adjudicated festival for performance evaluation and will review and discuss the adjudicator’s written and verbal comments (*7b) 9. Identifies strengths and weaknesses of a recently taped concert performance (*7b) 10. Discusses specific successes and failures in a performance in light of the goals set forth in the rehearsal process (*7b) 11. Records and subsequently dissect, in a manner similar to the above, daily rehearsals (*7b) 12. Discusses the strengths and weaknesses of a printed edition or arrangement in comparison to other relevant works in the ensemble’s repertoire (*7b) 13. Discusses and suggest proposed concert order(s) (*7b) 14. Discusses musical decisions made by the director which affected the outcome of the performance (*7b) Advanced Student 1. Attends concerts in the Connecticut/New York City metropolitan area (*7a) 2. Describes their reactions to a piece after listening to it or performing it (*7c) 3. Evaluates the musical means through which their reaction was provoked (*7c)

Connections Proficient Student 1. Compares and contrasts music of any given historical period with visual art of the same era (*8a) 2. Discusses artistic process such as imagination, planning and craftsmanship (*8a) 3. Discusses organizational principles such as unity and variety or repetition and contrast (*8a) 4. Identifies how music and art of a particular era reflect the social and political attitudes of the time (*8b) 5. Identifies the music elements in a given piece that influenced the dances of the same period, and vice versa (*8b) 6. Compares music and works of art from the Baroque era (*8b) 7. Compares and contrast the images, feelings and meanings conveyed by music and literature (*8c) 8. Demonstrates the physical properties of tone production in string, wind, percussion and electronic instruments as well as the human voice (*8c) 9. Experiments with synthesizers to generate various waveforms and describe the use of overtones in the role of shaping timbre (*8c) 10. Discusses and identifies the health issues involved in music (e.g. performance anxiety, music for relaxation, vocal cords and nodes, carpal tunnel syndrome) (*8c) Advanced Student 1. Identifies how music and art of a particular era reflect the social and political attitudes of the time (*8a) 2. Describes the similarities and differences between an audition and an interview (*8e) 3. Discusses the relative visibility of a musician compared to a painter or sculptor (*8e) 4. Compares and contrasts the ever-changing aspects of a music performance to the static presentation of a visual art piece (*8e)

History and Cultures Proficient Student 1. Classifies each of the compositions they have performed/studied by stylistic period and identifying stylistic characteristics within the music (*9a) 2. Performs representative works by major composers of American jazz, Broadway, barbershop and patriotic music (see Appendix) (*9b) 3. Is encouraged to seek leadership roles including student conducting, section leading, library manager, stage manager, lighting, sound and/or recording engineer (*9c) Advanced Student 1. Identifies the musical characteristics of a given historical period by citing examples in relevant musical works (*9d) 2. Identifies the cultural source of the repertoire being performed, discussing relevant historical conditions which have resulted in the particular musical style (*9e)

APPENDIX SELECTED REPERTOIRE LIST (* = a cappella) Renaissance - Madrigal Adieu, Sweet Amaryllis* John Wilbye All Creatures Now* John Bennet All Ye Who Music Love* Baldassare Donato April Is In My Mistress’ Face* Thomas Morley Come Again Sweet Love* John Dowland Ecco Mormorar L’Onde* Claudio Monteverdi Fair Phyllis I Saw* John Farmer Fa Una Canzona* Orazio Vecchi Fire, Fire, My Heart* Thomas Morley Matona Lovely Maiden* Orlando di Lasso Mon coeur se Recommande á vous* Orlando di Lasso My Bonnie Lass She Smileth* Thomas Morley Now Is the Month of Maying* Thomas Morley O Occhi Manza Mia* Orlando di Lasso Sing We and Chant It* Thomas Morley Silver Swan, The* Orlando Gibbons Weep O Mine Eyes* John Bennet Renaissance - Motet Ave Maria* Tomas Luis de Victoria Ave Verum Corpus* William Byrd Cantate Domino* Giovanni Croce Cantate Domino* Hans Leo Hassler Cantate Domino* Giuseppe Pitoni O Magnum Mysterium* Tomas Luis de Victoria O Vos Omnes* Tomas Luis de Victoria Plorans Plorabit* William Byrd Sacerdotes Domini* William Byrd Sicut Cervus* Giovanni Palestrina Baroque Crucifixus* Antonio Lotti Gloria Antonio Vivaldi Glory To God In The Highest Giovanni Battista Pergolesi Hallelujah George Frederic Handel Hallelujah, Amen George Frederic Handel In These Delightful, Pleasant Groves* Henry Purcell Magnificat Giovanni Battista Pergolesi Sicut Locutus Est Johann Sebastian Bach Suscepit Israel Johann Sebastian Bach Classical Agnus Dei (from k. 125) Wolfgang Amadeus Mozart Ave Verum Corpus, k. 618 Wolfgang Amadeus Mozart Abendlied Zu Gott Franz Joseph Haydn Laudate Dominum (from k. 339) Wolfgang Amadeus Mozart Laudate Pueri (from k. 339) Wolfgang Amadeus Mozart Hallelujah (Mount of Olives) Ludwig van Beethoven Heavens Are Telling, The (The Creation) Franz Joseph Haydn Mass in G Major Franz Schubert Requiem Wolfgang Amadeus Mozart Romantic Ave Maria* Anton Bruckner Ave Maria* Giuseppe Verdi Die Nachtigall* Felix Mendelssohn Heilig* Felix Mendelssohn He, Watching Over Israel (Elijah) Felix Mendelssohn How Lovely Is Thy Dwelling Place Johannes Brahms Locus Iste* Anton Bruckner Richte Mich, Gott* Felix Mendelssohn Va Pensiero (Nabucco) Giuseppe Verdi 20th Century Alleluia* Randall Thompson As Torrents in Summer* Edward Elgar Ave Maria* Franz Biebl Beati Quorum Via* Charles Villiers Stanford Best of Rooms, The* Randall Thompson Blow, Blow, Thou Winter Wind John Rutter Calme des Nuits* Camille Saint-Saëns Cantique de Jean Racine Gabriel Fauré Ceremony of Carols, A Benjamin Britten Ching-a-Ring Chaw Aaron Copland Choose Something Like a Star Randall Thompson Dirait-on Morten Lauridsen Flower of Beauty* John Clements I Love My Love* Gustav Holst It Is Good To Be Merry* Jean Berger La Biche* Paul Hindemith Last Words of David, The Randall Thompson Madame Jeannette* Alan Murray Notre Pere* Maurice Duruflé Rest* Ralph Vaughan Williams Road Not Taken, The* Randall Thompson Set Me As A Seal* Rene Clausen Snow, The Edward Elgar Sure On This Shining Night Samuel Barber Sweet Day* Ralph Vaughan Williams Trois Chansons* Claude Debussy White Horses Gwyneth Walker Folk Song/Patriotic/Spiritual Ain’-a That Good News* William Dawson Battle Hymn of the Republic arr. Peter Wilhousky Danny Boy arr. Carl Strommen Danny Boy* arr. Joseph Flummerfelt Deep River* arr. Roy Ringwald Erev Shel Shoshanim Jack Klebanow Evening Song* Zoltan Kodaly Every Time I Feel The Spirit* William Dawson Ezekiel Saw De Wheel* William Dawson Give Me Your Tired, Your Poor Irving Berlin, arr. Ringwald God Bless America Irving Berlin, arr. Ringwald Johnny Has Gone For a Soldier* arr. Shaw-Parker Let Me Fly* Robert DeCormier Loch Lomond* Ralph Vaughan Williams My Sweetheart’s Like Venus* Gustav Holst Poor Man Lazrus* Jester Hairston Ride The Chariot* William Henry Smith Shenandoah* arr. Marshall Bartholomew Shenandoah* arr. James Erb Shut De Do* Randy Stonehill, arr. Hayes Soon-ah Will Be Done* William Dawson Song For The Mira Allister MacGillivray South African Trilogy, A* arr. Stephan P. Barnicle There Is A Balm In Gilead* William Dawson Witness* Jack Halloran Broadway/Movie/Popular All The Things You Are* Kern & Hammerstein, arr. K. Shaw Beauty and the Beast, medley Ashman & Menken, arr. Emerson Boogie Woogie Bugle Boy Raye & Prince, arr. Metis Can’t Help Lovin’ That Man (Show Boat) Kern & Hammerstein, arr. K. Shaw Climb Ev’ry Mountain Rodgers & Hammerstein, arr. Smith Colors of the Wind (Pocahontas) Menken & Schwartz, arr. Huff Hold On (The Secret Garden) Norman & Simon, arr. Lojeski Hunchback of Notre Dame, The, medley Menken & Schwartz, arr. Lojeski If Ever I Would Leave You (Camelot)* Lerner & Loewe, arr. K. Shaw If I Loved You (Carousel)* Rodgers & Hammerstein, arr. K. Shaw I’ll Be Seeing You Kahal & Fain, arr. Spevacek Les Miserables, medley Boublil & Schonberg, arr. Lojeski Make Our Garden Grow (Candide) Leonard Bernstein, arr. Page Man I Love, The G. & I. Gershwin, arr. K. Shaw My Funny Valentine* Rodgers & Hart, arr. K. Shaw Nightingale Sang in Berkeley Square, A* arr. Gene Puerling One Day More (Les Miserables) Boublil & Schonberg One Voice Barry Manilow, arr. Brymer Our Time (Merrily We Roll Along) Stephen Sondheim, arr. Moore Part of Your World (Little Mermaid) Ashman & Menken, arr. Eilers Phantom of the Opera, medley Andrew Lloyd Webber, arr. Lojeski Ragtime, medley Ahrens & Flaherty, arr. Funk Rhythm of Life (Sweet Charity) Coleman & Fields, arr. Barnes Send In the Clowns (Little Night Music) Stephen Sondheim, arr. Beadell Someone to Watch Over Me G. & I. Gershwin, arr. K. Shaw Song for the Asking* Paul Simon, arr. Azelton Stairway to Heaven Page & Plant, arr. Gargaro Sun and Moon (Miss Saigon) Boublil & Schonberg, arr. Huff Sunday (Sunday in the Park...) Stephen Sondheim, arr. McKibbins Try To Remember (The Fantasticks)* Jones & Schmidt, arr. Zegree Wheels of a Dream (Ragtime) Ahrens & Flaherty, arr. Leavitt Yesterday* Lennon & McCartney, arr. Huff You’ll Never Walk Alone (Carousel) Rodgers & Hammerstein, arr.Stickles