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Title Page. Calcomte Training Sessions: Instrumental Assessment March 15, 2002 Dr. Daniel R. Zanutto California State University, Long Beach. Adapted from… Curriculum, Instruction and Assessment: There is a Link (Richard Wells, Spotlight on Assessment, MENC).
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Title Page Calcomte Training Sessions: Instrumental Assessment March 15, 2002 Dr. Daniel R. Zanutto California State University, Long Beach
Adapted from…Curriculum, Instruction and Assessment: There is a Link(Richard Wells, Spotlight on Assessment, MENC) CurriculumInstructionAssessment National Standards • What are best approaches? •Regular part of State Content Standards • Literature! instruction District Curriculum • Is my instruction linked •High frequency - •Performance to the curriculum? Low magnitude •Knowledge •Authentic - based •Creativity on what “real” musicians do! •Give students a role in the process!
Sample: Flute/Piccolo Skills(from MENC Teaching Wind & Percussion Instruments)
Sample: Part 1- Flute Specific(from Zanutto Portfolio Assessment) Assembly Start with the middle joint, grasp at the engraved nameplateTake out the head joint, assemble flute in a twisting motionAlign embouchure hole with the large keysAlign foot joint with center of large keys on the middle joint Hand Position Fingers must rest properly on the keysSupport the flute with the left forefinger and the right thumbThe right little finger adds balanceThe right thumb should not extend beyond the flute, and wrist should not bendImagine you are holding a glass of water with your right hand, then pour outWhen the glass is empty, your hand is in the correct position
Sample: Part 1- Flute Specific(from Zanutto Portfolio Assessment) Embouchure Relax the lips, say “dim” – keep teeth apart and lips togetherKeep head joint parallel with and centered on lipsKeep corners of the mouth firmRelease air with a “pooh” syllable Articulation Use “dee/doo” and “tee/too” syllables, depending on the attack neededTongue at the roof of the mouth, not on the teeth or lips IntonationFlutes are usually flat in the low range, and sharp in the upper rangeFlutes sound flat when coldBlow warm air though the instrument with keys closedCorrect intonation by: raising/lowering head, directing air at ceiling/floor
Sample: Part 1- Flute Specific(from Zanutto Portfolio Assessment) Vibrato Diaphram vibrato is most preferredStart slowlyWork for even sound Transposition The flute is a “C” instrument, and is non-transposing Alternate FingeringsStudy alternate fingerings for use in rapid sectionsStudy alternate fingerings to correct intonation problems Care and MaintenanceSwab and dry frequentlyPivot screws must be oiled and tightened occassionally
Sample: Part 2 - GenericGrade 7-8 BreathingEmpty lungs – breathe in for 4 countsExpand at the waist lineTake in 3 more sips of airAt a moderate tempo, hiss out air PostureSit at front edge of chairPlace feet flat on the floor, do not cross legs or anklesBring instrument up to you, you do not move to the instrument*NOTE – Flute player “classic” right elbow on back of chair disease Tone ProductionPlaying with good sound is most important, start with proper air supportInhale properly, avoiding tension in throat musclesAvoid playing with teeth together, or blocking air passage with tongue
Sample: Part 2 - GenericGrade 7-8 Blend/Balance (Balance is between sections, Blend is within sections)Blend is difficult unless parts are asymmetrical, i. e. 2 first, 3 second, etc…Strong players should be assigned to all partsBalance is nearly impossible when # of brass = # of woodwindsBalance is achieved when all sections of the band are heard FingeringsKnowledge of ALL fingerings is essentialFingering is done with the pads of the fingers, not the knucklesFingers should be slightly curved, not flat Tonguing EffectsDouble = Tu – Ku Tu – Ku, or Doo - Goo Doo – Goo, etcTriple = Tu – Tu - Ku Tu – Tu - Ku, or, Tu – Ku - Tu Tu – Ku – Tu, etc. Flutter TongueAs if rolling an “R”
Sample: Part 3 – GenericGrade 7-8 Rhythm/MeterDiagram the Note Value TreeComplete Rhythm Counting Exercises DictationRhythm Dictation Key SignaturesDiagram the Circle of Fourths HarmonyMajor – Scales/Arpeggios (play and identify)Minor – Scales/Arpeggios (play and identify)Modal – Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian (From C)Progression – Identify : V7 – I; IV - V7 – I; etc.
Sample: Part 3 – GenericGrade 7-8 FormMonophony/Polyphony/HomophonyTheme/VariationRondoSonata Form Articulation/Dynamics/TempiSlurs & Ties, Accents, Attacks and releasesFull dynamic rangeTempo – Mood indicators Historical InformationComplete Music Terminology exerciseMusic Poster Essay (single page, typed, single spaced)Music and Composers of the Periods
Sample: Part 4 – GenericGrade 7-8 ScalesPerform all 12 Major Scales with arpeggios ( ♪ = 90 )Perform the Chromatic Scale, one octave from Bb ( ♪ = 90 ) SoloMedium-easy to Medium-difficult, orCounty Honor Band Audition sheet, OR YOU MAY COMPOSE…. CompositionMinimum of 24 measuresMelody, 2-part Harmony, Bass LineYou may use the sequencing software to complete this assignment
Ensemble Performance &Listening Skills(MENC – Melody/Harmony)
Ensemble Performance &Listening Skills(MENC – Form/Timbre/Expression)
Ensemble Performance &Listening Skills(MENC – Historical/Creative/Valuing)
References Asmus, E. (1999) Music Assessment Rubrics from http://www.music.miami.edu/assessment/rubricsCreat.html MENC (1991) Teaching Wind & Percussion Instruments: A Course of Study. Music Educators National Conference. MENC (2001) Spotlight on Assessment in Music Education. Music Educators National Conference. Zanutto, D. (2001) Portfolio Assessment. Unpublished.
