• Letter to Instrumental Music Members
• Goals of the Instrumental Music Department
• Concert Orchestra Expectations
• Concert Orchestra Course Syllabus
• Instrumental Music Calendar
• Grading Policy
• Concert Performance Grading Criteria
• Dress Code for Performances
• Rubric for Performance Assessment
• Cello/Bass Rubric for Posture Assessment
• Violin/Viola Rubric for Posture Assessment
• Additional Performance Opportunities
• Rehearsal Climate
• School-Owned Instruments
• Private Lessons
• Care of String Instruments
• Instrumental Music Lab Fee Letter

Dear Instrumental Music members:

Welcome to B-CC!  I look forward to a very exciting year with you!  There are many performance opportunities this year, as well as a music department trip in the spring!  This music handbook will provide you with the policies and procedures of how the class and music department is run.  We will go over the information together in class.  I also ask that you take it home and share it with your parents.  Also, the very last page is a consent form stating that you have read and understood everything contained in the handbook.  Please bring this form back signed by both you and your parents.  In addition, please keep this handbook in your folder of music at all times for reference.

I have included a calendar of our performances as to the best of my knowledge up to this point.  There may be additions or changes as the school year progresses.  I will inform you as soon as they happen with enough advance warning.  Please immediately mark these dates in your B-CC Handbook and on your home or family calendar so you will not forget them!  If you are employed or are planning to work during the school year, make sure that your supervisor is aware of your performance obligations.  Most employers who hire students are very cooperative when it comes to school-related obligations.  Most managers will alter work schedules if the student gives him/her enough advance notice!

Playing in a music ensemble is similar to playing on a sports team.  Every person is important to the whole group!  If one person is not giving his/her best or is not at a performance, then it has a negative effect on the entire ensemble.  Each one of you has chosen to be a part of this unique "team", and with that choice comes the responsibility of respect and consideration to yourself, your director and your ensemble members.

I am very so excited to be a part of such a wonderful community!  I look forward to having a wonderful, stimulating, productive, successful and fun year with each and every one of you!! 

Sincerely,

Cindi Kornhaus

Music Director

GOALS OF THE INSTRUMENTAL

MUSIC DEPARTMENT

1. To provide a safe environment in which students can learn about music through performance.

 

2. To help develop creativity, self discipline, character and control.

 

3. To help students relate music to the world around them.

 

4. To help students develop the desire to search for knowledge and to appreciate music after their formal education has been completed.

 

5. To give fundamental understandings and develop advanced skills to those desirous of pursuing a musical career.

Concert Orchestra Course Syllabus

Instructor:  Ms. Kornhaus

Text:  Method book, individual music handouts

Materials:  Shoulder Rest (violin/viola), rock stop (cello/bass), Pencil, Instrument

Grade Level:  9

Course Credit:  1/2 credit per semester

Community Service:  Up to 4 hours may be received per Fall/Winter/Spring Concerts

Prerequisite:  Middle school orchestra

Course Outline:

The course is designed to provide students with the opportunity to develop and refine technical and musical skills that will enable them to perform music at the Grade 3 – 4 level of difficulty. Shifting/position work, vibrato and improvising will be focused on in this class.

We will study music of various styles, cultures, and historical eras, focusing on, but not limited to, literature written originally for string orchestra. The cultural backgrounds, personal history, and social and intellectual influences on the work of the composers will be researched and discussed. Written projects in the areas of music history, performance critiques, and musical composition, etc., may be used to reinforce other areas of the curriculum. Skills in the criticism of musical performance continue to be developed. Rhythmic dictation, singing, written reflections, and experiences at musical composition and/or arranging may be included.

All performances/concerts are mandatory. Please see the calendar, procedures, concert grading criteria and dress code for performances in the Handbook for more information. This course may be repeated for credit. The concert orchestra represents the school in public performances.

Course Outcomes:

The student will be able to:

  1. Follow classroom rehearsal procedures

  2. Meet individual responsibilities for care & preventive maintenance of instrument

  3. Follow concert performance procedures

  4. Meet performance obligations as indicated on the school’s instrumental calendar

  5. Care for a concert uniform where applicable

  6. Demonstrate basic competencies of instrumental performance in the areas of tone production, intonation, articulation/bowing, range, and memorized scales

  7. Identify and perform instrumental works from the Baroque to the 21st century, including works with an ethnic or cultural orientation other than Western European, employing the correct style and performance practices of the period

  8. Investigate and summarize the social, historical, and intellectual influences on a variety of Baroque to 21st century composers and their works

  9. Demonstrate basic skills in harmony, structure, form and musical composition as they may relate to a particular piece of music

  10. Identify, illustrate the use of musical terms and symbols in Grade 3 – 4 music

  11. Write and demonstrate major and minor scales and arpeggios

  12. Identify aurally and visually major and minor triads, arpeggios, and diatonic intervals within an octave

  13. Evaluate live musical performances and professional recordings, using musical criteria

  14. Demonstrate mature musical judgment in selecting music for performance and leisure activities.

**Put these dates in your Handbook and your Parents' Calendar!!!**

Concert Orchestra Grading Policy

Students will be graded on the following criteria:

60% Formative Assessments: Daily Classroom Performance

            Students will be evaluated on their performance of repertoire, warm-up, and technique on each class. Although I will not be grading you on your "efforts", classroom performance will highly reflect what you have learned. Examples of classroom performance skills are:

·        Posture when playing instrument

·        Support and cooperation when working with peers and in small groups

·        Singing

·        Musicality skills (dynamics, accents, phrasing, tone, stylistic considerations)

·        Music reading skills

·        Rehearsal technique

Students must always have their instrument and music for class!

30% Summative Assessments: Individual Assessments and Concerts

            Students will be given performance or written tests based on music and techniques studied in class.  Students will be given advanced notice of the date for the assessments.  If you have an excused absence the day of a test, see Ms. Kornhaus to schedule a make-up date.  If the absence is unexcused, no make-up test will be given.

            Concerts are required.  A concert can be such things as a fall, winter or spring concert, in school concerts, and community performances.  Your grade will be lowered one letter grade for not participating in a mandatory event without an excused absence.  Please see the “Concert Grading Criteria” page in the Handbook for more information (what is considered excused or unexcused absences, the make-up assignment, etc.) 

10% Homework and In-Class Assignments and Preparation of music part

            Music is rehearsed on a daily basis.  Students are responsible for adequately preparing all materials assigned in class.  Class rehearsal is the time for learning each other’s parts and how they all fit together. Our limited rehearsal time is best utilized when each person has their individual part learned.  Home practice is strongly encouraged.  The practice rooms at B-CC are open for student use before or after school and during lunch.

REASSESSMENT

     * Students will be allowed to reassess certain assignments (except for final exams) up to one week after the due date. Ms. Kornhaus will indicate which assignments will be able to be reassessed.
     * The reassessment grade always replaces the original grade.
     * Students must meet with Ms. Kornhaus to review or relearn the material at least one time before reassessment.
     *Reassessment will be scheduled with Ms. Kornhaus and may take place either before or after school, during class time or lunch.

RUBRIC FOR PERFORMANCE ASSESSMENT

NAME___________________________________________________________________

INSTRUMENT____________________________________________________________

MUSICAL EXCERPT_______________________________________________________

DATE____________________________________________________________________

Tone Quality                                                                                                               ________

5 - Demonstrates excellent characteristic sound in all registers/dynamics

4 - Good characteristic timbre, good control throughout most ranges

3 - Average control of tone throughout ranges/dynamics

2 - Inconsistent control of tone throughout most ranges/dynamics

1 - Tone does not adhere to characteristic timbre, control severely limited

Note Accuracy and Intonation                                                                                      ________

5 - Virtually note perfect, excellent tuning throughout all ranges

4 - Good performance with minimal flaws, good tuning throughout

3 - Average performance with some flaws, adequate tuning

2 - Recognizable, but technically flawed, inconsistent tuning

1 - Unrecognizable, lack of preparation, no attempt made at tuning

Rhythmic Accuracy                                                                                                      ________

5 - Demonstrates correct rhythms and steady pulse throughout

4 - Minimal rhythmic errors with steady pulse

3 - Some rhythmic and/or pulse errors

2 - Several rhythmic and/or pulse errors

1 - Unsteady pulse, no understanding of correct rhythm

Articulation (tonguing, slurring, or use of bow)                                                              ________

5 - Demonstrates excellent use of articulation throughout

4 - Good overall use of articulation, some inconsistency

3 - Average use of articulation, not enough attention to detail

2 - Some attempt made at articulation, but very inconsistent

1 - Poor attempt made toward accurate articulation

Expressive Quality, Musicality, Interpretation                                                               ________

5 - Excellent phrasing, musical line, and nuance; excellent fluency

4 - Good overall phrasing and awareness of musical line, nuance

3 - Average phrasing, lacks conviction of musical line, nuance

2 - Some attempt made at phrasing, but minimal at best

1 - Poor attempt made toward phrasing or musical line

General Comments

___________________________________________________________________________

___________________________________________________________________________

TOTAL (out of 25)      ________

Cello/Bass RUBRIC FOR POSTURE ASSESSMENT

NAME _________________________________________ DATE ______________

All missing components will be circled and one point off.

Posture – 5 points total                                                                  Total ________

‡   Sitting on edge of seat

‡   Cello touches only chest & inside leg; Bass rests against body

‡   Left Wrist straight

‡   Left Thumb behind 2nd finger

‡   Hand in the shape of a "C"

Bow Hold – 5 points total                                                              Total ________

‡   Thumb is bent

‡   2nd finger on hair

‡   3rd finger on silver

‡   Pinky is over the side covering the "frog’s eye"

‡   Hand is slightly tilted towards tip of bow

Comments

___________________________________________________________________________

___________________________________________________________________________

Total (out of 15) ________

        Percentage _______

Violin/Viola RUBRIC FOR POSTURE ASSESSMENT

NAME _________________________________________ DATE ______________

All missing components will be circled and one point off.

Posture – 5 points total                                                                 Total ________

‡   Sitting on edge of seat

‡   Elbow is away from body so violin is HELD UP at appropriate height.

‡   Left Wrist straight

‡   Left Thumb straight

‡   Fingers curved to make a "box" with the string

Bow Hold – 5 points total                                                             Total ________

‡   Thumb is bent

‡   First finger curved and relaxed

‡   Middle fingers have space and are curved/relaxed

‡   Pinky is curved and relaxed on top

‡   Hand is tilted towards tip of bow

Comments

___________________________________________________________________________

___________________________________________________________________________

Total (out of 15) ________

        Percentage ________

REHEARSAL CLIMATE

Any quality ensemble is developed only through many hours of hard work in the rehearsal room.  An atmosphere of order and discipline and a sense of purpose are of primary importance for rehearsal efficiency.  Group discipline is engendered by student respect for the group, the director, the band officers and the job to be done.  An attitude of serious musical interest is also necessary.  A group which displays the above qualities is on the way to becoming a fine musical organization.  It is no accident that a professional sounding ensemble also has a professional approach to rehearsals.

Adhering to the following routines will help the ensembles to function more efficiently in rehearsal.  It is hoped that all members will assume their responsibilities in the following areas:  

1.  Unpacking the instrument - Students should obtain their instruments and take their assigned seats as quickly as possible.

2.  Blackboard - Important announcements as well as the objectives and daily rehearsal schedule are posted on the blackboard.  Students should note these items as they enter the band room.

3.  Warm-Up and Tune-Up - This period is extremely important. Students will be instructed on the procedures and methods of warm-up and tune-up.  Be prepared to give your undivided attention during this period.  This "ritual" is part of every rehearsal.  The purposes of the warm-up period are to perfect details of:

A.  Intonation

B.  Tone Quality

C.  Balance

4.  The Rehearsal - All playing should begin from silence.  Any undercurrent of sound such as talking, moving about, etc. is an unnecessary distraction and results in confusion.  It is impossible to be highly critical of our playing when there is noise present at rehearsal.  Maintaining silence during the rehearsal is a discipline which can be developed only with a great deal of effort.  "Check" yourself especially during long rests or during long periods when the instruction may be pertinent to another individual or section.  These are times when background noise becomes a source of distraction.  Obtaining a new reed, valve oil, mute, etc. are not valid reasons for leaving your seat.  Each musician should have everything he/she is going to need at every rehearsal.

5.  Attendance - Rehearsal begins three to five minutes after the second bell.  Each member should be seated and ready to play at this time.  Those not ready at this time will be considered tardy. Attendance is taken by the director every day.  Students who are temporarily unable to play are to sit with the ensemble during the rehearsal.  Much value can be derived from rehearsal even though you may not be able to participate actively.  If a student is causing distractions during rehearsal, the student will be assigned another task at the discretion of the director.  Any student who is temporarily unable to play for whatever reason must bring a note from home.  The note should state the reason for not playing and the length of time.  All notes should be given to the director at the beginning of the period.

6.  Studying during rehearsal – Studying for other classes is not permitted during a rehearsal.  All books must be left on the shelves in the band room.

SCHOOL-OWNED INSTRUMENTS

          The school owns many band and orchestral instruments.  The reasons for this are that some instruments are too bulky to transport to and from school, and others are too expensive for the players to supply.

It is the responsibility of the band members who play school-owned instruments to take proper care of them.  The school will finance repairs due to normal usage and/or accidental damage.  If a student has shown negligence, he/she will be held responsible any repairs, if necessary.  Refer to the section on the care of instruments to properly maintain the instruments.  Every quarter, the band director will do an inspection of the school-owned instruments to make sure that instruments are working properly. 

Due to the increased growth of the music ensembles, more than one player uses many of the school instruments.  In these instances, students will each use their own mouthpiece for the instrument.  Please alert the band director immediately if an instrument is not working properly.  Every effort will be made to have the instrument repaired as soon as possible.

Percussionists Take Note:

          You are free to use any instruments and sticks that the school owns. You may also bring in your own instruments.  You will be required to use your own drum sticks and mallets.  The music department only provides bass drum mallets, gong mallets, and other specialized types of mallets.  A stick bag to hold sticks/mallets is strongly recommended.

PRIVATE LESSONS

Private lessons are an important element to a student's growth on a musical instrument.  When a student reaches high school, the music will become increasingly challenging to the student.  The band/orchestra director does not have the luxury of giving individual attention to every student.  Even though the director can play all of the instruments at a basic level he/she is only at a professional playing level on one instrument.  When studying with a professional on a certain instrument, the student is able to progress at a much more rapid pace.  Such things as tone, intonation, and technique can be developed with the utmost care and direction with a professional on that instrument.  A list of teachers in the immediate area is available from the band director with their phone numbers.  Keep in mind that you do not have to be considering a major in music in college to take private lessons.  Many students play in ensembles in college who are not music majors.  Also, many students may also receive monetary stipends simply to play in an ensemble in college.

Remember, the director is always at your disposal to help you with the music either before or after school.  The private lessons will not only improve your playing and musicianship, but you will also enjoy playing more because you are getting better!  I strongly encourage all students to consider taking private lessons, if you do not already do so.

CARE OF STRING INSTRUMENTS

Always keep the instrument and bow in the case when not in use.  Make sure the bow is secured in its proper position.  Never expose the instrument to sudden changes in temperature or humidity.  Do not expose it to the sun.  Never leave an instrument in a car in extremely hot or cold weather.

Rosin dust should be removed after each playing.  Use a soft cloth like flannel to clean the body of the instrument.  To remove rosin accumulations on the strings in the bowing area, polish the strings with fine steel wool. Do not use alcohol.  It can damage the varnish on the body of the instrument.

The feet of the bridge should always be aligned with the inner notches cut in the F holes. It must be kept in a perpendicular position.  Tuning the strings tends to pull it forward.

Old strings are lifeless ─ false, dull.  Replace them with good fresh strings.  The finest instrument cannot sound good with poor strings.  Put new strings on one at a time.  Guard against the bridge being pulled forward while tuning new strings up to pitch.

Even normal tuning will cause both peg and peg hole to wear smooth.  This causes slipping.  To give the peg more grip, apply ordinary white chalk.  Sometimes a peg will stick.  Peg Dope is the best lubricant for this situation.

Check your instrument regularly to note whether the top or back has become unglued from the ribs at any point.  If so, take the instrument to a repair shop immediately.  Check also for cracks and have them glued as soon as possible.

Always loosen the hair of the bow after playing.  Bow hair becomes smooth from playing and a good, resonant tone cannot be achieved.  When the hairs start breaking it is time to replace it and have it rehaired.  Never touch the hair with your fingers.  Never permit oil or grease to touch it.

Use a fine grade of rosin for good tone.  Apply it sparingly and evenly to the full hair length.  Too much rosin will produce a gritty tone.