Assessment 1: Playing test

 Definition and Rationale: A playing test is a way to assess a student’s technique on their
instrument and understanding of fundamental skills or concepts being addressed in the
music. This is a very practical and applicable assessment because it allows the teacher to
actually see how the student is playing their instrument, and while we can assess
understanding of concepts like rhythm and dynamics in other ways, sometimes there is
no substitution for actually performing these skills on the instrument. This type of
assessment also naturally assesses multiple skills at once. In order to perform a playing
test, students must demonstrate proper embouchure, breathing, posture, instrument
carriage, fingering, tonguing, articulation, dynamics, rhythmic accuracy, pitch accuracy,
intonation, phrasing, etc. All of these skills can be assessed at once, or teachers can
choose one or multiple to focus on.
 Implementation: It is important to remember that any playing tests often create a lot of
anxiety for students, especially those who are already shy or suffer from performance
anxiety. Be sensitive to this when you assign playing tests in order to establish fairness.
Playing tests can be done formally or informally (through observation), as well as
individually or as a group. They are a great way to measure individual growth as well. In
order to use a playing test in this way and to establish reliability, consider having a
playing test earlier in the semester or at the beginning of the unit, and then comparing it
against the results of the most recent playing exam to see individual growth.
Alternatively, let students retake the same playing test again if needed. This also helps
with reliability if nerves or other factors got in the way the first time. Be clear about
what you are actually assessing. As mentioned earlier, there are many skills that can be
assessed in a playing test – however, it is not helpful to assess dynamics if the main
focus of the lesson or unit was on rhythm and beat. It is possible to only assess what
was in your original objective (ex: sense of pulse) and ignore other factors for the time
being (ex: phrasing). You can also always include fundamental skills or necessary
prerequisite skills in the assessment. For example, when assessing phrasing, it is
necessary to also play with good breath support and note lengths so these things should
be included on the rubric. If you are using a formal assessment, review the assessment
material in class with the students so they don’t feel blindsided and be sure to allow
them to warm-up well first. Also, don’t create unnecessary time restraints for a playing
test unless time is something you are wanting to assess. Consider letting students come
in before or after school, record videos at home, or giving them class time to play for
you. After the assessments, you can assess for individual growth and understanding as
well as compare results across the class to check for understanding. If there are trends
in areas that need improvement, this can inform future lessons or even literature
choice. If you find that most students struggled with pulse in their playing test, consider
choosing a piece that will help you cover this skill in the next concert block. Also, give
constructive and individualized comments to students on their playing tests. This should
be done in addition to using a rubric of some kind if you are giving them a grade to
increase reliability and make these assessments more objective. Playing tests can be
criticized as being subjective, so having a rubric with very clear expectations (that were
 shared with students ahead of time) and numerical values to translate into a score can
help. They also help give students specific feedback on what to work on.

Playing Test:
 Playing test over measures 1-14 of Earth Song for students to demonstrate proper
breathing, note lengths, and playing to the end of the phrase.
 Tool for Assessment 1: Rubric
Emerging Approaching Meets Exceeds
expectations expectations expectations expectations
(1 pt.) (2 pts.) (3 pts.) (+1 pt. extra)
Breathing Air support is Air support is Air support is Air support is
not sufficient to sometimes sufficient to used to produce
sustain proper sufficient to sustain proper a full,
tone. create proper tone. characteristic
tone. tone.
Note Lengths There are more There are 1-2 All note lengths N/A
than 2 rhythmic rhythmic are correct.
mistakes. mistakes.
Phrasing The student The student The student The student not
does not have a either does not steadily builds only steadily
steady approach have a steady to/descends builds to and
to/descent from approach to or from the peak of away from the
the peak of the descent from the phrase and peak and shows
phrase and it is the peak of the it is clear where the peak clearly,
unclear where phrase OR it is the peak is. but also shapes
the peak is. unclear where the phrase in
the peak is, but such a way that
the other quality shows an
is present. understanding
of the larger
phrase
structure.