Kansas State University

Full Year Curriculum

High School Band

Jayne Klinge

Music 512

Dr. Payne

10/26/2018
Table of Contents

Program Goals ............................................................................................................................3

Course Goals................................................................................................................................3

Course Objectives .......................................................................................................................4

Scope and Sequence...................................................................................................................5

Concert One- FALL.......................................................................................................................6

Content Performed.........................................................................................................6
Skills/elements addressed..............................................................................................6
S/G,H,C,NS addressed.....................................................................................................6
Sample Lesson Plan.........................................................................................................7
Rationale for song selections and skill development......................................................8

Concert Two – WINTER................................................................................................................9

Content Performed.........................................................................................................9
Skills/elements addressed .............................................................................................9
S/G,H,C,NS addressed.....................................................................................................9
Sample Lesson Plan........................................................................................................10
Rationale for song selections and skill development.....................................................10

Concert Three –CONTEST............................................................................................................12

Content Performed.........................................................................................................12
Skills/elements addressed ..............................................................................................12
S/G,H,C,NS addressed.....................................................................................................12
Sample Lesson Plan.........................................................................................................13
Rationale for song selections and skill development......................................................13

Concert Four – SPRING…..............................................................................................................14

Content Performed......................................................................................................... 14
Skills/elements addressed .............................................................................................. 14
S/G,H,C,NS addressed..................................................................................................... 14
Sample Lesson Plan..........................................................................................................15
Rationale for song selections and skill development...................................................... 15

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Program Goals

 Students will be literate in music reading and making.

 Students will understand basic music making technique on individual instruments.

 Students will develop individual musicianship through their own unique experiences.

 Students will successfully perform as an ensemble.

 Students will discuss form and function of musical techniques.

 Students will learn how music reflects history and culture.

 Students will grow in technical and musical ability.

 Students will critically listen and discuss the music they hear.

 Students will identify big composers and their works.

 Students will understand differences in style of all musical genres.

Course Goals

 Students will be actively involved in decision making during ensemble rehearsal.

 Students will analyze basic theory in pieces being played for composing and improvisational

purposes.

 Students will perform as a soloist and ensemble member, knowing the different roles of playing

for each.

 Students will discuss history and cultural context of pieces being played in class.

 Students will grow in musical and technical abilities.

 Students will have knowledge of tone, balance, blend, breathing, and other such musical

concepts.

 Students will sight read fluently.

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Course Objectives

 Students will participate in decision making through class and small group discussions at least 3

times per week.

 Students will give appropriate answers when called on for questions about musical decisions at

least once a week.

 Given condensed versions of pieces being learned in class, students can label basic chord

structure of works with 80% right labels.

 Using analyzed pieces students will compose or improvise material over harmonies and bass

lines.

 Students will play one solo either in class, at festival or solo part in the large ensemble during a

concert.

 Students will critique their own and peer performance in both solos and ensemble playing

through class discussion, journal prompts, and filling out rubrics.

 Students will sight read grade 2-3 level music with 85% accurate notes and rhythms.

 Students will discuss historical and cultural context of pieces being played and apply knowledge

to individual and group projects.

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 Scope and Sequence

Repertoire Rhythm Melody/Harmony Form Musicality Historical/Cultural Style Texture/Timbre

Creepy Classics for Band Off beats Moving notes/ lows Medley Articulation Romantic Medley/Novelty Dark/Rich few layers
Cajun Folk Songs Mixed Meter Solo/ostinato strophic Character/Phrasing Cajun Folk Songs Foreboding/dancelike
Come, Sweet Death Chordal Flowing/lyrical/uppers Chorale Dynamics Baroque Chorale Warm/Dark
Chant Rituals Off beats Passes around ABA Matching Modern Overature Full/Thick
Dotted
Nutcracker Suite Rhythm Uppers/Brass/Passing Medley Character/Artic. Romantic Suite Bright/ few layers
Canon for Christmas 16th notes Builds/becomes active Canon Phrasing/dynamics Baroque Canon thick/Bright
Christmas Eve/Sarajevo
12/24 8ths, off beats Repetitive/Driving Medley Intensity Post Bosnian War Rock Dark/driving/forceful
Let it Snow! Swing Big Band/Unison strophic Style/matching End of WWII Swing Bright/dancelike
style changes/pass
Slavic Folk Dances Triplets line Rondo styles/dynamics Eastern European Folk Songs Dark/warm/thick
Meter
On a Hymnsong of Philip Bliss Changes lyrical/connected/flow strophic dynamics/breathing Great Chicago Fire Hymn rich/warm/complex
Exaltation 16th notes passing/driving Sonata energy Modern Overature dark/triumphant
Chase the Shouting Winds Mixed Meter soaring/color shifts Fanfare Articulation Modern Fanfare layers/driving
Caribbean Rondo Syncopation bouncy/syncopated Rondo Articulation Caribbean Caribbean thin texture/bright
But for the Love of Ireland 16th notes flowing Ballad solositic Irish Ballad thick/warm/rich
Across the Great Plains 16th notes driving/rhythmix ABA energy/artic Pony Express Overature persistent/bright

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 Fall Concert:
Repertoire performed:

 Creepy Classics for Band Arranged by Robert Foster

o In the Hall of the Moutain King, Night on Bald Mountain, Sorcerer’s Apprentice, Danse
Macabre
 Cajun Folk Songs by Frank Ticheli
 Come, Sweet Death by Bach Arranged by Alfred Reed
 Chant Rituals by Elliot Del Borgo

Skills and Elements addressed:

 Creepy Classics for Band by Foster

o Character/Style
o Matching
o Off beats
o History
 Cajun Folk Songs by Ticheli
o Solo playing
o Phrasing
o Articulation
o Mixed Meter
o Dynamics
o Culture
 Come, Sweet Death by Bach
o Breathing
o Lyrical playing
o Phrasing
o Dynamics
o Style
o Texture
 Chant Rituals by Del Borgo
o Passing Melody
o Form
o Dotted vs straight rhythms

Style, Historical/Culture, National Standards

 Creepy Classics for band by Foster

o Romantic
o Russia, Germany, Norway, France
o NS addressed: PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Cajun Folk Songs by Ticheli
o Folk Songs
o Cajun/New Orleans, LA

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 o NS addressed: CR1.1, PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Come, Sweet Death by Bach
o Baroque
o German
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Chant Rituals by Del Borgo
o Modern
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1

Sample Lesson Plan:

Objective: Given handout of Cajun Folk Songs Melody, students will improvise own solo starting and
ending with precomposed music, with 80% accuracy with style and notes.

Materials: Saxophone solo from first movement handout, recordings of different Cajun Folk Songs

Prereqs: We will have already discussed the history, culture, and social context of Cajun people and
music.

Students will enter room with different folk song playing.

I will change song to movement 1 of Cajun Folk Songs once students get instruments out.

We will discuss chord structure of solo, putting chords on the board.

I will pass out solo and bass line handout.

As a warm up, we will first play through the bass line handout.

We will play through the sax solo plainly.

We will play through again adding musicality.

Next we will play the first measure of the piece and as a group improvise using chords on the board in
whole notes and then half notes.

I will then lead students through the same exercise adding passing tones. We will do this in half notes
and quarter notes.

Then the whole band will get an opportunity to improv as a group, starting with the first measure of the
solo and ending with the last measure of the solo.

Finally, each instrument group will have a chance to improv together while the rest of the band plays
the bass line handout.

The assessment will take place in the form of group discussion about what they observed from each
other playing and improvising themselves. We will also discuss how improvising relates to the Cajun
culture.

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Rationale:

This concert block came as a theme. I plan to present this concert in October and the theme of spooky
music arose as I was looking for music to perform. This whole concert also focusing on a specific dark
timbre. The first piece I found, I first listened to as a joke, Creepy Classics for Band. After listening to this
piece, I discovered it was a fun piece that I believe students will enjoy playing while getting a taste of a
few well known pieces: In the Hall of the Mountain King, The Sorcerer’s Apprentice, Danse Macabre, and
A Night on Bald Mountain. This piece gave me ample opportunity to explore Romantic music at an
approachable level while learning about performance practice, style, and history of this time. It also
offers low brass an opportunity to play melody which can be hard to find. After hearing this piece, I
decided Cajun Folk Songs would be a good accompaniment. Where Creepy Classics for Band is not as
technically challenging, it will give the students time to tackle something more intense like Ticheli’s
Cajun Folk Songs. The dorian melody matches the theme of “spooky” music while giving the students an
opportunity to learn about modes. Students will also have ample opportunity to explore soloistic
playing. With the solos and new Cajun style, Cajun Folk Songs offers a vehicle to explore student
creativity through improvisation in the Cajun style. The two movements also offer the audience a
reprieve from minor and modal playing in the second more upbeat movement. Following this, students
will shift style to classical Baroque playing through an arrangement of Bach’s Come, Sweet death
Chorale. Students will get a chance to learn about performance practice differences from the Romantic
and Baroque musical periods. It is also scored SATB so while the harmony is rich, the texture is not too
thick offering students an easier opportunity to listen and blend within an ensemble. This will also
expand the lyrical playing being worked on in Cajun Folk Songs. Finally, students will play Chant Rituals
by Del Borgo. This fits the theme of darker music while offering opportunity to work on more technical
aspects of playing.

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 Winter Concert
Repertoire performed:

 Nutcracker Suite by Tchaikovsky Arranged by Curnow

 Canon for Christmas by Pachbel Arranged by Larry Clark
 Christmas Eve/Sarajevo 12/24 by O’Niell and Kinkell
 Let it Snow! Arranged by Vinson

Skills and elements addressed:

 Nutcracker Suite
o Character
o Articulation
o Style
o Dotted vs straight
o Phrasing
o Timbre
 Canon for Christmas
o Important vs background
o Technical runs
o Dynamics
o Breathing
o Phrasing
o Texture
 Christmas Eve/Sarajevo 12/24
o Endurance
o Energy
o Articulation
o Dynamics
o Timbre
 Let it Snow!
o Swing
o Matching
o Phrasing
o Form

Style, Historical/Culture, National Standards:

 Nutcracker Suite
o Medley
o Romantic/Russian: Ballet
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Canon for Christmas
o Canon
o Baroque

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 o CR1.1, CR2.1, CR3.1, CR3.2, PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Christmas Eve/Sarajevo 12/24
o Medley
o Modern/Rock, Bosnian War
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Let it Snow!
o Swing
o Strophic Form
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1

Sample Lesson Plan:

Objective: In groups, students will arrange their own medley of Canon in D with other Christmas carols
with accurate harmonies, notes, and rhythms.

Materials: Notation Software

This will occur about a week after we started rehearsing this piece. We will have already discovered the
carols used and discussed chord progression.

Students will be split into groups of 4 with unlike instruments to have input from all voices in an
ensemble.

Over the course of the next 4 weeks, students will need to choose up to 4 different carols to incorporate
into their arrangement. These carols cannot be used in the original. The students will get some class
time for me to check in with progress. These will be exhibited before the concert with other projects in
other classes done during the semester.

About a week before the performance we will listen to them in class and critique the arrangements.
They will get another couple days to finalize and I will listen to the finished product before they are
presented at the project fair.

Assessment will take place through peer assessment, self assessment, a journal they keep throughout
the process, and a rubric,

Rationale

This concert block offers a wide variety of styles and genres. Starting with an arrangement of
Tchaikovsky’s Nutcracker Suite. This offers the students a chance to explore the Romantic and Russian
style learned during the last concert block. It also offers a chance to learn about ballet and the story. The
Nutcracker Suite gives all voices a chance to play melody and background. It also provides more complex
rhythmic and pulse issues like dotted eights notes vs straight eighth notes. Following the Nutcracker
Suite will be an arrangement of Pachbel’s Canon in D with Christmas hymns woven in. This work makes
students decide what voices are important and which should be in the background. This is made more
difficult when an important line becomes background when something new enters. This expands the
students listening skills to determine what lines enter and who plays them. I plan to use this piece
specifically for more exploration of composing and arranging. Students will take the original melody and
add their own Christmas carols. These works will be played in class. Next, Christmas Eve/Sarajevo 12/24
offers fun variety for the students. The style is something completely different from anything they have

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played this year. It requires endurance and focus to keep the energy at the right level. I can also
introduce students to the Trans-Siberian Orchestra. Finally, Let it Snow! can be seen as an audience
pleaser. Something light after such a dense concert. Students will have fun learning about swing and
music in the United States after WWII.

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 Festival Performance
Repertoire performance:

 Slavic Folk Dances by Robert Foster

 On a Hymnsong of Philip Bliss by Holsinger
 Exaltation by Swearingen

Skills and elements addressed:

 Slavic Folk Dances

o Form
o Triplets
o Phrasing
o Matching
o Finding Melody
o Dynamics
o Timbre
 On a Hymnsong of Philip Bliss
o Lyricism
o Texture
o Solo playing
o Phrasing
o Dynamics
 Exaltation
o Energy/Focus
o Articulation
o Harmony
o Texture

Style, History/Culture, Standards

 Slavonic Folk Dances

o Folk songs
o Eastern European
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 On a Hymnsong of Philip Bliss
o Ballad
o English
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Exaltation
o Overture
o Modern
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1

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Sample Lesson Plan

Students will analyze Slavic Dances and other folk songs from other countries to compare and contrast
compositional techniques, giving a final presentation.

Materials: Internet, Slavic Dances

Students will pick folk songs from one specific culture to explore further.

Students will need to analyze Slavic Dances looking for special rhythms, harmonies, uses, and
instruments.

Students will do the same with at least 3 folk songs from one other country.

Students will prepare powerpoint or other visual aid showing comparisons and differences.

The visual aid must also have audio of the folk songs they chose for the audience to hear the
differences.

These will be presented during class.

They will get some class time for me to check in on their progress and answer questions they might
have.

The assessment will be a rubric and a journal they keep during the process.

Rationale

This block has not specific theme other than touching on what I feel are important musical topics.
Slavonic Folk Dances has complex texture and harmonies that stretch a student’s ear. It changes styles
and expands the themes presented at the beginning. This gives students a good opportunity to analyze
the piece to see how the melody changes. I can use this as an opportunity for students to analyze
different nationalities of folk songs to see the compositional differences. Next, On a Hymnsong of Philip
Bliss offers a stark contrast of harmonies to Slavic Folk Songs. Students must be able to play contrasting
styles and genres on one concert successfully. Doing this at Festival raises the level of focus needed to
do this task. This piece also offers a chance for students to expand their musicality through the lyricism
alone. This requires correct articulation, balance, blend, tuning, and dynamics. Students will have input
on what they deem appropriate for this piece. Finally, offering even more contrast is Swearingen’s
Exaltations. This exciting piece offers technical difficulty not addressed in the previous piece. Students
will need to work on endurance ending a concert block with this piece. The timbre is also vastly different
from the previous two pieces. Tone will play a huge factor in this concert so that will be the main focus:
tone, breathing, and breath support.

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 Spring Concert
Repertoire performed:

 Chase the Shouting Winds by Gassi

 Caribbean Rondo by La Plante
 But for the Love of Ireland by Swearingen
 Across the Great Plains by Owens

Skills and elements addressed:

 Chase the Shouting Winds

o Mixed Meter
o Articulation
o Texture
o Phrasing
 Caribbean Rondo
o Style
o Articulation
o Form
o Off beats
o Alignment
 But for the Love of Ireland
o Solo playing
o Texture
o Timbre
o Harmonies
o Breathing
o Phrasing
o Dynamics
o Intonation
 Across the Great Plains
o Technique
o Articulation
o Breathing
o Texture

Style, Historical/Cultural, National Standards

 Chase the Shouting Winds

o Fanfare
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Caribbean Rondo
o Dance
o Caribbean
o PR4.1,PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1

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  But for the Love of Ireland
o Ballad
o Irish
o PR4.1, PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1
 Across the Great Plains
o ABA
o 1800s/Pony Express
o PR4.1, PR4.2, PR4.3, PR5.3, PR6.1, RE7.1, RE7.2, RE8.1, RE9.1

Sample Lesson Plan

Objective: Students will expand their research of folk songs, learning a dance from that culture and
teaching it to the class.

Materials: Internet

In class we will have looked at folk dances in the Caribbean.

Students will continue their research of their chosen culture, specifically looking at dance and how it was
incorporated in society.

Students will learn one dance from this culture.

They may need to research costuming too if it plays a part in the dances.

Students will teach the class their folk dance giving an explanation of how the dance is used in each
culture in their teaching.

Assessment will be through journaling and a rubric.

Rationale:

This concert also had a theme arise when I was looking for music: Travel. The first piece, Chase the
Shouting Winds, offers a review of mixed meter the students worked on during the first concert block,
however, it is a much more active version of mixed meter. This technically difficult piece requires energy
and focus to make it successfully to the finish. This requires matching articulation and breathing. The
texture is also thicker so students will need to listen closely to pick out parts. Next, we travel to the
Caribbean. This dance, Caribbean Rondo, offers a unique style and culture or students to learn about.
The articulation and rhythm drive this dance. This gives the class a chance to study dances of different
cultures. We can bring in Cajun Folk Songs and Slavonic Dances to round out this year. Next, we go to
Ireland. This ballad gives students a nice variety in this concert block. The complex harmonies offer a
nice contrast to the more simpler but technically challenging Caribbean Rondo. Students will be involved
in all process of music making: phrasing, dynamics, articulation, breathing, etc. Students need this
responsibility to become invested in the music making and grow as musicians. Finally we come back to
the Midwest with Across the Great Plains. This piece draws inspiration from the Pony Express. This is the
perfect opportunity for students to learn about the area they live/grew up in. This history is essential to
these students to understand the culture they are around daily. The piece itself expands the students
technical abilities with many sixteenth runs that must be lined up. The texture is also complex, however,

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the harmonies are a little simpler. This will be a great ending to the year to incorporate all the new skills
they learned throughout the year.

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