High School Band

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.G Analyze the effect of rehearsal and practice sessions.
• 9.1.12.H Incorporate the effective and safe use of materials, equipment and tools into the production of works in the arts at work and performance spaces.

• Proper posture conducive to good tone production.
• Proper breath support conducive to good tone production.
• How to assemble their instrument for optimal performance.
• Basic instrument maintenance necessary for good tone production, e.g. lubrication, reeds.
• How to select and care for reeds.
• How to tune their instrument using a tuner and equal temperament.
• Basics of just intonation with regards to key chord tones in major and minor keys.
• Students will apply an understanding of pitch tendencies on their instrument to compensate for intonation problems in an ensemble.
• Percussionists will know the proper techniques for producing the best tone on standard percussion instruments.

• Proper tone production on a wind instrument requires proper breathing and air support.
• Only a good characteristic tone will blend with other instruments.
• Ensemble balance is relative to the ensemble and each individual’s function within the texture at any given time.
• Tuning is a compromise - the ideal length of the instrument will provide the best setting for dealing with intonation issues.
• Instruments have specific pitch problems that can be accommodated with embouchure adjustment and alternate fingerings.
• Use of just intonation concepts will result in richer, fuller ensemble sounds.
• Keyboards are tuned to equal temperament and require wind instruments to adjust accordingly for intonation.
• All percussion instruments have specific playing techniques that result in the best tone from the instrument

• Blend = tone production
  • sit/stand with proper posture when playing
  • use correct air support and air stream when playing
  • set up equipment properly and handle typical problems or issues
  • concept of characteristic tone
  • demonstrate characteristic tone on a band instrument in ensemble and individual settings
• Balance = relative volume with respect to ensemble
  • use of balance pyramid (McBeth)
  • play with good balance relative to ensemble
  • perform with sensitivity to ensemble blend, balance, and timbral subtleties in ensemble settings 
• Intonation = instrument set up to play in tune with itself
  • properly tune instrument to optimal length using best practice/notes
  • identify basic intonation tendencies and strategies for adjusting intonation problems
  • use just intonation properties for major and minor scales and adjust pitch accordingly within the harmonic context
  • use equal temperament and just temperament tuning systems in the relative appropriate situations
  • compensate for instrument-specific intonation tendencies in ensemble and individual settings
• Produce a characteristic and mature tone on their instrument.
• Play with proper balance in ensemble situations.
• Percussionists will be able to tune timpani utilizing a tuning apparatus such as a tuner app.
• Perform ensemble literature in public performances, as a realization of the study of band literature
• Interpret conductors’ gestures with regards to ensemble techniques, expression, notation conventions, and realization of printed musical scores

• How do instrument timbres relate to each other with regards to blend and tone production in an ensemble?
• What is a good characteristic tone and how is it produced?
• How do instrument timbres relate to each other with regards to volume in an ensemble?
• How does intonation affect ensemble?
• What are intonation and pitch tendencies and how does a player compensate?
   

• How do you read a tuner?
• How is pitch measured on a tuner?
• What is equal temperament?
• What is just temperament?
• How does tuning in just temperament compare to tuning in equal temperament?
• When does a wind player utilize equal and just intonation systems?
• What is a good characteristic tone?
• How do you select a good reed?
• How do you store and care for reeds so they play well?
• What is the procedure for tuning a wind instrument?
• What is the McBeth Balance Pyramid?
• How do you compensate for instrument-specific pitch issues (out-of-tune notes)?
• What can your embouchure do to compensate for tuning issues?
   

• Grade-appropriate Band Repertoire
• Whiteboard
• Projector
• Sound system
• Tuner app
• Yamaha Harmony Director
   

• Posture
• Breath support
• Reeds
• Tuning
• Just Tuning
• Equal Temperament
• Cents
• Pitch
• Tuning apparatus
• Alternate fingerings
• Embouchure
• Blend
• Balance
• Intonation
• Balance Pyramid
• Tuner
• Lubricants
• Tone

• Listening
• Process: Self Assessment
• Ongoing listening skills that should take place anytime the students plays in an ensemble.
• Director Informal Assessment
• Performance: Other oral assessments
• Director listens and analyzes ensemble sound and provides continuous feedback to ensemble.

PA Arts and Humanities Standards:

• 9.3.12.A Explain and apply the critical examination processes of works in the arts and humanities.
  • Compare and contrast
  • Analyze
  • Interpret
  • Form and test hypotheses
  • Evaluate/form judgments
• 9.3.12.B Determine and apply criteria to a person’s work and works of others in the arts.

• The critique elements of a performance such as interpretation, execution, and quality.
• Critical examination processes such as compare and contrast, analyzation, interpretation, form and test hypotheses, and evaluate and form judgments.
• How to express in critical terms, an evaluative critique of musical performance.
• How to express in critical terms, an evaluative critique of their own individual and ensemble performance.

• Effective music critique combines objective analysis and personal interpretation.
• Critical listening and thinking are essential tools for musical growth.
• Clear, accurate, and respectful communication elevates musical discourse.

• Critique and evaluate professional and amateur performances of band music.
• Listen critically to a musical performance and critique based on listening.
• Utilize appropriate musical terminology in the process of performance critique.

• What is required for critical listening?
• How do you listen to music critically?

• How do you listen critically to a musical performance?
• What is the integrity of the rhythmic performance?
• What is the integrity of the harmonic and tonal performance?
• Is the musical interpretation appropriate and stylistically accurate?
   

• Computer
• Recording software
• Microphones
• Sound system
   

• Critique
• Critical listening
• Column 2
• Column 3
• Column 4

• Concert Performance Evaluation - Constructed Response: Narrative Writing Assignment
• Compare/Contrast Performances - Constructed Response: Critique
• Informal Discussion
   

PA Arts and Humanities Standards:

• 9.2.12.A. Explain the historical, cultural and social context of an individual work in the arts.
• 9.2.12.B. Relate works in the arts chronologically to historical events (e.g., 10,000 B.C. to present).
• 9.2.12.D. Analyze a work of art from its historical and cultural perspective.
• 9.2.12.E. Analyze how historical events and culture impact forms, techniques and purposes of works in the arts (e.g., Gilbert and Sullivan operettas).

• Historical significance and biographical information on the composer and/or repertoire selection (varies, depending on piece of music).
• Programmatic considerations for a given piece of music (varies).
• Important historical composers of band music.
• Important contemporary composers of band music.
• Historically significant pieces in band repertoire.

• Music is a reflection of its time and the composer's life.
• Bank repertoire carries historical and cultural significance.
• The evolution of band music is shaped by both historical and contemporary composers.

• Identify a composer’s biographical information that impacted the composition.
• Identify significant historical events that are associated with or impacted the composition.
• Identify the important composers of band music, both historical and contemporary.
• Make connections between specific pieces of band repertoire and historical events or time periods, when it exists.

• Who are the historically significant composers of wind band repertoire?
• Who are the significant contemporary composers of wind band repertoire?
• What biographical information about a composer is relevant to the performance of his/her music?
• What historical events, eras, and developments have influenced a composer's writing? 

• Is there a historical significance to a specific piece of band music (varies)?
• What biographical information on the composer might help interpret the piece of music?
• What historical or cultural events or developments have impacted this piece or have been impacted by this piece?
   

• Instruments
• Band repertoire
   

• Composer
• Arranger
• Column 2
• Column 3
• Column 4

• Written Evaluation
• Constructed Response: Written Test
• Written assessment custom developed from the repertoire currently being studied.  Test should consist of questions about composer, composition, and historical context that influence the interpretation and performance of the music.

PA Arts and Humanities Standards:    

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• How to blend and balance within an ensemble.
• How to subdivide in the context of an ensemble.
• How to follow a conductor in an ensemble.
• Proper stage etiquette for a band performance.
• Music vocabulary (tempi, stylistic, dynamic, expressive).
• Metrical conducting patterns.
• Stage etiquette for concert band performance.
• Audience etiquette for concert band performance.
• Principles of blend and balance in an ensemble.
• Best practices for individual practice.
• Rehearsal etiquette.
• Conventions of music notation.

• Successful ensemble performance requires awareness, communication, and cooperation.
• Musicians must apply musical vocabulary, etiquette, and performance conventions consistently as part of an ensemble.
• Thoughtful preparation leads to meaningful musical experiences.

• Perform with sensitivity to ensemble blend, balance, and timbral subtleties in ensemble settings.
• Interpret conductors’ gestures with regards to tempo, meter, ensemble techniques, expression, notation conventions, and interpretive realization of printed musical scores.
• Define common musical terms for tempo, expression, dynamics, and style.
• Demonstrate appropriate rehearsal etiquette and procedures in ensemble settings.
• Perform ensemble literature in public performances, as a realization of the study of band literature.

• What do students need to know about performing in a concert band relative to ensemble performance? 
• How does an ensemble play as a cohesive unit?
• What conducting gestures does a musician need to understand in a concert band?
   

• How do you determine your role with the context of the ensemble, relative to the repertoire?
• What are the standard metrical conducting patterns?
• What musical terminology is needed for any given piece of repertoire?
• What are the conventions of stage etiquette for a concert band performance?
• What is the audience’s role and etiquette in live musical performance?
• What procedures make for efficient and productive ensemble rehearsal?
   

• Grade-appropriate band literature
• Musical instruments
   

• Tempo
• Subdivision
• Pattern
• Blend
• Balance
• Intonation
• Dynamics
• Largo
• Lento
• Adagio
• Allegro
• Moderato
• Andante
• Vivace
• Presto
• Crescendo
• Decrescendo
• Diminuendo
• Ritardando
• Rallentando
• Allargando
• Accelerando
• Stingendo
• A Tempo
• Dolce
• Legato
• Staccato
• Slur
• Articulation
• tenuto
• Cantable
• Maestoso
• ppp
• pp
• p
• mp
• mf
• f
• ff
• fff
• fp
• sfz
• bpm
• meter
• Time signature
• Con
• Poco
• Poco a poco
• Sans
• Espressivo
• Tacet
• D.C. (da capo)
• D.S. (dal segno)
• Al Fine
• Coda
• Marcato

• Director informal assessment
• Performance: Performance Assessment
   

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• Phrasing, dynamic contour, expressive conventions (vibrato, etc.) as part of the interpretation of written music.
• Dynamic interpretation.
• Understand musical phrasing.
• Phrasing, dynamic contour, expressive conventions (vibrato, etc.) as part of the interpretation of written music.
• Dynamic interpretation.

• Expressive performance brings music to life.
• Phrasing and dynamic shaping are essential to musical communication.
• Musical interpretation requires personal decision making within a collaborative context.

• Students will interpret written music - phrasing, dynamic contour, expressive conventions (vibrato, etc.).
• Students will perform music with dynamic interpretation.
• Students will perform music with a sense of musical phrasing.
• Students will perform music expressively with appropriate expressive conventions - vibrato, shaping, note grouping
• Make phrasing decisions in melodic content within ensemble repertoire.
• Make phrasing decisions in accompaniment parts relative to melodic phrase structure.
• Produce quality and characteristic tone throughout a wide dynamic range.
• Use vibrato appropriately both in solo and ensemble contexts.
• Make musical decisions and interpretations relative to the ensemble.

• What are the elements of expression?
• How does one perform expressively?

• What are the conventions of phrasing within a specific style of music?
• What parts are accompaniment and what is melody in a specific piece of music?
• When is it appropriate to use vibrato in an ensemble setting?
• What are the conventions of musical expression in a band ensemble?
   

• Instruments
• Band Repertoire
   

• Expression
• Dynamics
• Note grouping
• Phrasing
• Melody
• Accompaniment
• Counter-melody
• Ostinato
• Vibrato

• Director informal assessment
• Performance: Performance Assessment
   

PA Arts and Humanities Standards:

• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.
• 9.1.12.G Analyze the effect of rehearsal and practice sessions.
• 9.1.12.K Analyze and evaluate the use of traditional and contemporary technologies in furthering knowledge and understanding in the humanities.

• Understand the individual’s role in ensemble rehearsal processes.
• Etiquette for ensemble rehearsal.
• Strategies for engaging in the rehearsal process.
• Importance of learning individual part as a portion of the whole work.
• Strategies for efficient practice.
• Goal setting strategies.
• Effective practice techniques and tools.
• Technology tools for practice and rehearsal.

• Individual responsibility drives ensemble success.
• Effective practice and goal setting lead to musical growth.
• Technology can serve as a tool to enhance practice and rehearsal efficiency.

• Demonstrate proper rehearsal etiquette.
• Engage in the rehearsal process.
• Practice with efficiency.
• Set personal practice achievement goals.
• Analyze their own playing for the purpose of planning productive individual practice.
• Discuss, demonstrate and model proper and effective rehearsal techniques, focusing on individual responsibilities and contributions to the process.
• Use technology resources for practice (Apps, MakeMusic Cloud, etc.).
• Use technology to assist in rehearsals (e.g. metronome, MakeMusic Cloud).

• What are the elements and procedures for effective and efficient ensemble rehearsals?
• What are appropriate methods and strategies for individual practice?
   

• What are ways to engage in the ensemble rehearsal process?
• What is the individual’s role and responsibilities in an ensemble rehearsal?
• What is the difference between long-term goal and short-term goal for practicing?
• How can planning make practice more efficient and effective?
• What technology tools can be used to practice and analyze playing?
   

• Musical instruments
• Computer - apps
• Sound system
• Recording equipment
   

• Practice
• Rehearsal
• Etiquette
• Goal
• Metronome

• Ongoing
• Process: Process-Focused Assessment
• Director continually monitors and assesses individual achievement and advancement over time.  Improvement should be evident in the ensemble rehearsal as well as individual assessments from other units, giving an overall assessment of progress.
   

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• Time signatures
• Simple, compound, and complex meters
• Duple and Triple subdivision
• Count-writing conventions (e.g. 1-e-+-a)
• Macro and micro beats
• Tempo and beats per minute

• Understanding meter and subdivision is essential for accurate rhythm performances.
• Clear, consistent counting systems support precision in ensemble and solo playing.
• Tempo, beats per minute, and subdivision impact the feel and function of music.

• Play rhythm patterns in simple, compound, and complex meters and in duple and triple subdivisions.
• Demonstrate a standardized method for writing in counts in music.
• Identify and demonstrate appropriate subdivision for a given piece of music and be able to count/write counts.
• Identify the difference between meter and time signature.

• What are the different types of meter in music?
• What is the difference between time signature and meter?
• What is subdivision?
• How is tempo measured and indicated?
   

• What is simple meter/time signature?
• What is compound meter/time signature?
• What is complex meter/time signature?
• What are the two basic subdivisions?
• What meters do we use macro beats in?
• How do we indicate tempo?
   

• Instrument
• Metronome
   

• Meter
• Time Signature
• SImple Meter
• Compound Meter
• Complex Meter
• Duple subdivision
• Triple subdivision
• Tempo
• Beats per minute
• Metronome
• Macro Beat

• Performance: Other oral assessments
  • Director listens and analyzes ensemble sound and provides continuous feedback to ensemble.
• Performance: Formal Assessment
  • Student performs live or recorded and director assesses accuracy.
• Performance: Process-Focused Assessment
  • Students will analyze rhythms in the repertoire and use count-writing, speaking, clapping, and playing strategies to master the rhythms.
     

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.

• The Circle of 4ths and define tonal centers and keys.
• The relationship between keys.
• There are 15 different key signatures.
• Relative major and minor keys share the same key signature.
• The twelve points on the Circle of 4ths/5ths can be used to identify key signatures up to 7 flats and 7 sharps

• The Circle of 4ths/5ths organizes key signatures and tonal centers.
• Major and minor keys are interrelated through shared key signatures.
• Mastery of scales and key relationships supports musicianship and technical proficiency.
   

• Identify major and minor key signatures
• Play all 15 major scales
• Play all 15 minor scales in three forms (natural, harmonic, melodic)
• Use the Circle of 4ths to define tonal centers and keys.

• How are key signatures related?
• How does the Circle of 4ths/5ths summarize and define the harmonic structure of Western music?
   

• How do you determine a key signature using the Circle of 4ths/5ths?
• How are major and minor keys and scales related?
   

• Instrument
• Metronome
• Circle of 4ths/5ths
• MakeMusic Cloud
   

• Major
• Minor
• Relative key
• Parallel key
• Key Signature
• Sharp
• Flat
• Natural Minor
• Harmonic Minor
• Melodic Minor
• Circle of 4ths/5th

• Scale Evaluation
  • Product: Personal Project:Students will submit quarterly recorded assessments of major scales.
• Key Signature Identification
  • Written assessment: Identify key signatures using the Circle of 4ths/5ths
     

PA Arts and Humanities Standards:

• 9.1.12.H Incorporate the effective and safe use of materials, equipment and tools into the production of works in the arts at work and performance spaces.
  • Evaluate the use and applications of materials.
  • Evaluate issues of cleanliness related to the arts.
  • Evaluate the use and applications of mechanical/electrical equipment.
  • Evaluate differences among selected physical space/environment.
  • Evaluate the use and applications of safe props/stage equipment.
  • Evaluate the use and apply safe methods for storing materials in the arts.
     

• How to select a good reed.
• The difference between different cuts of reeds for different types of playing.
• How to store their reeds properly.
• How to clean and maintain their mouthpiece for health and sanitary purposes.
• The dangers of temperature and humidity when storing woodwind instruments, especially wooden instruments.
• Sanitation and cleaning practices for brass instruments.

• Proper instrument care and maintenance are essential for performance quality and player health.
• Choosing the right equipment enhances sound quality and playing comfort.
• Responsible instrument ownership supports long-term musicianship.
   

• Routinely maintain a musical instrument in good working condition.
• Maintain sanitary mouthpiece and reeds.
• Select a proper reed strength and cut for the style of playing.
• Clean a brass instrument.
• Properly lubricate valves, slides, keys.
• Store instruments properly.

• What are the safety, sanitation, and hygiene concerns of a musician?
• What is required to maintain an instrument and equipment in order to perform to potential?
• What are the different qualities of a reed that affect tone and style?
   

• How do you select a reed?
• What factors are taken in consideration when choosing a reed relative to the type of playing?
• What are the ways in which reed life can be prolonged? E.g. storage, use
• How do you lubricate slides and valves on a brass instrument?
• What types of oil are used for different types of slides and valves?
• What is the process for cleaning a brass instrument?
• What are considerations for storing a musical instrument?
• How can temperature and humidity affect a musical instrument with regards to storage?

• Musical instruments
• Valve oil
• Key oil
• Slide lubricant
• Reeds
• Reed cases
   

• Valve Oil
• Key Oil
• Reed cut
• Ligature
• Snake
• Slide grease

• Ongoing
• Process: Process-Focused Assessment
  • Director will continually assess, identify, and address areas of need with individual students as allowed.