Area Standard Goals/I can statements SEPTEMBER

Goals Week 1 Week 2 Week 3

I can locate and name the musical notes in

the staff and demonstrate where they are on
my instrument. I can clap introductory
MIB.1 The student will echo, read, and notate music, including rhythms in simple meters. I can demonstrate
1. identifying, defining, and using basic standard notation for pitch, rhythm, martele and detache bowings. I can
meter, articulation, dynamics, and other elements of music; and demonstrate legato playing and staccato
2. singing selected lines from music being studied. playing.
Week 1: The main focus of this Week 2: Plucking open strings,
week is to work on note reading learning the names of all the
and reading beginning rhythms in strings on all instruments, where Week 3: Learning the first 4 notes
4/4 and 2/4 time. (I) those notes are in the staff (I) of the D major scale (I)

Week 1: call and response

MIB.2 The student will echo, read, and perform rhythms and rhythmic rhythms in 2/4 and 4/4 time with Week 2: call and response in 2/4 Week 3: call and response with
patterns, including whole notes, half notes, quarter notes, eighth notes, I can listen to rhythms played by my teacher quarters, half and whole note and 4/4 time with those rhythms notes (R, I) Call and response in
dotted half notes, dotted quarter notes, and corresponding rests. and play them back. values (I) (R) 3/4 meter
I can show what a whole and half step is on
Music Theory/Literacy

my instrument, i.e. low 2 vs high 2 on violin

MIB.3 The student will identify and demonstrate half-step and whole-step and viola, second finger vs third finger on Week 3: What is a whole-step?
patterns cello. Week 1: not introduced yet Not introduced yet. What is a half-step? (I)
I can identify 4/4 and Common time and 2/4
and cut time as well as 3/4. I can perform
MIB.4 The student will identify, read, and perform music in simple meters music in these meters as well as describe Week 1: Reading rhythms in 4/4 Continue reading in 4/4 and 3/4
(2/4, 3/4, 4/4, C). the relationships between all of the meters. and 2/4 time. time Introduce 2/4 (I)

MIB.5 The student will identify and notate key signatures of scales and I can read and identify music up to two
literature being performed. sharps and one flat. Not introduced yet. Not introduced yet. Not introduced yet.
MIB.6 The student will read, notate, and perform scales, including I can read, notate and perform scales in one-
2. string student—one-octave ascending and descending G and D major octave asending and descending G and D Week 3: Learning the first 4 notes
scales major scales as well as D melodic minor. Not introduced yet. Not introduced yet. in the D major Scale (I)
I can identify a binary form as well as
MIB.7 The student will identify and perform music written in binary form. perform music written in binary form. Not introduced until Week 28
MIB.8 The student will use music composition as a means of expression by
1. composing a four-measure rhythmic-melodic variation; and
2. notating the composition in standard notation, using contemporary I can compose a 4 bar melodic composition
technology on an online music notation software. Not introduced until Week 25
I can define various dynamic and musical
terminology in my music i.e., fortissimo,
MIB.9 The student will define and apply music terminology found in the pianissimo, allegro, andante, adagio, presto,
music literature being studied. (not limited to)
The student will choose from
violin, viola, cello, and bass and
then learn about the parts of the
MIB.10 The student will demonstrate preparatory instrumental basics and instruments. They will learn about
playing procedures, including how to take the instrument out of
1. identification and selection of an appropriate instrument; the case properly and how to put
2. identification of the parts of the instrument; it away. They will learn about The student will review holding
3. procedures for care of the instrument; I can choose an instrument and identify its proper care of the instrument like the instrument up with just the left The student will work onn the
4. proper playing posture and instrument position; parts. I can take care of and clean the cleaning the strings with a cloth. hand. They will then learn the curve of the left hand on the
6. string student—bow hold and left-hand position; and instrument. I can show poroper right hand They will learn how to hold the right hand placement for instrument and nont having waiter
(bow arm) and left hand technique. instrument up (no bow yet). pizzacato. hand. (On the D string)

MIB.11 The student will demonstrate proper instrumental techniques, The student will learn the first 4
including I can learn how to play with the bow with notes to D Major. They will learn
5. string student—proper bow placement, weight, angle, and speed; different strokes. I can play notes short and The student will pluck open D and about the left hand shape and
contrasting articulations (pizzicato, legato, staccato, two-note slurs) long strokes. A string. technique for these notes.
MIB.12 The student will demonstrate ensemble skills at a beginning level,
including
1. balancing instrumental timbres;
2. making adjustments to facilitate correct intonation;
3. matching dynamic levels and playing style; I can play in an ensemble and be able to
4. responding to conducting patterns and gestures; and listen to the other parts in the ensemble. I The students will learn about
5. maintaining a steady beat at various tempos in the music literature being can also understand conducting patterns and being qued in before plucking
studied. keep in time with the ennsemble. notes.
Performing

MIB.13 The student will read and interpret standard music notation while The students will use call in
performing music of varying styles and levels of difficulty, in accordance with response from the teacher to learn
VBODA Levels 1 and 2. I can read notes while playing my instrument. these notes.
The students will learn how to
MIB.14 The student will begin to use articulations, dynamic contrasts, and I can use articulations. I can play with pluck forte and piano through a
phrasing as means of expression varying dynamics and phrasing. game.
The student will pluck back on an
open string rhythms the teacher
MIB.15 The student will perform simple rhythmic and melodic examples in I can repeat rhythms back usinng call and says. For example, pe-per-ron-ni The students will improvise on
call-and-response styles. response. piz-za. these notes.

MIB.16 The student will create, through playing and writing, rhythmic The students will give the class
variations of four-measure selections taken from folk songs, exercises, or rhythmic variations for these
etudes. I can make a rhythmic variation of a piece. notes.
MIB.17 The student will demonstrate musicianship and personal
engagement by
1. identifying the characteristic sound of the instrument being studied;
2. monitoring individual practice through the use of practice records or
journals that identify specific musical goals;
3. participating in school performances and local, district, or regional events,
as appropriate to level, ability, and interest; and I can tell the difference in sound of the string
4. describing and demonstrating rehearsal and concert etiquette as a instruments. I can log my practice. I can The teacher will demonstrate
performer (e.g., using critical aural skills, following conducting gestures, also perform with my class and understand each of the instruments
maintaining attention in rest position). concert ettiquete. uniqueness.
MIB.18 The student will sight-read music of varying styles and levels of
difficulty, in accordance with VBODA Levels 0 and 1. I can sight read new music.
I can name the major musical eras between
antiquity and the present. (Antiquity
Music History and Cultural

MIB.19 The student will explore historical and cultural aspects of music by [including medieval and renaissance],
1. identifying the cultures, musical styles, composers, and historical periods Baroque, Classical, Romantic, and Modern).
associated with the music literature being studied; I can describe the ways in which music has Antiquity: Medieval music. Petrus
2. describing ways in which culture and technology influence the changed with new technologies. I can Abaelardus (1079 - 1142),
Context

development of instruments, instrumental music, and instrumental music describe how culture influences all aspects of Hildegard von Bingen (1098 -
styles; music. I can explain how music is related to 1179), Pérotin Magister (c. 1155 -
3. describing the relationship of instrumental music to the other fine arts and other fields of knowledge. I can describe c. 1250), Léonin Magister (fl. c. Antiquity: Medieval music.
other fields of knowledge; musical career options. I can describe how 1150 - 1201?), Philippe Le Philippe de Vitry (1291 - 1361)
4. describing career options in music; ethics, copyright laws, and social media can ANTIQUITY: Medieval music (c. Chancelier (c. 1165 - 1236), Pierre Des Molins (fl. c. 1375)
5. describing ethical standards as applied to the use of social media and be applied to music. I can demonstrate 500 AD through c. 900 AD). Talk Walter von Der Vogelweide (c. Ghirardello da Firenza (fl. c. 1375)
copyrighted materials; and proper concert etiquette and actively listen to gregorian chant through Guido 1170 - c. 1230), Alfonso X "El Lorenzo da Firenza (fl. c. 1375)
6. demonstrating concert etiquette as an active listener the performance. d'Arrezzo chronologically) Sabio" (1221 - 1284) Jacopo da Bologna (fl. c. 1375)
Analysis, Evaluation,

MIB.20 The student will analyze and evaluate music by I can describe the importance of cultural
1. describing the importance of cultural influences and historical context for influences and historical context for the
and Critique

the interpretation of works of music; interpretation of works of music. I can

2. describing and interpreting works of music, using inquiry skills and music describe accepted criteria for evaluating
terminology; works of music. I can describe performances Music from North America: Music from North America, test on
3. describing accepted criteria used for evaluating works of music; of music using proper music terminology. I accepted criteria for evaluating Friday: describe accepted criteria
4. describing performances of music, using music terminology; and can describe accepted criteria used for Music from North America: works of music, describe used for critiquing musical
5. describing accepted criteria used for critiquing musical performances of critiquing musical performances of myself cultural influences and historical performances of music using performances of my own and of
self and others and others. context proper terminology. others.
MIB.21 The student will investigate aesthetic concepts related to music by I can propose a definition of music and
1. proposing a definition of music and supporting that definition; support that definition. I can identify why I
Aesthetics

2. identifying reasons for preferences among works of music, using music
terminology;
3. identifying ways in which music evokes sensory, emotional, and
intellectual responses, including ways in which music can be persuasive;
and
4. describing aesthetic criteria used for determining the quality of a work of
music or importance of a musical style
prefer different kinds of music by using music
terminology. I can identify how music evokes
sensory, emotional, and intellectual
responses. I can describe aesthetic criteria
used for determining the quality of a work of
music or importance of a musical style. (last
three weeks)
 OCTOBER NOVEMEBER
Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
Week 4: One octave D major scale
(pizzicato) and reading music that
utilizes those notes with actual
sheet music, as well as building
aural skills with rote learning.
Students should feel confident with
where the notes are on their Week 5: Plucking the D major Week 6: Pizzicato tunes with all Week 8: Introducing the bow,
instruments and the whole/half scale in different rhythms in call the notes in the D major 1 octave Week 7: Students lead call and discussing the parts of the bow, Week 10: bowing on open D and
steps. (M) and response scale (M) response exercises (M) pencil bow hold (I) Week 9: bow hold bow games (R) A strings (I, R)
Week 10: Students will listen to
call and response on open D and
Week 5: Reading music in 4/4, 2/4 Week 6: Call and response with Week 7: Students will lead call and A strings in rhythmic
and 3/4 meter with rhythmic values changng meters with rhythms up response exercises using eighth combonations of quarters, half
Week 4: Introduce eighth notes (I) up to eighth notes (R) to 8th notes. (M) notes, quarters and half notes (M) BOW FOCUSED CLASS BOW notes, and whole notes

Week 4: Continue to enforce and

remind students about their half
and whole steps (R) Same Same Same BOW FOCUSED CLASS BOW BOW

Week 6: Call and reponse with

Read in cut time (I)
Week 4: Introduce D major key
signature, what is that hashtag on
the page?
Read in common time (4/4), changing meters between 4/4 and Week 7: Student led call and Week 10: Call and response
explain what the "C" means (R) 2/4 time (M) response exercises to peers (M) BOW FOCUSED CLASS BOW using open D and A strings
Week 5: Identify the D major key Week 6: reading music with D
signature (M) major key signature Same BOW FOCUSED CLASS BOW

Week 4: Finishing the 1 octave D

scale (I, R) BOW FOCUSED CLASS BOW

Dynamic of the week: Forte Dynamic of the week: Piano

Learning about the bow hold.

They will use a pencil instead of
the bow since it is not as heavy.
The class will be splint into half.
Upper strings will learn about the
bunny bow hold and lower strings
The students will work on left hand The students will work on left hand will learn about the sad bunny
frame on the a string. frame on the a string. bowhold.
Students will use the technique
from last class on an actual bow
instead of pencil and will play bow
games like right hand push ups
and spider clawling up and down
the bow.

They will work on placing the They will work on placing the bow
They will learn the remaining notes pencil on the instrument t o aline on the instrument to aline it with
the D major. Review of D major it with the bridge. the bridge. The student will use stop bows to play on the open D and A s

The students will play pieces from

The notes will be played all
together then in a canon to hear
the harmonies created by these
notes.
The students will use call in
response from the teacher to learn reading notation in essential
these notes.
The students will use dynamic
contrast while playing the scale.
Students will start working on
methods.
The students will learn how to
accent while pizzing.
essential elements that have
different lines for each instrument.
They will have to describe what
other instruments are playing.
Students will start working on
reading notation in essential
methods.
Students will look at eachothers
pencil bow holds. They will also
try reteaching to eachother about
the bunny.
Students will look at eachothers
bow holds. They will also try
reteaching to eachother about the
bunny.
They will work on using marcato
during the stop bows to make a
loud and clean sound.

The students will improvise on
these notes.
The students will listen to the
teacher play the piece and then
repeat them.
The students will listen to the
teacher play the piece and then
repeat them.
This will be the first time they look
at music. They will learn about
the proper way to look at the
music in sight reading. They will be looking at new music.

The students will be tuaght rest

Students will work on breathing position with the bow resting on
before coming in during the the right leg and the instrument
First pracitce log due teachers up beat. on the left leg. Practice log due.

Antiquity: Renaissance Music.

Guillaume Dufay (1400–1474), Baroque Music. Henry Purcell
Johannes Ockeghem (1420– Antiquity: Renaissance Music. (1659–1695)
1497), Josquin Des Prez (c. Jacques Arcadelt (c. 1507–1568), Alessandro Scarlatti (1660–1725)
1450–1521), Alexander Agricola Thomas Tallis (c. 1505–1585), Baroque Music. Hieronymus Tomaso Albinoni (1671–1750)
(c. 1446–1506), Jean Mouton Giovanni Perluigi Palestrina Praetorius (1560–1629), John Antonio Lucio Vivaldi (1678–
Antiquity: Medieval music. Medieval music: Monday: review (1459–1522), Pierre de la Rue (1525–1594), Francesco Guerrero Dowland (1563–1626), Frei 1741)
Guillaume de Machaut (c. 1300 - 500AD-900 AD. Tues: review (1460–1518), Robert Fayrfax (1527–1599), Orlando de Lassus Manuel Cardoso (1566–1650), Georg Philipp Telemann (1681–
1377) Petrus Abaelardus through (1464–1521), Francisco de (1532–1594), Francesco Soto de Claudio Giovanni Antonio 1767)
Francesco Landini (1325 - 1397) Alfonso X "El Sabio". Wed: Review Peñalosa (c. 1470–1528), Robert Langa (1534–1619), Gioseffo Monteverdi (1567–1643), Thomas Jean-Philippe Rameau (1683–
Pycard (fl. c. 1390) de Vitry through da Bologna. Th: Carver (c. 1485–1570), Clément Guami (1542–1611), William Byrd Simpson (1582–1628), etronio 1764)
Franchois Lebertoul (fl. c. 1400) review de Machaut through Janequin (1485–1558), Francesco (1549–1623), François, Eustache Review of all Antiquity and test on Franceschini (1650–1680), Giuseppe Matteo Alberti (1685–
Johannes Ciconia (c. 1335 - 1411) Ciconia. Test Friday. Canova da Milano (1497–1543) Du Caurroy (1549–1609) Friday Arcangelo Corelli (1653–1713) 1751)

Music from South America:
cultural influences and historical
context
Music from South America:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
Music from South America, test on
Friday: describe accepted criteria
used for critiquing musical
performances of my own and of
others.
Music from Western Europe:
cultural influences and historical
context
Music from Western Europe:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
Music from Western Europe, test
on Friday: describe accepted
criteria used for critiquing musical Music from Eastern Europe:
performances of my own and of cultural influences and historical
others. context
NOVEMEBER
Week 11
Week 11: Martele bow strokes
and the first 4 notes of the D
major scale (I, R)
Week 11: Review of eighth notes,
quarters, half notes and whole
notes
Week 11: Review of whole and
half step relationships in D major
Parent-Teacher Conference & Thanksgiving
The student will focus on proper
bow hold and uses of split bows
for a straight bow.
The student will use martele.
The students will play in a canon
the first half of D major.
The student will learn about how
to make piano and forte on the
bow.
The student will use call and
response to learn rythms on the
bow.
Practice log due.
Baroque Music. George Frideric
Handel (1685–1759)
Johann Sebastian Bach (1685–
1750)
Giuseppe Domenico Scarlatti
(1685–1757)
Johann Friedrich Fasch (1688–
1758)
Jean Jacques-Christophe Naudot
(1690–1762)
Johann Adolph Hasse (1699–
1783)
Music from Eastern Europe:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
Week 12
Week 12: Martele bow strokes
and the whole 1 octave scale (M)
Week 12: Rhythms with the
martele bow stroke in quarters
Week 12: Review whole and half
steps with D major
Call and response with the whole
scale
Dynamic of the week: Mezzo-forte
The student will focus on proper
bow hold and uses of split bows
for a straight bow.
The students will play in a canon
the whole D major scale.
They will review for the concert
and will learn about proper
concert ettiquite. What to where
and how to sit.
Review of Baroque music and test Christoph Willibald Ritter von
Wednesday. Thursday and Friday Gluck (1714–1787)
start Classical Music:
technologies, instruments, etc. (1719–1787)
Music from Eastern Europe, test
on Friday: describe accepted
criteria used for critiquing musical Music from Australia/Oceania:
performances of my own and of
others.
DECEMBER/JANUARY
Week 13
Week 13: Introduce detache
stroke on open strings (I)
PREPARE FOR CONCERT!
Holding detache stroke for
different lengths in rhythms (R)
BOW
BOW
Students will focus on left hand
frame and bow hold.
Bow push up warm up
The students will relearn the first
part to essential elements while
playing with the bow.
They will use dynamics with the
bow.
The first concert of the year. They
will perform everything pizzacato
and will show pepperoni pizza
with the bow.
Classical Music. Wilhelm
Friedemann Bach (1710–1784)
Carl Philipp Emanuel Bach
(1714–1788)
Johann Georg Leopold Mozart
cultural influences and historical
context
Week 14
Week 14: Detache with the 1
octave D major scale (R)
Practice the D major scale with
varying rhythms
Same
Call and response with the whole
scale, led by students (M)
Students will focus on connecting
their stop bows to create a
detache stroke.
Students will learn about detache.
They will use dynamics with the
bow.
Classical Music. Johann Ernst
Bach (1722–1777), Johann
Gottlieb Goldberg (1727–1756),
Franz Joseph Haydn (1732–
1806), Johann Christoph Friedrich von Weber (1786 - 1826),
Bach (1732–1795), Johann
Christian Bach (1735–1782),
Antonio Salieri (1750–1825),
Muzio Clementi (1752–1832)
Music from Australia/Oceania:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
FEBRUARY
Week 15: Week 16:
Week 16: Playing the whole G
Week 15: Introduce first four notes major scale (one octave) with a
of the G major scale with detache detache bow stroke, playing
bow stroke (I) songs in G major (R, M)
Quarter notes and half note Rhythmic patterns including
rhythms for the new scale eighth notes (M)
Discuss the whole and half step
relationships in G major (M) Same
What is the key signature for G
major? (M)
Dynamic of the week: Mezzo-
piano
Students will learn left hand space The students will pay attention to
for G major. They will learn about keeping their hand frame the
the g string. same during g major and d major.
Students will play the scale with
detache and martele.
Students will work on essential
Students will play a cannon in g element excersises that include
major. the key G major.
Learn the key signature for g
major
They will perform with dynamics:
piano, mezzo piano, andn forte
The scale will be taught through
call and response.
They will improvise over G major
Practice log due.
Classical Music. Wolfgang
Amadeus Mozart (1756–1791),
Franz Xaver Sussmayr (1766–
1803), Bedřich Dionys Weber
(1766–1842), Ludwig Van
Beethoven (1770–1827), Niccolo
Paganini (1782–1840), Carl Maria Review of all Classical music and
test Thursday. Friday begin
Gioachino Antonio Rossini (1792– Romantic music:Vincenzo Bellini
1868), Franz Peter Schubert (1801–1835), Louis-Hector Berlioz
(1797–1828), Domenico Gaetano (1803–1869), Johann Strauss I
Maria Donizetti (1797–1848) (1804–1849)
Music from Australia/Oceania, test
on Friday: describe accepted
criteria used for critiquing musical Music from Southeast Asia:
performances of my own and of cultural influences and historical
others. context
 FEBRUARY
Week 17:
Week 17: D major and G major
scales in both detache and
martele bow strokes, practicing
going from high two to low two on
violin and viola, second finger vs Week 18: Playing pieces from the
3rd finger on cello (R)
Mixture of rhythms
Same
Key signature quiz: (M) How it's
written, where are the whole and
half steps in the scale?
The students will pay attention to
keeping their hand frame the
same during g major and d major.
Students will work on essential
element excersises that include
the key G major.
They will perform with dynamics:
piano, mezzo piano, and forte
Romantic music: Vincenzo Bellini
(1801–1835), Louis-Hector
Berlioz (1803–1869), Johann
Strauss I (1804–1849), Jacob
Ludwig Felix Mendelssohn
(1809–1847), Frederic Chopin
(1810–1849), Robert Alexander
Schumann (1810–1856), Franz
Liszt (1811–1886), Wilhelm
Richard Wagner (1813–1883),
Giuseppe Fortunino Frencesco
Verdi (1813–1901), Charles
François Gounod (1818–1893)
Music from Southeast Asia:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
Week 18:
method book D major
Mixture of rhythms
Students will pick a partner to
perform a duo.
They will learn about breathing as
chamber musicians and how to
que.
They will work on looking at a new
piece of music in small groups.
Romantic music: Jacques
Offenbach (1819–1880), Clara
Wieck Schumann (1819–1896),
Cesar Franck (1822–1890), Anton
Joseph Bruckner (1824–1896),
Johann Strauss II (1825–1899),
Johannes Brahms (1833–1897),
Eduard Strauss (1835–1916),
Georges Bizet (1838–1875),
Modest Petrovich Mussorgsky
(1839–1881), Peter Ilyich
Tchaikovsky (1840–1893)
Music from Southeast Asia, test
on Friday: describe accepted
criteria used for critiquing musical
performances of my own and of
others.
Week 19:
Week 19: Playing pieces in the
method book in G major
Continue reinforcing concepts
Continue reinforcing concepts
Continue reinforcing concepts
Continue reinforcing concepts
Continue reinforcing concepts
They will continue to work on left
hand frame and keeping a straight
bow, begins explaining going in
and out with the bow.
They will play a bow game and
sliding up and down the string with with one finger to loosen right
one finger to loosen right hand.
Practice log due. Student will
perform duets.
Romantic Period: Antonín Dvorak
(1841–1904), Jules Massenet
(1842–1912), Edvard Hagerup
Grieg (1843–1907), Gabriel-
Urbain Fauré (1845–1924), Sir
Edward William Elgar (1857–
1934), Giacomo Puccini (1858–
1924), Gustav Mahler (1860–
1911), Achille-Claude Debussy
(1862–1918), Richard Strauss
(1864–1949), Jean Sibelius
(1865–1957)
Music from the Middle East:
cultural influences and historical
context
Week 20:
Week 20: Playing pieces in
method book in both keys,
applying dynamic contrasts to the
bow
Pieces in 2/4, 3/4 and 4/4 meters
(M)
Applying all four dynamics in the
pieces
They will play a bow game and
sliding up and down the string
hand.
An Ensemble piece outside of
essential elements will be used to
work on g major.
They will perform with dynamics:
Forte, mezzo forte, mezzo piano,
and piano
Students will chose a melody to
improvise with and then later
perform.
Romantic Period: Erik Satie
(1866–1925), Siegfried Wagner
(1869–1930), Alexander
Nikolaevich Scriabin (1872–
1915), Ralph Vaughan Williams
(1872–1958), Sergei Vasilievitch
Rachmaninoff (1873–1943),
Arnold Franz Walter Schoenberg
(1874–1951), Gustav Theodore
Holst (1874–1934), Charles
Edward Ives (1874–1954),
Joseph Maurice Ravel (1875–
1937), Béla Bartók (1881–1945)
Music from the Middle East:
accepted criteria for evaluating
works of music, describe
performances of music using
proper terminology.
MARCH
Week 21:
Week 21: Introduction to slurs (I)
Slurs in varying rhythms, i.e.
quarters, eighths (R)
Students will learn about slurs.
Students will use call and
response to work on rhythm while
sluring.
Students will perofrm the
improvised melodies for
eachother.
Students will look at pieces for the
first time with slurs.
Review of Romantic music and
relevant events, technological
innovations, etc. Test on Friday
Music from the Middle East, test
on Friday: describe accepted
criteria used for critiquing musical
performances of my own and of
others.
Week 22:
Week 22: D major scales with
slurs (M, R)
Use varying rhythms, building off
of last week (R)
Where are the whole and half-
steps? (R)
Students will use split bows with
two notes to keep the rhythm in
the slurs. They will then take out
the stops between the two notes
once even.
Spring Break
Slurs will be reviewed.
The ensemble will play pieces
that include slurs.
Early modern: Artur Schnabel
(1882–1951), Igor Stravinsky
(1882–1971), Zóltan Kodály
(1882–1967), Anton Friedrich
Wilhelm von Webern (1883–
1945), Alban Berg (1885–1935),
Sergei Sergeyevich Prokofieff
(1891–1953)
Music from Central Asia: cultural
influences and historical context

Week 23:
Week 24: Bowing on the C string composing, prepare for
Week 23: Bowings in music, down for cellos and violas and E strings composing project, introduction to
bows, up bows, slurs (R) for bass and violin (I)
Usage of slurs in variations: down
up up, down down up up etc. (R)
Studnets will work on placing the
bow at different parts of the string
to demonstrate up and down bow.
Continued work on slurs.
The ensemble will look at pieces
with bowings marked in.
This will be the first time they look
at pieces with bowings marked in.
Early modern: George Gershwin
(1898–1937)
Francis Poulenc (1899–1963)
Edward Kennedy Ellington (1899–
1974)
Maurice Durufle (1902–1986)
Sir Lennox Berkeley (1903–1989)
Eduard Tubin (1905–1982)
Dmitri Shostakovich (1906–1975)
Olivier Messiaen (1908–1992)
Samuel Barber (1910–1981)
Music from Central Asia: accepted
criteria for evaluating works of
music, describe performances of
music using proper terminology.
APRIL
Week 24:
Week 25: Introduction to
C major scale (I)
Style of the week: Legato and
Staccato
Students will work on right hand
motion when reaching the tip.
The right hand should lean onto
the index and should lean on the
pinky at the frog.
Review of bow games.
Modern: William Howard
Schuman (1910–1992)
Gian Carlo Menotti (1911–2007)
Jean Françaix (1912–)
Benjamin Britten (1913–1976)
Bernd Alois Zimmermann (1918–
1970)
Ernest Tomlinson (1924–2015)
Peter Lamb (1925–2013)
Karlheinz Stockhausen (1928–
2007)
Music from Central Asia, test on
Friday: describe accepted criteria
used for critiquing musical
performances of my own and of
others.
Week 25:
How to write bowings for basic
rhythms (I)
Where are the whole and half-
steps in C major?
Students will play the C major
scale in staccato and marcatto
styles
The students will compose a 4
bar melody including elements of
slurs, contrasting articulations,
bowings and varying rhythms
The student will use variations to
help them compose their melody.
Modern: William Mathias (1934–
1992)
Arvo Part (1935–)
John Rutter (1945–)
Andrew Lloyd Webber (1948–)
Week 26:
Week 26: Introduction to an online
notation software, i.e. Noteflight,
Musescore, how to write, first four
notes of the C major scale (I)
Where are the whole and half-
steps in the C major scale?
The students will learn how to
input and notate articulations,
dynamics and contrasting
articulations in an online notation
software system.
Career Options: Monday:
performance with guest speaker.
Tuesday: education (teacher
present). Wednesday: production
and recording with guest speaker.
Thursday: music therapy with
guest speaker. Friday: research
with small research project (on a
career relating to music)
announced. Due in one week.
Week 27:
Week 27: End of year summary:
review of detache vs. martele,
scale sumamry, finishing the C
major scale (R, M)
Students will review their set up
before the end of the year.
Identify how music evokes
sensory, emotional, and
intellectual responses. Describe
aesthetic criteria used for
determining the quality of a work
of music or importance of a
musical style.
MAY
Week 28: Week 29:
Week 29: Listening to pieces of
Week 28: What is a binary form? music in binary form, identifying
Applying it to in class contexts. (I) dynamic contrasts in repertoire
End of year concert! and style. (R)
End of year quiz: What is detache,
martele, what scales did we learn?
(M)
What is binary form? Have the
students guess, and then explain
Style of the week: Marcato
Students will review their set up
before the end of the year.
Students will listen and make note
of dynamics, articulations and
note what they listen in the
recordings in class
End of year concert
Monday: ethics re: social media
and copyright laws. Tuesday:
proper concert etiquette.
Wednesday through Friday: find a
recording on YouTube of a
symphony or concerto
performance and write a review
as if you were a classical music
critic. Due Friday.
Propose a definition of music and
support that definition & identify
why I prefer different kinds of
music by using music terminology.
MAY
Week 30:

Week 30: End of year celebration:

Performing the classes
compositions

We will spend the last few classes

of the year exploring our peers'
compopsitions and such

The student will continue to

demonstrate prepatory instrument
playing procedures

Portfolio of notes due Monday,

graded and returned by Friday.