String Orchestra Curriculum

created by Emily Thomas Adapted from the ASTA String Curriculum and the VA Instrumental Music SOLs

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Categories and Content Areas 𝄞 Executive Skills & Knowledge

• Body Format

• Left Hand Skills and Knowledge

• Right Hand Skills and Knowledge

• Instrument Knowledge

𝄢 Musicianship Skills & Knowledge

• Tonal Aural Skills and Ear Training

• Rhythmic Skills and Ear Training

• Creative Musicianship

• Music Literacy

• Ensemble Skills

• Music Theory

𝄡 Artistic Skills & Knowledge

• Expressive Elements

• Historical and Cultural Elements

• Evaluation of Music and Musical Performance

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1st Year

𝄞 Body Format: • establish posture (sitting and standing) on all instruments (MIB 10.4) • basic playing position for violin and viola (sitting and standing) (MIB 10.4) • basic playing position for cello (MIB 10.4) • basic playing position for bass (MIB 10.4)

𝄞 Left Hand Skills and Knowledge • establish hand and wrist shape (MIB 10.4) • initial left hand finger placement (MIB 11.1) • initial finger patterns (MIB 10.6, 11.1, ) 𝄪 violin/viola 𝄪 cello 𝄪 bass • Introduction of positions/shifting (bass) • placement of finger on the string • lateral finger movement (moving from string to string)

𝄞 Right Hand Skills and Knowledge • perform pizzicato in guitar position (violin/viola) • perform pizzicato in playing position (MIB 11.5) 𝄪 violin/viola 𝄪 cello 𝄪 bass • establishing the initial bow hold (MIB 10.6, 11.5) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) • perform pre-bowing exercises (establish door-hinge elbow) (MIB 10.6, 11.5) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) • perform with simple connected (detaché) bow strokes (MIB 11.5) •perform with simple separated (staccato) bow strokes (MIB 11.5) • direction changes • short slurs (MIB 11.5) • string crossings • basic bow distribution • introduction to bowing variables (weight, angle, speed, and placement, including contact point and part of the bow) (MIB 11.5)

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𝄞 Instrument Knowledge • specific instrument geography • identification of the parts of the instrument (MIB 10.2) • procedures and care of the instrument (MIB 10.3) • tuning with fine tuners (with tuner)

𝄢 Tonal Aural Skills and Ear Training (scale requirements adjusted by instrument) • Students perform, by ear, melodic patterns with a tetrachord, both major and minor (vocally, pizz, or arco). (MIB 1.2) • Students will identify, by ear, the difference between a half step and a whole step. (MIB 3) • Students will identify, by ear, the difference between u, m2, M2, m3, M3, and o • Students identify whether two performed melodic tonal patterns are the same or different. • Students correctly identify direction of melodic motion (going higher or lower in pitch). • Students correctly associate the words high and low with relative pitch differences. • Students will perform the D major scale, one octave (MIB 6.2) • Students will perform the G major scale, one octave (MIB 6.2) • Students will perform the C major scale, one octave (MII 5.2)

𝄢 Rhythmic Skills and Ear Training • Students maintain a steady pulse while singing, clapping, and playing. • Students demonstrate a sense of meter while singing, clapping, and playing. (MIB 2) • Students speak and/or sing rhythm language (1e+a) • Students perform quarter notes and corresponding rests (MIB 2) • Students perform eighth notes and corresponding rests(MIB 2) • Students perform half notes and corresponding rests(MIB 2) • Students perform dotted half notes and corresponding rests(MIB 2) • Students perform rhythms in 4/4 meter (MIB 4) • Students perform rhythms in 2/4 meter (MIB 4) • Students perform rhythms in 3/4 (MIB 4) • Students perform rhythms containing rests (MIB 2) • Students perform rhythms containing ties • Students perform rhythms containing upbeats

𝄢 Creative Musicianship • rhythmic: students derive rhythm patterns from speech and environmental sounds and link them with the motion of the bow-hand • tonal (melodic/harmonic): students create one-note solos against a class- generated accompaniment • rhythmic: students teach each other short original rhythm phrases through call-and-response

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𝄢 Music Literacy • students correctly identify and perform basic music notation and symbols associated with the following skills and understandings to each corresponding curricular level: 𝄪 musical alphabet (MIB 1) 𝄪 staff (line notes and space notes) (MIB 1) 𝄪 clef signs (MIB 1) 𝄪 lines and spaces in clefs specific to instruments (MIB 1) 𝄪 chromatic symbols (♮,♯♭) (MIB 1)

𝄪 key signatures (MIB 5) 𝄪 relative note values (MIB 1) 𝄪 time signatures (MIB 4) 𝄪 quarter notes, eighth notes, half notes, dotted half notes, whole notes, sixteenth notes, and related rests (MIB 2) 𝄪 dynamic markings (MIB 1,14) 𝄪 articulation (MIB 1,14) 𝄪 tempo markings (MIB 1) • students correctly sight-read basic music notation and symbols (MIB 18) • students correctly identify accidentals • students correctly identify the following key signatures: D, G, and C (MIB 5)

𝄢 Ensemble Skills • students match pulse and rhythm to stay together in an ensemble (MIB 12.5) • students adjust pitch within the ensemble (MIB 12.2) • students demonstrate self-discipline by working cooperatively with peers to produce a quality musical performance (MIB 13, 17.3) • students display appropriate etiquette for style and venue of musical performance (MIB 17.3, 17.4) • students demonstrate well-disciplined personal and professional demeanor during rehearsals and performance (MIB 17.4)

𝄢 Music Theory • coming soon!

𝄡 Expressive Elements • students shape phrases with simple dynamic variation (MIB 14) • students alter tone by modifying bowing variables (weight, angle, speed, placement/contact point) (MIB 11.5) • students perform with written/implied/stylistically appropriate articulations (MIB 14) • students perform the following expressive elements: 𝄪 ritardando 𝄪 fermata

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𝄡 Historical and Cultural Elements • students listen to selected music from diverse cultures and musical eras (MIB 19) • students identify, describe and compare distinguishing characteristics of composers and styles from selected repertoire (MIB 14) • students perform music from diverse styles (MIB 19, 20.1) • students will learn about at least one composer from each of the four eras (MIB 19)

𝄡 Evaluation of Music and Musical Performance • students evaluate individual and group performance using established criteria (MIB 20.3, 20.5) • students critique themselves and others using an established criteria for supportive, constructive criticism (MIB 20.3, 20.5)

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2nd Year

𝄞 Body Format: • continue posture (sitting and standing) on all instruments (MII 9.2) • continue basic playing position for violin and viola (sitting and standing) (MII 9.2) • continue basic playing position for cello (MII 9.2) • continue basic playing position for bass (MII 9.2) • Adjust to physical characteristics of individual students (MII 9.2)

𝄞 Left Hand Skills and Knowledge • continue hand and wrist shape (MII 9.2) •continue left hand finger placement (MII 9.2) • continue finger patterns (MII 9.2) 𝄪 violin/viola 𝄪 cello 𝄪 bass • continue positions/shifting (bass) • continue placement of finger on the string (MII 9.2) • continue lateral finger movement (moving from string to string) (MII 9.2) • extensions 𝄪 violin/viola 𝄪 cello • refinement of shifting 𝄪 bass • harmonics • simple double stops (one string fingered, one string open) • chromatic alterations • left hand pizzicato

𝄞 Right Hand Skills and Knowledge • perform pizzicato in playing position (MII 9.2) 𝄪 violin/viola 𝄪 cello 𝄪 bass • continue bow hold (MII 9.2, 10.4) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) • perform with simple connected (detaché) bow strokes (MII 10.4) •perform with simple separated (staccato) bow strokes (MII 10.4) • direction changes • multiple note slurs (MII 10.4) • string crossings

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• basic bow distribution • continue experimenting with to bowing variables (weight, angle, speed, and placement, including contact point and part of the bow) (MII 10.4)

𝄞 Instrument Knowledge • specific instrument geography • identification of the parts of the instrument • procedures and care of the instrument (MII 9.1) • tuning with the pegs (with tuners) (MII 9.3)

𝄢 Tonal Aural Skills and Ear Training (scale requirements adjusted by instrument) • Students perform, by ear, melodic patterns with a tetrachord, both major and minor (vocally, pizz, or arco). (MII 1.1, 1.2) • Students will identify, by ear, the difference between a half step and a whole step. • Students will identify, by ear, the difference between each interval (u, m2, M2, m3, M3, P4, P5, o). • Students identify whether two performed melodic tonal patterns are the same or different. • Students correctly identify direction of melodic motion (going higher or lower in pitch). • Students correctly associate the words high and low with relative pitch differences. • Students perform, by ear, melodic patterns with a one-octave range, both major and minor (vocally, pizz, or arco). (MII 1.1, 1.2) • Students manipulate single pitches to adjust intonation and listen for “ring tones” (resonance). (MII 10.1, 16.1) • Students alter melodies and harmonies (major to minor and vice versa). • Students alter fine tuners and adjust strings to match an external tonal reference. (MII 9.3) • Students will perform the D major scale, two octave (MII 5.2) • Students will perform the G major scale, two octave (MII 5.2) • Students will perform the C major scale, one octave (MII 5.2) • Students will perform the F major scale, one octave (MII 5.2) • Students will perform the B (melodic and natural) minor scales, two octave • Students will perform the E (melodic and natural) minor scales, two octave • Students will perform the A (melodic and natural) minor scales, one octave • Students will perform the D (melodic and natural) minor scales, one octave

𝄢 Rhythmic Skills and Ear Training • Students maintain a steady pulse while singing, clapping, and playing. (MII 2) • Students demonstrate a sense of meter while singing, clapping, and playing. (MII 2) • Students speak and/or sing rhythm language (1e+a) • Students perform quarter notes, eighth notes, half notes, sixteenth notes, whole notes and corresponding rests (MII 2) • Students perform dotted quarter notes and corresponding rests (MII 2)

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• Students perform dotted eighth notes and corresponding rests (MII 2) • Students perform eighth note triplets and corresponding rests (MII 2) • Students perform rhythms in 4/4, 2/4, and 3/4 meters

𝄢 Creative Musicianship • rhythmic: students teach each other short original rhythm phrases through call-and-response (MII 14) • tonal (melodic/harmonic): students use the root, third, and fifth of a chord to solo over student-generated accompaniment (MII 15)

𝄢 Music Literacy • students correctly identify and perform basic music notation and symbols associated with the following skills and understandings to each corresponding curricular level: 𝄪 musical alphabet (sharps and flats) (MII 1) 𝄪 staff (line notes and space notes) (MII 1) 𝄪 clef signs (MII 1) 𝄪 lines and spaces in clefs specific to instruments (MII 1) 𝄪 chromatic symbols (♮,♯♭) (MII 1)

𝄪 key signatures (MII 1, 4) 𝄪 relative note values (MII 1) 𝄪 time signatures (MII 1, 3) 𝄪 quarter notes, eighth notes, half notes, dotted half notes, whole notes, sixteenth notes, dotted quarter notes, dotted eighth notes, eighth note triplets, and related rests (MII 2) 𝄪 dynamic markings (MII 1, 13) 𝄪 articulation (MII 1, 13) 𝄪 tempo markings (MII 1, 13) • students correctly sight-read basic music notation and symbols (MII 17) • students correctly identify accidentals • students correctly identify interval labels (u, m2, M2, m3, M3, P4, P5, 0) • students correctly identify the following key signatures: D, G, C, F, e, b, d (MII 5.2) • students correctly identify tonality (including key signature) and perform repertoire through three sharps and three flats

𝄢 Ensemble Skills • students match pulse and rhythm to stay together in an ensemble (MII 11.5) • students adjust pitch within the ensemble (MII 11.2) • students demonstrate self-discipline by working cooperatively with peers to produce a quality musical performance (MII 16.5) • students display appropriate etiquette for style and venue of musical performance (MII 16.5) • students demonstrate well-disciplined personal and professional demeanor during rehearsals and performance (MII 16.5)

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• students perform with various tempos with a steady pulse (MII 11.5) • students demonstrate understanding of appropriate balance of the melody and accompaniment lines. (MII 11.1) • students imitate rhythm patterns at slow, medium, and fast tempos, following the conductor’s beat pattern and cues (MII 11.4) • students match bowing with their section (MII 11.3) 𝄢 Music Theory • coming soon!

𝄡 Expressive Elements • students shape phrases with simple dynamic variation (MII 13) • students alter tone by modifying bowing variables (weight, angle, speed, placement/contact point) (MII 10.4) • students perform with written/implied/stylistically appropriate articulations (MII 13) • students evaluate and demonstrate multiple ways of performing a single melody • students apply knowledge of practice techniques to selected repertoire (MII 16.3) • students perform the following expressive elements: 𝄪 accent 𝄪 tremolo

𝄡 Historical and Cultural Elements • students listen to selected music from diverse cultures and musical eras (MII 18.1) • students identify, describe and compare distinguishing characteristics of composers and styles from selected repertoire (MII 18.2) • students perform music from diverse styles (MII 18.1) • students will learn about two composers from each musical era (MII 18.2)

𝄡 Evaluation of Music and Musical Performance • students evaluate individual and group performance using established criteria (MII 19. 3, 5) • students, with teacher assistance, establish criteria for evaluating individual and group performances based on the level of music performed supportive, constructive criticism (MII 19. 3, 5)

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3rd Year

𝄞 Body Format: • continue posture (sitting and standing) on all instruments (MIAD 9.2) • continue basic playing position for violin and viola (sitting and standing) (MIAD 9.2) • continue basic playing position for cello (MIAD 9.2) • continue basic playing position for bass (MIAD 9.2) • Adjust to physical characteristics of individual students (MIAD 9.2)

𝄞 Left Hand Skills and Knowledge • continue correct hand and wrist shape (MIAD 9.2) • continue correct left hand finger placement (MIAD 9.2) • reinforce placement of finger on the string (MIAD 9.2) • reinforce extensions (MIAD 10.4) 𝄪 violin/viola 𝄪 cello • introduction of positions/shifting (MIAD 10.4) 𝄪 violin/viola 𝄪 cello • refinement of shifting (MIAD 10.4) 𝄪 bass • reinforce chromatic alterations • initial vibrato development (MIAD 10.4)

𝄞 Right Hand Skills and Knowledge • reinforce bow hold (MIAD 10.4) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) •perform with staccato bow strokes • extending basic bow distribution • on-the-string strokes 𝄪 martelé 𝄪 slurred staccato 𝄪 hooked bowing 𝄪 longer slurs 𝄪 accented detaché • off-the-string bow strokes (MIAD 10.4) 𝄪 brush stroke • extension of techniques related to control of bowing variables (weight, angle, speed, and placement, including contact point and part of the bow) (MIAD 10.4) • more advanced detaché bowings (MIAD 10.4) 𝄪 tremolo

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𝄞 Instrument Knowledge • specific instrument geography • identification of the parts of the instrument • procedures and care of the instrument (MIAD 9.1, 9.3) 𝄪 full tuning by ear 𝄪 changing strings

𝄢 Tonal Aural Skills and Ear Training (scale requirements adjusted by instrument) • Students will identify, by ear, the difference between a half step and a whole step. • Students will identify, by ear, the difference between each interval (u, m2, M2, m3, M3, P4, T, P5, m6, M6, m7, M7, o). • Students perform, by ear, melodic patterns with a one-octave range, both major and minor (vocally, pizz, or arco). (MIAD 1.2) • Students manipulate single pitches to adjust intonation and listen for “ring tones” (resonance). (MIAD 10.1, 10.2) • Students alter melodies and harmonies (major to minor and vice versa). • Students use fine turners and/or pegs to tune strings, in fifths (or fourths), to an external tonal reference. (MIAD 9.3) • Students perform, by ear, various melodies and accompaniments in various scales and meters • Students will perform the D major scale, two octave (MIAD 5.2) • Students will perform the G major scale, two octave (MIAD 5.2) • Students will perform the C major scale, two octave (MIAD 5.2) • Students will perform the A major scale, two octave (MIAD 5.2) • Students will perform the F major scale, two octave (MIAD 5.2) • Students will perform the B flat major scale, two octave (MIAD 5.2) • Students will perform the E flat major scale, two octave (MIAD 5.2) • Students will perform the B (melodic and natural) minor scales, two octave (MIAD 5.2) • Students will perform the E (melodic and natural) minor scales, two octave (MIAD 5.2) • Students will perform the A (melodic and natural) minor scales, two octave (MIAD 5.2) • Students will perform the D (melodic and natural) minor scales, two octave (MIAD 5.2) • Students will perform the G (melodic and natural) minor scales, two octave (MIAD 5.2)

𝄢 Rhythmic Skills and Ear Training • Students maintain a steady pulse while singing, clapping, and playing. • Students demonstrate a sense of meter while singing, clapping, and playing. • Students speak and/or sing rhythm language (1e+a) • Students perform quarter notes, eighth notes, half notes, sixteenth notes, whole notes and corresponding rests

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• Students perform dotted half notes, dotted quarter notes, dotted eighth notes and corresponding rests • Students perform eighth note triplets and corresponding rests (MIAD 2) • Students perform quarter note triplets and corresponding rests (MIAD 5.2) • Students perform rhythms in 4/4, 2/4, and 3/4 meter • Students perform rhythms in 6/8 (MIAD 3.1) • Students perform rhythms containing asymmetrical and unusual meters (MIAD 3.3) • Students perform rhythms containing syncopation

𝄢 Creative Musicianship • rhythmic: students teach each other longer original rhythm phrases through call-and-response (MIAD 14) • textual: students translate a visual or experiential narrative into original sounds on their instruments (music as storytelling). • textual: students translate a musical recording into a written story • compositional: students add traditional notation into their original scores (MIAD 7.2) • tonal (melodic/harmonic): students create solos using the notes of the scale as stepping-stones between chords tones. (MIAD 15)

𝄢 Music Literacy • students correctly identify and perform basic music notation and symbols associated with the following skills and understandings to each corresponding curricular level: 𝄪 musical alphabet (sharps and flats) (MIAD 1) 𝄪 staff (line notes and space notes) (MIAD 1) 𝄪 clef signs (MIAD 1) 𝄪 lines and spaces in clefs specific to instruments (MIAD 1) 𝄪 chromatic symbols (♮,♯♭) (MIAD 1)

𝄪 key signatures (MIAD 1, 4) 𝄪 relative note values (MIAD 1) 𝄪 time signatures (MIAD 1, 3) 𝄪 quarter notes, eighth notes, half notes, dotted half notes, whole notes, sixteenth notes, dotted quarter notes, dotted eighth notes, eighth note triplets, quarter note triplets, and related rests (MIAD 1) 𝄪 dynamic markings (MIAD 1, 13) 𝄪 articulation (MIAD 1, 13) 𝄪 tempo markings (MIAD 1) • students correctly sight-read basic music notation and symbols (MIAD 17) • students correctly identify accidentals • students correctly identify interval labels • students correctly identify the following key signatures: D, G, C, F, B flat, and E flat, major, and B, E, A, D, and G minor (through three sharps and three flats) (MIAD 5.2) • violinists correctly identify and perform the pitches found in third position

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• students correctly identify and perform notes with double sharps or double flats

𝄢 Ensemble Skills • students match pulse and rhythm to stay together in an ensemble (MIAD 11.4) • students adjust pitch within the ensemble (MIAD 10.1, 11.2) • students demonstrate self-discipline by working cooperatively with peers to produce a quality musical performance (MIAD 16.4) • students display appropriate etiquette for style and venue of musical performance (MIAD 16.5) • students demonstrate well-disciplined personal and professional demeanor during rehearsals and performance (MIAD 16.5) • students perform with various tempos with a steady pulse (MIAD 11.4, 12) • students demonstrate understanding of appropriate balance of the melody and accompaniment lines. (MIAD 11.1) • students imitate rhythm patterns at slow, medium, and fast tempos, following the conductor’s beat pattern and cues (MIAD 11.3, 11.4) • students imitate dynamic patterns at slow, medium, and fast tempos, following the conductor’s beat pattern and cues (MIAD 11.2, 11.3) • students match bowing with their section • students match bow usage to their section and ensemble • students follow section leaders • students perform with style, articulation, and pitch, including adjusting dynamic level, according to the musical function of their part (MIAD 13)

𝄢 Music Theory • coming soon!

𝄡 Expressive Elements • students shape phrases with simple dynamic variation (MIAD 13) • students alter tone by modifying bowing variables (weight, angle, speed, placement/contact point) (MIAD 10.4) • students perform with written/implied/stylistically appropriate articulations (MIAD 13) • students evaluate and demonstrate multiple ways of performing a single melody • students apply knowledge of practice techniques to selected repertoire (MIAD 16.3) • students perform with an expanded range of dynamics, tempos, and timbre/ tone color (MIAD 11.1, 13) • students perform with a characteristic tone at all dynamic levels (MIAD 10.2) • students use vibrato, when appropriate, to enhance timbre and tone (MIAD 10.4) • students perform the following expressive elements: (MIAD 13) 𝄪 trill 𝄪 accent 𝄪 sfz

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𝄡 Historical and Cultural Elements • students listen to selected music from diverse cultures and musical eras (MIAD 18.1) • students identify, describe and compare distinguishing characteristics of composers and styles from selected repertoire (MIAD 18.2) • students perform music from an expanding repertoire of diverse styles (MIAD 12) • students analyze and classify music according to style, composer, and genre • students perform music from a large repertoire of diverse styles (MIAD 12) • students will learn about three composers from each musical era (MIAD 18.2)

𝄡 Evaluation of Music and Musical Performance • students evaluate individual and group performance using established criteria (MIAD 19.5) • students, with teacher assistance, establish criteria for evaluating individual and group performances based on the level of music performed (MIAD 19.5) • students critique themselves and others using an established criteria for supportive, constructive criticism (MIAD 19.5)

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4th Year 𝄞 Body Format: • continue posture (sitting and standing) on all instruments (HIAD 11.4) • continue basic playing position for violin and viola (sitting and standing) (HIAD 11.4) • continue basic playing position for cello (HIAD 11.4) • continue basic playing position for bass (HIAD 11.4) • Adjust to physical characteristics of individual students (HIAD 11.4)

𝄞 Left Hand Skills and Knowledge • continue correct hand and wrist shape (HIAD 11.4) • continue correct left hand finger placement (HIAD 11.4) • reinforce placement of finger on the string (HIAD 11.4) • reinforce extensions (HIAD 11.4) 𝄪 violin/viola 𝄪 cello • refinement of shifting (HIAD 11.4) 𝄪 violin/viola 𝄪 cello 𝄪 bass • reinforce chromatic alterations • continue vibrato development (HIAD 12.4) • advanced positions (5th position and higher) (HIAD 12.6)

𝄞 Right Hand Skills and Knowledge • reinforce bow hold (HIAD 11.4) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) • perform with simple connected (detaché) bow strokes •perform with staccato bow strokes • extending basic bow distribution • on-the-string strokes (HIAD 11.4) 𝄪 martelé 𝄪 slurred staccato 𝄪 hooked bowing 𝄪 longer slurs 𝄪 accented detaché • off-the-string bow strokes (HIAD 11.4) 𝄪 brush stroke • extension of techniques related to control of bowing variables (weight, angle, speed, and placement, including contact point and part of the bow) (HIAD 11.4) • more advanced detaché bowings (HIAD 11.4) 𝄪 louré 𝄪 tremolo

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𝄪 rapid detaché • off-the-string strokes (HIAD 11.4) 𝄪 spiccato • special effect bowings (HIAD 11.4) 𝄪 sul ponticello 𝄪 sul tasto 𝄪 col lengo

𝄞 Instrument Knowledge • specific instrument geography • procedures and care of the instrument (HIAD 11.1) • simple instrument repair (changing strings, resetting the bridge) (HIAD 11.3)

𝄢 Tonal Aural Skills and Ear Training (scale requirements adjusted by instrument) • Students will identify, by ear, the difference between a half step and a whole step. • Students will identify, by ear, the difference between each interval (u, m2, M2, m3, M3, P4, T, P5, m6, M6, m7, M7, o). • Students perform, by ear, melodic patterns with a one-octave range, both major and minor (vocally, pizz, or arco). (HIAD 1.2) • Students manipulate single pitches to adjust intonation and listen for “ring tones” (resonance). (HIAD 12.1, 12.2) • Students use fine turners and/or pegs to tune strings, in fifths (or fourths), to an external tonal reference. (HIAD 12.6) • Students perform, by ear, various melodies and accompaniments in various modes and scales and meters • Students will perform the D major scale, three octaves (HII 5.2) • Students will perform the G major scale, three octaves (HII 5.2) • Students will perform the C major scale, three octaves (HII 5.2) • Students will perform the F major scale, two octaves (HII 5.2) • Students will perform the A major scale, two octaves (HII 5.2) • Students will perform the B flat major scale, two octaves (HII 5.2) • Students will perform the E flat major scale, two octaves (HII 5.2) • Students will perform the B (melodic, natural, and harmonic) minor scales, three octave (HII 5.2) • Students will perform the E (melodic, natural, and harmonic) minor scales, three octave (HII 5.2) • Students will perform the A (melodic, natural, and harmonic) minor scales, three octave (HII 5.2) • Students will perform the D (melodic, natural, and harmonic) minor scales, two octave (HII 5.2) • Students will perform the G (melodic, natural, and harmonic) minor scales, two octave (HII 5.2) • Students will perform all 12 major scales, two octave (HII 5.2)

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• Students will perform all 12 (melodic, natural, and harmonic) minor scales, two octave (HII 5.2)

𝄢 Rhythmic Skills and Ear Training • Students maintain a steady pulse while singing, clapping, and playing. • Students demonstrate a sense of meter while singing, clapping, and playing. • Students speak and/or sing rhythm language (1e+a) • Students perform quarter notes, eighth notes, half notes, sixteenth notes, whole notes and corresponding rests • Students perform dotted half notes, dotted quarter notes, dotted eighth notes and corresponding rests • Students perform eighth note triplets, quarter note triplets, and corresponding rests • Students perform rhythms in 4/4, 2/4, and 3/4, and 6/8 meter • Students perform rhythms containing asymmetrical and unusual meters (HIAD 2) • Students perform rhythms containing hemiolas (HIAD 2) • Students perform rhythms in mixed meter (HIAD 2) • Students perform rhythms containing syncopation (HIAD 2)

𝄢 Creative Musicianship • rhythmic: students teach each other long original rhythm phrases through call-and-response (HIAD 16) • tonal (melodic/harmonic): students use the root, third, and fifth of a chord to solo over student-generated accompaniment (HIAD 16) • textual: students translate a visual or experiential narrative into original sounds on their instruments (music as storytelling). • textual: students translate a musical recording into a written story • compositional: students add traditional notation into their original scores (HIAD 7.1, 7.2) • tonal (melodic/harmonic): students create solos using the notes of the scale as stepping-stones between chords tones. (HIAD 16) • creative leadership: student leaders lead warm-ups & select rehearsals (HIAD 13.5)

𝄢 Music Literacy • students correctly identify and perform basic music notation and symbols associated with the following skills and understandings to each corresponding curricular level: 𝄪 musical alphabet (with sharps and flats) (HIAD 1.1) 𝄪 staff (line notes and space notes) (HIAD 1.1) 𝄪 clef signs (HIAD 1.1) 𝄪 lines and spaces in clefs specific to instruments (HIAD 1.1) 𝄪 chromatic symbols (♮,♯♭) (HIAD 1.1)

𝄪 key signatures (HIAD 1.1, 3) 𝄪 relative note values (HIAD 1.1) 𝄪 time signatures (HIAD 1.1, 2)

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𝄪 quarter notes, eighth notes, half notes, dotted half notes, whole notes, sixteenth notes, dotted quarter notes, dotted eighth notes, eighth note triplets, quarter note triplets, and related rests (HIAD 1.1) 𝄪 thirty-second notes and related rests 𝄪 dynamic markings (HIAD 1.1, 15) 𝄪 articulation (HIAD 1.1, 15) 𝄪 tempo markings (HIAD 1.1, 15) • students correctly sight-read basic music notation and symbols (HIAD 19) • students correctly identify accidentals • violinists correctly identify and perform the pitches found in third position (HIAD 12.6) • cellists correctly identify and perform the pitches found on the tenor clef, through 4th position (HIAD 12.6) • bassist correct identify and perform the pitches found on the tenor clef (HIAD 12.6) • students correctly identify and perform notes with double sharps or double flats • students correctly identify tonality (including key signature) and perform repertoire through four sharps and four flats (HIAD 3) • students correctly identify tonality (including key signature) for all major and minor tonalities (HIAD 3)

𝄢 Ensemble Skills • students match pulse and rhythm to stay together in an ensemble (HIAD 13.6) • students adjust pitch within the ensemble (HIAD 13.2) • students demonstrate self-discipline by working cooperatively with peers to produce a quality musical performance (HIAD 18.4) • students display appropriate etiquette for style and venue of musical performance (HIAD 12.6) • students demonstrate well-disciplined personal and professional demeanor during rehearsals and performance (HIAD 12.6) • students perform with various tempos with a steady pulse (HIAD 13.6) • students demonstrate understanding of appropriate balance of the melody and accompaniment lines. (HIAD 13.1) • students match bowing with their section • students match bow usage to their section and ensemble • students follow section leaders • students perform with style, articulation, and pitch, including adjusting dynamic level, according to the musical function of their part (HIAD 13.3, 15) • students adjust pulse, rhythm, pitch, and dynamics for a unified sound with the ensemble (HIAD 13.1, 13.3, 15) • students follow conductor’s more complex beat patterns, cues, and expressive gestures (HIAD 13.4)

𝄢 Music Theory • coming soon!

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𝄡 Expressive Elements • students alter tone by modifying bowing variables (weight, angle, speed, placement/contact point) (HIAD12.6) • students perform with written/implied/stylistically appropriate articulations (HIAD 15) • students evaluate and demonstrate multiple ways of performing a single melody • students apply knowledge of practice techniques to selected repertoire (HIAD 18.3) • students perform with an expanded range of dynamics, tempos, and timbre/ tone color (HIAD 15) • students perform with a characteristic tone at all dynamic levels (HIAD 12.2) • students use vibrato, when appropriate, to enhance timbre and tone (HIAD 12.4) • students perform with consistent timbre and tone quality at all dynamic levels (HIAD 12.2) • students independently interpret and perform musical selections, applying appropriate dynamics, tempos, and timbre (HIAD 15) • students perform the following expressive elements: (HIAD 12.4) 𝄪 grace notes 𝄪 gliss 𝄪 accelerando

𝄡 Historical and Cultural Elements • students listen to selected music from diverse cultures and musical eras (HIAD 20.1) • students identify, describe and compare distinguishing characteristics of composers and styles from selected repertoire (HIAD 20.2) • students analyze and classify music according to style, composer, and genre (HIAD 20.1) • students perform a comprehensive repertoire of eclectic styles in a manner that reflects understanding of cultural and stylistic traditions. (HIAD 14) • students will learn about four composers from each musical ear (HIAD 20.1)

𝄡 Evaluation of Music and Musical Performance • students evaluate individual and group performance using established criteria (HIAD 21.3, 21.5) • students, with teacher assistance, establish criteria for evaluating individual and group performances based on the level of music performed (HIAD 21.3, 21.5) • students compare and contrast performances of various interpretations of the same piece, using appropriate terminology and informed value judgements (HIAD 21.3, 21.5) • students critique themselves and others using an established criteria for supportive, constructive criticism (HIAD 21.3, 21.5)

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5th Year + 𝄞 Body Format: • continue posture (sitting and standing) on all instruments (HIAR 11.4) • continue basic playing position for violin and viola (sitting and standing) (HIAR 11.4) • continue basic playing position for cello (HIAR 11.4) • continue basic playing position for bass (HIAR 11.4) • Adjust to physical characteristics of individual students (HIAR 11.4)

𝄞 Left Hand Skills and Knowledge • continue correct hand and wrist shape (HIAR 11.4) • continue correct left hand finger placement (HIAR 11.4) • reinforce placement of finger on the string (HIAR 11.4) • reinforce extensions (HIAR 11.4) 𝄪 violin/viola 𝄪 cello • refinement of shifting (HIAR 11.4) 𝄪 violin/viola 𝄪 cello 𝄪 bass • reinforce chromatic alterations (HIAR 11.4) • advanced positions (5th position and higher) (HIAR 12.6) • complex double stops (two fingered stringers) (HIAR 12.6) • advanced finger patterns (violin/viola, augmented and chromatic patterns) (HIAR 12.4) • artistic development and application of vibrato (HIAR 11.4) 𝄞 Right Hand Skills and Knowledge • reinforce bow hold (HIAR 11.4) 𝄪 violin/viola 𝄪 cello/bass (French) 𝄪 bass (German) •perform with staccato bow strokes (HIAR 12.6) • extending basic bow distribution (HIAR 12.6) • on-the-string strokes (HIAR 12.6) 𝄪 martelé 𝄪 slurred staccato 𝄪 hooked bowing 𝄪 longer slurs 𝄪 accented detaché • off-the-string bow strokes (HIAR 12.6) 𝄪 brush stroke • more advanced detaché bowings (HIAR 12.6) 𝄪 louré 𝄪 tremolo

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𝄪 rapid detaché • off-the-string strokes (HIAR 12.6) 𝄪 spiccato • special effect bowings (HIAR 12.6) 𝄪 sul ponticello 𝄪 sul tasto 𝄪 col lengo • chords (HIAR 12.6) • extension of technique related to control of bowing variables (weight, angle, speed, and placement, including contact point and part of the bow) (HIAR 12.6) • ricochet bowing • sautillé • flying spiccato

𝄞 Instrument Knowledge • specific instrument geography • procedures and care of the instrument (HIAR 11.1) • simple instrument repairs (changing strings and resetting bridges) (HIAR 11. 3)

𝄢 Tonal Aural Skills and Ear Training (scale requirements adjusted by instrument) • Students will identify, by ear, the difference between a half step and a whole step. • Students will identify, by ear, the difference between each interval (u, m2, M2, m3, M3, P4, T, P5, m6, M6, m7, M7, o). • Students perform, by ear, melodic patterns with a one-octave range, both major and minor (vocally, pizz, or arco). (HIAR 1.2) • Students manipulate single pitches to adjust intonation and listen for “ring tones” (resonance). (HIAR 12.1) • Students use fine turners and/or pegs to tune strings, in fifths (or fourths), to an external tonal reference. (HIAR 11.2) • Students perform, by ear, various melodies and accompaniments in various modes and scales and meters • Students will perform all major and all melodic, natural, and harmonic minor scales in three octaves (basses, two octaves) (HIAR 4)

𝄢 Rhythmic Skills and Ear Training • Students maintain a steady pulse while singing, clapping, and playing. • Students demonstrate a sense of meter while singing, clapping, and playing. • Students speak and/or sing rhythm language (1e+a) • Students perform quarter notes, eighth notes, half notes, sixteenth notes, whole notes and corresponding rests • Students perform dotted half notes, dotted quarter notes, dotted eighth notes and corresponding rests • Students perform eighth note triplets, quarter note triplets, and corresponding rests • Students perform rhythms in 4/4, 2/4, and 3/4, and 6/8 meter

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• Students perform rhythms containing asymmetrical and unusual meters (HIAR 2) • Students perform rhythms containing hemiolas (HIAR 2) • Students perform rhythms in mixed meter (HIAR 2) • Students perform rhythms containing syncopation (HIAR 2)

𝄢 Creative Musicianship • textual: students translate a musical recording into a written story • compositional: students add traditional notation into their original scores • rhythmic: students later individual rhythm phrases to create an original group piece • tonal (melodic/harmonic): students create solos using the notes of the scale as stepping-stones between chords tones. • creative leadership: student conductors lead warm-ups • creative leadership: student conductors lead rehearsal • rhythmic: students analyze rhythm phrases for tonal content and improvise over class-generated accompaniment • tonal (melodic/harmonic): students improvise descriptive stories, including melody and harmony • compositional: students add third and fourth parts to their original scores (HIAR 7.1, 7.2)

𝄢 Music Literacy • students correctly identify and perform basic music notation and symbols associated with the following skills and understandings to each corresponding curricular level: 𝄪 musical alphabet (with sharps and flats) (HIAR 1.1) 𝄪 staff (line notes and space notes) (HIAR 1.1) 𝄪 clef signs (HIAR 1.1) 𝄪 lines and spaces in clefs specific to instruments (HIAR 1.1) 𝄪 chromatic symbols (♮,♯♭) (HIAR 1.1)

𝄪 key signatures (HIAR 1.1, 3) 𝄪 relative note values (HIAR 1.1) 𝄪 time signatures (HIAR 1.1) 𝄪 quarter notes, eighth notes, half notes, dotted half notes, whole notes, sixteenth notes, thirty-second notes, dotted quarter notes, dotted eighth notes, eighth note triplets, quarter note triplets, and related rests(HIAR 1.1) 𝄪 dynamic markings (HIAR 1.1, 15) 𝄪 articulation (HIAR 1.1, 15) 𝄪 tempo markings (HIAR 1.1, 15) • students correctly sight-read basic music notation and symbols (HIAR 19) • students correctly identify accidentals • students correctly identify tonality (including key signature) and perform for all major and minor tonalities (HIAR 3)

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• cellists and bassists correctly identify and perform the pitches found on the treble-clef staff (HIAR 12.6) • violinist and violists read fluently in fifth and seventh position (HIAR 12.6)

𝄢 Ensemble Skills • students match pulse and rhythm to stay together in an ensemble (HIAR 13.6) • students adjust pitch within the ensemble (HIAR 13.2) • students demonstrate self-discipline by working cooperatively with peers to produce a quality musical performance (HIAR 18.4) • students display appropriate etiquette for style and venue of musical performance (HIAR 12.6) • students demonstrate well-disciplined personal and professional demeanor during rehearsals and performance (HIAR 12.6) • students perform with various tempos with a steady pulse (HIAR 13.6) • students demonstrate understanding of appropriate balance of the melody and accompaniment lines. (HIAR 13.1) • students match bowing with their section • students match bow usage to their section and ensemble • students follow section leaders • students perform with style, articulation, and pitch, including adjusting dynamic level, according to the musical function of their part (HIAR 13.3, 15) • students adjust pulse, rhythm, pitch, and dynamics for a unified sound with the ensemble (HIAR 13.1, 13.3, 15) • students follow conductor’s more complex beat patterns, cues, and expressive gestures (HIAR 13.4) • students demonstrate pre-rehearsal preparation and awareness of balance, blend, style, interpretations, and musical sensitivity (HIAR 13.1, 13.3, 18.3)

𝄢 Music Theory • coming soon!

𝄡 Expressive Elements • students alter tone by modifying bowing variables (weight, angle, speed, placement/contact point) (HIAR 12.6) • students perform with written/implied/stylistically appropriate articulations (HIAR 15) • students evaluate and demonstrate multiple ways of performing a single melody • students apply knowledge of practice techniques to selected repertoire (HIAR 18.3) • students perform with an expanded range of dynamics, tempos, and timbre/ tone color (HIAR 15) • students perform with a characteristic tone at all dynamic levels (HIAR 12.2) • students use vibrato, when appropriate, to enhance timbre and tone (HIAR 12.4) • students perform with consistent timbre and tone quality at all dynamic levels (HIAR 12.2)

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• students independently interpret and perform musical selections, applying appropriate dynamics, tempos, and timbre (HIAR 15) • students use ornamentation, as appropriate to the period and style of the piece (HIAR 12.6) • students will perform implementing all written expressive elements (HIAR 15)

𝄡 Historical and Cultural Elements • students listen to selected music from diverse cultures and musical eras (HIAR 20.1) • students identify, describe and compare distinguishing characteristics of composers and styles from selected repertoire (HIAR 20.2) • students analyze and classify music according to style, composer, and genre (HIAR 20.1) • students perform a comprehensive repertoire of eclectic styles in a manner that reflects understanding of cultural and stylistic traditions. (HIAR 14) • students will learn about five composers from each musical ear (HIAR 20.1)

𝄡 Evaluation of Music and Musical Performance • students evaluate individual and group performance using established criteria (HIAR 21.3, 21.5) • students, with teacher assistance, establish criteria for evaluating individual and group performances based on the level of music performed (HIAR 21.3, 21.5) • students compare and contrast performances of various interpretations of the same piece, using appropriate terminology and informed value judgements (HIAR 21.3, 21.5) • students critique themselves and others using an established criteria for supportive, constructive criticism (HIAR 21.3, 21.5)

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