9-12th Grade Band Teaching Unit

Teacher’s Guide

Sarah Kelley MUSIC 670 Dr. Payne

 TABLE OF CONTENTS

Introductory
Learning Goals & Addressed National Standards ……………………………………………….………… 3
Score Analysis
Form ………………………………………………………………………………………………………………..………….. 5
Melodic ………………………………………………………………………………………………………………..……… 6
Harmonic ………………………………………………………………………………………………………….…………. 7
Rhythmic ……………………………………………………………………………………………………………………… 7
Timbre ………………………………………………………………………………………………………………..……….. 8
Texture ………………………………………………………………………………………………………………………… 9
Historical Context ………………………………………………………………………………………………………… 9
Concept Lessons
Concept Mixtape ……………………………………………………………………………………………..………… 10
Rhythm Race ……………………………………………………………………………………………..………………. 14
Story Board ……………………………………………………………………………………………..…………………. 18
Composing Maestro ……………………………………………………………………………………………..……. 10
Articulation Thief ……………………………………………………………………………………………..………… 22
Dr. Judge ……………………………………………………………………………………………..…………………….. 24
Scale Snakes ……………………………………………………………………………………………..……………….. 27
STUDENT GUIDE
Practice Guide ……………………………………………………………………………………………..…………….. 30
Glossary ……………………………………………………………………………………………..……………………… 33
Worksheets and Examples ………………………………………………………………………………………… 36

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 INTRODUCTORY
Joy Revisited
Frank Ticheli
Grade 3

Learning Goals & Addressed National Standards

Knowledge
Students will apply stylistic and expressive ideas found in Joy Revisited to other pieces of music.

- MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared

and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.
- MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.

Students will recognize the importance of voicing in various styles.

- MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional
devices employed and theoretical and structural aspects of musical works impact and inform
prepared or improvised performances.

Students will visually and aurally identify the form of Joy Revisited

- MU:Pr4.2.E.5a Select a varied repertoire to study based on music reading skills (where
appropriate), an understanding of formal design in the music, context, and the technical skills of
the individual and ensemble

Skills
Students will demonstrate proficiency in performing various tonalities.

Students will perform Joy Revisited with correct rhythms.

- MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared

and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.

Students will perform scales or fragments of scales using stylistically appropriate articulations, lengths,
tempo, and dynamics.

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 - MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared
and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.

Affective Outcomes
Students will apply context of a piece to instrument performance aspects.

- MU:Pr4.3.E.Ia Demonstrate an understanding of context in a varied repertoire of music through

prepared and improvised performances.
- MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of
music are manipulated inform the response to music.

Students will connect ideas found in Joy Revisited with other elements of life.

- MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and
intent when creating, performing, and responding to music

Students will perform Joy Revisited with expression.

- MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an

audience through prepared and improvised performances.

Students will compose a warm up using aspects of Joy Revisited.

- MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements
for specific purposes that reflect characteristic(s) of music from a variety of historical periods
studied in rehearsal.

Students will reflect on their performance, and the performance of others.

- MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire of

music, and evaluate their success using feedback from ensemble peers and other sources to
refine performances..

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 Score Analysis
Joy Revisited
Frank Ticheli
Grade 3

Form

The form of Joy Revisited is more complicated than the other pieces that students have played
this year (Full Curriculum Guide Reference). For students, this is an opportunity to identify and
name new musical vocabulary terms such as prime, episode, transition, development, as well as
how all those look and sound in the context of this piece. This unit covers this idea of form. The
overall outline of the piece provides a full circle of musical ideas for the performer and
audience. The form of the piece is as follows.

▪ A – mm 1-13
▪ Episode 1 – mm 14-21
▪ A’ – mm 22-37
▪ Episode 2 – mm 38-47
▪ B – mm 48-58
▪ Episode 3 – mm 59-70
▪ A’’ – mm 71-75
▪ Episode 2 – mm 76-89
▪ A – mm 90-105
▪ Coda – mm 106-113

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Melodic

- The main theme’s melodic material (mm.1-17) in this piece is in scaler and intervallic
form. It is also broken up into two parallel phrases, the second being an imitation of the
first (mm.6-9), but in octaves. Beginning with the bright and lively rising thirds (mm.2-4),
and met with the descending legato scales (mm.5).

- In terms of the style of the melodic materials, there are sudden shifts of styles which can
be seen by the written articulations. In mm.10, 98, and 110. The accents are
immediately followed by a contrast of legato 16th note passages. This melodic motif is
found every time the main melody is played.

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 - Finally, in mm 28-38 the melody is being passed around from section to section,
providing a seamless flow of the melodic material.

Harmonic

- Tonality shifts between the main theme from Mixolydian modes to major keys. The right
notes can be a first win for students. Aside from the rhythmic aspect of the passages,
the scales found within the piece provide for tonality shifts and teachable moments. The
following is a breakdown in the large scale harmonic sequence of the piece.

▪ A – Eb Mixolydian and Eb Major

▪ Episode 1 - Eb Major
▪ A’ – Db Mixolydian, Bb Major, G Major, G minor
▪ Episode 2 – Eb Mixolydian
▪ B – Bb Mixolydian
▪ Episode 3 – Eb Major
▪ A’’ – Eb Major
▪ Episode 2 – Eb Mixolydian
▪ A – Eb Mixolydian and Eb Major
▪ Coda – Eb Major

Rhythmic

- Hemiola and polymeter motives are played in episode 1 (mm. 18-27)

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 o The wo beat patterns are separated by quarter note rests – ¾ feel (mm. 18-21)
- Stylistically, the the 16th-notes runs in the upper woodwinds are considered “flourishes”
according the score notes from Frank Ticheli.
o This rhythm is important to the feel and style of the piece.
- The Main Theme is broken up into two-beat patterns (mm.71-75). This is also
accentuated by the passing of the melody around the band. This rhythmic motive
creates a timbre contrast well.

Timbre(I)/Text(V)

- The offset patterns in new tonalities provide certain voices to be hidden in terms of
sound, but felt through the ensemble. (mm. 34-38).
- The orchestration is different in many parts of the piece, creating different timbres of
the ensemble in each style change (mm.18-27).
o In this section, both brass and woodwinds are playing a fanfare, in addition to a
tonality shift. This will inevitably become a high light for timbre.
o The “walking” eighth notes take care of this, as each voice contributes to the
returning A’ theme idea

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Texture

- Cantible motives in Theme 2 (mm. 48-58) are passed through the band, creating
harmonic textures that serve as new accompaniments in the piece.
o Patterns are offset creating rich texture in the fanfare and lagato scaler
passages.

Historical/Cultural analysis

- This piece is the second, more advanced version of the original piece, Joy. It was written
simultaneously, and with the same intent.
- It is symbolic of the anxiety and excitement that Frank Ticheli experienced while his first
child was being born. These thoughts are captured in the timbre, tempo, and rhythmic
feels presented in the music.

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 Concept Lessons
- Joy Revisited
- Frank Ticheli
- Grade 3
*Warm up Strategies and Assessments are included for each lesson*

#1 Concept Mixtape
Historical/Cultural Context

Objectives
o Students will connect ideas found in Joy Revisited with other elements of life.
o Students will apply stylistic and expressive ideas found in Joy Revisited to other pieces of
music.

Addressed Standards
o MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.
o MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music representing
diverse cultures, styles, and genres.

LESSON SEQUENCE
Warm UP

1. Students are familiar with the program notes of Joy Revisited. (INTRODUCTION)
2. A class discussion is had with the following prompts (DISCOVERY)
a. Do you think you can be excited and nervous or anxious at the same time?
b. In what circumstances has this occurred in your life or do you suspect it will?
3. After listening to the piece once the teacher has each student take out their pencil and a
piece of paper. (ACTIVITY - MATERIAL FROM SELECTION)
a. “The piece of paper represents excitement and the pencil represents anxiety or
nerves. This time when we listen to it, hold up the “emotion” you feel is being
presented the most.”
b. Each obvious shift, stop the music, and ask “why do you think this represents
___?” Allow a few students to make musical inferences each time.
4. “How might understanding these emotions Frank Ticheli is writing help us?”
(TRANSITION)
a. Allow for class discussion, encouraging musical vocabulary be used.

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Activity 1: Students find a song or songs that relate to the emotions found within Joy Revisited.

5. Provide assignment details to students

a. “For this next activity, I want you to find a song or songs that match either one of
the emotions or both of Jo Revisited. You are welcome to try and mix it online,
but if it doesn’t musically line up, it is okay to just submit the titles, artists, and
link to the songs that have similar emotions as Joy Revisited. Please include an
explanation in at least 3 sentences of how the songs connect. Here is an example
of mine. Remember, the songs do not actually have to match, I put mine in a
mixtape generator and it doesn’t sound very good, but the concepts match,
which is what I am looking for!
i. Stressed Out by 21 Pilots is a song about the stress that the singer,
Johnathan has about becoming an adult. I imagine this is similar to the
feeling Frank Ticheli had when he was becoming a dad. I assume both of
these people were excited for the next step, but in that very moment,
nervous, scared, and stressed out about all of the immediate changes, as
well as the quickly-approaching changes in their life.
Assessment

Students will submit the title, artist, and link to the song(s) that have similar emotions
presented as Joy Revisited into a Discussion board on *Google Classroom, Class Dojo,
Blackboard, etc.* Students will be evaluated with a checklist ensuring that the above has
been completed.
Tool:

Name: Yes, Complete No, Incomplete

Title was included

Artist was named

A minimum of 3 sentences
were written about the
connections made
between the contexts of
the songs.

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 A link to the song(s) were
provided

Example:

Name: Ms. Kelley Yes, Complete No, Incomplete

Title was included Stressed Out

Artist was named 21 Pilots

A minimum of 3 sentences Explanation

were written about the
connections made between
the contexts of the songs.

A link to the song(s) were https://rave.dj/nGj7ilLUkDhy4w

provided

Activity 2: ART INTEGRATION: Students design the concert “JOY” poster and fill in their answers
of “what brings you joy?” Students will display this for audience members to add to as the enter
and exit the concert.

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 1. “For each concert, we usually have a theme for our programs and often make some
flyers. Since our next Concert is during Fine Art’s Night, we are going to have an
interactive flyer!”
2. Each student will add at least one item to the poster answering, “What brings you joy?”
3. “At our concert, we will display this, with a bunch of pens for the audience to add to the
poster.”

Assessment: Joy Poster Explanation

After students have each contributed a word, drawing, or phrase to the class poster, students will
provide an explanation as to why they wrote what they did. Students will receive a credit or no
credit for this assessment. A rubric or check list is unnecessary, as they will be provided with the
below template to turn in.

Example

Student Name: ________________ Student Name: ________________

I added “Camping with my family” _____________________________

to the JOY Poster. Being in nature
without digital distractions allows _____________________________
me to relax and connect with my
_____________________________
family, which doesn’t happen very
often. I find a lot of joy in making _____________________________
memories through these special
times with my family.

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#2 Rhythm Race
Objectives
Students will perform Joy Revisited with correct rhythms.
Addressed Standards
MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared
and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.

LESSON SEQUENCE
Warm UP

150 Backing Track

120 Backing Track

95 Backing Track

1. Teacher plays any of the backing tracks as students enter the class (Introduction).
Throughout the warm up, teacher will change which backing track is playing to vary
tempo.
2. Posted on the screen is a one measure rhythm. These rhythms are not all directly
found in one single voice, as there activity for the day is pulled from those same
ones. These warm up rhythms are at a slightly higher level than the ones in Joy
Revisited.
3. Students are instructed to either clap and count it, sizzle, or play on concert Eb, G, or
Bb. (ACTIVITY)
a.
b.
c.
d. (mm.18- remember this one! DISCOVERY)
e.
f.
g. (mm. 97- remember this one! DISCOVERY)
h. (mm.110- remember this one! DISCOVERY)
i.
j.
k. (mm. 101 - remember this one! DISCOVERY)
l.
m. (mm.98 – remember this one! DISCOVERY)

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 4. “Great job! Now, try to find one of these rhythms, or a very similar fragment of
these rhythms in your part! Show your shoulder partner when you’ve found one.”
(TRANSITION)

Activity Students are given rhythms found in Joy Revisited and relay race to perform it
accurately.

5. As a section, you will upload a recording of your group completing this paper. Here
are the rules. Each person, who is present today, in the section has to participate, so
in some cases, you may have to double up and have multiple people perform on one
exercise. You must go in order on the page, and follow the performance instructions
6. The first section to upload their recording with 100% accuracy, will get to pick the
next composer for the composer presentations. You will be disqualified if not all
members participate.
7. Remember, posture is still important, even if you are counting and clapping or
sizzling. Play the notes in a comfortable octave, and except for the last two
measures, all notes on the page, are what should be performed. No transposing!

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Assessment

Tool: Checklist and typed Feedback

Using a check list, the teacher will assess students, and provide feedback in the
comment section of the video for individuals. Each student will receive private,
individual comments. Teacher will document the concepts that seemed the most
challenging, and least challenging, to adjust the upcoming lessons/rehearsal plans.

Section Members: Yes, 100% Accurate Not 100% accurate

#1 Sizzle

#2 Play!

#3 Count and Clap

#4 Sizzle

#5 Count and Clap

#6 Count and Clap

#7 Sizzle

#8 Play!

All Section Members

Participated

Additional Comments:

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Example:

Section Members: Flutes Yes, 100% Accurate Not 100% accurate

Abby, Billy, Carol, Darrel,

Emma

#1 Sizzle Articulation was

magnificent, Billy

#2 Play! GREAT tone,

Emma!

#3 Count and Clap Keep a steady pulse!

#4 Sizzle Amazing, Darrel!

#5 Count and Clap Great, effort!

Remember to say
the counts while you clap.

#6 Count and Clap Great posture, and

excellent counting

#7 Sizzle This one was tricky, great job!

#8 Play! Count the entire tie

to know when to cut
off!

All Section Members Participating does not

Participated mean just standing
there.

Additional Comments: Overall, you did a great job! Before recording or playing a difficult
passage, try saying the counts out loud, and write them in if it’s a really long sustained note!

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#3 Story Board
Form Tech Integration

Objectives
Students will visually and aurally identify the form of Joy Revisited

Addressed Standards
MU:Pr4.2.E.5a Select a varied repertoire to study based on music reading skills (where
appropriate), an understanding of formal design in the music, context, and the technical skills of
the individual and ensemble

LESSON SEQUENCE
Warm Up Rearrange the form of the piece.
1. “Today, we are going to do a full run through, acting like we would at the final
concert, but instead of starting ta the beginning, we’re going to start in measure 71,
play all the way through, go to the beginning at the “end” of the piece, and then
actually end at measure 70.“ (INTRODUCTION and ACTIVITY)
2. “Now, start at measure at 48 and end at 47”
3. Other than the fact that you didn’t start at the beginning, what made that weird?”
a. (DISCOVERY) “We took the story of the piece out of order. This song’s story is
about Frank Ticheli becoming a dad, so there is a set order of events in this
piece. So, it doesn’t quite make sense when we play it out of order, right?”
4. In order to ensure, other than reading it normally, that we play this story in order,
you are going to create your own storyboard for our piece. (TRANSITION)

Activity: TECH INTEGRATION: In sections, students create a story board for the
assigned sections of the piece. A visual and brief description of what is happening
in the story will be included.

5. “Using, https://www.storyboardthat.com/storyboard-creator# your group will

create a story board according to our form. Each slide will be assigned to certain
measures. The website will walk you through how to create slides and add text and
photos. Reference recordings of the piece are on Google Classroom, which you will
need to be able to complete our storyboard. Upload your group’s story board to
*Google Classroom*”
6. You have this whole class period to work on it, so presentations will be in two days.
The rubric shows professionalism, but it is in your demeanor and attitude while you

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 briefly present your story boards. You do not need to dress up or create any other
documents other than the storyboard.

Assessment
Tool
This rubric is measuring if students can come up with a story that has the same
ideas as the music and transfer it to a visual storyboard.
Example

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#4 Composing Maestro
Objective
Students will compose a warmup using aspects of Joy Revisited.

Standard Addressed

MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements
for specific purposes that reflect characteristic(s) of music from a variety of historical periods
studied in rehearsal.

LESSON SEQUENCE
Warmup Wheel of Band Fortune
Students all have a previously used method book, and the “wheel” generates a random
number from that book.
Students “sight read” the piece and make a connection, through class discussion and/or
rapid fire think, pair, share to how a concept that they just played can be related to an
aspect of their playing Joy Revisited.

Activity
1. Students will create a 12-16 measure warmup using melodic and rhythmic material
found in Joy Revisited. The warm up must also include musical elements such as
dynamics, articulations, and make musical sense.
2. After completed, the band will use these compositions for the morning playing
warm up.
3. Students must use a digital music notation software, which is available on the 1:1
devices or in the library.
Assessment
Students will be assessed through a rubric on their ability to pull materials from Joy
Revisited and compose a musical warmup for the class.
Tool

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Example

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#5 Articulation Thief
Objective
Students will perform scales or fragments of scales using stylistically appropriate articulations,
lengths, tempo, and dynamics.

Students will perform Joy Revisited with expression.

Standard Addressed
MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared
and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres.
MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.

LESSON SEQUENCE

Warm up

1. The lesson will be all about articulation, so as a quick warm up students will be provided
with transposed copy of the following. This follows the basic melodic and accompanying
articulations in Joy Revisited. Not only does it require focus for the articulation, it is also
representative of the many different accidentals that are found in the piece. (ACTIVITY)
2. “What do you notice about the piece?” (INTRODUCTION)
3. “It looks like part of the piece!” (DISCOVERY)

4. As we look into our music, today, we are going to focus on all things articulation (Transition)

Activity

The articulation thief is chosen by the director and is asked for them to come up front. They
make known to the class which articulation they would like to eliminate or substitute for a different one.
Possibilities could include

o Leave out all staccatos/accents/slurs/tenutos

o Substitute all staccatos for slurs, all slurs for accents

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 Students will engage in a class discussion on why articulation helps to tell the story of a piece.

Assessment Class discussion with exit ticket sticky notes.

- How does articulation tell the story of a piece?

- What changes about Joy Revisited if we changed all accents to slurs?
- What about if we changed all slurs to tenutos.

Student Name: _______________________________

Biggest takeaway from rehearsal.

What articulations will you need to focus on in your practice?

What articulations do you do well? What or how could you

improve?

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#6 Dr. Judge
Timbre
Objective
Students will reflect on their performance, and the performance of others.

Standard Addressed
MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire of
music, and evaluate their success using feedback from ensemble peers and other sources to
refine performances..

LESSON SEQUENCE

Warm Up
Play well-known songs and students enter the room (INTRODUCTION)
Prompt questions like (ACTIVITY)
o Why do you like this song?
o What parts of the music do you like?
▪ The bass
▪ The beat
▪ The melody is easy to remember/sing
▪ I like the movie/show this is from
▪ Etc.
Reflecting on why you enjoy something, or just being able to figure out what you enjoy
is really helpful for yourself as a human, but also as a musician. (DISCOVERY) As a
performer, you constantly need to reflect on how you are performing and your skill set.
Is your posture enabling you to play at your best or inhibiting you? Did you play
articulations with good tone coming out of your instrument or did you just go through
the motions? I ask myself questions and reflect on my current performance and what I
want every time I play. So, that is exactly what we are going to do today: Ask a lot of
questions (TRANSITION).
Activity
1. We are going to listen to another school play this piece, and you are going to be the
contest judge. Use the Rubric that I posted on Google Classroom to fill out.

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1. Now let’s do it for this performance (students from their last rehearsal)
2. “What if I told you that second performance was from two days ago in here?”
3. On Google Classroom, I just published a journal entry. Complete that, and we’ll
come back together to talk about it.
4. Walk through the below journal entry prompts and encourage a class discussion.
5. “What about that performance did you like?
a. No one was sticking out.
i. We’ve seen this diagram before. This idea is going to solve one of our
biggest points of improvement. Balance of timbre. Someone tell me
what timbre means.
ii. When we know the sound that our instruments make and how it fits
in to the whole ensemble sound, we are going to be able to use this
pyramid to make sure we sound like one ensemble, instead of a
bunch of instruments making noise.
iii. “How might we use the knowledge of timbre to help us?”
1. Tubas, what should the sound be like in Joy Revisited?
a. Full, round, etc.
2. Clarinets and flutes?
a. Light, flowing
6. As we get closer to performing this piece, we need to open our ears and listen to
ourselves and others. Especially when we switch between the keys we are playing in.
Frank Ticheli wrote many different keys without ever changing the key signature so
each accidental is incredibly important to the piece.

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 Assessment: Journal Entry
Students submit their journal entry. Teacher uses feedback to develop or adjust future
lessons/rehearsal plans

Please submit a journal entry with the following answered prompts.

- What aspects of our ensemble sound are doing well?
o Cite at least two specific moments in the music using measure numbers.

- What aspects of our ensemble sound could we improve upon?

o Cite at least two specific moments in the music using measure numbers.

- What aspects of your performance is going well?

o Cite at least two specific moments in the music using measure numbers.

- What aspects of your performance could be improved upon?

o Cite at least two specific moments in the music using measure numbers.

- What did you hear in the recording that you’d like to hear from the entire ensemble?
o Cite at least two specific moments in the music using measure numbers.

- What did you hear in the recording from your section that you’d like to
implement in your part?
o Cite at least two specific moments in the music using measure numbers.

- Where in the piece is the timbre of your instrument highlighted?

o Cite at lease one specific moment in the music using measure numbers.

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#7 Scale Snakes
Harmony
Objectives
Students will demonstrate proficiency in performing various tonalities.

Standards Addressed
MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared
and improvised performances of a varied repertoire of music representing diverse cultures,
styles, and genres

LESSON SEQUENCE
Warm Up
We are going to play the scales found in this piece, but there is a special type of scale
found. (INTRO)
Play an Eb Mixolydian Mode
Was the a major or minor scale?
After some discussion, name it as a Mixolydian Mode. And write the following up
for everyone: (DISCOVERY)
1 2 3 4 5 6 b7
This is what we are going to do for our scale warm up. I will give you a scale, we will play
it, but if I ask for a Mixolydian mode, this is the formula we will use. It is just like a major
scale, but our 2nd to last note will be flat-ted. Let’s try a Bb mixolydian. Try it on your
own to see if you can figure it out. (ACTIVITY)
Lead the following scales
o Eb Major
o Bb Major
o Bb Mixolydian
o Eb Mixolydian
o G Major
o G minor
o Db Mixolyidan
Last time, we talked about timbre. Today we are going to pay extra special attention to
our timbre and create a snake of sound. (TRANSITION)

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 Activity
I’m going to give you the scale and each person is going to play one note with the very
best tone you can. First we’ll just focus on the note and producing a good tone in time,
and then we’ll add articulation
The following are examples of Keys I would give:
o Bb Major Scale
o Eb Major
o Bb Mixolydian
o Eb Mixolydian
o G Major
o G minor
o Db Mixolyidan
The following are examples of additional criteria I would give
o Half notes
o Quarter notes
o 2 eighth notes
o Staccato
o Accent
o Legato
Assessment Playing test
I will use the following rubric to evaluate the Scale/mode playing test. Students do not
have to play the test memorized.

Concept Lessons:

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9-12th Grade Band Teaching Unit
Student Guide

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PRACTICE GUIDE PACKET

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31
32
 GLOSSARY

Intervals: 1, 2, 3, 4, 5, 6, b7
Formula: Whole, Whole, Half, Whole, Whole, Half, Whole

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34
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 WORKSHEETS AND EXAMPLES

Concept Mixtape
Completed Example:

Name: Ms. Kelley Yes, Complete No, Incomplete

Title was included Stressed Out

Artist was named 21 Pilots

A minimum of 3 sentences Explanation

were written about the
connections made between
the contexts of the songs.

A link to the song(s) were https://rave.dj/nGj7ilLUkDhy4w

provided

Poster Explanation
Completed Example:

Student Name: ________________

Student Name: ________________

I added “Camping with my family” _____________________________
to the JOY Poster. Being in nature
_____________________________
without digital distractions allows
me to relax and connect with my _____________________________
family, which doesn’t happen very
often. I find a lot of joy in making _____________________________
memories through these special 36
times with my family.
Rhythm Race
Worksheet

Section Members: Yes, 100% Accurate Not 100% accurate

#1 Sizzle

#2 Play!

#3 Count and Clap

#4 Sizzle

#5 Count and Clap

#6 Count and Clap

#7 Sizzle

#8 Play!

All Section Members

Participated

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 Additional Comments:

Story Board
Use this link: https://www.storyboardthat.com/storyboard-creator#

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Composing Maestro
Example

39
Rubric

Articulation Thief

40
Warm Up

Exit Ticket

Student Name: _______________________________

Biggest takeaway from rehearsal.

What articulations will you need to focus on in your practice?

What articulations do you do well? What or how could you

improve?

Dr. Judge

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Blank Rubric

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