PUBLIC SCHOOLS OF EDISON TOWNSHIP

DIVISION OF CURRICULUM AND INSTRUCTION

Wind Ensemble/Symphonic Band/Freshman Concert Band

Length of Course: Semester (Full Year)

Elective / Required: Elective

Schools: J.P. Stevens & Edison High School

Student Eligibility: Grade 9-12

Credit Value: 5 credits

Date Approved: September 24, 2012

Wind Ensemble/Symphonic Band/Freshman Concert Band 2

TABLE OF CONTENTS

Statement of Purpose -------------------------------------------------------------------------------- 3

Introduction --------------------------------------------------------------------------------------------- 4

Course Objectives ------------------------------------------------------------------------------------ 6

Unit 1: Musical Elements --------------------------------------------------------------------------- 7

Unit 2: Musical Expression ------------------------------------------------------------------------ 8

Unit 3: Musical Awareness ------------------------------------------------------------------------ 9

Unit 4: Musical Spontaneity ---------------------------------------------------------------------- 10

APPENDICES

A Performance Assessments
B Course Texts and Supplemental Materials
C Technology/Website References
D Arts Education Advocacy Resources
E Edison's Essential Instructional Behaviors;
Frameworks; NJCCCS
F Course Requirements

Modifications will be made to accommodate IEP mandates for classified students.

Wind Ensemble/Symphonic Band/Freshman Concert Band 3

STATEMENT OF PURPOSE

Music and Visual Arts are a significant and integral part of our culture. It is, therefore,
the responsibility of every visual art and music educator to help students become more
appreciative of all styles. It will contribute to the success of the students as we forge
ahead into the millennium.

The High School Band Program is passionate about providing a variety of opportunities
to its student musicians. Music is everywhere, in all nations and cultures, in all
segments of society, media, and nature. Whether it’s serving the community at local
tree-lightings, township parades, or competing at local and statewide festivals (concert,
marching & jazz), the students are dedicated to interacting with the world around them
as well as the person within.

Music is a natural form of expression of the human spirit that nourishes the mind, body,
and soul. Ever committed to a well-rounded music education, the High School Band
Program develops its students into well-rounded, innovative human beings.

Our school district provides an extensive arts program, which will enable students to
succeed and compete in the global marketplace using the New Jersey Core Curriculum
Content Standards in conjunction with the New Jersey Visual and Performing Arts
Curriculum Frameworks and technological exploration.

This curriculum guide was prepared by:

John Zazzali, John P. Stevens High School

Marc DeNicuolo, Edison High School

Coordinated by:

Robert Pispecky, Supervisor of Music and Visual Arts

Wind Ensemble/Symphonic Band/Freshman Concert Band 4

Introduction

The most precious resource teachers have is time. Regardless of how much time a
course is scheduled for, it is never enough to accomplish all that one would like.
Therefore, it is imperative that teachers utilize the time they have wisely in order to
maximize the potential for all students to achieve the desired learning.

High quality educational programs are characterized by clearly stated goals for student
learning, teachers who are well-informed and skilled in enabling students to reach those
goals, program designs that allow for continuous growth over the span of years of
instruction, and ways of measuring whether students are achieving program goals.

The Edison Township School District Curriculum Template

The Edison Township School District has embraced the backward-design model as the
foundation for all curriculum development for the educational program. When reviewing
curriculum documents and the Edison Township curriculum template, aspects of the
backward-design model will be found in the stated enduring understandings/essential
questions, unit assessments, and instructional activities. Familiarization with backward-
deign is critical to working effectively with Edison’s curriculum guides.

Guiding Principles: What is Backward Design? What is Understanding by

Design?

‘Backward design’ is an increasingly common approach to planning curriculum and

instruction. As its name implies, ‘backward design’ is based on defining clear goals,
providing acceptable evidence of having achieved those goals, and then working
‘backward’ to identify what actions need to be taken that will ensure that the gap
between the current status and the desired status is closed.

Building on the concept of backward design, Grant Wiggins and Jay McTighe (2005)
have developed a structured approach to planning programs, curriculum, and
instructional units. Their model asks educators to state goals; identify deep
understandings, pose essential questions, and specify clear evidence that goals,
understandings, and core learning have been achieved.

Program based on backward design use desired results to drive decisions. With this
design, there are questions to consider, such as: What should students understand,
know, and be able to do? What does it look like to meet those goals? What kind of
program will result in the outcomes stated? How will we know students have achieved
that result? What other kinds of evidence will tell us that we have a quality program?
These questions apply regardless of whether they are goals in program planning or
classroom instruction.

The backward design process involves three interrelated stages for developing an entire
curriculum or a single unit of instruction. The relationship from planning to curriculum
Wind Ensemble/Symphonic Band/Freshman Concert Band 5

design, development, and implementation hinges upon the integration of the following
three stages.

Stage I: Identifying Desired Results: Enduring understandings, essential questions,

knowledge and skills need to be woven into curriculum publications, documents,
standards, and scope and sequence materials. Enduring understandings identify the
“big ideas” that students will grapple with during the course of the unit. Essential
questions provide a unifying focus for the unit and students should be able to more
deeply and fully answer these questions as they proceed through the unit. Knowledge
and skills are the “stuff” upon which the understandings are built.

Stage II: Determining Acceptable Evidence: Varied types of evidence are specified to
ensure that students demonstrate attainment of desired results. While discrete
knowledge assessments (e.g.: multiple choice, fill-in-the-blank, short answer, etc…) will
be utilized during an instructional unit, the overall unit assessment is performance-
based and asks students to demonstrate that they have mastered the desired
understandings. These culminating (summative) assessments are authentic tasks that
students would likely encounter in the real-world after they leave school. They allow
students to demonstrate all that they have learned and can do. To demonstrate their
understandings students can explain, interpret, apply, provide critical and insightful
points of view, show empathy and/or evidence self-knowledge. Models of student
performance and clearly defined criteria (i.e.: rubrics) are provided to all students in
advance of starting work on the unit task.

Stage III: Designing Learning Activities: Instructional tasks, activities, and experiences
are aligned with stages one and two so that the desired results are obtained based on
the identified evidence or assessment tasks. Instructional activities and strategies are
considered only once stages one and two have been clearly explicated. Therefore,
congruence among all three stages can be ensured and teachers can make wise
instructional choices.

At the curricular level, these three stages are best realized as a fusion of research, best
practices, shared and sustained inquiry, consensus building, and initiative that involves
all stakeholders. In this design, administrators are instructional leaders who enable the
alignment between the curriculum and other key initiatives in their district or schools.
These leaders demonstrate a clear purpose and direction for the curriculum within their
school or district by providing support for implementation, opportunities for revision
through sustained and consistent professional development, initiating action research
activities, and collecting and evaluating materials to ensure alignment with the desired
results. Intrinsic to the success of curriculum is to show how it aligns with the
overarching goals of the district, how the document relates to district, state, or national
standards, what a high quality educational program looks like, and what excellent
teaching and learning looks like. Within education, success of the educational program
is realized through this blend of commitment and organizational direction.
Wind Ensemble/Symphonic Band/Freshman Concert Band 6

COURSE OBJECTIVES
Students will:

1. Further develop the linguistical value of music through a better understanding of

its variety of elements.
Rhythm
Melody
Harmony
Form
Color
National Standards: 1,2,3,4,5,6
NJCCS: 1.1.12.B.1; 1.3.12.B.1; 1.3.12.B.2; 1.4.12.A.2; 1.4.12.B.1
21st Century Skills: Learning & Innovation Skills

2. Nuture creativity through musical expression by eliciting aesthetic and

intellectual responses.
To utilize music as a form of communication, self-expression, and
creativity
To understand that music affects emotion
To express thoughts, ideas and emotions through a musical means
National Standards: 6,7,8,9
NJCCS: 1.1.12.B.2; 1.4.12.A.1; 1.4.12.A.3
21st Century Skills: Learning & Innovation Skills, Life & Career
3. Acquire an appreciation of music culture and musical awareness as it relates to
music history, ultimately promoting one’s relative responsibilities to their surroundings.
To create an awareness and appreciation of cultural diversity
To appreciate the historical context and social significance of music
To cultivate a lifelong support of the arts
Develop poise, self-confidence, leadership qualities and positive social
habits
To be able to identify quality musical performances through aesthetic and
intellectual understandings
National Standards: 8,9
NJCCS: 1.2.12.A.1; 1.2.12.A.2; 1.4.12.A.4; 1.4.12.B.3
21st Century Skills: Global awareness, civic literacy, Learning & Innovation
Skills, Life & Career Skills

4. Enhance the neurological process by activating more areas of the brain

simultaneously than any other endeavor, equipping students with a significant
advantage for intellectual development of musical spontaneity.
To utilize musical studies to enhance cognition in all disciplines
To create, interpret, listen, improvise, and perform music
To comprehend and translate musical notation into kinesthetic and aural
responses
To develop one’s mind to their fullest potential
National Standards: 3,4,5,6,7
NJCCS: 1.3.12.B.3; 1.3.12.B.4; 1.4.12.B.2
21st Century Skills: Learning & Innovation Skills, Life & Career Skills
Wind Ensemble/Symphonic Band/Freshman Concert Band 7
Unit 1: Grade 9-12 – MUSICAL ELEMENTS
Targeted Standards: Students will perform quality literature containing the elements of music (rhythm, melody, harmony, form, & color) (NJCCCS
1.1.12.B1) Students will examine the application of the elements in a variety of works. (NJCCS 1.3.12.B1) Students will examine how aspects of meter,
rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in musical compositions. (NJCCS
1.3.12.B2) Students will gain understanding and begin to hypothesize as to the composer’s intent through his usage of the elements of music. (NJCCS
1.4.12.A2) Students will formulate criteria using their observations of the basic elements and how they are designed throughout a particular work. (NJCCS
1.4.12.B1)
Unit Objectives/Conceptual Understandings: Grand Master Scale, Circle of 4ths, Internal Pulse, Ruler of Time, Discipline of Duration,
Balance & Blend, Chord Voicing, Full Ensemble Tuning Exercises
Essential Questions: How does an understanding of the musical elements enrich the artistic experience? What progression should be taken in order to
provide a sound foundation for a musical experience?
Unit Assessment: Students will further develop the linguistical value of music through a better understanding of its variety of elements.
Core Content Objectives Instructional Actions
Cumulative Concepts Skills Activities/Strategies Assessment
Progress Indicators What students will know. What students will be Technology Implementation/ Check Points
able to do. Interdisciplinary Connections
1. Examine how aspects of 1. How to play in all twelve 1. Perform the circle of 1. Treasury of Scales 1. Scale tests.
the elements are key signatures. fourths 2. 101 Rhythmic-Rest Patterns 2. Rhythm tests.
organized and 2. How to properly subdivide 2. Perform a variety of both 3. Foundations for Superior 3. Students will be
manipulated to establish when encountering simple/complex rhythms. Performances assigned a part tests.
unity in various complex rhythms. 3. Hear their role within 4. Bach and Beyond 4. Smart Music
compositions. 3. How to properly tune their chords and adjust their pitch 5. Smart Music assignments.
2. Analyze how the instruments in a broader accordingly. 6. Variety of Band Literature
elements of music are spectrum while performing 4. Assess whether they are
manipulated in prepared in both easy & difficult melody, counter-melody, or
musical scores. keys. accompaniment and then
3. Speculate on the artist’s 4. Their role within the balance appropriately within
intent, using and citing balance of the ensemble. the ensemble.
embedded clues to
substantiate the
hypothesis.

Resources: Read/perform a variety of band literature from Instructional Adjustments: Modifications, student difficulties, possible
an extensive library of music. See Appendix “A” for further misunderstandings
resource guides.
Immersion for ESL students
IEP adjustments as needed per student
Wind Ensemble/Symphonic Band/Freshman Concert Band 8
Unit 2: Grade 9-12 – MUSICAL EXPRESSION
Targeted Standards: Students will utilize their knowledge of the elements in the deconstruction and performance of complex band literature from diverse
cultural contexts. (NJCCCS 1.1.12.B2) Students will use contextual clues to differentiate between unique and common properties and be able to interpret the
cultural implications of works of music. (NJCCCS 1.4.12.A1) Students will develop intuitive musical expression to a variety of band literature using historical
significance, cultural context, and originality as criteria for one’s own interpretation. (NJCCCS 1.4.12.A3)

Unit Objectives/Conceptual Understandings: Dynamics & Variations, Developing Articulation through 5-note scales, The Space of Silence
Controlling the “right” side of the note, 3 Natural Laws, Sudden Bursts
Essential Questions: How does musicality affect the style of a piece? What impact does phrasing have on a piece of music? How does adding musical
expression to a piece of music enhance its performance?

Unit Assessment: Students will nuture creativity through musical expression by eliciting aesthetic and intellectual responses.

Core Content Objectives Instructional Actions

Cumulative Concepts Skills Activities/Strategies Assessment Check

Progress Indicators What students will know. What students will be Technology Implementation/ Points
able to do. Interdisciplinary Connections

1. Synthesize knowledge of 1. How to use dynamics 1. Perform with proper 1. The teacher will 1. Students will play through a
the elements of music in and articulation to give a dynamics and demonstrate proper piece, followed by a quiz on
a performance of musical piece proper phrasing. articulation. phrasing and students will what time period and/or
compositions from 2. How to play music with 2. Understand where the emulate. culture it originated.
diverse cultures. proper phrasing. high and low points in a 2. Recordings provided to 2. Students will be given a
2. Use contextual clues to 3. General phrasing phrase are and use demonstrate how dynamics piece and asked to play it in
differentiate between tendencies. dynamics accordingly. and articulation can be a certain style.
unique and common 4. Historical and cultural 3. Memorize basic used to create a specific 3. Students will read aloud a
properties and to discern stylistic differences and phrasing rules and apply style from either a historical passage from a text while
the cultural implications. how to apply them to them in music. era or cultural context. being evaluated on
3. Develop informed various works. 4. Memorize styles of 3. The teacher will use expressiveness/creativity.
personal responses to a different cultures and various conducting
variety of works using historical eras. techniques to get the
historical significance, students to phrase
cultural context, and correctly.
originality as criteria.

Resources: Read/perform a variety of band literature from an extensive library of music. Instructional Adjustments: Modifications, student
See Appendix “A” for further resource guides. difficulties, possible misunderstandings

Immersion for ESL students

IEP adjustments as needed per student
Wind Ensemble/Symphonic Band/Freshman Concert Band 9
Unit 3: Grade 9-12 – MUSICAL AWARENESS
Targeted Standards: Students will determine how music has influenced world cultures throughout history. (NJCCCS 1.2.12.A1) Students will justify the
impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras. (NJCCCS 1.2.12.A2)
Students will evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to music.
(NJCCCS 1.4.12.A4) Students will determine the role of music & music-making in a global society by analyzing the influence of technology on the
performing arts for consumers, creators, and performers around the world. (NJCCCS 1.4.12.B3)

Unit Objectives/Conceptual Understandings : Rehearsal Listening Program, Overtone Tuning, Connected Learning,
Musical Entrainment (Aware as an ensemble), Lose Your Sound

Essential Questions: How are musical decisions effected by our surroundings? Will a weaker musician play up to a strong ensemble, as will a strong
musician play down to a weak ensemble? Is tuning a proactive or reactive process? What is being evaluated when listening to a performance? What’s
crucial to a successful performance? What’s not?

Unit Assessment: Students will acquire an appreciation of music culture and musical awareness as it relates to music history, ultimately promoting
one’s relative responsibilities to their surroundings.

Core Content Objectives Instructional Actions

Cumulative Concepts Skills Activities/Strategies Assessment

Progress Indicators What students will know. What students will be Technology Implementation/ Check Points
able to do. Interdisciplinary Connections
1. Determine how music has 1. How to listen to others 1. Copy style, articulation 1. For each new work that is 1. Question the
influenced world cultures within the ensemble and from player to player played in class, the teacher students on their
throughout history. react to what they hear. 2. Balance properly within will provide a history of the historical perspective
2. Evaluate how exposure to 2. How to react to the an ensemble. piece. of composers.
various cultures music of other cultures. 3. Appreciate what role 2. “Lose your sound” meaning 2. Evaluate recordings
influences individual, 3. How music influences a music plays in various each student will be able to of the ensemble
emotional, and kinesthetic society. cultures and historical hear only what sounds performances.
responses to music. 4. How technology has eras. surround them, not their 3. Quiz ensemble
3. Determine the role of influenced music 4. Students will listen and own. members on where
music in a global society throughout the past 250 determine what role they 3. Students will be exposed to the melodies lie
by analyzing the influence years. have within a piece of a variety of recordings. within a given part to
of technology on the music. 4. Students will continuously a given work.
performing arts for find the melody throughout
consumers and the band.
performers around the
world.
Resources: Read/perform a variety of band literature from an Instructional Adjustments: Modifications, student difficulties, possible
extensive library of music. See Appendix “A” for further resource misunderstandings.
guides.
Immersion for ESL students
IEP adjustments as needed per student
Wind Ensemble/Symphonic Band/Freshman Concert Band 10

Unit 4: Grade 9-12 – MUSICAL SPONTANEITY

Targeted Standards: Students will understand that manipulating the elements of music is a contributing factor to musical artistry. (NJCCCS 1.3.12.B3)
Students will know that basic instrumental arranging skills require theoretical understanding of music composition. (NJCCCS 1.3.12.B4)
Students will learn that the cohesiveness of a piece of music and its ability to communicate a theme can be directly affected by the artist’s technical proficiency as well as
by the manner and physical context in which it is performed. (NJCCCS 1.4.12.B2)

Unit Objectives/Conceptual Understandings: Developing Spontaneous Response in All Keys, Free-form expression,
Theory Behind The Notes, Scale Mastery, Activity of the Student Mind
Essential Questions: How will a student’s prior knowledge of music history, culture, and its elements enhance one’s ability to spontaneously read a
piece of music? How can composing and/or improvising develop a student’s overall musicianship? Where does creative musical “thought” derive from?

Unit Assessment: Students will enhance the neurological process by activating more areas of the brain simultaneously than any other endeavor,
equipping students with a significant advantage for intellectual development of musical spontaneity.

Core Content Objectives Instructional Actions

Cumulative Progress Concepts Skills Activities/Strategies Assessment Check

Indicators What students will know. What students will be Technology Implementation/ Points
able to do. Interdisciplinary Connections
1. Improvise works through 1. How to engage in a 1. Expressive playing based 1. Abersold books 1. During lessons,
the conscious musical experience on the knowledge of all 2. Smart Music play by ear. students will run
manipulation of the without the use of keys. 3. Develop Listening Skills through all scales
elements of music. musical notation. 2. Sight-read a variety of using band literature from memory.
2. Arrange simple pieces for 2. How to spontaneously band literature. CD’s. 2. Play a song using no
an instrument using a interpret all of the 3. Create a composition 4. Perform music (grade key center or prior
variety of sound sources elements of music in a using prior knowledge of levels 2-6). rules given by
and/or analyze prepared composition. the elements of music. 5. Practice “advanced” instructor.
scores using music 3. How to compose a 4. Make spontaneous musical technique. 3. Student will perform
software. musical work. decisions in regards to and record one’s own
3. Evaluate how an artist’s 4. What usage of articulation using their musical creation(s).
technical proficiency may articulation is necessary prior knowledge of Teacher will evaluate
affect the creation of a given the historical historical context. where these ideas are
work. context of the work going and produce
being performed. feedback.
Resources: Read/perform a variety of band literature from an Instructional Adjustments: Modifications, student difficulties, possible
extensive library of music. See Appendix “A” for further resource misunderstandings
guides.
Immersion for ESL students
IEP adjustments as needed per student
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A

APPENDIX A

PERFORMANCE ASSESSMENTS
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A

NAME: _________________________________
MUSIC DEPARTMENT
DATE: ________________________
AUDITION WORKSHEET

MUSICIANSHIP Stylistic Accuracy

 Consistently demonstrates an understanding of
Characteristic tone quality/timbre the proper style required for the music.
 Consistently demonstrates tones of a superior  Usually performs music with proper style.
tone color.  Has a concept of stylistic consideration but is
 Usually demonstrates a strong concept of tone not always able to demonstrate it.
color, except at extreme ranges of tess/tura.  Does little to perform with any degree of style.
 Has a concept of characteristic tone quality, but  Is not aware of the necessity to perform with
is not able to demonstrate consistently. proper style.
 Does little to demonstrate a characteristic tone
color.
 Has trouble making a characteristic sound. TECHNIQUE
Rhythmic Accuracy
Intonation  Consistently demonstrates an understanding of
 Consistently demonstrates understanding of pulse control and rhythmic placement.
intervallic relationships between notes in all  Demonstrates an understanding of rhythmic
ranges. relationships, but unable to maintain steady
 Usually demonstrates understanding of beat.
intervallic relationships between notes  Has some difficulty in performing rhythms
except at extreme ranges of tess/tura. accurately. Steady beat is usually not
 Makes an effort to demonstrate ability to hear present.
intervallic distances but is not always  Has great difficulty in performing rhythms
successful. accurately. Steady beat is usually not
 Does little to adjust between pitches. present.
 Is not aware of any pitch alterations that are  Is unable to perform many rhythms accurately.
necessary. Has a great deal of trouble keeping a steady
beat.

Expression, Phrasing, & Dynamics Melodic Accuracy

 Consistently demonstrates an understanding of  Consistently performs with accurate pitches.
musical expression, with and without  Usually performs with accurate pitches.
markings. Breathes/pauses musically.  Has some difficulty in performing accurately.
 Follows all markings found in the music, but  Has great difficulty in performing with correct
performance seems contrived. B reathes/ pitches.
pauses are usually placed musically.
 Makes an effort to demonstrate some
expression, but lacks maturity to express Articulation
consistently. Breathing/pauses somewhat  Consistently performs with proper articulation.
arbitrary.  Usually performs with proper articulation.
 Does little to follow the written markings.  Has difficulty in performing proper articulation.
Breathing/pauses are arbitrary.  Is not able to perform the written articulation.
 Is not aware of the need for musical expression
or proper breathing or phrasing.
Sight-Reading Accuracy
1 2 3 4 5 6 7 8 9 10
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A

Rubric Construction Form

Performer's Name ____________________________________________________

Construct your own rubric by determining which features you will assess, then name at
least three levels of competence, from less to more skilled. Determine the maximum
number of points which may be received from each feature. Then add these for the total
possible number of points.

Use this rubric to score performances.

Performance Feature Maximum Points Score

Overall Score Possible Actual

Total: Score:

Evaluator __________________________ Class ____________ Date _________

Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix A

Self-Observation/Self-Assessment
Listen to your performance and then answer the following:

1. This is what I did well.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. This is what I think I need to improve.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

3. This is my recommendation for a plan for improvement.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

Other Comments/Observations:

__________________________________________________________________
__________________________________________________________________

__________________________________________________________________
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

APPENDIX B

COURSE TEXTS &

SUPPLEMENTAL MATERIALS
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

BASIC AND SUPPLEMENTAL MATERIAL

BASIC
Voxman, H., Gower, W., Rubank Method Series. Miami, FL: Rubank, Inc.

Heim, A., Alan Heim Drum #2. Melville, NY: Belwin Mills.

Newell, David. Bach and Before for Band, KJOS Publishing Co.

King, J. & Williams, R. Foundations for Superior Performances, KJOS Pub. Co.

Whitney, M.C., Essential Elements of Musicianship for the Band. New York, NY: Warner Bros.

Smith, B. Leonard, Treasury of Scales. Alfred Music Co.

Pearson, Bruce, Standards of Excellence Comprehensive Band Method, Kjos Pub. Co.

Thurston, E. Richard, Bach Chorales for Band, Southern Music Co.

SUPPLEMENTAL
Dresser, R. Rubank Supplemental Studies, Rubank, Inc.

Arban, Composite Conservatory Method for Trumpet. NY, NY: Carl Fischer

Klose, Celebrated Method for Clarinet. NY, NY: Carl Fischer

Mantia, Trombone Virtuoso. NY, NY: Carl Fischer

Cavally, Melodious & Progressive Studies for Flute I - II . San Antonio, TX:
Southern

Ludwig, N.A.R.D. Book. Chicago, ILL: Ludwig (National Association of Rudimental

Drumming)

Voxman, Selected Duets I - II. Miami, FL: Rubank, Inc.

Amsden, Celebrated Practice Duets. Oskaloosa, Iowa, Barnhouse

Ferling, Forty-eight Famous Studies for Oboe/Saxophone. San Antonio, TX:

Southern Music

Goldman, Gatti Grand Method for Trumpet. NY, NY: Carl Fischer

Clarke, Ernest Clarke Method of Trombone. NY, NY: Carl Fischer

Pottag and Hovey, Pottage-Hovey Method for French Horn. Books I & II: Meville,
NY: Belwin Mills

Deville, Universal Method for Saxophone. NY, NY: Carl Fischer

Rochut, Melodious Etudes for Trombone. Books I, II & III: Carl Fischer, NY, NY

Goldenburg, Modern School for Xylophone, Marimba & Xylophone: Chappell & Co.

Goldenburg, Modern School for Snare Drum: Chappell & Co.

Goodman, Modern Method for Timpani: Mills Music Inc.

Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

Listed: Some Suggested Wind Ensemble and Symphonic Band Library by Title

*Also, visit the following website for an extensive 32-page list of all recommended Grade Levels 1-
6 of substantial Wind Literature to perform with a concert band

http://www.teachingmusic.org/pdfs/TMTPComprehensiveList.pdf

TITLE GRADE ARRANGER COMPOSER

A Jubilant Overture 4.5 Reed Reed
A Movement for Rosa 5 Mark Camphouse Mark Camphouse
A Symphonic Prelude 4.5 Reed Traditional
Abram’s Pursuit 4 Holsinger Holsinger
Acclamations 3 Huckeby Huckeby
Adagio (for Strings) 3 Jennings Barber
Afton Mountain Overture 3 Fagan Fagan
Allegro Animato 3.5 Erickson Erickson
Allerseelen 3.5 Fennell/Davis Strauss
Amadeus! 3 Curnow Mozart
Amazing Grace (Symphony Variations On)
3 Smith Traditional
America the Beautiful 3.5 Dragon Dragon
America, Variations On 5 Rhoads/Schuman Ives
American Folk Rhapsody No. 1 3 Grundman Grundman
American Folk Rhapsody No. 2 3 Grundman Grundman
American Folk Rhapsody No. 3 3 Grundman Grundman
American Folk Rhapsody No. 4 3 Grundman Grundman
American Folk Trilogy 2.5 Smith Smith
American Salute 4.5 Gould Lang
Amporita Roca 3 Texidor Texidor
An American Elegy 5 Ticheli Ticheli
Anthem for Winds and Percussion 3 Smith Smith
Armenian Dances No. 1 6 Reed Reed
Aventura 2.5 Swearingen Swearingen
Ballet Parisien 4 Marc Isaac Offenbach
Baroue Celebration 3 Forsblad Bach and Handel
Battel The 4 Jacob Byrd
Be Thou My Vision 5 Gillingham Gillingham
Beguine on a Brazilian Fold Song 3.5 C.T. Smith C.T. Smith
Bernstein Tribute 3.5 Grundman Copland
Blue Lake 5 Chance Chance
Bravade Espirit 3 Shaffer Shaffer
British Carol Suite 3.5 Martino Traditional
Bugler's Holiday 4 Anderson Anderson
Bugler's Holiday (2) 3.5 Edwards Anderson
Burtonwood Overture 3 Ployhar Ployhar
Cajun Folk Songs 4 Ticheli Ticheli
Candide, Overture To 6 Beeler Bernstein
Cantica Sacra 5 DelBorgo DelBorgo
Carmen Suite 3 Bullock Bizet
Carmina Burana 6 Krance Orff
Chester 3.5 Meyion Schumann
Celebration and Dance 3.5 Swearingan Swearingan
Chant and Jubilo 4 McBeth McBeth
Chant Rituals 2.5 Del Borgo Del Borgo
Chanuakah Tryptch 2 Rizzo Traditional
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

TITLE GRADE ARRANGER COMPOSER

Children's March 5 Grainger Grainger
Chorale & Shaker Dance 4 Zdelchik Zdechlik
Chorale & Shaker Dance II 3 Zdechlik Zdechlik
Chorale & Toccata 4 Stamp Stamp
Christmas Celebration 3.5 Barker Barker
Christmas Festival 4.5 Anderson Anderson
Cloudburt 5 Eric Whitacre Eric Whitacre
Cole Porter on Broadway 4 Barker Barker
Colonial Airs and Dances 4 Jager Jager
Come Sweet Death/Komn Susser Todd 4 Reed Bach
Concerto Grosso in D Minor 3 Antonini Vivaldi
Copland Tribute 3.5 Grundman Copland
Crown Imperial 5.5 Duthoit Walton
Daccia and Chorale 5 Williams Williams
Danse Celestiale 4 Sheldon Sheldon
Dawn of a New Day 3.5 Swearingan Swearingan
Declarations 3.5 Del Borgo Del Borgo
Dedicatory Overture 5 Wiliams Williams
Dedicatory Overture 3 Williams Williams
Divertimento for Band 5 Persichetti Persichetti
Egmont Overture 5 Tobani Beethoven
Egmont Overture 5 Tobani Beethoven
Elsa's Procession to the Cathedral 3 Cailliet Wagner
Elsa's Procession to the Cathedral 5 Cailliet Wagner
Elsa's Procession to the Cathedral 5 Cailliet Wagner
Emperata Overture 4 C.T. Smith C.T. Smith
Encanto 3 R.W. Smith R.W. Smith
English Chistmas, An 5 Grundman Traditional
English Folk Song Suite 3 Williams Traditional
English Folk Song Suite 3 Williams Traditional
English Hunting Songs, Fantasy On 3 Grundman Traditional
Engulfed Cathedral 5 Longfield Debussy
Esprit De Corps 5 Jager Jager
Fall River Overture 3.5 Sheldon Sheldon
Fanfare and Allegro 5 Williams Williams
Fantasy Variations 6 Barnes Pagannini
Festival Prelude 4.5 Reed Reed
Festivo 3 Nelhybel Nelhybel
Finale to Symphony No. 5 5.5 Righter Shostakovich
Finale to the New World Symphony 5.5 Leidzen Dvorak
Finale, Sym. #5 in B Minor 5 Camillo Schubert
Finlandia, Fanfare Prelude On 2.5 Curnow Sibelius
First Suite in Eb 5 Holst Holst
Forget Me Not O Dearest Lord 4 Reed Bach
Four Scottish Dances 5 Malcolm Arnold Malcolm Arnold
Foxfire 4 James Barnes James Barnes
George Washington Bridge 5 Schuman Schuman
Gershwin! 4 Barker Gershwin
Giles Fanrnaby Suite 4.5 Jacob Jacob
God of Our Fathers, Fanfare Prelude On
2.5 Smith Traditional
God Still Lives 3 Reed Bach
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

TITLE GRADE ARRANGER COMPOSER

Greensleeves 4.5 Reed Traditional
Hallelujah Chorus 3 Johnson Handel
Handel in the Strand (Grainger) 4 Goldman Grainger
Havendance 4.5 Holsinger Holsinger
Hebrides Suite 4 Grundman Grundman
Helm Toccata 5 Holsinger Holsinger
Horizons 4 Del Borgo Del Borgo
If Thou Be Near 4 Reed Bach
Imperatix 3.5 Reed Reed
Incantation and Dance 5 Chance Chance
Irish Folk Song Suite 5 Grainger Grainger
Irish Rhapsody 4 Grundman Traditional
Irish Tune From Country Derry 5 Grainger Traditional
Irving Berlin Christmas 3.5 Barker Berlin
Jesus, Joy of Man's Desiring 4 Reed Bach
Jidai (Years & Years) 5 Reed Reed
John Williams, Symphonic Marches 4 Higgins Williams
Joy To The World, Fanfare Prelude On
3 Curnow Handel
Jupiter (from the Planets) 5.5 Curnow Holst
Jupiter, The Planets 5 Curwen Holst
Kanon: Pachelbel 4.5 Paulson Pachelbel
Komm Susser Todd/Come Sweet Death
4 Reed Bach
La Fiesta Mexicana 6 H. Owen Reed H. Owen Reed
Lansashire, Fanfare Prelude On 3 Curnow Traditional
Liberty Bell 3 Holcombe Sousa
Liebestod (From Tristan & Isolde) 4.5 Bainum Wagner
Lincolnshire Posy 6 Vinson Grainger
Little English Suite 4.5 Grundman Grundman
Lobe Den Herren, Fanfare Prelude On
3 Curnow Traditional
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

TITLE GRADE ARRANGER COMPOSER

Magic of Mozart 3 Huckeby Mozart
Majestia 3 Swearingen Swearingen
Mancini Spectacular 3 Barker Manacini
Marche Slave 5.5 Curnow Tchaikowsky
Mars, From the Planets 4 Holst Holst
Masque 4 W. F. Mc Beth W.F. Mc Beth
Masquerade for Band 6 Persichetti Persichetti
Mein Jesu! Was Fur Sellenweh (My Jesus..)
4 Reed Bach
Messiah, Overture To The 4 Calliet Handel
Minstrel Boy, Rhapsody On The 3.5 Farnon Traditional
Monterey Holidays 5 R. Nixon R. Nixon
Moorside March 4 Jacob Holst
My Heart is Filled With Longing 4 Reed Bach
My Jesus, Oh What Anguish (Mein Jesu..) Reed Bach
4
Night On Bald Mountain 4.5 Curnow Moussorgsky
Nilesdance 4.5 Holsinger Holsinger
Nutcracker (Suite From) 4 Gardner Tchaikowsky
Ode to Joy, Fanfare Prelude On 2 Curnow Beethoven
Of a Distant Star 3.5 Huckeby Huckeby
On a Hymnsong of Philip Bliss 3.5 Holsinger Holsinger
Original Suite 5 Jacob Jacob
Our Father Who Art In Heaven (Vater..) 4 Reed Bach
Outdoor Overture, An 5 Copland Copland
Overture for Band 5 H.W. Fred Mendelsohn
Overture for Winds 3 Carter Carter
Overture in Bb 4 Giovannini Giovannini
Pageant 4.5 Persichetti Persichetti
Panis Angelicus 4 Reed Franck
Passacalgia and Fugue, c Minor 4.5 Hunsberger Bach
Peter and The Wolf 3.5 Curnow Prokofiev
Poet and Peasant Overture 6 H. Filmore VonSuppe
Postcards 6 Ticheli Ticheli
Praises 2 Macbeth Macbeth
Praise Variants 4 C. Carter C. Carter
Prelude For A Festival 5 Lloyd Lloyd
Prelude In The Dorian Mode 4 Grainger Grainger
Prelude No. 4 4 Reed Bach
Prelude To Act 1 of La Traviata 4.5 Bullock Verdi
Proud Spirit 3.5 Swearingen Swearingen
Psalm and Celebration 5.5 DelBorgo DelBorgo
Rejoissance 4.5 Curnow Curnow
Rhapsody On The Minstrel Boy 3.5 Farnon Traditional
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B
TITLE GRADE ARRANGER COMPOSER
Rienzi 3.5 Osterling Wagner
Ritual Celebration 4 Coakley Coakley
Riverfest 3.5 Barnes Barnes
Romeo and Juliet 2 Curnow Tchaikowsky
Rondo for Winds and Precussion 3 Edmondson Edmondson
Royal Fireworks Music 3 Stratorious Handel
Scheherzade 2.5 Curnow Rimsky-Korsakov
Seagate 3.5 Swearingen Swearingen
Second Suite in F 4.5 Holst Holst
Serenade For Band 3.5 Perichetti Persichetti
Seventh Suite for Band 6 Reed Reed
Shenandoah 3.5 Ticheli Ticheli
Sheep May Safely Graze 4 Reed Bach
Sheep May Safely Graze 4 Reed Bach
Sheep May Safely Graze 4 Reed Bach
Silver Shadow 4 Reed Reed
Sleepers Awake (Wachet Auf…) 4 Reed Bach
Song for Winds 3 Edmondson Edmondson
Sorcery Suite, Opus 112 5 Barnes Barnes
Suite Francaise 5 Milhaud Milhaud
Suite of Old American Dances 5 R.R. Bennett R.R. Bennett
Symphonia Marziale 4.5 Del Borgo Del Borgo
Symphonic Celebration 3 Moss Moss
Symphonic Overture 4 Carter Carter
Symphonic Variations 6 Del Borgo Del Borgo
Symphony for Band 6 Gould Gould
Symphony for Band 6 Persichetti Persichette
Texas Promenade 5 Holsinger Holsinger
The Pathfinder of Panama 4 Frank Byrne Sousa
The Ramparts of Courage 3.5 Reed Reed
Third Suite 5 Jager Jager
Thus Do You Fare, My Jesus 4 Reed Bach
Toccata for Band 3.5 Erickson Erickson
Tritsch-Tratsch Polka 4 Reed Strauss
Triumph and Tradition 5 Jager Jager
Triumph and Spirit 3 T. Johnson T. Johnson
Variations On A Korean Folk Song 4.5 Chance Chance
Variations On America 5 Rhods/Scuhman Ives
Wachet Auf (Sleepers Awake) 4 Reed Bach
Westminister Carol, Fanfare Prelude On
2.5 Curnow Traditional
Whitewater Festival 4 Shaffer Shaffer
Who Will But Let Himself Be Guided 4 Reed Bach

Wildwood Overture 3 Barnes Barnes

William Byrd Suite 5.5 Jacob Byrd
Ye Banks and Braes O' Bonnie Doon 3.5 Grainger Grainger
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B
CATALOGUES
Music Time, Inc. P.O. Box 405 Haddonfield, NJ 08033
(Music) www.musictime.com

J.W. Pepper P.O. Box 850 Valley Forge, PA 19482-0850

(Music) www.jwpepper.com

Educational Record Center 3233 Burnt Mill Dr., Suite 100

Wilmington, NC 28403-2698
www.erc-inc.com

Rhythm Band Instruments P.O. Box 126, Fort Worth, TX 76101-0126

www.rhythmband.com

Music in Motion P.O. Box 833814, Richardson, TX 75083

www.musicmotion.com

Lentine's Music, Inc. 844 N. Main St. Akron, Ohio 43310

(Music technology) www.lentine.com

Lyons Music Products P.O. Box 1003 Elkhart, IN 46515

www.4lyons.com

General Music Store 4004 Technology Dr. South Bend, IN 46515

www.wwandbw.com

Suzuki Musical Instruments P.O. Box 261030, San Diego, CA 92196-1030

www.suzukimusic.com

Music Educator Supply P.O. Box 560085, Dallas, TX 75356-0085

LMI 1776 Armitage CT., Addison, ILL 60101-4225

(Music Products for Education

Interstate 13819 W. National Ave., New Berlin, W53151

(Band Instruments) www.interstatemusic.com

NEMC 1181 Route 22, P.O. Box 1130

(Band Instruments) Mountainside, NJ 07092

The WW and Brass Wind 4004 Technology Dr., South Bend, IN 46628
(Band Instruments) www.wwbw.com

Sam Ash, Inc. Rt. 27, Edison, NJ 08817

www.samash.com

The Music Shop P.O. Box 688, 68 Fanny Road

Boonton, NJ 07005
www.musicp@idt.net

City Music Center Kenilworth, NJ 07033

Dillon Music 325 Fulton Ave., Woodbridge, NJ

http://www.dillonmusic.com/

Steve Weiss Music 2324 Wyandotte Road, Willow Grove, PA 19090

www.steveweissmusic.com
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix B

Sheet Music Suppliers

www.hickeys.com
www.kendormusic.com
www.musictime.com
www.otterdist.com
www.jwpepper.com
www.presser.com
www.Rkingmusic.com
www.sierramusic.com
www.walrusmusic.com

VIDEOS

Blast
Star of Indiana
Warner Video 2000

Canadian Brass Live!

Brassworks Music Inc.

Fantasia
Walt Disney Home Video

Fantasia 2000
Walt Disney Home Video

Jazz for Young People

Alfred Publishing 2002

Leonard Bernstein’s Young People’s Concerts

Kultur Video 1997

Marsalis on Music
Sony 1995

Riverdance – Live from NYC

Columbia Tri-Star Home Video

Stomp Out Loud

Yes/No Productions
HBO Home Video 1997
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix C

APPENDIX C

TECHNOLOGY/WEBSITE REFERENCES

SUGGESTED WEBSITES

http://www.jalc.org http://www.sbgmusic.com/html/teacher/reference/hi
http://www.neajazzintheschools.org/ stor.html
www.menc.org http://www.pbs.org/jazz/time/
www.CJMEA.org www.smartmusic.com
www.NJMEA.org www.lentine.com
http://pbskids.org/jazz/index.html www.gvox.com

SUGGESTED COMPUTER SOFTWARE

TITLE PUBLISHER

1. Finale 2000 ……………………………………………………………. Coda Software

2. Sibelius ………………………………………………………………… Sibelius Software

3. Smart Score …………………………………………………………… Musitek

4. Music Office ……………………………………………………………. Pyware

5. Music Ace ………………………………………………………………. Harmonic Vision

6. Music Ace II ……………………………………………………………. Harmonic Vision

7. Musiclab Melody ………………………………………………………. Musicware

8. Musitron 2 …………………………………………………………….... Rising Software

9. The Musical World of Professor Piccolo ……………………………. Opcode Systems

10. Essentials of Music Theory - Level 1 …………………………….. Alfred

Level 2 …………………………….. Alfred
Level 3 …………………………….. Alfred

11. The Art of Listening …………………………………………………… Clearview/eav

12. Intonation Trainer ……………………………………………………... Coda Software

13. Auralia ……………………………………………………………......... Rising Software

14. The Pianist ……………………………………………………………... PG Music

Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix D

APPENDIX D

ARTS EDUCATION ADVOCACY

RESOURCES

PEOPLE / BOOKS / LINKS

Daniel Coyle
The Talent Code

Richard Florida
The Rise of the Creative Class
The Great Reset

Howard Gardner
Frames of Mind: The Theory of Multiple Intelligences
Multiple Intelligences: New Horizons in Theory & Practices
Five Minds for the Future
www.howardgardner.com

Malcolm Gladwell
Blink, The Tipping Point, Outliers

Stephen Melillo
The Let’s Find Out Teaching Suite: Hypertools for the Music Educator
www.stormworld.com

Sir Ken Robinson

The Arts in Schools
The Element: How Finding Your Passion Changes Everything
Out of Our Minds: Learning to be Creative

James Jordan
The Musician’s Soul
The Musician’s Spirit

Links
http://www.supportmusic.com/, http://menc.org/, http://www.childrensmusicworkshop.com/advocacy/
http://www.youtube.com/user/schoolmusic, www.youtube.com/user/musicedadvocate, www.ted.com
www.njmea.org, www.benjaminzander.com, www.iste.org
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

APPENDIX E

EDISON ESSENTIAL INSTRUCTIONAL

BEHAVIORS, AND NEW JERSEY
CORE CURRICULUM CONTENT STANDARDS
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

Framework For Essential Instructional Behaviors, K-12

Public Schools of Edison Township
Division of Curriculum and Instruction

Draft 13
Framework For Essential Instructional Behaviors, K-12
Common Threads

Edison’s Framework for Essential Instructional Behaviors, K-12, represents a collaboratively developed statement of effective
teaching. The lettered indicators are designed to explain each common thread, but do not denote order of importance. This
statement of instructional expectation is intended as a framework; its use as an observation checklist would be inappropriate.

1. Planning Which Sets The Stage For Learning & Assessment

Does the planning show evidence of:
a. units and lessons which show a direct relationship between student learning needs, the written curriculum, and the New Jersey
Core Curriculum Content Standards.
b. clearly defined, curriculum-based learning objectives that are based on diagnosis of student needs and readiness levels
c. instructional strategies and materials that challenge students to achieve at the highest standards of performance.
d. lesson design sequenced to make meaningful connections to overarching concepts and essential
questions.
e. use of thematic disciplinary units to integrate science, social studies, language arts, and math.
f. activities to promote student reading, writing, listening, speaking, and viewing.
g. provision for effective use of available materials, technology and outside resources.
h. accurate knowledge of subject matter.
i. knowledge of a variety of instructional strategies and best practices, including strategies for assessing student readiness levels
and differentiating instruction.
j. strategies to enable co-planning and co-teaching in shared teaching situations.
k. lessons that provide for increasing student independence and responsibility for learning.
l. multiple means of assessment, including performance assessment, that are authentic in nature and realistically measure student
understanding.
m. diagnostic and formative assessments that inform instructional design.
n. appropriate homework assignments that reinforce and extend learning and build upon previously learned concepts.

2. Productive Learning Climate & Classroom Management

Does the student-teacher interaction and the classroom show evidence of:
a. an environment which is learner-centered, content rich, and reflective of children’s efforts.
b. a climate of mutual respect, one that is considerate of and addresses differences in culture, race, gender, and readiness levels.
c. opportunities for student voice and student choice.
d. proactive rules and routines which students have internalized, and effective use of relationship-preserving reactive strategies
when necessary.
e. a safe, positive and open classroom environment in which children and teachers take risks, and learn by trial and error.
f. effective use of classroom time with a focus on accomplishing learning objectives.
g. classroom furniture and physical resources arranged in a way that supports student interaction, lesson objectives and learning
activities.

OVER
 Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

3. Teaching & Learning

Does the instruction show evidence of:
a. differentiation of instruction to meet the needs of all learners, including meeting the targeted goals of students with
Individualized Education Plans (IEPs).
b. use of a variety of grouping strategies including individual conferences, cooperative learning structures, flexible groups,
learning partners, and whole-class instruction based on assessments of student readiness levels and interests.
c. addressing the visual, auditory, and kinesthetic/tactile learning modalities.
d. use of available technology including computer PowerPoint and multi-media presentations by teacher and students.
e. deliberate selection and use of cognitive organizers and hands-on manipulatives.
f. modification of content, strategies, materials and assessment based on the interest and immediate needs of students during the
lesson.
g. students achieving the objectives of the lesson through a variety of planned and, when appropriate, unplanned learning
activities.
h. strategies for concept building including the use of the experiential learning cycle, inductive learning, and discovery-learning
and inquiry activities.
i. use of prior knowledge to build background information through such strategies as anticipatory set,
K-W-L, and prediction brainstorms.
j. deliberate teacher modeling of effective thinking and learning strategies during the lesson.
k. real world applications and connections to students lives, interests, and home cultures.
l. opportunities for students to actively process the learning through closure at salient points in the
lesson.
m. use of questioning strategies that promote discussion, problem solving, divergent thinking, multiple responses, and higher
levels of thinking through analysis, synthesis, and evaluation.
n. development of students’ understanding as evidenced through their growing perspective, empathy, and self-knowledge
regarding the content and meaning of the lesson.
o. active student engagement, individually and collaboratively, throughout the lesson.
p. varied writing activities such as journals, learning logs, creative pieces, letters, charts, notes, and research reports that connect
to and extend learning in all content areas.
q. assessing student learning before, during, and after the lesson, to provide timely feedback to students and adjust instruction
accordingly.

4. Professional Responsibilities & Characteristics

Does the teacher show evidence of:
a. continuing the pursuit of knowledge of subject matter and current research on effective practices in teaching and learning.
b. reflecting upon teaching to inform instruction.
c. maintaining accurate records and completing forms/reports in a timely manner.
d. communicating with parents about their child’s progress and the instructional process.
e. treating learners with care, fairness, and respect.
f. working collaboratively and cooperatively with colleagues.
g. sharing planning and instructional responsibilities in co-teaching partnerships.
h. maintaining positive and productive relationships with Child Study Team members, guidance counselors, school nurses,
speech therapists, and other professional staff at the building level.
i. maintaining positive relationships with school support staff including secretaries, paraprofessionals, lunch aides, and custodial
staff.
j. being flexible and open to suggestions from supervisors and administrators.
k. presenting a professional appearance.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

New Jersey Core Curriculum Content

Standards
for
Music
[All NJCCCS information was directly copied from the New Jersey Core Curriculum Content Standards.]

INTRODUCTION
THE VISION

Experience with and knowledge of the arts is a vital part of a complete education.
The arts are rich disciplines that include a vibrant history, an exemplary body of work to
study, and compelling cultural traditions. An education in the arts is an essential part of the
academic curriculum for the achievement of human, social, and economic growth. The
education of our students in the disciplines of dance, music, theater, and visual art is critical
to their personal success and to the success of New Jersey as we move into the twenty-first
century. The arts offer tools for development. They enable personal, intellectual, and social
development for each individual. Teaching in and through the arts within the context of the
total school curriculum, especially during the formative years of an elementary K-6
education, is key to maximizing the benefits of the arts in education.

For students, an education in the arts provides:

 The ability to be creative and inventive decision-makers;
 Varied and powerful ways of communicating ideas, thoughts, and feelings;
 An enhanced sense of poise and self-esteem;
 The confidence to undertake new tasks;
 An increased ability to achieve across the curriculum;
 A framework that encourages teamwork and fosters leadership skills;
 Knowledge of the less recognized experiences of aesthetic engagement and
intuition;
 Increased potential for life success; and
 An enriched quality of life

Recent studies such as Critical Links and Champions of Change provide evidence
of the positive correlations between regular, sequential instruction in the arts and improved
cognitive capacities and motivations to learn. These often result in improved academic
achievement through near and far transfer of learning (i.e., music and spatial reasoning,
visual art and reading readiness, dance and non-verbal reasoning and expressive skills,
theater and reading comprehension, writing proficiency, and increased peer interaction).
Additionally, the arts are uniquely qualified to cultivate a variety of multiple intelligences.

For our society, an education in the arts fosters a population that:

 Is equipped with essential technical skills and abilities significant to many
aspects of life and work;
 Understands and can impact the increasingly complex technological
environment around us;
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

 Has a humanities focus that allows social, cultural, and intellectual interplay,
among men and women of different ethnic, racial, and cultural backgrounds;
and
 Is critically empowered to create, reshape, and fully participate in the
enhancement of the quality of life for all.

It is the intent of the standards to ensure that all students have regular sequential arts
instruction and that specialization takes into account student choice. This is in keeping with
the National Standards for Arts Education (1994) which states:

“All basic subjects, including the arts, require more than mere exposure or access.
While valuable, a once-a-month visit from an arts specialist, visits to or from
professional artists, or arts courses for the specially motivated do not qualify as
basic or adequate arts instruction. They certainly cannot prepare all students to
meet the standards presented here. These standards assume that students in all
grades will be actively involved in comprehensive, sequential programs that
include creating, performing, and producing on the one hand, and study, analysis,
and reflection on the other. Both kinds of activities are indispensable elements of a
well-rounded education in the arts.”

In New Jersey, equitable access to arts instruction can only be achieved if the four
arts disciplines are offered throughout the K-12 spectrum. At the K-6 level, it is the
expectation that students are given broad-based exposure through instruction as well as
opportunities for participation in each of the four arts forms. In grades 7-8, they should gain
greater depth of understanding in at least one of those disciplines. In grades 9-12, it is the
expectation that students demonstrate competency in at least one arts discipline. The state
arts standards also reflect the same expectations as those stated in the National Standards
for Arts Education (1994). The goal is that by graduation all students will be able to
communicate at a basic level in the arts, and that they:

 Communicate proficiently, demonstrating competency in at least one art form,

including the ability to define and solve artistic problems with insight, reason,
and technical proficiency;
 Be able to develop and present basic analysis of works of art from structural,
historical, and cultural perspectives;
 Have an informed acquaintance with exemplary works of art from a variety of
cultures and historical periods; and
 Relate various types of arts knowledge and skills within and across the arts
disciplines.

The revised arts standards assist educators in delineating the required knowledge
and expected behaviors in all four of the arts disciplines. This format reflects the critical
importance of locating the separate arts disciplines as one common body of knowledge and
skills.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

STANDARD 1.1
The Creative Process

ALL STUDENTS WILL DEMONSTRATE AN UNDERSTANDING OF THE ELEMENTS AND

PRINCIPLES THAT GOVERN THE CREATION OF WORKS IN MUSIC.

STRANDS AND CUMULATIVE PROGRESS INDICATORS

Building upon knowledge and skills gained in preceding grades,
by the end of Grade 12, students will demonstrate proficiency in:

1.1.12.B.1 (Knowledge & Skill)

Understanding nuanced stylistic differences among various genres of music is a
component of musical fluency. Meter, rhythm, tonality, and harmonics are determining
factors in the categorization of musical genres.
Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic
progressions are organized and manipulated to establish unity and variety in genres of
musical compositions.

1.1.12.B.2 (Knowledge & Skill)

Musical proficiency is characterized by the ability to sight-read advanced notation.
Musical fluency is also characterized by the ability to classify and replicate the stylistic
differences in music of varying traditions.
Synthesize knowledge of the elements of music in the deconstruction and performance of
complex musical scores from diverse cultural contexts.

STANDARD 1.2
History of the Arts & Culture

ALL STUDENTS WILL UNDERSTAND THE ROLE, DEVELOPMENT, AND CONTINUING

INFLUENCE OF THE ARTS THROUGHOUT HISTORY AND ACROSS CULTURES.

STRANDS AND CUMULATIVE PROGRESS INDICATORS

Building upon knowledge and skills gained in preceding grades,
by the end of Grade 12, students will demonstrate proficiency in:

1.1.12.A.1 (Knowledge & Skill)

Cultural and historical events impact art-making as well as how audiences respond to
works of art.
Determine how music has influenced world cultures throughout history.

1.1.12.A.2 (Knowledge & Skill)

Access to the arts has a positive influence on the quality of an individual’s lifelong learning,
personal expression, and contributions to community and global citizenship.
Justify the impact of innovations in the arts (e.g., the availability of music online) on societal
norms and habits of mind in various historical eras.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

STANDARD 1.3
Performance

ALL STUDENTS WILL SYNTHESIZE THOSE SKILLS, MEDIA, METHODS, AND

TECHNOLOGIES APPROPRIATE TO CREATING, PERFORMING AND/OR PRESENTING
WORKS OF ART IN MUSIC.

STRANDS AND CUMULATIVE PROGRESS INDICATORS

Building upon knowledge and skills gained in preceding grades,
by the end of Grade 12, students will demonstrate proficiency in:

1.3.12.B.1 (Knowledge & Skill)

Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and
historical era.
Analyze compositions from different world cultures and genres with respect to technique,
musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate
musicality, and the relevant stylistic nuance.

1.3.12.B.2 (Knowledge & Skill)

The ability to read and interpret music impacts musical fluency.
Analyze how the elements of music are manipulated in original or prepared musical scores.

1.3.12.B.3 (Knowledge & Skill)

Understanding of how to manipulate the elements of music is a contributing factor to musical
artistry.
Improvise works through the conscious manipulation of the elements of music, using a variety of
traditional and nontraditional sound sources, including electronic sound-generating equipment and
music generation programs.

1.3.12.B.4 (Knowledge & Skill)

Basic vocal and instrumental arranging skills require theoretical understanding of music
composition.
Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional
sound sources or electronic media, and/or analyze prepared scores using music composition
software.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

STANDARD 1.4
Aesthetic Responses & Critique Methodologies
ALL STUDENTS WILL DEMONSTRATE AND APPLY AN UNDERSTANDING OF ARTS
PHILOSOPHIES, JUDGMENT, AND ANALYSIS TO WORKS OF ART IN MUSIC.
STRANDS AND CUMULATIVE PROGRESS INDICATORS
Building upon knowledge and skills gained in preceding grades,
by the end of Grade 12, students will demonstrate proficiency in:

1.4.12.A.1 (Knowledge & Skill)

Recognition of fundamental elements within various arts disciplines (music) is dependent on the
ability to decipher cultural implications embedded in artworks.
Use contextual clues to differentiate between unique and common properties and to discern the
cultural implications of works of music.

1.4.12.A.2 (Knowledge & Skill)

Contextual clues within artworks often reveal artistic intent, enabling the viewer to hypothesize
the artist’s concept.
Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded
clues to substantiate the hypothesis.

1.4.12.A.3 (Knowledge & Skill)

Artistic styles, trends, movements, and historical responses to various genres of art evolve over
time.
Develop informed personal responses to an assortment of artworks across the four arts disciplines
(dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural
context, and originality as criteria for assigning value to the works.

1.4.12.A.4 (Knowledge & Skill)

Criteria for assessing the historical significance, craftsmanship, cultural context, and originality of
art are often expressed in qualitative, discipline-specific arts terminology.
Evaluate how exposure to various cultures influences individual, emotional, intellectual, and
kinesthetic responses to artwork.

1.4.12.B.1 (Knowledge & Skill)

Archetypal subject matter exists in all cultures and is embodied in the formal and informal aspects
of art.
Formulate criteria for arts evaluation using the principles of positive critique and observation of
the elements of art and principles of design, and use the criteria to evaluate works of music from
diverse cultural contexts and historical eras.

1.4.12.B.2 (Knowledge & Skill)

The cohesiveness of a work of art and its ability to communicate a theme or narrative can be
directly affected by the artist’s technical proficiency as well as by the manner and physical context
in which it is performed or shown.
Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of
art, as well as how the context in which a work is performed or shown may impact perceptions of
its significance/meaning.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix E

1.4.12.B.3 (Knowledge & Skill)

Art and art-making reflect and affect the role of technology in a global society.
Determine the role of art and art-making in a global society by analyzing the influence of
technology on the visual, performing, and multimedia arts for consumers, creators, and performers
around the world.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

PUBLIC SCHOOLS OF EDISON TOWNSHIP

DIVISION OF CURRICULUM AND INSTRUCTION

COURSE REQUIREMENTS
FRESHMAN CONCERT BAND

GRADES: 9 LENGTH OF COURSE: TERM

I. COURSE REQUIREMENTS - To complete this course successfully, students will be

required to demonstrate a satisfactory (or higher) level of proficiency in:

Developing the music fundamentals necessary for individual/ensemble growth

Understanding the basic music vocabulary fundamentals commensurate with years in
the program.
Performing music with proper regard for balance, blend, intonation, technique,
phrasing and interpretation.
Communicating in conjunction with the conductor and other ensemble members

II. COURSE CONTENT - This course will consists of the following units of study:

Musical Knowledge: various keys - major and some minor, various dynamic and
tempo symbols, music with increasing range, various rhythmic combinations.
Technical Skills: Begin to utilize the Circle of Fourths; scales with some variety of
rhythms & articulations, chromatic scales
Balance, Blend, & Intonation: proper breath control, correct posture, good
embouchure, proper tonguing, listening & communicating with the ensemble
Artistic Development: musical expression, phrasing, interpretation
Critique/Analyze: aural (listen to recordings), written (note-taking)
Repertoire: grade appropriate - traditional wind literature, transcriptions
Performance Activities: School Concerts

III. COURSE DESCRIPTION - The Freshman Concert Band is open to all wind/percussion
instrumentalists at the 9th grade level. It is necessary to have participated in band at some
previous level (Grade 5-8). It is the goal of the Freshman Concert Band to gain the
knowledge and to comprehend the various instrumental musical concepts taught throughout
the term. The students will perform primarily grade II & III literature. Some of the books
utilized throughout the year are as follows: Treasury of Scales, Foundation for Superior
Performances, Bach & Beyond.

Individual practice outside of the ensemble period is imperative and required. The
Freshman Concert Band enjoys varied performance opportunities, which have included the
NBA Region Concert Band Festival, Festivals of Music, Music in the Parks (Disney).
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Freshman Concert Band (page 2)

Students may also choose, but are not required to participate in an additional individual
performance opportunity by auditioning for the Region and All-State Band. While not a
portion of your grade, auditioning for this event will enhance your musicianship and
demonstrate to the conductor your extra effort when it comes time for seating
evaluation/grading. The audition date for this event is on our band calendar.

Rehearsal Policies: The success of a band depends on how it rehearses. How it rehearses
depends on the conduct and the cooperation of the conductor and the musicians working as
a team to create a musical performance. Rehearsal time is to make music! It is our job to do
this to the best of our ability.

A pencil must be kept in the music folder at all times.

Every one/two band members will be issued a music folder with music. It is your
responsibility to keep it neat and organized. Return to its numbered slot at the end
of each class.
Please arrive to class early so you will be able to organize yourself before
downbeat. Rehearsal begins 2 minutes after the bell rings. You will be counted
tardy if you are not playing with the group as warm-up begins. Percussionists will
be required to perform on mallet instruments during warm-ups.
Once the conductor steps on the podium, instruction time has begun!
During rehearsal, take note of any corrections, deletions or additions commented
by the conductor. Please mark the music in pencil only!
Please return your instruments to its proper locker/storage area at the
conclusion of each rehearsal. You are responsible for the cleanliness of your
locker or space.

Classroom Policies:
Food, Drinks or Gum are not permitted in the band / practice rooms.
I will respect you when you talk. Please give me the same courtesy.
Cell phones are not to be visible throughout the school day. If it is seen/heard, will be
retrieved and brought to the office.
LISTEN and Be enthusiastic!

Lesson Program Policies:

Attend weekly scheduled lesson.
Come prepared with materials/assignments given.
Makeup lessons can be re-scheduled. Simply discuss with your teacher!

Official Excused Absences:

(1) illness (written note required), (2) official school business (i.e. a school sponsored field
trip), or (3) serious sickness or death in the immediate family. Other exceptions may be
made in cooperation with the student, parent and director in advance. Students should
make an effort to inform the director in advance of an ensuing absence.
PLEASE NOTE: If you are absent it is your responsibility to see the director.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Freshman Concert Band (page 3)

IV. COURSE EVALUATION/ASSESSMENT - It is our philosophy that the things you do

each day have a bearing on your final grade. Concurrently, your grade will be determined
by your attitude, attendance, improvement in musicianship, leadership and overall
participation. With this in mind, grades for all performance groups will be earned in the
following areas:
Class participation/attendance
Performance of scales/repertoire/smart music evaluations
Attendance at weekly lessons
Practice assignments/showing improvement
Required concert performances

Note: Students who are not present for a concert performance will receive a “one-
grade” deduction on the quarter grade for the course unless extenuating circumstances
exist.

Chair Placements & Challenges: The director will place students in chairs at the
beginning of each term based on prior experience. Following initial placement, students
may challenge players sitting above them to gain a higher seat. Challenges will consist of
sight-reading or a prepared piece chosen by the director. The director may re-audition
students for chair placement later in the year, but is not obligated to do so. It will be the
individual responsibility of the student who wishes to advance in chair placement to request
a challenge.

V. OTHER INFORMATION
Concert Attire: Students who participate in the Freshman/Symphonic Band have a concert
black & white dress requirement. (This includes black shoes and black socks for all
members.) Men who participate in the Wind Ensemble must wear a tuxedo. Ladies must
wear a black blouse and black skirt (given). If you have concerns regarding your attire you
should contact your band director immediately.
School-Owned Equipment: Students who play flutes, clarinets, alto saxophones, and
trumpets are expected to provide their own instruments. Percussionists are expected to
provide their own mallets and sticks. These instruments must be in good repair and be
brought to all rehearsals and performances. If your instrument needs extensive repair, you
should arrange to borrow or rent a replacement. The band director will be happy to help you
concerning repair work. A local instrument company provides instrument pick up each
weekly for repair service. Instruments are generally returned the following week. You may
also take your instrument to other repair centers.
Other instruments are available for students who play oboe, bassoon, bass clarinet, contra-
alto and alto clarinet, tenor and baritone saxophone, horn, trombone, baritone, tuba, and
percussion. There is currently no charge for rent other than the cost of repair to an
instrument where considerable damage was caused by you, the borrower.

Rev. 5/99, 4/05, 7/11

Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

PUBLIC SCHOOLS OF EDISON TOWNSHIP

DIVISION OF CURRICULUM AND INSTRUCTION

COURSE REQUIREMENTS
WIND ENSEMBLE

GRADES: 10-12 LENGTH OF COURSE: TERM

I. COURSE REQUIREMENTS - To complete this course successfully, students will be required

to demonstrate the highest level of proficiency in:

Developing the music fundamentals necessary for individual/ensemble growth

Performing music with proper regard for balance, blend, intonation, technique, phrasing
and interpretation.
Communicating in conjunction with the conductor and other ensemble members

II. EXPECTATIONS – Students will be required to adhere to the following:

Attend all scheduled concerts/festivals: Holiday, Winter, & Spring Concert, Band Trip,
Region Concert Band Festival, State Gala, etc.
Attend all rehearsals scheduled outside the classroom period: Before/after school
sectionals, Evening rehearsals, Small Ensemble rehearsals, Lessons, etc.
Command their chosen instrument: Students will be encouraged to take lessons beyond
the school day with a professionally-trained musician on their particular instrument.
Perform in small ensembles
Take an Audition: Students will be encouraged to prepare solo repertoire/scales on their
instrument in order to determine qualification into NJMEA Region/All-State Ensembles.

III. COURSE CONTENT - This course will consists of the following units of study:

Musical Knowledge: various keys - major and minor, various dynamic and tempo symbols,
music with increasing range, various rhythmic combinations.
Technical Skills: Utilizing the Circle of Fourths; advanced scales in a variety of rhythms,
advanced scales with a variety of articulations, chromatic scales
Balance, Blend, & Intonation: proper breath control, correct posture, good embouchure,
proper tonguing, listening & communicating with the ensemble
Artistic Development: musical expression, phrasing, interpretation
Critique/Analyze: aural (listen to recordings), written (note-taking)
Repertoire: grade appropriate - traditional wind literature, transcriptions
Instructional Lesson Groups: small group/individual as appropriate meeting weekly
Performance Activities: school concerts, community performances, festivals/trips
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Wind Ensemble - page 2

IV. COURSE DESCRIPTION - The Wind Ensemble is the most prestigious and select concert
organization of the band program and is comprised of advanced wind and percussion
instrumentalists whose musical commitment is the performance of the finest wind band and
wind orchestra music. The music literature of this group is of recognized quality, focusing on all
grade levels III through VI. Students participating in the Wind Ensemble are of high caliber and
are exceptionally self-motivated. Grading is challenging, demanding and rewarding. Acceptance
into Wind Ensemble will be by audition only. Class size is limited to pre-determined
instrumentation.

Individual/at-home practice outside of normal school hours is imperative and required. Openings
to wind instrumentalists and percussionists are made readily available in the Spring of each
year. Wind Ensemble seeks to enhance the potential of each studentʼs unique talents and
understanding of music.

Rehearsal Policies: The success of a band depends on how it rehearses. How it rehearses
depends on the conduct and the cooperation of the conductor and the musicians working as a
team to create a musical performance. Rehearsal time is to make music! It is our job to do this
to the best of our ability.

A pencil must be kept in the music folder at all times.

Every one/two band members will be issued a music folder with music. It is your
responsibility to keep it neat and organized. Return to its numbered slot at the end
of each class.
Please arrive to class early so you will be able to organize yourself before
downbeat. Rehearsal begins 2 minutes after the bell rings. You will be counted
tardy if you are not playing with the group as warm-up begins. Percussionists will
be required to perform on mallet instruments during warm-ups.
Once the conductor steps on the podium, instruction time has begun!
Please return your instruments to its proper locker/storage area at the
conclusion of each rehearsal. You are responsible for the cleanliness of your
locker or space.

Classroom Policies:
Food, Drinks or Gum are not permitted in the band / practice rooms.
Cell phones are not to be visible throughout the school day. If it is seen/heard, will be
retrieved and brought to the office.
LISTEN and Be enthusiastic!

Official Excused Absences:

(1) illness (written note required), (2) official school business (i.e. a school sponsored field trip),
or (3) serious sickness or death in the immediate family. Other exceptions may be made in
cooperation with the student, parent and director in advance. Students should make an effort to
inform the director in advance of an ensuing absence.
PLEASE NOTE: If you are absent it is your responsibility to see the director.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Wind Ensemble - page 3

V. COURSE EVALUATION/ASSESSMENT - It is our philosophy that the things you do each

day have a bearing on your final grade. Concurrently, your grade will be determined by your
attitude, attendance, improvement in musicianship, leadership and overall participation. With
this in mind, grades for all performance groups will be earned in the following areas:

Class participation/attendance
Performance of all scales/advanced repertoire/smart music evaluations
Attendance at weekly lessons
Practice assignments/showing improvement
Required concert performances

Note: Students who are not present for a concert performance will receive a “one- grade”
deduction on the quarter grade for the course unless extenuating circumstances exist.

Chair Placements & Challenges: The director will place students in chairs at the beginning of
each term based on prior experience. Following initial placement, students may challenge
players sitting above them to gain a higher seat. Challenges will consist of sight-reading or a
prepared piece chosen by the director. The director may re-audition students for chair
placement later in the year, but is not obligated to do so. It will be the individual responsibility of
the student who wishes to advance in chair placement to request a challenge.

VI. OTHER INFORMATION

Concert Attire: Students who participate in the Freshman/Symphonic Band have a concert
black & white dress requirement. (This includes black shoes and black socks for all members.)
Men who participate in the Wind Ensemble must wear a tuxedo. Ladies must wear a black
blouse and black skirt (given). If you have concerns regarding your attire you should contact
your band director immediately.

School-Owned Equipment: Students who play flutes, clarinets, alto saxophones, and trumpets
are expected to provide their own instruments. Percussionists are expected to provide their own
mallets and sticks. These instruments must be in good repair and be brought to all rehearsals
and performances. If your instrument needs extensive repair, you should arrange to borrow or
rent a replacement. The band director will be happy to help you concerning repair work. A local
instrument company provides instrument pick up each weekly for repair service. Instruments are
generally returned the following week. You may also take your instrument to other repair
centers.

Other instruments are available for students who play oboe, bassoon, bass clarinet, contra-alto
and alto clarinet, tenor and baritone saxophone, horn, trombone, baritone, tuba, and percussion.
There is currently no charge for rent other than the cost of repair to an instrument where
considerable damage was caused by you, the borrower.

Rev. 5/99, 4/05, 7/11

Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

PUBLIC SCHOOLS OF EDISON TOWNSHIP

DIVISION OF CURRICULUM AND INSTRUCTION
COURSE REQUIREMENTS
SYMPHONIC BAND

GRADES: 10-12 LENGTH OF COURSE: TERM

I. COURSE REQUIREMENTS - To complete this course successfully, students will be required

to demonstrate a high level of proficiency in:

Developing the music fundamentals necessary for individual/ensemble growth

Performing music with proper regard for balance, blend, intonation, technique, phrasing
and interpretation.
Enhancing one’s listening skills required to gain synchronized internal pulse
Communicating in conjunction with the conductor and other ensemble members
Attending all scheduled rehearsals & concerts/festivals: Holiday, Winter, & Spring Concert,
Band Trip, Region Concert Band Festival, etc.

II. COURSE CONTENT - This course will consists of the following units of study:

Musical Knowledge: various keys - major and minor, various dynamic and tempo symbols,
music with increasing range, various rhythmic combinations.
Technical Skills: Utilizing the Circle of Fourths; scales in a variety of rhythms, scales with a
variety of articulations, chromatic scales
Balance, Blend, & Intonation: proper breath control, correct posture, good embouchure,
proper tonguing, listening & communicating with the ensemble
Artistic Development: musical expression, phrasing, interpretation
Critique/Analyze: aural (listen to recordings), written (note-taking)
Repertoire: grade appropriate - traditional wind literature, transcriptions
Instructional Lesson Groups: small group/individual as appropriate meeting weekly
Performance Activities: school concerts, community performances, festivals/trips

III. COURSE DESCRIPTION - The Symphonic Band is open to all wind/percussion

instrumentalists at the 10-12th grade level. It is necessary to have participated in band at some
previous level (Grade 5-9). It is the goal of the Symphonic Band to enhance and encourage
each studentʼs understanding of instrumental musical concepts and terms with an emphasis on
rehearsals and performances. The Symphonic Band will perform primarily grade II, III, & IV
literature. Some of the books utilized throughout the year are as follows: Treasury of Scales,
Foundation for Superior Performances, Bach & Beyond, 101 Rhythmic Rest Patterns

Individual practice outside of the ensemble period is imperative and required. A minimal number
of sectionals and full band rehearsals outside the class will be required. The Symphonic Band
enjoys varied performance opportunities, which have included the NBA Region Concert Band
Festival, Festivals of Music, Music in the Parks (Disney).
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Symphonic Band - page 2

Students may also choose, but are not required to participate in an additional individual
performance opportunity by auditioning for the Region and All-State Band. While not a portion of
your grade, auditioning for this event will enhance your musicianship and demonstrate to the
conductor your extra effort when it comes time for seating evaluation/grading. The audition date
for this event is on our band calendar.

Rehearsal Policies: The success of a band depends on how it rehearses. How it rehearses
depends on the conduct and the cooperation of the conductor and the musicians working as a
team to create a musical performance. Rehearsal time is to make music! It is our job to do this
to the best of our ability.

A pencil must be kept in the music folder at all times.

Every one/two band members will be issued a music folder with music. It is your
responsibility to keep it neat and organized. Return to its numbered slot at the end
of each class.
Please arrive to class early so you will be able to organize yourself before
downbeat. Rehearsal begins 2 minutes after the bell rings. You will be counted
tardy if you are not playing with the group as warm-up begins. Percussionists will
be required to perform on mallet instruments during warm-ups.
Once the conductor steps on the podium, instruction time has begun!
During rehearsal, take note of any corrections, deletions or additions commented
by the conductor. Please mark the music in pencil only!
Please return your instruments to its proper locker/storage area at the
conclusion of each rehearsal. You are responsible for the cleanliness of your
locker or space.

Classroom Policies:
Food, Drinks or Gum are not permitted in the band / practice rooms.
I will respect you when you talk. Please give me the same courtesy.
Cell phones are not to be visible throughout the school day. If it is seen/heard, will be
retrieved and brought to the office.
LISTEN and Be enthusiastic!

Lesson Program Policies:

Attend weekly scheduled lesson.
Come prepared with materials/assignments given.
Makeup lessons can be re-scheduled. Simply discuss with your teacher!

Official Excused Absences:

(1) illness (written note required), (2) official school business (i.e. a school sponsored field trip),
or (3) serious sickness or death in the immediate family. Other exceptions may be made in
cooperation with the student, parent and director in advance. Students should make an effort to
inform the director in advance of an ensuing absence.
PLEASE NOTE: If you are absent it is your responsibility to see the director.
Wind Ensemble/Symphonic Band/Freshman Concert Band Appendix F

Course Requirements – Symphonic Band - page 3

IV. COURSE EVALUATION/ASSESSMENT - It is our philosophy that the things you do each
day have a bearing on your final grade. Concurrently, your grade will be determined by your
attitude, attendance, improvement in musicianship, leadership and overall participation. With
this in mind, grades for all performance groups will be earned in the following areas:

Class participation/attendance
Performance of scales/repertoire/smart music evaluations
Attendance at weekly lessons
Practice assignments/showing improvement
Required concert performances

Note: Students who are not present for a concert performance will receive a “one- grade”
deduction on the quarter grade for the course unless extenuating circumstances exist.

Chair Placements & Challenges: The director will place students in chairs at the beginning of
each term based on prior experience. Following initial placement, students may challenge
players sitting above them to gain a higher seat. Challenges will consist of sight-reading or a
prepared piece chosen by the director. The director may re-audition students for chair
placement later in the year, but is not obligated to do so. It will be the individual responsibility of
the student who wishes to advance in chair placement to request a challenge.

V. OTHER INFORMATION

Concert Attire: Students who participate in the Freshman/Symphonic Band have a concert
black & white dress requirement. (This includes black shoes and black socks for all members.)
Men who participate in the Wind Ensemble must wear a tuxedo. Ladies must wear a black
blouse and black skirt (given). If you have concerns regarding your attire you should contact
your band director immediately.

School-Owned Equipment: Students who play flutes, clarinets, alto saxophones, and trumpets
are expected to provide their own instruments. Percussionists are expected to provide their own
mallets and sticks. These instruments must be in good repair and be brought to all rehearsals
and performances. If your instrument needs extensive repair, you should arrange to borrow or
rent a replacement. The band director will be happy to help you concerning repair work. A local
instrument company provides instrument pick up each weekly for repair service. Instruments are
generally returned the following week. You may also take your instrument to other repair
centers.

Other instruments are available for students who play oboe, bassoon, bass clarinet, contra-alto
and alto clarinet, tenor and baritone saxophone, horn, trombone, baritone, tuba, and percussion.
There is currently no charge for rent other than the cost of repair to an instrument where
considerable damage was caused by you, the borrower.

Rev. 5/99, 4/05, 7/11