Bernardo Heights Middle School Band Handbook 2020-2021 VLA

Clearly, this year brings with it some very different challenges from a traditional band experience. Be assured that Band is happening, even if it looks a little different than our traditional practice. In some ways this is an opportunity to slightly shift focus to areas of the Music Content Standards that have less emphasis in a strictly performance oriented program. My goal is to stay as true to a traditional model as possible, while supplementing our work with additional content as needed to keep students engaged and learning. Here are some general expectations for online learning in Band.

Time will be given for students to complete required assignments during their class periods; however as with building any skill, students should be spending time playing their instrument every day. Practice outside of class may be required to achieve top results on some assignments.
Students will collaborate with their peers through the available online resources including Canvas, Noteflight, Zoom, and other online tools. We need to stay connected!
Students are expected to attend any live “class” meetings at the beginning of the period, even if released to do individual work after attendance has been taken, and check in at the end of each class period.
Students are expected to come to “office hours” for a one-on-one checking at least once each quarter, but are encouraged to come for help as often as they need to.
The normal band room and school rules contained in this handbook apply equally to online classes.
Band is a full-year course. Planning and resources have gone into this and every year to make this the best experience possible for all. Except in extreme cases, you are making a full-year commitment to participate in the band program.

	Note Accuracy & Intonation
9-10	The performance has no wrong notes (or very few, depending on the difficulty of the passage); at least 95% accurate in all cases. 100% accuracy is required for a score of 10. There are no discernable problems with intonation.
8	There are a few wrong notes, but the key signature is clearly being observed. At least 85% of the notes are correct. Minor intonation problems may be present despite all notes being fingered correctly.
7	The performance sounds more or less unprepared; like sight reading, but still has more than 75% note accuracy. The key signature is being observed enough to demonstrate the player is aware of it. Major intonation problems may make some notes sound incorrect despite all notes being played correctly.
6	The note accuracy is less than 75% OR the key signature is clearly being ignored. Intonation problems may make it difficult to know if correct notes are being played or not.
5	An attempt was made but was incomplete or what was performed bears little resemblance to the music.
	Technique
5	All aspects of technique are perfect, including such things as stick grips, sticking, hand positions, posture, and the use of special fingering combinations as appropriate. No extra notes are ever heard between notes.
4	Most aspects of technique are perfect or near perfect, and produce no discernable flaws in the performance. The use of special fingering combinations are present as needed. Hand position or posture may not be ideal, but does not interfere with the performance. Percussion sticking technique may be flawed, but does not impact the performance.
3	Some aspects of technique show flaws that occasionally produce discernible flaws in the performance, such as extra notes, squeaks, or other minor but audible problems. Percussion may be inappropriately failing to always alternate hands on mallet percussion.
2	Technical problems are more extensive and cause frequent problems with the performance but the performance is complete. Mallet percussion may be playing primarily one handed.
	Rhythm Accuracy
9-10	All rhythms played accurately, or in particularly difficult or extended selections, with at least 95% accuracy. Tempi are appropriate and the performance is fluid, without hesitation and without beats being dropped or added. 100% accuracy at the performance tempo is required for a score of 10.
8	Most rhythms are played accurately, with any mistakes limited to more complex dotted or syncopated rhythms. Non-dotted and non-syncopated rhythms are always accurate and the performance is fluid, without hesitation and without beats being dropped or added. Rhythms may be performed accurately but slightly slower or faster than required.
7	Rhythm inaccuracies interfere with the fluency of the performance but are still limited to more complex rhythms. Rhythms may be accurately performed but the tempo may be much slower or faster than the musical selection indicates, or slower than a speed that demonstrates appropriate facility on the instrument. (i.e., in the case of scales, they may be played evenly but too slow to demonstrate appropriate technical ability).
6	Rhythm inaccuracies interfere with the fluency of the performance and span both simple and complex rhythms, the tempo is grossly slower than required, or the tempo varies greatly with the difficulty of the passage.
5	Rhythms are barely recognizable and the performance lacks any sense of fluency or pulse.
	Tone Quality
9-10	Performance exhibits characteristic tone beyond what would be expected from a player of their current grade level; the tone is rich and open without sounding forced in any way throughout the range of the instrument. The tone quality sounds effortless, with little or no room for improvement
8	Performance exhibits characteristic tone quality for the instrument, with some minor signs of being forced, pinched or thin only in the extremes of the range. (e.g. very high or very low) Overall, the tone sounds open and free blowing. There are no unintended variations in sound from an uneven or unsteady airstream. There is very little or no airiness to the sound.
7	Tone is developing and showing signs of a relaxed and open sound but not consistently. The tone is free from cracking or other breaks in the sound resulting from poor support or embouchure. There may be occasional unintended variations in quality due to an uneven airstream. The sound may be slightly airy at times, but the tone quality and pitch are steady and do not drop off at the end of notes.
6	Tone quality shows signs of support but embouchure or other deficiencies produce a pinched and constricted sound or there is cracking or there are other artifacts in the sound. The tone may be somewhat over-blown with little control, or the tone is substantially airy.
5	Tone quality is unsupported and/or pinched sounding throughout the range. Or, the sound is severely over-blown, blasting, with little or no sign of control. Or, the sound is excessively airy, lacking any sense of a core sound.

	Dynamics & Expression
9-10	All dynamic markings and expressive texts are observed and performed effectively and appropriately for the style of music being performed. Phrases are always fluid and musical. A score of 10 indicates a performance that shows signs of musically appropriate interpretation beyond those markings explicitly indicated. In the case of a scale test or other technical study without dynamic markings, the dynamics are perfectly even and without variation in all ranges of the exercise.
8	Most dynamic markings and expressive texts are clearly observed but may not be as fully expressed as the style of music would dictate. Phrases are fluid and musical most of the time.
7	Some dynamic markings are observed but not executed effectively. Articulations are clear in most cases but may not always be accurate in style or placement. Phrases are often broken up inappropriately or sound choppy.
6	Few dynamic markings are observed but there is some indication the performer is aware of them. Releases may be abrupt or unstylistic. A concept of phrasing is generally missing but some notes are connected. At times breaths are taken according to propper phrases but often breaths are simply taken when needed.
5	No attention to dynamics, proper articulation, or phrasing is evident in the performance. Breaths are taken with no regard for phrasing or proper note length.
	Articulations
5	Articulations markings are always observed and interpreted appropriately according to the style of music being performed. Attacks are free of unwanted artifacts from tonguing (or a lack thereof) and releases are precise and stylistic. Percussionists have selected the appropriate sticks or mallets for the style of music being played.
4	Articulation markings are nearly always observed with omissions limited to occasional missed accents, staccato, or other marking effecting style and expression; however, tongued vs. slurred notes are always observed accurately. Attacks are free of unwanted artifacts from tonguing (or a lack thereof) and releases are precise and stylistic. Percussionists have selected the appropriate sticks or mallets for the style of music being played.
3	Articulation markings are observed often with omissions limited to missed accents, staccato, or other marking effecting style and expression; however, tongued vs. slurred notes are nearly always observed accurately. Attacks sometimes show artifacts from tonguing (or a lack thereof) and releases are precise and stylistic. (i.e., the tongue may sometimes sound heavy or “thuddy”, or sound like a ‘th’ sound or produce changes in pitch or tone). Percussionists have selected sticks or mallets that are too hard or soft for the intent of the music.
2	Few articulation markings related to style or expression are observed, or tongued vs. slurred notes are often played inaccurately.
	Selection of Literature
4	The selected music appropriately stretches the student to improve in their technique and musical expression, and the student is able to perform at a high level. For Noteflight, the music is presented on-screen, transposed correctly, accurately reflects the performance including any dynamics and the octave performed, is free from any visually classing notes or text elements, and is on-screen for the entire duration of the performance.
3	The musical selection is on the easy side, making it difficult for them to fully demonstrate their musical skills OR the music presents an inappropriate challenge and the student is unable to perform the music accurately enough to demonstrate their skill level. For Noteflight, the score presented on-screen is missing one element from those listed above, but is on-screen for the entire duration of the performance.
2	The musical selection is extremely easy and presents little or no challenge to the student OR The musical selection is far beyond the student’s ability to perform accurately and musically. For Noteflight, the music presented on-screen is missing several elements from those listed above, but it is presented on screen. Missing music scores a 0.
1	Selection of literature is far below the capabilities of the performer and far below grade level
	Presentation (Does NOT impact chair placement)
4	All technical requirements met in terms of video quality and editing. The performer’s face and both hands are visible in a single shot, including the surface of any struck instrument in the case of percussion. The video fades in from a second of black, and fades to black at the end. The student’s name and class are visible for the duration of the performance. The music being performed is visible on-screen for the duration of the performance. Any additional musical or sound effects elements used in titles are balanced in volume to the level of the audio of the performance. The sound is not excessively noisy, too soft, or distorted.
3	There are minor problems with the technical requirements such as fade outs that begin too soon, imbalance between titles music and video recording volume, the music shown on-screen is cut off or hard to read., etc., but these do not interfere with the viewers’ ability to assess the performance.
2	Major elements, such as music visible on-screen, titles on-screen during the performance, visibility of the performer are missing. Problems with the video make it difficult to accurately assess the performance.

	Practice Session Goals
4	Student has a clear, measurable and attainable goal, which identifies specific sections of music. (i.e. “I will play measures 22 through 36 in Star Wars at a tempo of not less than 132pm.”) Student identifies the primary challenge in this section of music. (i.e. “In this section I have trouble playing the 1/8th notes without out stopping in the wrong place.”)
3	Student lists a specific section of music but the goal is vague, overly general or unrealistic. (i.e. I will “get better at...”) It would be difficult to measure any progress towards the goal.
2	The goal listed is vague and no specific sections of music are given beyond a song title.
1	The goal doesn’t identify any particular music and is overly vague.
	Daily Outcomes & Next Steps: (Please notice that meeting your goal isn’t required for full credit here. The point is to realistically recognize the progress you did or didn’t make and let that guide what you will do next time.)
4	Student clearly identifies specific improvement in their playing, supported by details such as the techniques used to practice, metronome markings, number of measure they were able to play or other detailed examples of improvement. (i.e. “I was able to play m. 25 to 36 at 108bpm.” Or “I am now able to count the rhythms in m. 28 of Tanoan and clap it correctly.”) The student clearly links the results of this practice session to their plans for the next session
3	Student identifies improvements in their playing but lacks detailed supporting evidence. The student links their results to what they will work on in their next practice session.
2	Student identifies improvements in their playing but the supporting evidence is either missing or not applicable to the improvements claimed. The student identifies what they will work on next but gives no rational or there is no apparent connection.
1	The student’s comments are overly vague. (i.e. “I got better. Next time I’ll try harder”)

	Content: Composition
7-8	Includes detailed information about the work, it's place in the catalog of the composer's works, date of publication, first performance, historical significance (if any), and specific reference to the form, development, or other structural elements of the work, with ample examples from the music worded in a way that they are accessible to an audience of limited musical knowledge. None of the information is factually incorrect. (e.g. Parents: They don’t care about measure numbers or note names, but they understand fast notes, slow notes, ascending or descending lines, rich sounds, bright sounds, etc. You need to translate the musical terms into terms the audience will understand. By ALL MEANS use the academic language of music, but explain the meanings in a way the audience can appreciate. Referring to measure numbers is fine so long as you explain in detail what is happening in those measures. You might say, “near the beginning, in measure 5, the flutes play a rapidly ascending scale high in their range, symbolizing increasing tension.)
5-6	Includes the title of the composition along with some general information including the date of composition, artistic descriptions of its style and form but lacks some specific examples from the music, or examples are not explained in a way the audience can understand them without musical background or the score to refer to. None of the information is factually incorrect. Works that consist entirely of material from sources with no personal commentary score a 5 even if the information is complete. You must bring something of yourself to the writing.
4-3	Includes the title of the composition with very basic information describing the composition but lacks direct reference to the composition itself regarding its structure or thematic content, the date of the composition or other significant features of the composition. Some minor information may be incorrect or some information may refer to an arrangement different than the one we are playing in the case of transcriptions, but don’t include major details like time periods or names of composers. (e.g., Don’t write about the violin part when we don’t have violins.)
1-2	Includes the title of the composition with little or no further comments or the information presented is largely incorrect or about the wrong piece of music. Major details such as the time period of a piece, the composer of the piece are missing or incorrect. Work without at least an attempt at properly formatted MLA inline citations will score a maximum of 2 points on this category.
	Content: Composer
7-8	Names the composer with ample information about the composer's background and musical influences, ideally from their youth as well as their professional life. If possible includes quotes from the composer. Where there is both a composer and arranger, information about both are included. None of the information is factually incorrect.
5-6	Names the composer and background information with some elements of their musical influences but with less depth than could be possible. Where there is both a composer and arranger, information about both are included. None of the information is factually incorrect. Works that consist entirely of material from sources with no personal commentary score a 5 even if the information is complete. You must bring something of yourself to the writing.
3-4	Names the composer and some background information but excludes information about musical influences. In cases where there is both a composer and arranger, one or the other may be missing, or the information for both meets the criteria for this level. None of the information is factually incorrect.
1-2	Names the composer but contains little or no other background information. In cases where there is both a composer and arranger, the information for one or the other may be missing, or may meet the criteria for this level. Some information may be factually incorrect. Work without at least an attempt at properly formatted MLA inline citations will score a maximum of 2 points on this category.
	Content: Personal Reflection
7-8	Contains detailed interpretive comments with specific references to musical elements and how they impact the author's impression of the music, and the value they gained in preparing the music for the performance. (i.e.. What did you learn or what new insights did you gain from preparing this piece for our performance?)
5-6	Contains general comments with some interpretive references to musical elements of the work, and some mention of what value they derived from working on the music.
3-4	Contains vague or overly general personal comments on the work. It is little more than an expansion of the theme, “I like it because…” Any specific mention of the value they derived from working on the music is missing.
1-2	Contains no personal comments on the work beyond a superficial statement of like or dislike.
	Fluency/ Style
4	The assignment contains an engaging introduction and strong conclusion. Sentence patterns are varied and interesting.. There are connecting words between sentences and paragraphs, where appropriate. Sentences are always complete thoughts, with no run-ons or sentence fragments. In most cases, the writer avoids use of a passive voice.
3	The assignment contains an introduction and conclusion. Sentence patterns are generally varied, but sometimes variations seem forced and inappropriate. There are connecting words between sentences and paragraphs, where appropriate. Each sentence contains a complete thought; there are no run-on sentences or sentence fragments.
2	The assignment may be missing an introduction or conclusion, or they may be weak. Sentence patterns are generally repetitive, with only occasional variations. There are sometimes connecting words between sentences and paragraphs, where appropriate. Some sentences should be merged; others should be made into two or more sentences; there are no run-on sentences or sentence fragments. Often the writer uses a passive voice.
1	The assignment does not have an introduction or conclusion. Sentence patterns are repetitive. There are no connecting words between sentences. Some sentences may be run-ons or sentence fragments.
	Mechanics
4	The work is nearly error-free and reflects thorough proofreading for grammar and spelling. There are no spelling errors.
3	There are occasional grammatical errors. Spelling has been proofread and contains no errors.
2	There are some errors in grammar and punctuation, but spelling has been proofread contain errors where words are spelled correctly but are the wrong word. (e.g. there, their and they’re.).
1	Frequent errors in spelling, grammar, and punctuation.
	References
4	Use of references indicates substantial research and MLA style is correctly applied both in the body of the writing and in the “Works Cited” section of the assignment. There are at least the sources cited in the Works Cited section.
3	Use of references indicates adequate research has been done and MLA style is correctly applied in most cases. Both inline references and the “Works Cited” section are present. There are at least the sources cited in the Works Cited section.
2	There are few references when more are needed or some references are inaccurate. MLA citation style is attempted but incorrectly applied. The “Works Cited” section or inline citations may be missing.
1	There are no references or references are inaccurate.

Bernardo Heights Middle School Band Handbook 2020-2021 VLA

General Expectations for Online Learning

Class Materials:

Woodwinds:

Brass Players:

Percussion:

Other Recommended Items for All Students

Recommended Apps:

The Internet:

Performance Attire:

Copyright, Sheet Music, and Recordings:

Sheet Music:

Audio and Video Recordings:

Band Room Rules:

Ensemble Descriptions:

Cadet Band (Period 4):

Intermediate Band (Period 6):

Concert Band (Period 5):

Advanced Band(Period 3):

Symphonic Band (Period 1):

The Normal Progression for Students:

Jazz Lab:

Grades:

Rehearsals (45%)

What if my instrument is in the Repair Shop:

Music Theory & Written Work: (5%)

Response to Music: (5%)

Computer & Music Technology: (5%)

Basic Skills Tests: (5%)

Playing Tests: (5%)

Practice: (10%)

Performances: (20%)

Extreme Circumstances

Long Distance Travel

Late Work

2020-2021 Performance Dates

Online Resources:

Communication:

From Vertical Response Regarding Blocked Bounced or Spammed Email

REMIND.COM Codes:

Band Awards:

Outstanding Instrument Family:

Outstanding Musician:

Outstanding Section:

Most Improved:

Jayden’s Award:

Karina’s Award:

John Philip Sousa Award:

Appendix A - Rubrics

RAW Scoring Rubric for Playing Tests and Performances:

Scoring Rubric for Practice Records

RAW Scoring Rubric for Program Notes Assignment

Appendix B - Outstanding Instrument Awards List of Performance Tasks and Activities

Appendix C - Performances Qualifying for Outstanding Musician Points

Appendix D - The House Cup