Wind Ensemble Curriculum Map
Created for the Starpoint High School Wind Ensemble.
1. Theory
1.1. Time Signatures
1.2. Key Signatures
1.3. Chords
2. Rhythm
2.1. Simple Meter
2.1.1. Quarter Note as Beat Unit
2.1.2. Half Note as Beat Unit
2.2. Compound Meter
2.3. Steady Beat
2.3.1. Steady Beat Test
2.3.1.1. Downbeats
2.3.1.2. Upbeats
2.3.2. Subdivisions
2.3.2.1. Subdivision Workout with HH Helper
2.3.2.2. Subdivision Workout w/o HH Helper
2.3.2.3. Subdivision Workout with Counting
2.3.2.4. Subdivision Assessment
2.3.2.5. Subdivision Compostion
2.4. Gordon Rhythm System
2.5. Rhythm Machine Video
2.6. Teaching Rhythm Logically
3. Technique
3.1. "Play music to learn techique, do not learn techniqe in order to play music." - Arnold Jacobs
3.1.1. Trumpet
3.1.1.1. The Executant
3.1.1.2. Lilacs
3.1.1.3. Maid of Mist
3.1.1.4. Fantaisie Brilliante
3.1.1.5. Willow Echoes
3.1.1.6. Carnival of Venice
3.1.1.7. Flight of the Bumble Bee
3.1.1.8. Arban Solos
3.1.1.9. Herbert L. Clark Solos
3.1.2. Flute
3.1.2.1. Flight of the Bumblebee
3.2. Skills
3.2.1. Triple Tonguing
3.2.2. Double Tonguing
3.2.3. Chromatic Scale
3.2.3.1. The Automatic Chromatic Lot's of Fun Warm-up Blues
3.2.4. Flexibility
4. Intonation
4.1. Tuning
4.1.1. TE Tuner Target Practice
4.1.2. Drone Work
4.1.3. Waveless Tuning Process
4.1.4. Tuning by the Numbers
4.1.5. Tuning Chart
4.1.6. Frequency Generator Activity
4.1.7. Pitch Tendancy Exercises
4.1.8. Tuning for the Modern Wind Ensemble
5. Instrument Specific Exercises
6. Imagery
6.1. Laban Effort Shapes
6.1.1. Wring
6.1.2. Press
6.1.3. Flick
6.1.4. Dab
6.1.5. Glide
6.1.6. Float
6.1.7. Punch
6.1.8. Slash
6.1.9. Direction is either direct or indirect. Weight is either heavy or light. Speed is either quick or sustained. Flow is either bound or free.
6.2. Metaphors
6.2.1. Pat Pattison
6.2.2. Metaphor Map of the Music
6.2.2.1. Clear image for each phrase
6.2.2.2. Rich program or narrative for the piece
6.2.3. Nikolaus Harnoncourt
6.2.4. Create metaphores for Musical Concepts
6.2.4.1. Attacks
6.2.4.1.1. Hammering a Nail
6.2.4.2. Releases
6.2.4.2.1. letting go of a balloon
6.2.4.2.2. Evaporation
6.2.4.3. Crescendos
6.2.4.3.1. an overflowing glass of beer
6.2.4.3.2. A steep crescendo... like opening a crocodiles mouth
6.2.4.4. Tone Quality
6.2.4.4.1. chocolate cream pie
6.2.4.5. Expression
6.2.4.5.1. More sentimental
6.2.4.5.2. more melancholy
6.2.4.5.3. more sugar at the end
6.2.4.6. Tension & Release
6.2.4.6.1. squeezing an orange
6.2.4.6.2. Eye Contact Contest
6.2.4.7. Blend & Balance
6.2.4.8. Tempo
6.2.4.9. Accents
6.2.4.9.1. Accent = "a musical snowball"
6.2.4.10. Articulation
6.2.4.11. Note Shape
6.2.4.11.1. ASDR
6.2.5. Funny Metaphors (did he really say that? lol)
6.2.5.1. Clubbing a Baby Seal
6.2.5.2. Flicking a buger into your peanut butter
6.2.5.3. "dragging like Rue Paul"
6.2.5.4. intonation is like body odor...it's a problem we ALL have and need to address EVERY DAY. Don't be the stinky kid in class...
6.2.5.5. "I want crisp notes, like a new Dorito. Do not give me soggy Doritos that you've been soaking in the toilet."
6.2.5.6. wrapping a hamster in duct tape and chucking it at the wall
6.2.5.7. "That's the right answer to a different question"
6.2.5.8. "That sounded really good.... in my head"
6.2.5.9. Play this section as lightly as a mouse tiptoeing across a bridge of toilet paper.
6.2.5.10. "That was great! Now, let's hear it with the right notes."
6.2.5.11. Ok, let's try that again with both lungs....
6.2.5.12. "Play Louder" .... when they miss an entrance
6.2.5.13. "You're dragging like a dog with worms!"
6.2.6. Random
6.2.6.1. Satie marked a passage to be played "like walking up a staircase backward". I have no idea how that translates to sound or to teaching... it definitely one of my favorites.
6.2.6.2. Hold your sticks as tightly as you would a frog. Not so loose that you let it get away, not so tight that you squish it.
6.2.7. Bernstein
7. Repertoire
7.1. Band Music
7.2. Chamber Music
7.3. Solos
7.4. Duets
7.5. Pop
7.6. Two Kinds of Music
7.6.1. Song Music
7.6.1.1. Lyrical in nature
7.6.1.2. Think line
7.6.1.3. Energy is in the "center" of the note
7.6.1.4. Often provides for more nuance in tempo
7.6.1.4.1. Rubato
7.6.1.4.2. Agitato
7.6.2. Dance Music
7.6.2.1. Rhythmic in nature
7.6.2.2. Think rhythm
7.6.2.3. Energy is at the "start" of the note
7.6.2.4. Strict tempo
8. Expression
8.1. Ed Lisk
8.1.1. three simple 4-word concepts that energize melodic, harmonic, and rhythm patterns.
8.1.1.1. 1. Short searches for long
8.1.1.2. 2. Low searches for high
8.1.1.3. 3. High searches for low
8.1.2. When applying this concept to phrases, determine the low and high note in the phrase. The notes between create the feeling of energy and motion moving to the high note. The notes between create the tension and suspension. The arrival of the high note is the relief of the phrase or point of repose.
8.1.3. Free Form Expresson
8.1.3.1. Improvised Lullaby
8.1.3.1.1. ask a student (or director) to play a simple, beautiful lullaby.
8.1.3.1.2. This simple instructional process allows the students to discover the beautiful world of musical expression that is hidden beyond the boundaries of notes and rhythm patterns.
8.1.4. Procedure to Teach Musical Expression
8.1.4.1. "insert age appropriate poetic phrase here"
8.1.4.2. "It was a time of turbulance..."
8.2. Sentance Stress
8.2.1. "I didn’t say he stole the money."
8.3. Plogar
8.3.1. Evaporation Tedhnique
8.4. Creating Tension
8.4.1. "Push - Pull"?
8.5. Note Grouping Book
8.6. Understandable Approach to Musical Expression Book
9. Class Building
9.1. Tennis Ball Tango
9.2. People Hunt
9.3. Band Mate Bingo
9.4. Band Leaders
9.5. Band Name
9.6. Birthdays
10. How To Practice
10.1. Philip Johnston Practice Games
10.2. How to Make First Chair
11. Articulation
11.1. Syllables
11.2. Note Shapes
12. Improvisation
12.1. Point and Sing?
12.2. Pizza Blues Method?
13. Alternative Rehearsal Techniques
13.1. Change Over Games
13.2. Silent Rehearsal Day
13.3. Pod Rehearsals
13.4. Scramble Rehearsal
13.5. Percussion up Front
13.6. Physical Changes to the Rehearsal
13.6.1. Repositioning the sections fo the band.
13.6.1.1. Switch locations of different sections to provide students with a new perspective.
13.6.1.2. Increases awareness of their roles in the harmonic and rhythmic structure of the music.
13.6.2. Splitting the band into two bands.
13.6.2.1. Assigning numbers to players (i.e. group 1, group 2) without moving seats, then designating which group play.
13.6.2.2. Setting up the rehearsal with the two groups on opposite sides.
13.6.2.2.1. Which group plays the most musically? dynamically, etc.
13.6.3. Mini Ensembles
13.6.4. The Roving Conductor
13.6.4.1. Walking through sections of the band while they are playing.
13.7. No Conductor
14. Tone
14.1. Listening to great players
14.2. Daily Routine
14.2.1. Long Tones
14.2.2. Air Flow Studies
14.2.3. Flexability
14.2.4. Technical Studies
14.3. Breathing
14.3.1. Stretches
14.3.2. Therapies
14.3.3. Flow Studies
14.4. Tone Production on Trumpet
15. Components of Ensemble Playing
15.1. Balance
15.2. Blend
15.3. Pyramid of Sound
15.4. Musical Roles
15.4.1. Melody
15.4.2. Accompaniment
15.4.3. Bass Line
15.5. Ensemble Pulse
15.6. Listening Skills
15.6.1. Follow the Tuba
15.6.2. "Listen Down"
15.6.3. "Triangle"
15.6.4. "Only to the Saxes"
15.6.5. Across the room
16. Scales
16.1. Difficutly Levels
16.2. Scale Ninja
16.2.1. Interactive Scale Ninja