Monday, August 19, 2013

Attendance



As a member of the AHHS Choral Department, you are responsible for attending all rehearsals and performances of your choir. The director will make every effort to schedule rehearsals and performances causing the least amount of conflict with other activities.

All student performances are a mandatory element of the curriculum. If you are in choir only for a fine arts credit, please re-think your choice. Everyone in every choir will perform. Your grade will reflect you participation both during rehearsals and at performances. Every member of a performing ensemble is vital to the ensemble. Never think otherwise!

Types of Excused Absences
There are two excused absences from an after-school rehearsal or performance.
Personal Illness – In the event of illness, you must call the choir office – 817-814-1962– and leave a message with the director or voice mail. You may also send an email message. You must notify the director even if you miss school that day…many times students miss class for reasons other than illness. Failure to communicate will result in a lowered grade.
Family Emergency – In the event of a family emergency, if possible, please notify a director as soon as possible.

If at all possible, Prior notification by parents is required for all absences from after school rehearsals and all concerts. Upon returning to school after an excused absence, each student must present to the choral director a note, signed by a parent, stating the reason for your absence.

Employment schedule conflicts are never considered an excused absence from a rehearsal or performance. You will be provided with advance notice for all rehearsal and concerts in order to give you time to coordinate your work schedule.

Class Attendance
Unlike individual activities such as an academic class, it is impossible to makeup activities that occur in a group choral rehearsal. Unexcused absences from these rehearsals will have a negative impact on the student’s grade.

Additional Rehearsals and Activities
Students will be given advanced notice of all additional rehearsals and activities outside of the regular class period. These rehearsal and activities are course requirements and are vital to the success of the choral program. Unexcused absences from the rehearsals and activities will be treated in the same manner, as an unexcused absence from class and the absence will have a negative impact on the student’s grade.

In the event of a conflict with another scheduled school activity, it is the responsibility of the student to notify the sponsors of the activities. The sponsors, along with appropriate administrators, will determine the student’s obligation.

Concert Attendance
All concerts and performances are MANADATORY. Concerts are the ultimate evaluation of many weeks of preparation and class work. Choir concerts are designated as an extension of the classroom and are therefore considered co-curricular. All choir members are expected to be present for the entire time of each required concert. An unexcused absence from a concert will have a negative impact on the student’s grade.

Eligibility of Students in Extracurricular Activities

Eligibility of Students in Extracurricular Activities

No Pass...No Play: A student who receives, at the end of any grading period, a grade below 70 in any academic class (other than an identified advanced class) may not participate in extracurricular activities for at least three school weeks. An ineligible student may practice or rehearse, however. The student gains eligibility when the teachers and principal determine that he or she as: 1) earned a passing grade in all academic classes, AND 2) completed three school weeks of ineligibility. 

In addition to contests, any performance to which tickets to the performance are sold is considered extracurricular and subject to the No Pass, No Play rule stated above.

descriptions of Extracurricular choral contests
The University Interscholastic League (UIL) at the University of Texas at Austin sponsors two regional choral music contests.
1.    Solo and Ensemble Contest - Choral students that volunteer to enter this contest will sing a memorized vocal solo while being accompanied by a pianist. The selected music must be chosen from a Prescribed Music List (PML) published by the UIL and approved by the Director of Choral Activities. There are two classifications of vocal solos...medium difficulty (Class II) and advanced (Class I).  
2.    Concert and Sight-Reading Contest - All choral students at PHS will compete at this contest. In the concert portion of the contest, each choir will perform three prepared selections for three judges. Afterwards, they will sight-read a selection of music for three additional judges.
The Texas Music Educators Association (TMEA) sponsors a series of district, region, area, and state auditions.
1.    First (All-District Choir) Audition - The top 24 students in each of the eight vocal sections (Soprano I, Soprano II, Alto I, Alto II, Tenor I, Tenor II, Bass I, and Bass II) will be chosen from the East Zone and 24 students from the West Zone. The winners will be announced at the conclusion of the contest. Those 48 students will advance to the next level…
2.    Second (All-Region Choir) Audition - The top 48 singers in each section from the last audition will compete. The top 12 students in each section at this contest earn membership into the All-Region Choir. They will receive a patch and will be required to attend the All-Region Clinic and Concert in November. They also qualify to audition for the next level…
3.    Third (Pre-Area) Choir Audition - The 12 advancing singers from each section from the previous contest will, for the first time in the audition process, audition twice...once singing the literature and a second time sight-reading a line of music.  These winners will be announced at the conclusion of the All-Region Choir Concert. The top 5 students from each section chosen will advance to the last level…
4.   Texas All-State Choir Audition - The top 5 singers from each section in Region VII will join the top 5 singers in each section from three other regions of Texas to audition for the Texas All State Choir. From the 20 students in each section, the top 4 will be named to the Texas All State Mixed Choir. The treble singers that finish in places 5-10 will be named to the All State Treble Choir. The tenor-bass singers that finish in places 5-8 will be named to the All State Men’s Choir. The Texas All-State Choirs will perform in San Antonio at the Texas Music Educators Association Convention in February.

Sequence of Learning Choral Music

The following music reading sequence will be taught everyday in every choral music class.

Sequence of Learning Choral Music 
(Courtesy of Mr. Pat Banks, Choral Director at Paschal High School)

 [with corresponding applications of TEKS - Texas Essential Knowledge and Skills for Fine Arts]


  I.     Discuss the history, form, melodic, and harmonic analysis of the composition
A.    To classify the composition historically [(c)1ABC, (c)5ABCD]
                       i.     Overview similar styles of composition including some of the following
a.    Cultural implications
b.    Related society issues
c.     Political issues
d.    Religious issues
ii.    Listen to recording of similar styles of composition

B.    To identify specific patterns of composition[(c)1C, (c)3C]
                        i.     Identify like/different phrases
ii.    Identify like/different sections

C.    To identify melodic and harmonic problems  [(c)1AB, (c)3C]
                        i.     Write in measure numbers
ii.    Begin the audiation process by marking syllable-letters
a.    Write in every note, if necessary
b.    Write in alterations and wide skips if the students can identify the other notes at sight

II.   Speak and sign the pitch syllables  [(c)1AB, (c)3AC]
                       A.    To monitor accuracy in marking or identification
B.    To develop aggressiveness in participation
i.     Speak and sing single vocal lines, one at a time
ii.    Speak and sing two or more lines together, depending on the structure of the music

III.  Speak rhythmic numerical beats  [(c)1AB, (c)2A, (c)3ABC, (c)4A]
                       A.    To monitor accuracy in rhythm
i.     Keep a steady beat
ii.    Speak single vocal lines, one at a time
iii.   Speak two or more lines together
B.    To identify and solve difficult or problematic rhythmic patterns
i.     Use rhythm charts
ii.    Use rhythm slides
iii.   Write a rhythmic analysis of each voice part
C.      To teach musicality
i.         Mark and speak phrasing
ii.       Speak dynamics
iii.      Speak the expressive notations of the music
iv.     Mark and speak breathing locations

IV.  Speak and sign the pitch syllables in rhythm. [(c)1AB, (c)2A, (c)3ABC]

         V.    Audiate and sign difficult intervals.[(c)1AB, (c)2A, (c)3ABC]

         VI.  Sing pitch syllables with correct rhythm and expressive qualities.[(c)1AB, (c)2A, (c)3ABC, (c)4A]

         VII. Sing on a common vowel sound.[(c)1AB, (c)2A, (c)3ABC, (c)4A]
                        A.    To establish a timbre
B.    To focus on the performance style of the composition
i.     Tee’s and Tah’s for fast rhythmic sections
ii.    Doo’s and Doh’s for slow rhythmic sections

VIII. Discuss the language of the text in context with the historical period, style, and genre. [(c)1ABC, (c)5ABCD]
A.    To understand the historical, style, and cultural heritage
i.     Overview the composer’s life
ii.    Discuss any other compositions with similar musical or cultural aspects
iii.   Listen to a recording of a similar composition
iv.   Listen to a performance of the music
a.    Compare common characteristics
b.    Compare different characteristics
B.    To classify genres, styles, or periods of music
i.     English Text
a.    Mark and then speak the following:
1.    Exploded and imploded consonants
2.    Location of beginning and ending consonants
3.    Pure vowel sounds
4.    Diphthong analysis
5.    Modified vowel sounds
6.    Appropriate syllabic stress
b.    Read in rhythm using musicality markings
ii.    Other languages
a.    Read the translation of the text
b.    Follow 1-6 above
c.     Read in rhythm using musicality markings

X.  Perform the composition in small and large groups. [(c)1ABC, (c)2ABC, (c)3BC, (c)4AB, (c)6ABC]
                        A.    To provide feedback response to the performance of the composition
i.     Sing and record the music for an audience
ii.    Listen to the recording
a.    Evaluate the appropriateness , quality, and effectiveness of the performance
b.    List verbal and written constructive suggestions for improvement
1.    Phrasing
2.    Part-writing
3.    Balance
4.    Blend
5.    Word Stress
6.    Accents
7.    Diction and articulation
B.    To provide creative expression
i.     Select various students to conduct/direct the composition.