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Post Concert Project

Post Concert Project

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Published by Jason Crews

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Published by: Jason Crews on Oct 20, 2008
Copyright:Attribution Non-commercial


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AZ Standards Met:
Performing Ensembles - Strand 3: Evaluate - Concept 1: Listening to, analyzing, and describingmusic. (PO 106, 206, 306) (PO 107, 207, 307) (PO 109, 209, 309) (PO 111, 211, 311) (PO 112,212, 312)
Performing Ensembles - Strand 3: Evaluate - Concept 2: Evaluating music and musicperformances. (PO 102, 202, 302, 402) (PO 103, 203, 303) (PO 105, 205, 305, 405)
National Standards Met:
Post Concert Project:
One of the most important things we, as musicians, can do is not just to perform selected works,but to critically evaluate our performances of those works. Critical evaluations force us to look at what actually happened rather than rely on vague impressions made during a performance, andare essential if any performing group ever wants to excel.
The assignment:
First, listen to the recording of the concert and evaluate our bands performance using theattached
music performance criteria reference rubric
deciding which box you feel the bandachieved as a whole
and circling the statements you feel best describe our performance.
Second, write a five to six paragraph essay evaluating the band’s conc
ert performance using the
music performance criteria reference rubric
as a guide
Include an explanation of why youfeel the band fit into a particular box, and how the band could have performed differently to haveachieved a higher box. Remember,
be specific
. The goal of this assignment is for you to listencritically, evaluate, and provide constructive ways to improve the group as a whole.The essay must be typed, double spaced, and using a standard 12 pt font. Proper grammar andessay forms are mandatory.Finally, turn in your
and your
music performance criteria reference rubric.Helpful Hints:
You can find recordings of our performance at http://www.bashahighschoolband.com/ . 
You may want to familiarize yourself with all of the statements in the music performancecriteria reference rubric before you listen to the recordings.
December 15.
   T  o  n  e   Q  u  a   l   i   t  y  a  n   d   I  n   t  o  n  a   t   i  o  n
 -Performers never exhibit evidence of training orcontrol. Tonal focus is nonexistent.-Breath support is not evident.-No evidence of tuning exists.-Ensemble balance and blend is completely distorteddue to a total lack of fundamental skills.-Evaluation of demand is impossible due to difficulty indetermining what is being performed.-Performers seldom exhibit training or control, and aproper concept of tonal center and focus is occasionallypresent.-Breath support is rarely present causing timbres to beharsh or pinched.-Little evidence of instrument tuning exists.-There is occasional evidence of an attempt to achieveensemble balance and blend.-Pitch and quality of sound demands are occasionallypresent.-There is an average approach to proper tone production,although performers are often taxed beyond their ability tocontrol quality of sound in range and volume extremes.-Breath support is lacking at times, and the resulting timbrescan be harsh and pinched.-Although attempts at tuning exist, many individual andsectional problems still exist.-An average attempt at balance has been made, however lapsesdo occur due to field placement, individual carelessness, ortimbre differences caused by flawed tone production.-Performers are generally successful in meeting quality of soundand tuning demands of an average nature.-Performers display an excellent control of most aspects of propertone production. Lapses are infrequent and minor.- Breath support and control is generally proper. Characteristic timbreis generally good but may be adversely affected in extremes of rangeand volume.-The majority of wind instruments are in tune; tonal focus and blendare complimentary to the sound of the ensemble. Characteristicpercussion timbre and quality of sound are frequently present with-inall segments and throughout the ensemble.-A conscious effort has been made to achieve proper balancethroughout the ensemble. Lapses are in-frequent and minor.-Excellent demands in production of tone quality and pitch accuracyare frequently placed on the performers.-Performers consistently demonstrate mature control and a mosthighly developed concept of tone production.-Breath support and control is proper and maintained, and there ismaximum control of air flow.-The wind instruments are in tune and any pitch inconsistencies arequickly corrected. Tonal focus and timbre are uniform throughoutand characteristic of mature wind and percussion sounds.-Superlative achievement of proper balance exists, both withinsections and in the overall ensemble.-Exceptional demands are placed on the performers throughoutmost of the program.
   E  n  s  e  m   b   l  e   E  x  e  c  u   t   i  o  n   \   T  e  c   h  n   i  q  u  e
-Performers exhibit no understanding of basictechnique.-Rhythmic interpretation is totally lacking. There isnever a sense of recovery.-Attacks and releases are completely undefined and areutterly unreadable.-There is a total lack of rhythmic ensemblecohesiveness. The ability to play together as anensemble has not been demonstrated.
-Performers seldom exhibit an understanding of basictechnique.-Rhythmic interpretation is inadequate. Recovery fromerrors occasionally exists and concentration is poor.-Attacks and releases are inconsistent.-Ensemble cohesiveness is out of synchronization most of the time and is magnified when the ensemble is spread outon the field. Recovery from loss of pulse often takes muchtime and is rarely complete at phrase endings.
-Performers exhibit an average approach to basic technique.-Rhythmic interpretation is acceptable until performers arechallenged by difficult passages.-Attacks and releases are sometimes good, but still becomeproblematic in extremes of register and volume. Phrase endingsare not always released together.-Ensemble cohesiveness is acceptable at times, but lacksconsistency especially in fast, highly articulated passages andwhen the ensemble is spread on the field. Performers exhibit anaverage awareness of pulse and tempo though recovery fromlapses seems difficult.
-Performers exhibit an above average approach to basic technique.-Rhythmic interpretation is frequently unified throughout theensemble.-Attacks and releases are unified much of the time, however somedifferences do occur.-Ensemble cohesiveness is above average with quick recovery duringminor periods of fluctuation. There is excellent control of overallpulse with rare moments of pulse distortion. Spread formations cancause pulse distortion, but recovery is noted.
-Performers exhibit a highly developed approach to basic technique.-Rhythmic interpretation is unified throughout the ensemble.-Attacks and releases are unified and musically satisfying.-Ensemble cohesiveness is usually superb through varioussubdivisions and tempos. Extreme depth or width of formationsseems to have little or no affect on pulse. Players are confident of tempo and subdivisions and sound arrives at the focal point withsolidity and control.
   M  u  s   i  c   i  a  n  s   h   i  p
-Performers never exhibit the ability to communicateany musical idea or style.-Phrasing and communication on the part of theperformer is totally unreadable.-Ensemble balance and blend is completely distorted.-Musical content is inadequate.
-Performers seldom exhibit the ability to communicate anymusical idea or style.-Phrasing and communication on the part of the performeris totally unreadable.-Ensemble balance and blend is completely distorted.-Musical content is inadequate.
-Performers are usually able to achieve a meaningful musicalcommunication of style, although a rigid approach tointerpretation sometimes exists with some subtleties indynamics and expression.-There is an attempt at phrasing, dynamic shading, andcontouring. Some moments of musical understanding arepresent throughout the performance.-An average attempt at balance and blend has been made,however lapses do occur.-Musical content is of an average level.
-Performers most often project a meaningful musical style with manysubtleties in dynamics and expression.-There is an above average attempt at phrasing, dynamic shading andcontouring. Musicianship skills of an above average nature are oftenpresent.-A conscious effort has been made to achieve proper balance andblend throughout the ensemble. Lapses are infrequent and minor.-Above average musical content is frequently present.
-Performers achieve clear, meaningful and expressive shaping of musical passages. A natural, well-defined sense of style is evidentwith superb subtleties in dynamics and expression.-Phrasing, combined with all other aspects of tempo, rhythm, anddynamics combine to produce an expressive and musicalexperience.-There is achievement of proper balance and blend, both within thewoodwind, brass, and percussion sections and in the overallensemble.-Maximum musical content is present throughout the performance.- All voices are audible.

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