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Meeting the Standards with Your

Concert Programming

Today’s Objectives

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The National Standards

“The role that music will play in students’ lives depends on large

measure on the level of skills they achieve in creating, performing, and

listening to music.” National Standards for Arts

Education 1994 (p. 42)

Context and Issues for

ALL of the Standards

Purpose of the Arts Standards

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The National Standards for Music Education

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.

1.  Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

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What students should know and be able to do in the arts? Other Important Points

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Using the Standards in Rehearsal

“If one does not know to which port one is sailing, no wind is favorable.”

Seneca the Younger (4 BC-65 AD)

“Repertoire is the Curriculum” “A well-planned repertoire creates the framework for an excellent music curriculum that fosters the musical growth of the students.”

H. Robert Reynolds, author

MEJ, July 2000

“Core” Repertoire

Significant Works for Wind Band

Qualities of Core Music

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Using Questions to Teach the Standards “Asking the right question during rehearsal can help students improve performance as well as develop musicianship.”

Kevin Tutt, author

MEJ, May 2007

Connect to Standard 6 Listening to, analyzing, and describing music

Analyze Describe   What other instruments are

playing the melody?

  Which sections create the pulse or energy?

  Listen to the trumpets and tell which note is not in tune.

  What other selection should the style of these notes be like?

  How is the melody scored differently at m. 25 then m. 89?

  What is the form of this work or section?

  Explain what is happening in this section that helps build the musical peak.

  What did you do to improve the the intonation during that performance?

Connect to Standard 7

Evaluating music and music performances

Evaluate music

  How did the composer create tension in this selection?

  Describe how the composer created musical interest in his work.

  What selection did you enjoy as a listener to our performance?

  What about the composer’s creation of music do you enjoy most?

Evaluate performance   Describe the selection you felt we

performed best last night/today? Why?

  Tell what selection you enjoyed performing in our program. Why?

  Evaluate what you feel the adjudicators might tell the performers about the group’s performance. "

Programming the Literature

“You’ve got to be careful if you don’t know where you’re going,

because you might not get there.” Yogi Berra

Using Standards 8 & 9

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture

A Young Band Concert Sequence

Ammerland Grade 2 Jacob de Haan (b. 1956)

Katsista—Iroquois Campfire

Grade 2 Michael Grady (b. 1966)

Echoes from a Russian Cathedral

Tchaikovsky/Singleton Grade 2

Variations on a Sailing Song Carl Strommen (b. 1940)

Grade 2

Fantasy on Sakura, Sakura Ray E. Cramer

Grade 3

“Folk Music”

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A Developing Band Concert Sequence

Legends in the Mist (1996)

Michael Sweeney (b. 1952)

Grade 3.5

On the Hawkeye Patrol

Grade 3 Stephen Bulla

Apache Lullaby (2003)

Michael Colgrass (b. 1932)

Grade 1.5

Garden of the Gods

Grade 3 Rick Kirby

“America’s First People”

An Advanced Band Concert Sequence

Dance of the Jesters (1873) P. I. Tchaikovsky (1840-1893)

Grade 5 Arr. Ray E. Cramer

Selections from The Nutcracker (1892)

P. I. Tchaikovsky (1840-1893) Grade 4 Arr. James Curnow

A Slavonic Farewell (1912) Vasilij Agapkin (1884-1964)

Grade 4 Ed. John R. Bourgeois

Salvation is Created Pavel Tschesnokoff (1877-1944) Grade 3 Arr. Bruce Houseknecht

“Finale” from Symphony No. 1 in G Minor (1894-1895)

Grade 4.5 Vasily Kalinnikov (1866-1901) Arr. Glenn Cliffe Bainum

“White Nights”

“Goin’ Baroque” Young or Developing Bands

TMTPB, Volume 7, Appendix B

  Air and March Purcell/Gordon Grade 2

  Fanfare Ode and Festival (1982) Gervaise/Margolis Grade 2

  Courtly Airs and Dances (1995) Ron Nelson (b. 1929) Grade 3-4

  Largo and Bourrée Handel/Lynd Grade 2

  Telemann Suite Telemann/Schaeffer Grade 2

“From the British Isles” A Developing Bands Concert Sequence

  Eire (2007) (i•re) Melanie Donahue Grade 3

  Three Scottish Vistas (2007) William Owens (born 1963) Grade 3

  Selections from   Holst’s Suite in E-flat?   Grainger’s Lincolnshire Posy?

Grade 3-4-5

  Three Ayes from Gloucester Hugh M. Stuart (1917-2006) Grade 2.5 Teaching Music through Performance in Band, Vol. 1

  Dragoon’s Farewell (1998) Brant Karrick Grade 2.5 (born 1960)

“Coming to America” Advanced Band

  American Fanfare (2009) Grade 3.5 Rick Kirby

  Star Spangled Banner (2002) Grade 3 arr. Jack Stamp (b. 1954)

  An American Elegy (2000) Grade 4 Frank Ticheli (b. 1958)

  Metroplex (2005) Grade 4-4.5 Robert Sheldon (b. 1954)

  George Washington Bridge (1950) W. Schuman (1910-1992) Grade 4.5

  American Faces (1994) Grade 4 David Holsinger (b. 1945)

“Your Ticket Around the World!”

An Advanced Band Concert Sequence

  Suite Provençale (1998) Jan van der Roost (b. 1956) Grade 3

  Suite Française, Opus 248 (1945) Grade 4-5 Darius Milhaud (1892-1974)

  La Procession du Roico Joaquin Turina Grade 4.5 arr. Alfred Reed

  Kilimanjaro-An African Portrait Grade 5 Robert Washburn

  Köningsmarsch Richard Strauss (1864-1949) Grade 4 ed. Roger Barrett

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“Dialogues and Entertainments” University of Michigan Symphony Band, Michael Haithcock, Conductor

  Dialogues and Entertainments (1980)

William Kraft (b. 1923)

  Bells for Stokowski (2002) Michael Daugherty (b. 1954)

  Toccata and Fugue in D Minor, BWV 565 (c. 1703) J. S. Bach (1685-1750), Trans. Erik Leidzen

  Selections from Sacrae Symphoniae (1597) Giovanni Gabrieli (c.1554-1612)

“Heroes and Icons”

  Developing Band

  Nathan Hale Trilogy Grade 3 James Curnow (b. 1953)

  Sempre Fi Grade 3 J.P.Sousa (1854-1932)

  Advanced Band

  George Washington Bridge Grade 4.5 William Schuman

(1910-1992)

  A Movement for Rosa (2005)

Grade 4 Mark Camphouse (b. 1954)

“Dancing with the Stars”

  Courtly Airs and Dances (1982) Grade 3 Ron Nelson (b. 1929)

  The Washington Post (1889) Grade 3 John Philip Sousa (1854-1932)

  Symphonic Dance No. 3 “Fiesta” (1965) Grade 4 Clifton Williams (1923-1976)

  Selections from Suite of Old American Dances (1950) Grade 4-5 Robert Russell Bennett (1894-1981)

  Solitary Dancer (1970) Grade 5 Warren Benson (1924-2005)

“An Artist’s Palette”

  The Red Balloon Grade 2 Anne McGinty (b. 1945)

  The Sunken Cathedral or Claire de Lune Claude Debussy (1862-1918)/

Various

  Resting in the Peace of His Hands (1995) Grade 3.5 John Gibson (b. 1950)

  Selections from Color (1984) Grade 4 Bob Margolis (b. 1949)

  Selections from Scenes from the Louvre (1964) Grade 4-5 Norman Dello Joio (1913-2008)

  Selections from Paris Sketches (1994) Grade 5 Martin Ellerby (b. 1957)

“The man who does not read good books (or music) has no advantage over the man who cannot read them (or play good music).” —Mark Twain (1835-1910)

Conclusion

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“So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning.”

—Aaron Copland