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Monroe Township Schools

Curriculum Management System

Percussion Ensemble

Grade 9-12 July 2009

* For adoption by all regular education programs Board Approved: September 2009

as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.

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Table of Contents

Monroe Township Schools Administration and Board of Education Members Page 3 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Pages 8-9 Goals/Essential Questions/Objectives/Instructional Tools/Activities Pages 10-29 Benchmarks Page 30

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MONROE TOWNSHIP SCHOOL DISTRICT

Dr. Kenneth Hamilton, Superintendent

Mr. Jeffrey Gorman, Assistant Superintendent

ADMINISTRATION

Ms. Amy Antelis, President

Ms. Kathy Kolupanowich, Vice President Mr. Marvin Braverman

Mr. Ken Chiarella Mr. Lew Kaufman

Mr. Mark Klein Mr. John Leary

Ms. Kathy Leonard Mr. Ira Tessler

BOARD OF EDUCATION

Ms. Patrice Faraone

JAMESBURG REPRESENTATIVE

Ms. Nidhi Bhatt

Ms. Reena Dholakia

Student Board Members

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Acknowledgments

The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Names: Martin Griffin Supervisor Name: Robert Mele, Supervisor of Arts and Careers Technology Technology Staff: Al Pulsinelli Reggie Washington Secretarial Staff: Debby Gialanella Geri Manfre Gail Nemeth

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MMoonnrrooee TToowwnnsshhiipp SScchhoooollss Mission and Goals

The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society.

Mission

Goals

To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodate the community and are utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals.

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INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS

Philosophy

Our philosophy is to provide students with many opportunities to receive a well-rounded education. Part of this education includes

numerous performing ensembles, which includes Percussion Ensemble. Many concepts from this course can be tied into curriculum

from other subject areas and students are also able to develop critical thinking and analyzing skills. The course includes performance

as part of the Marching Band and as a separate ensemble performing at all instrumental concerts throughout the year.

Educational Goals

The Percussion Ensemble course is a performance based class for those percussion students who wish to perform in an additional

ensemble beyond the concert bands. Students spend the first marking period working on their Marching Band music and the time in

class following the spring concert is also devoted to the upcoming Marching Band season. During the remainder of the year, students

develop their orchestral percussion skills as well as learning and applying some basic music theory. Time is spent exploring the history

of marching percussion instruments from pre World War II to the present. Numerous concert percussion ensemble works are rehearsed

and performed over the course of the school year. The students will be able to:

• read and notate music in treble and bass clefs. • write and play all major and minor scales. • produce a basic quality sound on all orchestral and marching percussion instruments. • read, write and hear simple and compound intervals. • to construct diatonic triads and seventh chords. • perform exercises/literature with 2/4 mallets on keyboard instruments. • perform exercises/literature on timpani. • perform exercises/literature on multi-tenors. • understand the history of marching percussion instruments. • perform in both marching and orchestral percussion ensembles.

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New Jersey State Department of Education Core Curriculum Content Standards

A note about Music Standards and Cumulative Progress Indicators. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in 2004. The Cumulative Progress Indicators (CPI's) referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: http://www.education.state.nj.us/cccs

http://www.nj.gov/njded/cccs/s4_math.htm�








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Percussion Ensemble

Scope and Sequence

Quarter I Big Idea: I. Notation a. Clefs

b.

- Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence. Ledger Lines

c.

- Notate and identify notes in all clefs using ledger lines above and below the staff. Intervals

d.

- Recognize and identify the numerical differences between notes in all clefs. Beat and Tempo

e.

- Discuss organization of measures into beat and meter types; recognize meters aurally. Time Signatures

f.

- Label time signatures as either simple or compound. Discuss the differences and identify examples visually and aurally. Dynamic Markings

– Indicate volume markings using all appropriate symbols.

Big Idea: II. Scales, Tonality, Keys, Modes a. Major Scales/Key Signatures - Identify and construct all major scales using intervals and key signatures. b. Transposition - Rewrite simple melodies in different major keys than the original melodic line. c. Natural Minor Scales - Identify and construct natural minor scales using intervals. d. Harmonic Minor Scales - Identify and construct natural minor scales using intervals. e. Melodic Minor Scales - Identify and construct natural minor scales using intervals. f. Scale Relationships

Big Idea:

– Identify parallel and relative relationships between keys.

III. Instrument Characteristics a. Bass Drum – Discuss and demonstrate technique, sound production and articulation methods. b. Crash Cymbals - Discuss and demonstrate technique, sound production and articulation methods. c. Gong/Tam Tam - Discuss and demonstrate technique, sound production and articulation methods. d. Keyboard Percussion - Discuss and demonstrate technique, sound production and articulation methods. e. Orchestra Bells

Big Idea:

- Discuss and demonstrate technique, sound production and articulation methods.

IV. Instrument Characteristics II a. Snare Drum - Discuss and demonstrate technique, sound production and articulation methods. b. Suspended Cymbal - Discuss and demonstrate technique, sound production and articulation methods. c. Tambourine - Discuss and demonstrate technique, sound production and articulation methods d. Timpani - Discuss and demonstrate technique, sound production and articulation methods e. Triangle - Discuss and demonstrate technique, sound production and articulation methods

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Quarter II Big Idea: V. Performance I a. Rehearsal Skills – Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques. b. Practice Skills – Discuss practice strategies such as warm up, problem solving and hearing protection. c. Equipment – Demonstrate proper maintenance of percussion equipment including moving, storage, cleaning and changing heads. d. Balance/Blend – Discuss and demonstrate balance of percussion instruments to the rest of the ensemble. e. Technical Facility

Big Idea:

– Demonstrate the importance of technical facility in performance.

VI. Performance II a. Expression – Demonstrate and discuss dynamics and expression in percussion performance. b. Rhythm – Identify note values and rests and discuss ways to count and subdivide rhythms. c. Sight Reading – Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble. d. Repertoire – Discuss standard percussion literature from various historical periods. e. Performance Skills

Big Idea:

– Demonstrate and discuss appropriate concert behavior.

VII. Intervals and Transposition a. Perfect, Major and Minor Intervals - Identify, construct and compare perfect, major and minor intervals. b. Augmented and Diminished Intervals - Identify, construct and compare augmented and diminished intervals. c. Inversion of Intervals - Use interval inversions to show relationships between all types of intervals. d. Simple and Compound Intervals – Discuss the use of simple intervals and their compound equivalents. e. Interval Transposition – Discuss transposition by moving notes up or down using the necessary interval. f. Clef Transposition

Big Idea: VIII. Chords

– Discuss transposition by substituting one clef for another depending on the instruments being used.

a. Root position triads and seventh chords –

b.

Construct major triads and major-minor seventh chords in root position. Discuss the use of intervals to build chords. Inversions of chords –

c.

Explain how to invert triads and seventh chords with the use of figured bass symbols. Diatonic triads in major –

d.

Construct triads on each scale degree in major keys using the key signature. Diatonic triads in minor –

e.

Construct triads on each scale degree in minor keys using the key signature. Diatonic seventh chords in major –

f.

Construct seventh chords on each scale degree in major keys using the key signature. Diatonic seventh chords in minor –

degree in minor keys using the key signature. Construct seventh chords on each scale

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Quarter III

Big Idea: IX. Intermediate Keyboard Techniques I a. The 4 Mallet Grip – Discuss and demonstrate the three major four mallet grips. b. Holding the Mallets - Discuss and demonstrate the positioning of the mallets in each 4 mallet grip. c. Interval Changes - Discuss and demonstrate methods for changing with multiple mallets. d. Stroke Height – Discuss and demonstrate various stroke heights with multiple mallets. e. Stroke Efficiency and Accuracy - Discuss and demonstrate useful and wasted motion. f. Shift and Interval Change Efficiency

Big Idea: X. Intermediate Keyboard Techniques II a.

– Discuss and demonstrate efficient shifting.

Tone, Lift, legato, Staccato – Discuss and demonstrate the various methods of articulation. b. The Fundamental Strokes – Provide a basic overview on the fundamental strokes of 4 mallet technique. c. Single Independent Strokes – Demonstrate the proper method of performing single independent strokes. d. Single Alternating Strokes – Demonstrate the proper method of performing single alternating strokes. e. Double Vertical Strokes – Demonstrate the proper method of performing single alternating strokes f. Double Lateral Strokes

Big Idea: XI. Intermediate Keyboard Exercises a.

– Demonstrate the proper method of performing single alternating strokes

Single Independent Exercises – Provide exercises for the single independent strokes. b. Single Alternating Exercises – Provide exercises for the single alternating strokes. c. Double Vertical Exercises – Provide exercises for the double vertical strokes. d. Double Lateral Exercises – Provide exercises for the double lateral strokes. e. Mixed Strokes Exercises

Big Idea: XII. Multi-Tenor Techniques a.

– Provide exercises for the mixed strokes.

Grip and Drum Height – Discuss and demonstrate the proper grip and drum height for multi-tenors. b. Playing Positions – Discuss and demonstrate the proper playing positions for multi-tenors. c. Understanding Groupings – Discuss and demonstrate the various two and three drum groupings. d. Fundamental Studies – Discuss and demonstrate basic exercises for multi-tenors. e. Scrapes, Crossovers and Sweeps – Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors.

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Quarter IV

Big Idea: XIII. Timpani Fundamentals a. Positioning of the drums – Discuss and demonstrate the proper positioning for playing timpani. b. Pitch Ranges – Discuss the range of pitches for each of the different sized drums. c. Grip – Demonstrate and provide rationale for the various types of timpani grips. d. Tuning/Ear Training – Demonstrate the significance of singing to tune timpani. e. Pedaling

Big Idea: XIV. Intermediate Timpani Techniques a.

– Discuss and demonstrate the proper pedaling methods for playing timpani.

Legato Stroke – Discuss and demonstrate the use of a legato stroke when playing timpani. b. Staccato Stroke – Discuss and demonstrate the use of a staccato stroke when playing timpani. c. Rolls – Discuss and demonstrate the proper way to play rolls on timpani. d. Dampening – Discuss and demonstrate proper dampening technique on timpani. e. Sticking

Big Idea: XV. Rolls and Diddle Rudiments a.

– Discuss and demonstrate sticking patterns which are necessary for playing timpani.

Single Stroke Roll Rudiments – Demonstrate and perform single stroke rolls, single stroke fours and sevens. b. Multiple Bounce Roll Rudiments – Demonstrate and perform multiple bounce rolls and triple stroke rolls. c. Double Stroke Open Roll Rudiments - Demonstrate and perform five through fifteen stroke open rolls. d. Single Diddle Rudiments - Demonstrate and perform single paradiddles and single paradiddle-diddles. e. Double Diddle Rudiments

Big Idea: XVI. History of Marching Percussion a.

- Demonstrate and perform double and triple paradiddles.

Fife and Drum Corps – Discuss the beginnings of marching percussion instruments prior to World War II. b. Rudimental Style – Discuss the integration of rudimental drumming into the marching arena. c. Multi-toms – Discuss the evolution of the multi-toms from single tenor drums and their impact on the activity. d. Pit Percussion – Discuss the evolution of the front ensemble and its impact on the musical arranging for drum and bugle corps. e. Indoor Percussion

– Discuss and analyze the impact of WGI on the marching percussion activity.

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Curriculum Management System Grade Level/Subject

Big Idea: Notation :

9-12/Percussion Ensemble Topic: Reading and notating music.

Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals.

Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:

Essential Questions Sample Conceptual Understandings

Instructional Tools / Materials / Technology / Resources / Learning Activities / Interdisciplinary Activities / Assessment Model

6 1.1. Clefs

(1.2 B4, 1.3 B2)

- Notate pitches in treble, bass, alto and tenor clefs. Discuss the relationships of each clef and the reasons for their existence.

1.2. Ledger Lines

(1.2 B4, 1.3 B2)

- Notate and identify notes in all clefs using ledger lines above and below the staff.

1.3. Intervals

(1.2 B4, 1.3 B2)

- Recognize and identify the numerical differences between notes in all clefs.

• What are the relationships between the treble, bass, alto and tenor clefs?

• What are the relationships between simple and compound time signatures?

• How does an understanding of intervals aid in the comprehension of all types of scales?

• A basic understanding of musical notation. This includes how to read and write musical notation in multiple clefs and meters.

Enduring Understandings

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Suggested Activities: Students complete simple rhythmic and melodic notation up to four measures in length. Students will aurally and visually identify basic intervals. Compose a simple melody in a major key and a minor key using a simple quadruple or simple duple time signature. (Synthesis) 1. Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How does knowledge of intervals, scales, key signatures and time signatures assist in the composition process? (Knowledge & Evaluation)

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n Curriculum Management System Grade Level/Subject

Big Idea: Notation :

9-12/Percussion Ensemble Topic: Reading and notating music.

Goal 1: The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals.




1.4. Beat and Tempo

(1.2 B4, 1.3 B2)

- Discuss organization of measures into beat and meter types; recognize meters aurally.

1.5. Time Signatures

(1.2 B4, 1.3 B2)

- Label time signatures as either simple or compound. Discuss the differences and identify examples visually and aurally.

1.6. Dynamic Markings

(1.2 B4, 1.3 B2)

– Indicate volume markings using all appropriate symbols.

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Big Idea: Scales, Tonality, Keys, Modes :

9-12/Percussion Ensemble Topic: Construction and analysis of all scales

Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys.




6 2.1. Major Scales/Key

Signatures-

(1.2.12 B4, 1.3.8 B2)

Identify and construct all major scales using intervals and key signatures.

2.2. Transposition

(1.2.12 B4, 1.3.8 B2)

- Rewrite simple melodies in different major keys than the original melodic line.

2.3. Natural Minor Scales

(1.2.12 B4, 1.3.8 B2)

- Identify and construct natural minor scales using intervals.

• What are the relationships between the treble, bass,

alto and tenor clefs? • What are the relationships between major and minor

scales and key signatures? • How does an understanding of intervals aid in the

comprehension of all types of scales?

• All major and minor scales and key signatures including all three forms of minor scales.


• Performance of all scales on keyboard instruments.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Suggested Activities: Students identify major and minor key signatures. Students write, identify and perform major and minor scales. Transpose a simple melody in a major key. (Synthesis) 1. Why were multiple clefs created for the purposes of reading, writing and performing music? (Knowledge & Analysis) 2. How are the 3 types of minor scales utilized in composition.(Knowledge & Evaluation)

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Big Idea: Scales, Tonality, Keys, Modes :

9-12/Percussion Ensemble Topic: Construction and analysis of all scales

Goal 2: The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys.




2.4. Harmonic Minor Scales

(1.2.12 B4, 1.3.8 B2)


2.5. Melodic Minor Scales

(1.2.12 B4, 1.3.8 B2)


2.6. Scale Relationships

(1.2.12 B4, 1.3.8 B2)

– Identify parallel and relative relationships between keys.




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Big Idea: Instrument Characteristics :

9-12/Percussion Ensemble Topic: In depth analysis of percussion instruments.

Goal 3: The student will be able to display proper technique and produce a quality sound on each instrument.




5 3.1. Bass Drum

(1.2 B4,1.3 B2)

– Discuss and demonstrate technique, sound production and articulation methods.

3.2. Crash Cymbals

(1.2 B4,1.3 B2)


3.3. Gong/Tam Tam

(1.2 B4,1.3 B2)


• What are the various techniques needed to produce a

quality sound? • How are the various methods for producing sound

similar from instrument to instrument? • How are they different?

• Production of basic sound on each instrument. Enduring Understandings

• Each percussion instrument requires specific methods of articulating as well as muting and dampening.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. (comprehension) Begin using exercises from “A Fresh Approach To Mallet Playing.” (application) Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation)

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Big Idea: Instrument Characteristics :






3.4. Keyboard Percussion

production and articulation methods. (1.2 B4,1.3 B2)

- Discuss and demonstrate technique, sound

3.5. Orchestra Bells

(1.2 B4,1.3 B2)


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Big Idea: Instrument Characteristics II :






6 4.1. Snare Drum

(1.2 B4,1.3 B2)


4.2. Suspended Cymbal

production and articulation methods. (1.2 B4,1.3 B2)

- Discuss and demonstrate technique, sound

4.3. Tambourine

(1.2 B4,1.3 B2)


• What are the various techniques needed to produce a

quality sound? • How are the various methods for producing sound

similar from instrument to instrument? • How are they different?

• Production of basic sound on each instrument. Enduring Understandings

• Each percussion instrument requires specific methods articulating as well as muting and dampening.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the methods for producing a basic quality sound. Combine instruments covered in an “ensemble” to begin percussion ensemble playing. Notate music on a staff for each instrument discussed. (Synthesis) 1. How are specific playing zones determined for each instrument. (Knowledge & Analysis) 2. How are proper implements chosen for performance? (Knowledge & Evaluation)

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Big Idea: Instrument Characteristics II :






4.4. Timpani

articulation methods. (1.2 B4,1.3 B2)

- Discuss and demonstrate technique, sound production and

4.5. Triangle

articulation methods. (1.2 B4,1.3 B2)

- Discuss and demonstrate technique, sound production and





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Big Idea: Performance I :

9-12/Percussion Ensemble Topic: The musical element of performance includes all of the various aspects of producing sound, from rehearsing to listening, to polishing and performing. Goal 5: The student will be able to implement the required skill sets necessary for successful percussion

ensemble performance. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



5 5.1. Rehearsal Skills

(1.2 B1, 1.3 B2)

– Discuss rehearsal aspects such as baton signals, marking music, listening and rehearsal critiques.

5.2. Practice Skills

(1.2 B1, 1.3 B2)

– Discuss practice strategies such as warm up, problem solving and hearing protection.

5.3. Equipment

including moving, storage, cleaning and changing heads. (1.2 B1, 1.3 B2)

– Demonstrate proper maintenance of percussion equipment

• How does and individual’s practice skills have an

impact on their rehearsal skills? • How significant is the maintenance of percussion

equipment to its quality of sound? • What impact does a lack of ear protection have on

percussionists?

• The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing.


• These skills are transferable to any musical ensemble.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation.

a) Understanding of your part being melody or

Suggested Activities: Students identify and perform parts within the ensemble, taking into account. (application)

accompaniment. b) Understanding of ensemble balance c) Understand instrument-specific tessitura

for written part

Perform at appropriate volume to achieve balanced ensemble sound. (application)

1. What are some problem solving strategies for performance? (Knowledge & Analysis) 2. How are proper implements chosen for balance in an ensemble? (Knowledge & Evaluation)

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Big Idea: Performance I :





5.4 Balance/Blend

demonstrate balance of percussion instruments to the rest of the ensemble. (1.2 B1, 1.3 B2)

– Discuss and

5.5 Technical Facility

(1.2 B1, 1.3 B2)

– Demonstrate the importance of technical facility in performance.





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Big Idea: Performance II :





5 6.1. Expression

(1.2 B1, 1.3 B2)

– Demonstrate and discuss dynamics and expression in percussion performance.

6.2. Rhythm

(1.2 B1, 1.3 B2)

– Identify note values and rests and discuss ways to count and subdivide rhythms.

6.3. Sight Reading

(1.2 B1, 1.3 B2)

– Discuss ways in which to improve sight reading skills on an individual basis and in an ensemble.

• How is expression utilized to enhance performance on

percussion instruments? • How can developing reading skills lead to playing

increasingly more sophisticated music? • Why is it necessary to be able to perform repertoire

from a variety of cultures and historical periods?

• The musical element of performance includes all of the various aspects of producing sound, from rehearsing, to listening, to polishing and performing.


• These skills are transferable to any musical ensemble.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Develop understanding of musical phrases a) variety of ways to perform a given phrase b) artistic choice about phrasing Students perform ensemble sight reading literature one grade level easier than what is being studied in class. (application) Synthesize, apply and exhibit performance skills in a variety of music literature. (Synthesis) 1. Demonstrate performance of six dynamic levels pp,p,mp,mf,f,ff (Knowledge & Synthesis) 2. Demonstrate ability to perform in the following time signatures 4/4,3/4,2/4,2/2,6/8, mixed meters (Knowledge & Synthesis)

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Big Idea: Performance II :





6.4. Repertoire

(1.2 B1, 1.5 B1) 6.5

– Discuss standard percussion literature from various historical periods.

Performance Skills

- Demonstrate and discuss Appropriate concert Behavior. (1.2 B1, 1.3 B2)





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Big Idea: Intervals and Transposition :

9-12/Percussion Ensemble Topic: Intervals and their use in the analysis and composition of tonal music.

Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs.




6 7.1. Perfect, Major and Minor

Intervals

(1.2.12 B4, 1.3.8 B2)

– Identify, construct and compare perfect, major and minor intervals.

7.2. Augmented and Diminished Intervals

(1.2.12 B4, 1.3.8 B2)

- Identify, construct and compare augmented and diminished intervals.

7.3. Inversion of Intervals

(1.2.12 B4, 1.3.8 B2)

- Use interval inversions to show relationships between all types of intervals.

• How does an understanding of intervals aid in the

comprehension of all types of scales? • What is the purpose of transposition? • How does the inversion of intervals make the

understanding of complex intervals easier?

• Aural recognition as well as performance of all types of intervals.


• Transposition from one clef to another in order to simplify performance.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students use the method of inverting intervals by adding the two numbers and always having a total of nine for the two intervals. (application) Students transpose a simple melody into another key and/or clef. (synthesis) Play all major, minor and perfect intervals above and below any given note. (Synthesis) 1. What is the difference between simple and compound intervals? (Knowledge & Analysis) 2. What are the various methods of transposition? (Knowledge)

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Big Idea: Intervals and Transposition :

9-12/Percussion Ensemble Topic: Intervals and their use in the analysis and composition of tonal music.

Goal 7: The student will be able to recognize major, minor, perfect, diminished and augmented intervals aurally and by sight. Construct each of these intervals in all clefs.




7.4. Simple and Compound

Intervals

(1.2.12 B4, 1.3.8 B2)

– Discuss the use of simple intervals and their compound equivalents.

7.5. Interval Transposition

(1.2.12 B4, 1.3.8 B2)

– Discuss transposition by moving notes up or down using the necessary interval.

7.6. Clef Transposition

(1.2.12 B4, 1.3.8 B2)

– Discuss transposition by substituting one clef for another depending on the instruments being used.




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Big Idea: Chords :

9-12/Percussion Ensemble Topic: Construction and analysis of chords in root position and inversions.

Goal 8: The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument.




6 8.1. Root position triads and

seventh chords –

Construct major triads and major-minor seventh chords in root position. Discuss the use of intervals to build chords. (1.2.12 B2, 1.3.8 B2)

8.2. Inversions of chords –

(1.1.12 A1, 1.2.12 B2, 1.3.8 B2)

Explain how to invert triads and seventh chords with the use of figured bass symbols.

8.3. Diatonic triads in major –

(1.2.12 B2, 1.3.8 B2)

Construct triads on each scale degree in major keys using the key signature.

• How does an understanding of intervals and key

signatures aid in the construction of diatonic triads and seventh chords?

• How does an understanding of intervals aid in the application of figured bass symbols?

• In what ways were figured bass symbols necessary in eighteenth century composition and performance?

• Recognition of chord quality through aural and visual analysis.


• Performance of root position and inverted chords on keyboard instruments.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Quizzes and tests are designed to be in the same format as the AP exam. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students construct chords given the root and key signature. (Application) Students construct chords given the bass note and inversion symbol. (Application) Create a simple progression of chords utilizing root position and inverted triads and seventh chords. (Synthesis) 1. What are the “primary triads” in every key and what function do they have in tonal music? (Knowledge & Analysis) 2. How do chord inversions affect the sound of

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Big Idea: Chords :

9-12/Percussion Ensemble Topic: Construction and analysis of chords in root position and inversions.





8.4. Diatonic triads in minor –

(1.2.12 B2, 1.3.8 B2)

Construct triads on each scale degree in minor keys using the key signature.

8.5. Diatonic seventh chords in major –

(1.2.12 B2, 1.3.8 B2)

Construct seventh chords on each scale degree in major keys using the key signature.

8.6. Diatonic seventh chords in minor –

(1.2.12 B2, 1.3.8 B2)

Construct seventh chords on each scale degree in minor keys using the key signature.

triads and seventh chords? (Knowledge & Analysis) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com



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Big Idea: Intermediate Keyboard Techniques I :

9-12/Percussion Ensemble Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble.





8 9.1. The four Mallet Grip

(1.2 B1, 1.3 B2)

– Discuss and demonstrate the three major four mallet grips.

9.2. Holding the Mallets

(1.2 B1, 1.3 B2)

- Discuss and demonstrate the positioning of the mallets in each four mallet grip.

9.3. Interval Changes

(1.2 B1, 1.3 B2)

- Discuss and demonstrate methods for changing with multiple mallets.

• What is the purpose of having different categories of

four mallet grips? • Why is it important for percussionists to be able to

utilize all types of grips? • How does basic production of sound become

incorporated into four mallet playing?

• Basic exercises for playing with 4 mallets, which include simple chord progressions and shifting.


Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate the traditional, Burton and Musser four mallet grips. (Comprehension) Students demonstrate accuracy and efficiency by reducing mismanagement of distance and momentum. (Comprehension) Perform basic exercises utilizing the various types of four mallet grips. (Application) 1. What are the relationships between the various 4 mallet grips? (Knowledge & Analysis) 2. How does a theory foundation aid in the development of four mallet playing? (Knowledge & Analysis)

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Big Idea: Intermediate Keyboard Techniques I :

9-12/Percussion Ensemble Topic: The various multiple mallet grips, which are necessary to perform in a percussion ensemble.





9.4. Stroke Height

(1.2 B1, 1.3 B2)

– Discuss and demonstrate various stroke heights with multiple mallets.

9.5. Stroke Efficiency and Accuracy

Wasted motion. (1.2 B1, 1.3 B2)

9.6.

- Discuss and demonstrate useful and

Shift and Interval Change Efficiency

– Discuss and Demonstrate efficient Shifting. (1.2 B1, 1.3 B2)





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Big Idea: Intermediate Keyboard Techniques II :

9-12/Percussion Ensemble Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality

sound on each keyboard instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



8 10.1. Tone, Lift, legato, Staccato

(1.2 B1, 1.3 B2)

Discuss and demonstrate the various methods of articulation.

10.2. The Fundamental Strokes

(1.2 B1, 1.3 B2)

– Provide a basic overview on the fundamental strokes of four mallet technique.

10.3. Single Independent Strokes

(1.2 B1, 1.3 B2)

Demonstrate the proper method of performing single independent strokes.

• Why do keyboard players need to know various types

of mallet strokes? • What is the purpose of utilizing different sticking

combinations? • How does mallet choice impact the stroke choice?

• Basic keyboard exercises which address fundamental strokes and articulation.


• Double vertical strokes have become a term used to describe “double stops” which is a term borrowed from string technique.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in “Method Of Movement For Marimba.” (Comprehension & Application) Perform basic exercises utilizing the various types of four mallet strokes. (Application) 1. What are the relationships between the various sticking combinations? (Knowledge & Analysis) 2. How do “drummers” have an advantage when it comes to learning mallet stickings? (Knowledge & Analysis)

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Big Idea: Intermediate Keyboard Techniques II :

9-12/Percussion Ensemble Topic: The various types of strokes used on mallet instruments, which are necessary to perform in a percussion ensemble. Goal 10: The student will be able to demonstrate the proper four mallet grips and produce a quality

sound on each keyboard instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



10.4. Single Alternating Strokes

(1.2 B1, 1.3 B2)

– Demonstrate the proper method of performing single alternating strokes.

10.5. Double Vertical Strokes

(1.2 B1, 1.3 B2)


10.6. Double Lateral Strokes

(1.2 B1, 1.3 B2)






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Big Idea: Intermediate Keyboard Exercises :

9-12/Percussion Ensemble Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for

each of the mallet strokes covered. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



6 11.1. Single Independent

Exercises

Independent strokes. (1.2 B1, 1.3 B2)

11.2.

– Provide exercises for the single

Single Alternating Exercises Provide exercises for single Alternating strokes. (1.2 B1, 1.3 B2)

11.3.

Double Vertical Exercises Provide exercises for the Double vertical strokes. (1.2 B1, 1.3 B2)

• Why is it necessary to begin warming up with single independent exercises?

• How are double vertical strokes difficult despite their simple appearance?

• Why is it necessary to begin performing combination or mixed strokes at slower tempos?

• Basic keyboard exercises, which develop the various stroke combinations utilizing both two and four mallet grips.


Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students isolate each hand in order to properly demonstrate the fundamental strokes as described in “Method Of Movement For Marimba.” (Comprehension & Application) Perform basic exercises utilizing vertical and lateral strokes. (Application) 1. Why is it difficult to strike the bar in he correct playing zone when playing lateral strokesi? (Knowledge & Analysis) 2. Why is it necessary to make sure mallet heights are relatively high initially? (Knowledge & Analysis)

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Big Idea: Intermediate Keyboard Exercises :

9-12/Percussion Ensemble Topic: A variety of technical exercises, which are utilized to develop the required mallet strokes for percussion ensemble playing. Goal 11: The student will be able to develop an intermediate level of performance using exercises for

each of the mallet strokes covered. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



11.4. Double Lateral Exercises

11.5.

Provide exercises for the Double lateral strokes. (1.2 B1, 1.3 B2)

Provide exercises for Mixed strokes. (1.2 B1, 1.3 B2)

Mixed Strokes Exercises





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Big Idea: Multi-Tenor Techniques :

9-12/Percussion Ensemble Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors.




6 12.1. Grip and Drum Height

heights for multi-tenors. (1.2 B1, 1.3 B2)

– Discuss and demonstrate the proper grip and drum

12.2. Playing Positions and demonstrate the proper playing positions for multi-

tenors. (1.2 B1, 1.3 B2)

– Discuss

12.3. Understanding Groupings

three drum groupings. (1.2 B1, 1.3 B2)

– Discuss and demonstrate the various two and

• What is the proper method for tuning multi-tenors? • Why is it necessary to play in specific playing zones

when playing multi-tenors? • How do groupings aid in the development of multi-tenor

playing?

• The multi-toms have evolved from a single tenor drum to the current model which features four to six drums.


• Basic exercises to perform simple marching literature as well an introduction to more complex material.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate playing techniques utilizing fundamental sticking and groupings as described in “Modern Multi-Tenor techniques.” (Comprehension) Perform basic exercises utilizing single stickings as well as groupings. (Application) 1. Why is it necessary to have perfect spacing between multi-tenors? (Knowledge & Analysis) 2. How does mallet choice impact the performance on multi-tenors? (Knowledge & Analysis)

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Big Idea: Multi-Tenor Techniques :

9-12/Percussion Ensemble Topic: Basic performance techniques necessary for multi-tenor playing in marching percussion ensembles. Goal 12: The student will be able to perform basic fundamentals on marching multi-tenors.




12.4. Fundamental Studies Discuss and demonstrate Basic exercises for Multi-tenors. (1.2 B1, 1.3 B2)

–

12.5. Scrapes, Crossovers and Sweeps

(1.2 B1, 1.3 B2)

– Discuss and demonstrate the uses for scrapes, crossovers and sweeps on multi-tenors.





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Big Idea: Timpani Fundamentals :

9-12/Percussion Ensemble Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani

playing. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



6 13.1. Positioning of the drums

for playing timpani. (1.2 B1, 1.3 B2)

– Discuss and demonstrate the proper positioning

13.2. Pitch Ranges

(1.2 B1, 1.3 B2)

– Discuss the range of pitches for each of the different sized drums.

13.3. Grip

grips. (1.2 B1, 1.3 B2)

– Demonstrate and provide rationale for the various types of timpani

• Why is drum positioning so important to playing

timpani? • How does ear training play a role in the development of

a timpanist? • What are the uses for the different timpani grips?

• Basic exercises to demonstrate production of sound and playing zones on the drums.


• Changing of pitches using tuning gauges as well as ear training.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate an appropriate use of each stroke type. (Comprehension) Students effectively demonstrate the different timpani grips and the necessity for each. (Comprehension) Perform basic exercises utilizing pedaling and simple pitch changes. (Application) 1. Why is it necessary to have perfect pitch ranges on each timpani? (Knowledge & Analysis) 2. How does mallet choice impact the performance on timpani? (Knowledge & Analysis)

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Big Idea: Timpani Fundamentals :

9-12/Percussion Ensemble Topic: Basic tuning, hand positioning, ear training and pedaling a standard set of timpani used in both concert and marching percussion ensembles. Goal 13: The student will be able to position, tune and understand pitch ranges for successful timpani

playing. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



13.4. Tuning/Ear Training

(1.2 B1, 1.3 B2)

– Demonstrate the significance of singing to tune timpani.

13.5. Pedaling

(1.2 B1, 1.3 B2)

– Discuss and demonstrate the proper pedaling methods for playing timpani.

Technology: www.vicfirth.com www.blackswamp.com www.pas.org www.earplane.org




http://www.earplane.org/�

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Big Idea: Intermediate Timpani Techniques :

9-12/Percussion Ensemble Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on

the instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



6 14.1. Legato Stroke

playing timpani. (1.2 B1, 1.3 B2)

– Discuss and demonstrate the use of a legato stroke when

14.2. Staccato StrokeAnd demonstrate the use of a staccato stroke when playing timpani. (1.2 B1, 1.3 B2)

– Discuss

14.3. Rolls

(1.2 B1, 1.3 B2)

– Discuss and demonstrate the proper way to play rolls on timpani.

• What role does each of the strokes have in timpani

playing? • What are the similarities/differences in playing timpani

as compared to keyboards? • Why must various stickings be used when playing

timpani?

• Exercises, which encompass the different types of strokes and rolls.


• Sticking and dampening are a significant component of timpani playing due to the set up and natural sustain.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students play major and minor scales on two drums. (Application) Rotate students onto timpani in percussion ensemble setting in order to apply fundamentals discussed. (Application) Perform basic exercises utilizing rolls, pedaling and pitch changes. (Application) 1. Why is it necessary to utilize dampening techniques? (Knowledge & Analysis) 2. How does mallet placement on the drum impact the performance on timpani? (Knowledge & Analysis)

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Big Idea: Intermediate Timpani Techniques :

9-12/Percussion Ensemble Topic: The various types of strokes used on timpani, which are necessary to perform in a percussion ensemble. Goal 14: The student will be able to demonstrate the proper timpani grip and produce a quality sound on

the instrument utilizing the various strokes. Objectives / Cluster Concepts / Cumulative Progress Indicators (CPI's) The student will be able to:



14.4. Dampening

timpani. (1.2 B1, 1.3 B2)

– Discuss and demonstrate proper dampening technique on

14.5. Sticking

(1.2 B1, 1.3 B2)

– Discuss and demonstrate the use of a staccato stroke when playing timpani.





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Big Idea: Rolls and Diddle Rudiments :

9-12/Percussion Ensemble Topic: Basic rolls and diddle rudiments.

Goal 15: The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments.




6 15.1. Single Stroke Roll

Rudiments

rolls, single stroke fours and sevens. (1.2 B1, 1.3 B2)

– Demonstrate and perform single stroke

15.2. Multiple Bounce Roll Rudiments

(1.2 B1, 1.3 B2)

- Demonstrate and perform multiple bounce rolls and triple stroke rolls.

15.3. Double Stroke Open Roll Rudiments

(1.2 B1, 1.3 B2)

- Demonstrate and perform five through fifteen stroke open rolls.

• How are diddles incorporated into rudimental playing? • What is the reason for performing various multiple

bounce rolls? • What is the difference between rudimental and

orchestral playing?

• Single and double strokes are the foundation for more complex rudiments.


• Open rolls versus closed rolls and their use in orchestral and marching percussion.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through demonstration of performance techniques, ensemble playing sight reading and solo/small group playing. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Suggested Activities: Students demonstrate basic single stroke, double stroke and roll patterns. (Comprehension) Students perform basic rudiments utilizing the rolls and diddles discussed. (Application) Perform basic exercises utilizing diddles and rolls. (Application) 1. Why is it necessary to understand single and diddle rudiments? (Knowledge & Analysis) 2. How do multiple bounce rolls aid in the development of percussionists? (Knowledge & Analysis)

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Big Idea: Rolls and Diddle Rudiments :

9-12/Percussion Ensemble Topic: Basic rolls and diddle rudiments.

Goal 15: The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments.




15.4. Single Diddle Rudiments

and single paradiddle diddles. (1.2 B1, 1.3 B2) 15.5.

- Demonstrate and perform single paradiddles

Double Diddle Rudiments

- Demonstrate and perform double and triple paradiddles. (1.2 B1, 1.3 B2)





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Big Idea: History of Marching Percussion :

9-12/Percussion Ensemble Topic: The evolution of the instruments and rudimental style used in the marching percussion ensemble.

Goal 16: The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.




5 16.1. Fife and Drum Corps

instruments prior to World War II. (1.5 B1, 1.5 B2)

– Discuss the beginnings of marching percussion

16.2. Rudimental Style

Arena. (1.5 B1, 1.5 B2)

– Discuss the integration of rudimental drumming into the marching

16.3. Multi-toms

(1.5 B1, 1.5 B2)

– Discuss the evolution of the multi-toms from the single tenor and their impact on the activity.

• Why did fife and drum corps come into existence and how have they evolved into the current drum and bugle corps?

• What has enabled percussion instruments to evolve to their current status in the marching percussion arena?

• What impact has WGI had on the marching percussion activity?

• The instruments in the marching percussion activity have evolved over a long period of time and continue to do so.


• Indoor percussion now plays a significant role in the development of marching percussion instruments as well as sticks/mallets.

Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. . Suggested Activities: Students watch “The History of Drum Corps” which chronicles the evolution of marching percussion instruments. Utilize dvd recordings from DCI drum and bugle corps and WGI indoor percussion units to compare the instruments used in each arena. (Analysis) 1. How is the rudimental style different from the orchestral style of playing? (Knowledge & Analysis) 2. How has the pit percussion in the marching activity become so closely related to the concert idiom? (Knowledge & Evaluation) 3. Identify various era of percussion aurally from sample recordings. (Knowledge)

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Big Idea: History of Marching Percussion :

9-12/Percussion Ensemble Topic: The evolution of the instruments and rudimental style used in the marching percussion ensemble.

Goal 16: The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.




16.4. Pit Percussion

Evolution of the front ensemble and its impact on the musical arranging for drum and bugle corps. (1.5 B1, 1.5 B2)

– Discuss the

16.5. Indoor Percussion

(1.5 B1, 1.5 B2)

– Discuss and analyze the impact of WGI on the marching percussion activity.

Technology: www.vicfirth.com www.blackswamp.com www.pas.org www.wgi.org www.dci.org




http://www.wgi.org/�

http://www.dci.org/�

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Percussion Ensemble

COURSE BENCHMARKS

1. The student will be able to read and notate music in treble and bass clefs using major and minor scales, key signatures and intervals. 2. The student will be able to notate and identify all major and all three minor scales as well as the parallel relationships between keys 3. The student will be able to display proper technique and produce a quality sound on each instrument. 4. The student will be able to implement the required skill sets necessary for successful percussion ensemble performance. 5. The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument. 6. The student will be able to demonstrate the proper four mallet grips and produce a quality sound on each keyboard instrument utilizing the various strokes. 7. The student will be able to develop an intermediate level of performance using exercises for each of the mallet strokes covered. 8. The student will be able to perform basic fundamentals on marching multi-tenors 9. The student will be able to position, tune and understand pitch ranges for successful timpani playing. 10. The student will be able to demonstrate the proper timpani grip and produce a quality sound on the instrument utilizing the various strokes. 11. The student will be able to perform each roll and diddle rudiment on the required percussion ensemble instruments. 12. The student will be able to understand the history of marching percussion as it pertains to the development of instruments. Students will also gain an

appreciation of the evolution of musical styles and the impact of indoor percussion ensembles on the marching ensembles.

Documents

Monroe Township Schools · Monroe Township Schools . Curriculum Management System ... Timpani Fundamentals . a. Positioning of the drums – Discuss and …