Concert Band Full-Year Curriculum

Eric Tinkler
Table of Contents

Table of Contents 2
Scope and Sequence 4
Music Selection 5
Course Description 6
Course Objectives 6

Program Goals 6
Fall Performance Overview 7
Fall Performance Sample Lesson Plan 11
Winter Performance Overview 13
Winter Performance Sample Lesson Plan 17
Spring Performance Overview 19
Spring Performance Sample Lesson Plan 22
Spring Festival Performance Overview 24
Spring Festival Performance Overview 27
Scope and Sequence

Fall Winter Spring Contest

Performance Performance Performance Performance
Magic City Spirit of Across the Americans We
Rhythm Fanfare Orpheus Great Plains

A Childhood Herald the First Suite in First Suite in

Melody Hymn Holidays Eb Eb

Four Winds Be Still My Soul Where the First Suite in

Harmony Overture Black Hawk Eb
Soars
Four Winds Celebration Americans Americans We
Overture We/Where the
Texture
Black Hawk
Soars
Magic City Be Still My Soul Across the Americans We
Timbre Fanfare Great Plains

Black Watch Spirit of First Suite in First Suite in

Form March Orpheus Eb Eb

A Childhood Spirit of Americans We Americans We

Musical Hymn Orpheus
Expression
Music Selection
Purple Box​: The piece can be tied to historical contexts and periods.
Green Box​: The piece represents a different culture.

Opener Ballad Major Work Closer/March

Fall Magic City A Childhood Four Winds Black Watch

Performance Fanfare - Gary Hymn - David Overture - March - Claude
Fagan Holsinger Robert Sheldon T. Smith

Winter Celebration - Be Still My Soul The Spirit of Herald the

Performance Randall - Jean Orpheus - Holidays -
Standridge Sibelius/arr. Robert Smith Robert Smith
Swearingen

Spring Across the Great Where the Black First Suite in Eb Americans We -
Performance Plains - William Hawk Soars - - Gustav Holst Henry Fillmore
Owens Robert Smith

Festival First Suite in Eb Americans We -

Performance - Gustav Holst Henry Fillmore
Course Description
The Concert Band performs concerts throughout the school year as well as participates in
adjudicated contests. This course will focus on the development of musicianship, instrumental
technique, challenging music, listening skills, development of music literacy, and musical
independence.

Course Objectives
● Students will demonstrate their ability to sight-read by sight-reading a given etude
or excerpt with 80% accuracy of notes and rhythms.
● Students will demonstrate music theory knowledge through the performance of
scales (as determined by grade-level and instrument) with 95% accuracy.
● Students will identify and respond to intonation discrepancies 95% of the time.
● Students will perform a prepared, skill/instrument appropriate etude every two
weeks with 85% accuracy in notes, rhythms, and style.
● Students will evaluate individual and ensemble progress through weekly reflections
and performance evaluations.
● Students will demonstrate a good tone quality during rehearsals 95% of the time.
● Students will demonstrate proper rehearsal and performance etiquette, 100% of the
time.
● Students will perform music representative of a variety of cultures, composers and
time periods

Program Goals
● Display a high level of music literacy through the use of scale-work, the performance of
skill-appropriate music literature, learning & application of music theory, and
sight-reading.
● Students will be exposed to a variety of music representative of different periods,
cultures, and composers.
● Display technically proficient abilities on their respective instrument.
● Promote the development of life skills centered around group collaboration,
communication skills, self-accountability, and work ethic.
● Strive to make each year our best year yet.
● Value the process more than the final result.
● Have fun in learning, creating music, making friends, and forming lifelong memories
Fall Performance Overview

Opener Ballad Major Work Closer/March

Magic City A Childhood Four Winds Overture - Black Watch March -

Fanfare - Hymn - David Robert Sheldon Claude T. Smith
Gary Fagan Holsinger

Skills Addressed:

● Fundamentals
○ Scales (F, Bb, Eb, Ab)
○ Articulations
■ Marcato, Staccato, Legato, Accents
○ Breathing/Air Support
○ Intonation
○ Tone
● Music Literacy
○ Scales (F, Bb, Eb, Ab)
○ Rhythm Reading
■ Cut time
■ Time signature changes
■ Dotted-Eighth Sixteenth Rhythms
○ Practice Skills
■ Syncopation.
○ Music Reading
■ Key Signature Changes
■ Accidentals
○ Sight Reading
● Ensemble Performance
○ Ensemble listening
○ Melody identification
 ○ Balance/Blend
○ Vertical & Horizontal Alignment
● Individual Performance
Repertoire:
● Bach Chorales
● Magic City Fanfare
○ Opener/Fanfare
● A Childhood Hymn
○ Ballad
● 3, 2, 1…
○ Overture
● Black Watch March
○ March
○ Culture: Scottish/British March

Standards:
Each music rehearsal covers a multitude of national standards, not all will be listed but here are
some guiding standards for this unit.
● Create -
○ MU:Cr2.1.E.8a
○ MU:Cr2.1.E.Ia
● Perform -
○ MU:Pr4.2.E.5a
○ MU:Pr4.2.E.Ia
○ MU:Pr4.3.E.8a
○ MU:Pr4.3.E.Ia
● Respond -
○ MU:Re7.2.E.8a
○ MU:Re8.1.E.8a
○ MU:Re9.1.E.Ia
Rationale:
Starting off the year with music that is both attainable, but will begin to challenge the
students in certain areas is important to help the teacher evaluate the student’s knowledge that
was retained over the Summer, review any concepts that may need further instruction, and begin
to introduce higher-level concepts to stimulate positive growth. The pieces selected vary from
grade 2.5 - grade 3. Starting off the concert order is Gary Fagan’s ​Magic City Fanfare, t​ his piece
will provide a fun and memorable opener and will challenge students with its syncopated
rhythms, style shifts, and moving melody. The piece also sits in a comfortable range for all
instruments and with it in the key of F, provides a level of familiarity to provide students with
success right away. ​A Childhood Hymn​ by David Holsinger is designed to develop student’s
abilities to play in a slow, legato, and expressive style. I think this piece will provide a great tool
for the ensemble to familiarize themselves with each other. Students in this piece will be working
a lot on breathing, phrase shaping, and playing in a rubato style. To help students focus on these
objectives, the piece uses familiar keys of Bb and Eb and stays in a comfortable range. Robert
Sheldon’s ​Four Winds Overture ​will challenge students’ ears and a sense of playing in an
ensemble. This overture will task students with listening throughout the entire ensemble to
understand the various parts and how they fit in. With four distinct movements/styles, this piece
will also deepen students understanding of stylistic shifts in music and how it affects their
interpretations. Marches are an important part of the wind band tradition and ​Black Watch March
by Claude T. Smith will expose students to a Scottish/British style march. Students will be
presented with a variety of dynamics shifts, syncopated rhythms in cut time, and shifts between
tutti​ playing and ​solo/soli​ playing. Additionally, students will be taught about the form of this
particular march-style and compare it to familiar American marches.
Fall Performance Sample Lesson Plan

Objectives:
Students will analyze the dynamics, phrases, and musical context given in ​A Childhood
Hymn​ and discuss how these elements will affect their interpretation.

Students will perform appropriate musical phrasing within the context of​ t​ he piece, ​A
Childhood Hymn.

Students will evaluate if their musical performance, of a given excerpt from ​A Childhood
Hymn​, demonstrates appropriate musical phrasing in terms of dynamics, air support, and
articulation.

Materials:
● Bach Chorale #1
● A Childhood Hymn
● Practice Journals

Warm-up:
1. Students will begin class with stretching and breathing exercises.
2. After this, students will be asked to play a concert Bb scale (one octave) on half notes.
a. Prompt the students to pay special attention to your conducting and respond to
what they see.
b. Conduct the concert Bb scale several times, but each time provide a change in
dynamics, tempo, style, etc...
c. Repeat this exercise on the concert Eb scale.
3. Students will then pull out ​Bach Chorale #1 ​and perform a similar exercise as before with
the chorale.
a. After each performance, ask students how they felt about each interpretation.
i. “Did you like/dislike it?”
1. “Why?”
ii. “How do you think we should phrase it?”
1. “Why?”
4. Perform the tuning sequence and move into the piece.
A Childhood Hymn
1. Begin the piece and have students play through to measure 22.
a. Prior to starting, prompt the students to take notice of the listed dynamics and
other musical/phrase markings.
2. After the performance, ask the students about the musicality of their performance.
a. “How did we perform the dynamics?”
i. “What can we do better?”
b. “What other markings do you think should affect our interpretation?”
c. “How do we know where the phrases start and end?”
3. After students have evaluated their initial performance, have them perform the same
section once again, with their comments in mind.
4. Next, ask if a student who has the melody can play the melody how they think it should
be phrased.
a. After they play, have them discuss why they made the decisions they did.
b. Have the full ensemble play, using the student’s interpretation.
c. Then have the other students discuss what they heard and if it lines up
appropriately with the music.
i. *Be sure to foster a positive environment when using student feedback*
d. Repeat this a few times with different students performing.
e. Discuss how we can combine these interpretations into an appropriate
interpretation of the music.
5. Perform 1 - 22 with this consensus interpretation.
6. Use a similar process as steps 1-5 for other sections in the piece if time allows.

Assessment:
Students will be given the melody of ​A Childhood Hymn​ as a recording assignment (for the parts
without the melody, they will be given sheet music with the melody). They will record this
melody three times with various musical interpretations (with care given to the
dynamics/markings).

They will then respond to the following prompts in their journal:

● What did you use to influence your interpretation? (think in regards to what we talked
about in class and the dynamics and markings in the music)
● Which of your interpretations did you like the most? Why?

Students will turn in their answers to these prompts.

Winter Performance Overview

Opener Ballad Major Work Closer/Novelty

Celebration - Be Still My Soul - The Spirit of Orpheus - Herald the Holidays -

Randall Jean Sibelius/arr. Robert Smith Robert Smith
Standridge Swearingen

Skills Addressed:
● Fundamentals
○ Scales (F, Bb, Eb, Ab)
○ Articulations
■ Marcato, Staccato, Legato, Accents, Tenuto
○ Breathing/Air Support
○ Intonation
○ Tone
● Music Literacy
○ Scales (F, Bb, Eb, Ab)
○ Rhythm Reading
■ Slow Cut time
■ Out of meter rhythms (triplets, septuplets, etc…)
■ Syncopation
○ Music Reading
■ Key Signature Changes
■ Accidentals
○ Sight Reading
○ History - Jean Sibelius
○ Programmatic Music
● Ensemble Performance
○ Ensemble listening
○ Solo vs. Soli vs. Tutti
○ Style Shifts
 ○ Balance/Blend
○ Vertical & Horizontal Alignment
● Individual Performance
○ Practice Skills

Repertoire:
● Bach Chorales
● Sightreading 201 - Ed Huckaby
● Celebration - ​Randall Standridge
○ Opener/Fanfare
● Be Still My Soul​ - Sibelius/arr. Swearingen
○ Chorale
○ Historical connection - Sibelius
● Spirit of Orpheus​ - Robert W. Smith
○ Cultural connection - Ancient Greek Culture/Mythology
● Herald the Holidays​ - Robert W. Smith
○ Closer/Novelty
Standards:
Each music rehearsal covers a multitude of national standards, not all will be listed but here are
some guiding standards for this unit.
● Create
○ MU:Cr2.1.E.Ia
○ MU:Cr3.2.E.Ia
○ MU:Cr1.1.E.8a
● Perform
○ MU:Pr4.2.E.Ia
○ MU:Pr4.3.E.Ia
○ MU:Pr5.3.E.Ia
○ MU:Pr6.1.E.Ia
● Respond
○ MU:Re7.2.E.Ia
○ MU:Re8.1.E.Ia
Rationale:
Overall, the selections for the second concert block present a step up in terms of
repertoire. Along with some more difficult literature, students will be challenge to grow as a
complete ensemble through pieces that feature a variety of soloistic textures, unique harmonies
and independent rhythmic/melodic parts. Starting off, ​Celebration Fanfare​ by Randall
Standridge provides a fun, high energy opener that will challenge students in a multitude of
ways. With a fast tempo and highly syncopated rhythms, students will learn to better internalize
pulse and work towards better music literacy in rhythm readings. Additionally with a memorable
melodic line that moves between parts, students will be asked to be aware of their role in context
of the music. ​Be Still My Soul​ will present an opportunity to learn about the life and legacy of
composer, Jean Sibelius. In terms of the musical teaching opportunities, students will be
stretched in terms of their understanding of phrasing, dynamic contrast, style shifts and playing
with a full sound that is both in tune and in tone. This piece features a variety of solo parts and
uses antiphonal trumpets, which both will present their own unique challenges. Robert Smith’s
Spirit of Orpheus​ will prove to really push the students in the ensemble to grow as musicians, in
both technical abilities and musical abilities. This seven minute piece depicts the story of
Orpheus from the Greek legend and the melodic and rhythmic figures works toward telling this
story. The piece promotes part independence and strong individual musicianship through
staggering of the melodic lines and using dissonant harmonies throughout. Additionally there
will be technical challenges presented by faster rhythms and a large range used throughout. This
piece will also have students learn more about Greek Mythology and Ancient Greek culture. For
the finale, we end by featuring a variety of Christmas classics in Robert Smith’s ​Herald the
Holiday’s.​ This rousing, fanfare-esque piece will help develop the students’ ensemble awareness.
By moving the popular and recognizable melodies around in each instrument, this creates a
variety of fun textures and will let students finish the Winter concert block with some holiday
spirit!
Winter Performance Sample Lesson Plan

Objectives:
Students will perform the rhythm of Rhythm Sheet #1 with 100 % accuracy.

Students will sight-read measures 1-25 of ​Celebration Fanfare​ with accurate rhythms

Students will analyze how the melody and non-melodic figures line up rhythmically.

Students will identify variations of the main melody throughout the piece.

Materials:
● Bach Chorale #1
● Celebration - ​Randall Standridge
● Celebration​ Rhythm sheet

Warm-up
1. Students will begin class with stretching and breathing exercises.
2. To warm up playing, students will perform an F remington, and an Eb major scale.
3. Students will then play Bach Chroale #1 to warmup their ears and ensemble awareness.
4. Teacher will then pass out the rhythms sheets* for ​Celebration Fanfare
a. *​Rhythm sheet will consist of the main rhythmic figures found within the piece.
5. Teacher will turn on the metronome at QN = 120 and ask the students to count line
number 1.
a. Repeat this several times if needed or slow down tempo if class is struggling.
6. After counting, have students move to “sizzling” the same line.
a. Repeat this several times if needed or slow down tempo if class is struggling.
7. Finally have students play the line on their instruments (on a concert Bb or F).

Celebration Fanfare
1. Have students begin and play through measure 25.
a. Have a metronome going at QN = 120.
b. For now have the students play the solo’s as a soli for the section.
c. Prior to starting, prompt students to pay special attention to their rhythms and how
it all lines up.
2. Ask students what they noticed about the initial playthrough
a. “We’ve already played those rhythms!”
 b. T: “How do you think we played them compared to what we did with the rhythms
sheets?”
3. Play measures 1 - 25 again, with attention paid to the rhythm of the melody.
4. Let’s play again but this time I want just the melodic line to play and everyone else to
“sizzle” their part. Make sure that we are paying attention to the tempo and how it lines
up as a whole.
5. Now let’s switch it up! Melody, you will sizzle and play, and the non-melodic parts will
play!
6. Put it all together!
a. “What part is giving a constant pulse?”
i. Percussion/Mallets
ii. If no one can answer, have them play again and listen for it.
7. I think we can try this without the metronome! Make sure to listen to and internalize that
pulse!
8. If time allows, move on sight-read more of the piece.

Assessment:
1. Students’ at the end of rehearsal will be tasked with finding sections in the piece that
have the same rhythm or similar rhythmic foundations. Their assignment will be to record
one of these sections that they find, OR if they do not find a similar section in their part,
they will record them playing the rhythm sheet excerpt.
Spring Performance Overview

Opener Ballad Major Work Closer/Novelty

Across the Great Where the Black Hawk First Suite in Eb - Americans We -
Plains - William Soars - Robert Smith Gustav Holst Henry Fillmore
Owens

Skills Addressed:
● Fundamentals
○ Scales (F, Bb, Eb, Ab)
○ Articulations
■ Marcato, Staccato, Legato, Accents, Tenuto, Slur/Tongue patterns
○ Breathing/Air Support
○ Intonation
○ Tone
● Music Literacy
○ Scales (F, Bb, Eb, Ab, Db)
○ Rhythm Reading
■ ¾, 4/4, cut time,
■ Out of meter rhythms (triplets, septuplets, etc…)
■ Syncopation
○ Music Reading
○ Sight Reading
○ History - Gustav Holst/ Early Windband
○ History - Pony Express
○ Programmatic Music
○ Multi-movement Pieces
○ Theme and Variations.
○ American March Style
● Ensemble Performance
○ Ensemble listening
○ Solo vs. Soli vs. Tutti
 ○ Style Shifts
○ Balance/Blend
○ Vertical & Horizontal Alignment
● Individual Performance
○ Practice Skills

Repertoire:
● Bach Chorales
● Sightreading 201 - Ed Huckaby
● Across the Plains - William Owen
○ History - Pony Express/American West
○ Culture - Under represented composers
● Where the Black Hawk Soars - Robert Smith
● First Suite in Eb - Gustav Holst
○ History - Life and Music of Gustav Holst
○ History - Early Wind Band literature
● Americans We - Henry Fillmore
○ American March Style
Standards:
● Create
○ MU:Cr2.1.E.Ia
○ MU:Cr3.1.E.IIa
● Perform
○ MU:Pr4.1.E.IIa
○ MU:Pr4.3.E.IIa
○ MU:Pr5.3.E.IIa
○ MU:Pr6.1.E.IIa
● Respond
○ MU:Re9.1.E.Ia
○ MU:Re8.1.E.IIa
Rationale for Selection:
As students start the Spring semester, they will be tasked with challenging and diverse literature
that will push them to grow as musicians and prepare for the contest season. The students will be
presented a variety of challenging rhythms, melodic lines, tempos, musical interpretations
amongst various other challenging elements. Starting off, we dive into the ​Across the Plains​ by
William Owens. This piece will challenge students to be working with a metronome and become
accountable for their own pulse, with a lot of interlocking parts and a consistent tempo
throughout, students will work towards mastery of syncopated rhythms, various articulations and
being able to shift styles to reflect the story of the piece. This piece also presents an opportunity
to talk about under represented composers. Moving forward, we have a personal favorite piece of
mine, ​Where the Black Hawk Soars​ by Robert Smith. This will have students work on their
overall ensemble awareness as the main melodic figure moves throughout the ensemble.
Additionally, this piece serves as a great post-graduation ceremony processional! ​First Suite in
Eb​ by Gustav Holst is a piece that I believe every band student should have the opportunity to
play. This master-work is a staple of the wind band literature and provides a great opportunity to
talk about the history of the ensemble as well as talk about the great composer, Gustav Holst.
The piece itself presents a variety of unique challenges, such as the variety of different Themes
presented in the Chaconne. Part independence will be vital to the success of this piece and
students will be tasked with knowing their role in the entirety of the picture of the piece. Finally
Americans We​ is a fun and exciting march by Henry Fillmore that demonstrates the American
March style. With sharply contrasting dynamics and articulations throughout, this piece will have
students pay special attention to their musical interpretation.
Spring Performance Sample Lesson Plan

Objectives:
Students will demonstrate knowledge of contrasting dynamics and articulations present in
Americans We

Students will perform contracting dynamics and articulations with 90% accuracy in ​Americans
We

Students will evaluate ensemble performance of ​Americans We​ with focus on dynamics and
articulations.

Materials:
● Americans We - Henry Fillmore

Warm-up
1. Students will begin class with stretching and breathing exercises.
2. To warm up playing, students will perform an F remington, and an F and Eb major scale.
a. When playing the scales, prompt students to play with a certain dynamic or
articulation.
b. Then have students respond in real-time to your conducting pattern. While
playing these scales.

Americans We
1. Start off with a full run through of ​Americans We.​
a. Prompt students to be thinking about the dynamics and articulations performed by
the ensemble.
b. Teacher will record
2. Allow students to evaluate their performance.
a. “How did we play the dynamics?”
i. Too loud? Too soft? Too Mezzo-bleh?
b. “How did we do on playing with the correct articulations/style?
i. Overall pretty good? Bad? Good on some but bad on others?
c. “If you could give that performance a rating on a scale of 1 - 5 (1 being the
highest) what would you give it?”
i. Show of hands and then ask a few students to elaborate on their rating.
d. “What can we do to improve our overall performance?”
3. Start at the beginning and play through to the trio with the student comments in mind.
 a. Assess and evaluate.
b. Move on to next chunk if satisfactory (if not, provide suggestions and try again)
4. Play through the trio with focus on dynamics and articulations.
a. Assess and evaluate
i. “Can someone remind me what are key elements of a trio section in an
American march?”
ii. “How does that influence our performance?”
b. Move on to next chunk if satisfactory (if not, provide suggestions and try again)
5. Play from the dogfight through to the first ending.
a. Place a large emphasis on the transition from the dogfight into the first time
through at 87. (LOUD - soft).
b. “What marks a dogfight section?”
c. Assess and evaluate.
d. Move on to next chunk if satisfactory (if not, provide suggestions and try again)
6. Play through the dog fight (second time) to the ending.
a. Place a large emphasis on the transition from the dogfight into the second time
through at 87. (LOUD - LOUDER).
b. “Why would we play 87 to the end differently the second time?”
c. Assess and evaluate.
d. Move on to next chunk if satisfactory (if not, provide suggestions and try again)
7. One final run through of the piece to end the rehearsal.
a. Teacher will record

Assessment:
1. Students will compare their performance of ​Americans We​ at the beginning of class and
at the end of class. They will respond to several prompts in their journal and turn it in.

Prompts -
1. Listen to the first recording​, ​how would you evaluate the first recording on a scale of 1
- 10 (1 being the best). Provide a detailed reasoning.
2. Listen to the second recording, how would you evaluate the first recording on a scale
of 1 - 10 (1 being the best). Provide a detailed reasoning.
3. How do you think the emphasis on dynamics and articulations in the rehearsal
impacted the overall performance?
4. List three practice techniques you can use to work on dynamic contrast and/or
articulation styles. (these can be techniques or specific excerpts/exercises)
Spring Festival Performance Overview

Opener Ballad Major Work Closer/Novelty

First Suite in Eb mvt. 1 Americans We -

& 3 - Gustav Holst Henry Fillmore

Skills Addressed:
● Fundamentals
○ Scales (F, Bb, Eb, Ab)
○ Articulations
■ Marcato, Staccato, Legato, Accents, Tenuto, Slur/Tongue patterns
○ Breathing/Air Support
○ Intonation
○ Tone
● Music Literacy
○ Scales (F, Bb, Eb, Ab, Db)
○ Rhythm Reading
■ ¾, 4/4, cut time,
■ Out of meter rhythms (triplets, septuplets, etc…)
■ Syncopation
○ Music Reading
○ Sight Reading
○ History - Gustav Holst/ Early Windband
○ Programmatic Music
○ Multi-movement Pieces
○ Theme and Variations.
○ American March Style
● Ensemble Performance
○ Ensemble listening
○ Solo vs. Soli vs. Tutti
○ Style Shifts
○ Balance/Blend
 ○ Vertical & Horizontal Alignment
● Individual Performance
○ Practice Skills
Repertoire:
● Bach Chorales
● Sightreading 201
● Americans We - Henry Fillmore
○ American March Style
● First Suite in Eb - Gustav Holst
○ History - Holst
○ History - Early Wind-band Literature

Standards:
● Create
○ MU:Cr2.1.E.Ia
○ MU:Cr3.1.E.IIa
● Perform
○ MU:Pr4.1.E.IIa
○ MU:Pr4.3.E.IIa
○ MU:Pr5.3.E.IIa
○ MU:Pr6.1.E.IIa
● Respond
○ MU:Re9.1.E.Ia
○ MU:Re8.1.E.IIa
Rationale for Selection:
Both of these challenging pieces will allow the ensemble to showcase their abilities in contest.
First Suite in Eb​ is a piece that all the judges will know very well and this will mean that the
students must be prepared in their performance and accurate in their interpretation of the music.
Americans We​ will let the band demonstrate a mastery in dynamic contrasts and the American
March style. (​See the rationale for the Spring Performance for further info on both pieces).
Spring Festival Performance Overview
.
Objectives:
Students will perform both contest selections in their entirety.

Students will evaluate performance based on criteria given from the State Contest rubric.

Students will identify excerpts in the music that needs more work and assess what practice
techniques will help produce the desired results.

Materials:
● First Suite in Eb - Gustav Holst
● Americans We - Henry Fillmore

Warm-up
1. Before starting, allow students time to warm-up individually.
2. After you give a signal, have the principal clarinet step on the podium (with a tuner) and
begin the tuning sequence

Full Concert Run Through

1. Step on the podium and perform both contest pieces (​Holst ​then ​Fillmore).
a. Record this performance
2. After the performance, ask the students to provide comments on their performance.
a. “What rating, on a scale of 1 to 5 (1 being best), would you give yourself? Your
section? The ensemble?
b. “What went well?”
c. “What needs work?”
3. After the initial comments, pull up the State Contest rubric on the projector.
4. Go through each category and have students discuss where their performance would rate
in each section.
5. After this, ask if they identify certain sections that we need to work on in either piece.
6. Based on student comments, work on the suggested sections.

Assessment:
Students assessment will consist of the group evaluation of their performance.