SmartMusic Finale Garritan MusicXML

Feature Friday: Managing SmartMusic Gradebook


In today’s Feature Friday, you will learn how teachers are creatively managing SmartMusic Gradebook by creating classes that streamline assignment creation, grading and documentation options.

Imagine a music program where students know what they need to work on and how they are progressing. Now imagine that you are the director of this program and besides knowing how every student is doing, you can also share that information instantly. Directors using SmartMusic assignments don’t have to imagine this; this is their new way of teaching music.

Creating SmartMusic classes in Gradebook that fit your teaching situation make it easy to send specific assignments to large groups, sectionals or specialty classes. Let’s take a look at three of the most common SmartMusic class types and assignments for each.

Common SmartMusic Classes

Picture 1

Common assignments for Large Groups (Band & Orchestra)

  • Pre-defined assignments for all large group content
  • Create custom assignments to target specific music problems
  • Schedule technique assignments that help students learn concert material

 Common assignments for sectionals and small groups

  • Specific instrument lesson material
  • Custom assignments for full band literature
  • Auditions and chair placement materials
  • Solos, ensembles, etc.

Common assignments for specialty classes

  • Scales and etudes (automated assignments)
  • Required skills to audition for band, orchestra and choir
  • Makeup work
  • All State and Honor Group materials
  • Sight-reading and sight-singing materials

Are you setting up a SmartMusic class for the first time or would you like a quick step-by-step review?
Learn more here: Creating a SmartMusic Class.

SmartMusic Grading Scales

In addition to customizing your SmartMusic class format, you can choose or create a specific grading scale for each class. A-B-C grading, pass/fail or 4-3-2-1, etc. are common.

Picture 2 

Learn more here: Create, edit or delete a Grading Scale

Create a Grading Calendar

Another way to manage your Gradebook is to customize your grading calendar for your classes. Each class can have its own unique calendar.

SmartMusic Gradebook Calendar Types:

  • Quarter
  • Semester
  • Full Year
  • Trimester
  • 6 Weeks
  • 9 Weeks
  • Custom
  • Summer Session

Picture 3 

Learn more here: Create, edit or delete a Grading Calendar


By managing SmartMusic Gradebook and setting up your classes, grading scales and calendars to fit your music program, you will have an efficient way to help your students learn their music as you provide individualized instruction and feedback.  You can instantly document student progress for large groups, small groups or specialty classes because of the way you have set up your classes.

For more information on SmartMusic basics, setting up a pilot program, implementing SmartMusic into your program and using classroom activities with your students, just follow this link:

Need help getting ready for back to school? Check out SmartMusic’s Educator Resources.

Leave a question or comment by clicking the “Comments” link below.

Piece of the Week: New Halloween Music Part 1

New Halloween Music Part 1

Fall is coming, and as the leaves begin to change and the days grow shorter thoughts will turn to that most magical of Autumn holidays. Halloween is time for kids and adults alike to celebrate all things scary and strange, to build epic costumes, eat all the candy they can gather, and play spooky pieces of music. Halloween concerts are a great chance for your ensemble to have some fun, and SmartMusic has the repertoire to help, with everything from gothic pieces like “Night on Bald Mountain” to novelty songs about zombies, vampires and space aliens.

This week and next week, we’ll be turning the repertoire spotlight on a few of our recent Halloween-themed pieces; you can find more by going to Find Music, clicking Advanced Search Options, and setting Genre to “Holiday and Patriotic.”

Transylvanian Tango, by Zachary Wallmark

Audio provided by Neil A. Kjos Music Company.

Vampires have long been the object of popular fascination. Today is no different – our undying love for the undead is reflected in hundreds of films, TV shows, and books. Now as much as in Victorian times, the legend of the vampire holds us captive. Wallmark wrote this piece, “Transylvanian Tango,” so that young string players can explore this alluring theme through music. The tango style represents the dark, mysterious and romantic element of popular vampire mythology. Have violinists play the melody with lyricism and plenty of vibrato. Don’t shy away from a little schmaltz – it wouldn’t be a vampire story without some camp.

The origins of the vampire legend are murky. Although the story is ancient, nobody knows exactly where and when it was developed. Our contemporary knowledge of vampires, however, comes from Eastern Europe, where the mythology was concentrated. During the 17th and 18th centuries, mass hysteria over the undead periodically swept the region, spilling over occasionally into Western Europe. At this time, vampires were very different creatures than they are today: with bloated, discolored faces, they were considered monsters. It wasn’t until much later that today’s version of the vampire came into being.

The modern concept of the suave, gentleman vampire was created by John Polidori in the early 1800s when a group of friends, including the famous poet Lord Byron, met one cold and rainy summer to write horror stories for fun. Polidori’s 1819 novel “The Vampyre: A Tale” was a huge success, and it launched a literary movement of vampire books. The greatest and most influential vampire story, however, came much later with the publication of Bram Stoker’s “Dracula” (1897). Stoker’s novel thrilled and terrified Victorian audiences, assuring the vampire’s spot in the immortal pantheon of legend.

Now as much as ever, vampires continue to capture our imagination. The 21st century vampire is a complex character, devilish yet also sympathetic. The psychological depth of the legend, as well as its ageless ability to frighten, ensure that it will always be a familiar story in our culture.

Zombie Dreams, by Roland Barrett

Audio provided by Alfred Music Publishing Co., Inc.

Various sources define “zombie” as “a corpse which has been reanimated by various supernatural means, and whose mute body continues to move despite a lack of normal biological function,” as well as “a person held to resemble the so-called walking dead.”

Zombies have always held a certain fascination. Half living but half dead, one foot in the real world but one foot in the nether world, zombies are not only deeply creepy, but also fundamentally awkward and even a little comic. This piece, “Zombie Dreams,” attempts to capture and convey the strange juxtaposition of normal and abnormal that typifies a zombie’s existence. It consists of several smaller subsections, bearing the following subtitles: “Zombie Wakes,” “Zombie Walks,” “Zombie Waltzes,” “Zombie Crush,” and “Zombie Flees.” While the subtitles do suggest an underlying story, the composer encourages each ensemble to develop its own more detailed ideas supporting and illustrating the typical “day in the life of a zombie.” This piece also offers the opportunity for young ensembles to play with sound effects, including clanking chains and howling wind.

Got an idea for a blog post? Contact us!

If you are an educator, musician, composer or student with a suggestion for a “piece of the week” blog post, you can email your suggestion to Griffin at Please let me know the name of the piece, composer, publisher, and why this piece is special to you.

Best Back-to-School Resources

Best Back to School Resources

School is back in session and we know you are busy. To help you get answers quickly to the most frequently asked questions at this time of year, we’ve compiled our best back-to-school resources for you in one place. Please visit our Educator Resources page that provides in depth information on many topics including:

How to Setup a Class

A class provides the platform that enables you to communicate with and teach your students using SmartMusic. Through classes, you gain access to the tools in SmartMusic that help you guide, evaluate and document student growth.

Enrolling Your Students

Each of your SmartMusic classes now includes a unique class enrollment link that makes it easy for students to enroll directly into a class. With the class enrollment link, the school and class are already chosen for your students, so you don’t have to worry about whether the student has set up their account correctly.


Watch this video to see how the class enrollment link helps make enrolling easier.

Implementing SmartMusic

This resource is designed so that you first learn about SmartMusic’s content and practice tools. Next, you experience how to use SmartMusic during sectionals and rehearsals as you set up a pilot program for creating and monitoring student assignments for practice at home or school. Included are best practices for fully implementing SmartMusic into your program.

Implement page 

Communicating with Parents

As a teacher, you already know the importance of communicating with the parents of your students. Sharing with them your class goals, grading policies, and expectations helps everyone feel more comfortable and can alleviate possible misunderstandings throughout the year. SmartMusic makes the communication easier. Click here to get ideas on how to present SmartMusic to parents.

We hope this helps you with some of the most common SmartMusic questions. Click on the “Comments” link below if you have questions or comments.

Piece of the Week: Academic Festival Overture by Brahms

Academic Festival Overture

In 1879, the University of Breslau (in Wroclaw, Poland) awarded an honorary doctorate to composer Johannes Brahms, who was then at the height of his career. Brahms accepted the honor and agreed, after some cajoling, to write a new piece to mark the occasion (which he did during the summer of 1880) and conduct the premiere (which he did in January of 1881). Brahms himself had not finished college, and perhaps this irony explains why the composer decided to play a light musical joke on the university: instead of a solemn and stately march, the piece that Brahms wrote for the school was a medley of well-known college party songs orchestrated in a contrapuntal style. In other words, Academic Festival Overture is a collection of lowbrow tunes presented in a highbrow academic style. Though the specific tunes are no longer familiar, students and audiences of today will still recognize the insouciant humor of this piece.

In recognition of the back-to-school season, we at SmartMusic invite you to give Brahms’ Academic Festival Overture a listen. We have three different arrangements of the piece to suit the needs of your ensemble: an easy level concert band arrangement by Alfred, a medium level concert band arrangement from Curnow, and a medium-advanced level string orchestra arrangement from FJH.

Audio Sample: Academic Festival Overture, Alfred Publishing Co.

Audio provided by Alfred Music Publishing Co., Inc

Arrangement Notes by Michael Story

This easy-level arrangement of Academic Festival Overture contains most of the important themes of the original work in a setting lasting approximately 3 1/2 minutes.

Audio Sample: Academic Festival Overture, Curnow Music Press

Audio provided by Curnow Music Press, Inc.

Arrangement Notes by James Curnow

The entire overture is based on musical themes and ideas taken from a collection of German student songs. These songs represent many styles and moods and capture the spirit of the student body of the university. The best known of these songs is presented in a grand finale that draws the overture to an exciting conclusion.

This arrangement is designed as a telescopic view of the entire overture. All of the original thematic material is presented in its original order, with some limitations placed upon the developmental sections.

Audio Sample: Academic Festival Overture, FJH Music Company

Audio performed by The Washington Pops, The Washington Winds and/or The Studio A Big Band. Conducted by Edward S. Petersen. (P) Studio Productions, Inc. All rights reserved. Used by permission.

Arrangement Notes by Dr. Robert McCashin

This work is probably the best known of the overtures written by Johannes Brahms. It is a compendium of familiar college songs from his day, woven together with short bridge sections and eventually ushered forth in a full orchestral voice. The four songs are “We Have Built a Stately House,” which was majestically stated by the brass section in the original; “The Landfather,” put forth by the strings; “What Comes from Afar,” sung by the woodwinds; and finally the triumphant “Wherefore Let Us Rejoice,” powerfully rendered by full orchestra amidst active string lines. Careful attention has been given to both dynamic and stylistic indications, which should be the central focus for all members of the ensemble.

As a string arrangement, the work offers exciting opportunities for mature high school players. All of the primary lines are intact, just as written by Brahms.

Composer Biography:

Johannes Brahms was born on May 7, 1833 in Hamburg, Germany, and died on April 3, 1897 in Vienna, Austria. He is recognized as one of the great composers of the Romantic era (1820-1900), and as a keeper of musical tradition. He had a reverence for the form and construction used by the old masters from Bach to Beethoven, and upheld this sense of order in his own music. Because of this, he was recognized in his own time as a composer in the true central German mold. Brahms knew that his artistic direction was different from that being taken by members of what was called the “New German School.” Richard Wagner and others openly attacked him for his aesthetic beliefs, but Brahms found support from artists like Joseph Joachim, J. O. Grimm, and Robert and Clara Schumann. This support was crucial because it led to his eventual popularity and success. He composed a large quantity of choral and chamber music, and a number of orchestral works. Among his larger pieces are four symphonies, the German Requiem, two concertos for piano, one for violin; and a double concerto for violin and violoncello. Brahms was a very reserved man who needed solitude to truly express his feelings through music; he disliked sentimentality and admired chivalry and patriotism. Some saw him as self-righteous and egotistical, but evidence also points to the contrary. Although he commanded attention from his circle of friends, and was intolerant of disagreement, he was not afraid to ask others for advice in composition, and displayed loyalty and selflessness. Even after a lifelong friendship, Clara Schumann admitted, “To me he is as much a riddle – I might almost say as much a stranger – as he was 25 years ago.”

Got an idea for a blog post? Contact us!

If you are an educator, musician, composer or student with a suggestion for a “piece of the week” blog post, you can email your suggestion to Griffin at Please let me know the name of the piece, composer, publisher, and why this piece is special to you.


SmartMusic Feature Friday: Creating MP3 Assignments


In today’s Feature Friday, you will learn the quickest way to add content to SmartMusic – creating MP3s! Once an MP3 is in your SmartMusic library, you can assign it to students for practice or evaluation purposes.

Here are some ways that teachers are using MP3s:

  • Take all or a portion of a large group recording and make an assignment. Students will get the recording, be able to practice with it and submit a recording like any SmartMusic assignment, including on an iPad. Just like other SmartMusic repertoire, the tempo can be slowed down without changing the pitch.
  • Have students listen to recordings that other groups are performing.
  • “Call and response” assignments – using the SmartMusic digital recorder in the Practice Tools, play or sing a short phrase and leave time for the student to respond with the same phrase. Then import the file to create the assignment.
    • Rhythms drills
    • Jazz licks
    • Language drills-diction
    • Technique (i.e., double tonguing, vibrato)
    • Tone quality
    • Ear training
    • Solfege

If you have never imported an MP3 into SmartMusic, just click on this link for step-by-step directions.

Creating MP3 Assignments (After importing a file)

Step 1 

  • Drag or type to set your tempo (100% is the tempo of the imported MP3).
  • Drag or type to set the beginning and ending of your assignment (by time). Be sure to give enough lead-time for students to catch the tempo.
  • Transpose the recording if needed.
  • Click the Assignment button.

Picture 3

Step 2

  • Name the assignment.
  • Enter Instructions to your students.
  • Choose the Grading style (only notation files have green and red note assessment).
  • Choose the Tempo settings: At Least or Exactly.
  • Associate State Standards to the assignment (optional).
  • Set the Assign and Due dates.
  • Click Schedule.

Picture 4

Step 3

Any assignment can be tailored for a specific group of students or instruments.

  • Select the Class or Classes.
  • Sort by Name, Instrument or Class by clicking on the category name.
  • Click Done.

Picture 5

That is it! You have created an assignment using an MP3 recording!

When the student opens the assignment in SmartMusic, it will open with the settings you selected. Like all assignments, students can change settings to practice and do multiple Takes, but only can submit an assignment that has been recorded with the required settings. 

Being able to import any MP3 file into SmartMusic gives you and your students many options for practice and evaluation purposes.

Click on the following links to learn more about Creating Assignments and Implementing SmartMusic in your program.

Have a question or comment? Click on the “Comments” link below.

Piece of the Week: Tower of Power Greatest Hits

Tower of Power Greatest Hits

Tower of Power, the legends of soul music, have been funkifying fans across the world for more than 40 years. Known for their driving grooves, a soaring horn section, soulful vocals, and an extremely tight rhythm section, it is no surprise that the band continues to find success on the touring circuit, where they remain to this day. Many of their songs have become worldwide standards, beloved by audiences young and old.  We at SmartMusic are sure that you and the parents in your audience will recognize these songs instantly, and your students will love playing these foundational funk pieces.

Alfred Publishing Co. has put out fresh arrangements of Tower of Power’s greatest hits for both concert band and full orchestra. Both pieces are medleys, and include Tower of Power’s three best-known songs: “What is Hip?,” “You’re Still a Young Man,” and “Down to the Nightclub.”

For more information about Tower of Power, including a history of the band and biographical information on the players, click here.

Audio Sample: concert band arrangement

Audio provided by Alfred Music Publishing Co., Inc.

Audio Sample: full orchestra arrangement

Audio provided by Alfred Music Publishing Co., Inc.

Arranger’s Notes by Victor Lopez:

This medley provides an opportunity for your concert band or orchestra to get down and play some funky music. However, it is extremely important that everyone pay close attention to the articulations. In other words, all notes have to be articulated precisely as written in order for the ensemble to sound tight. This may require some additional individual practicing and sectionals. The ultimate goal is to make the entire ensemble sound as if one person is playing all of the parts. Obviously, listening to the original version of the titles included in this medley will help younger musicians understand the “funk style” concept.  Ultimately, keep in mind to always strive for “funkiness” and not necessarily loud, heavy playing. Let’s get funky!

Got an idea for a blog post? Contact us!

If you are an educator, musician, composer or student with a suggestion for a “piece of the week” blog post, you can email your suggestion to Griffin at Please let me know the name of the piece, composer, publisher, and why this piece is special to you.

SmartMusic Feature Friday: Back to School Resources


We’ve been busy making sure that SmartMusic is ready for you and your students in the new school year. This week’s Feature Friday is filled with Back to School Resources to help you with a smooth start as you continue using SmartMusic in your program. Click the links to get more information.

Check out the  Educator Resources pageIt has the information you need right now including communicating with parents, IT network information, classroom activity lesson plans and more!

Here are some other SmartMusic highlights:

Class enrollment links

Send a unique class enrollment link to your students so that they can enroll directly into your class. The school and class are already chosen for the student, so enrollment is quick and easy. Watch this video to see how easy it is. If preferred, the standard enrollment process is still available and unchanged.

Enroll students now


Finale 2014 Compatible

Import Finale 2014 
created files (SMPX) into SmartMusic. Imagine students using all the capabilities of SmartMusic to practice and prepare audition material or anything else!

Flute Finale


Flute SmartMusic

iPad fingering charts

Tap any note to learn the fingerings for your instrument or hear the pitch for voice just like the desktop application.


Improved rubrics

Create rubrics that can be used to evaluate and score student performance. Levels of achievement can be set up from lowest to highest or vice versa. You can have up to 25 rows for criteria categories.

Rubric order

All of us at MakeMusic wish you and your students a successful school year!

Have any questions or comments? Click the “Comments” link below.

49 New Ensemble Titles Released in SmartMusic

49 new ensemble titles are now available in SmartMusic.

Title Comp/Arr/Lyr Publisher Music Type Pepper Level
Carry On Ruess, Nate & Antonoff, Jack & Bhasker, Jeffrey & Dost, Andrew arr. by Davis, Jerry Alfred Concert Band ME
Celebrate the Season (Fanfare on  Joy to the World ) Conaway, Matt Barnhouse Concert Band E
Classical Gas Williams, Mason arr. by Ford, Ralph Alfred Concert Band ME
Consolation Taylor, Noah D. C. Alan Publications Concert Band ME
Desert Trails Barilone, Dan Kjos Concert Band B
Drums of Rwanda Gillingham, David R. C. Alan Publications Concert Band M
Expert March, The VanderCook, H.A. arr. by Grauer, Mark Daehn Publications Concert Band E
Fantasia on  Kingsfold English Hymn arr. by Longfield, Robert LudwigMasters Concert Band ME
Fiesta de la Playa Fagan, Gary Kjos Concert Band E
Five English Folk Songs Vaughan Williams, Ralph arr. by Feldman, Evan Tierolff-Muziekcentrale Concert Band MA
From Earth to Sky Edmondson, John Kjos Concert Band E
Hammer of the Gods Kiefer, Ed C. Alan Publications Concert Band E
Headway March Fillmore, Henry arr. by Contorno, Nicholas J. Daehn Publications Concert Band E
Imperial Valley March Edmondson, John Kjos Concert Band E
Jubilare Gazlay, Gary Kjos Concert Band ME
Knight’s Last Ride, The Grice, Rob Daehn Publications Concert Band ME
March for a Norwegian Penguin Wagner, Douglas E. Alfred Concert Band VE
Milestone March Gazlay, Gary Kjos Concert Band VE
Paint It, Black Jagger, Mick & Richards, Keith arr. by Barrett, Roland Alfred Concert Band E
Pippin Schwartz, Stephen arr. by Ford, Ralph Alfred Concert Band ME
Remembrance Daehn, Larry Daehn Publications Concert Band ME
Scottish Lullaby Smith, Robert W. Barnhouse Concert Band B
Season of Peace (Dona Nobis Pacem – Silent Night) Traditional & Gruber, Franz arr. by Milford, Gene Daehn Publications Concert Band VE
Selections from Man of Steel Zimmer, Hans arr. by Story, Michael Alfred Concert Band E
Sledding Danner, Greg C. Alan Publications Concert Band E
Song of Hope, A Stamp, Jack Kjos Concert Band E
Statement Gazlay, Gary Kjos Concert Band VE
Suite from Man of Steel Zimmer, Hans arr. by Ford, Ralph Alfred Concert Band ME
Tower of Power Greatest Hits Castillo, Emilio & Garibaldi, David & Kupka, Stephen arr. by Lopez, Victor Alfred Concert Band M
Two, By George Gershwin, George & Gershwin, Ira arr. by Scott, Jason Alfred Concert Band VE
Warp Speed Story, Michael Alfred Concert Band B
Brother Benjamin Beach, Doug & Shutack, George Doug Beach Music Jazz Ensemble VE
Mambonucleosis Woolworth, Rich Jalen Publishing Company Jazz Ensemble M
Night of the Mojito Neu, Andrew Kendor Jazz Ensemble M
Round Midnight Williams, Cootie & Monk, Thelonious arr. by Wolpe, Dave Belwin Jazz Ensemble MA
Round Midnight Williams, Cootie & Monk, Thelonious arr. by Smukal, Mike Belwin Jazz Ensemble ME
Afterburn Standridge, Randall D. arr. by Law, J. Cameron Grand Mesa String Orchestra ME
Allegro Moderato (from Symphony No. 29 in A Major) Mozart, Wolfgang Amadeus arr. by McCashin, Robert D. FJH Music Company String Orchestra MA
Brindisi (from La Traviata) Verdi, Giuseppe arr. by Caponegro, John Kendor String Orchestra E
Caribbean Cruise Bobrowitz, David arr. by Law, J. Cameron Grand Mesa String Orchestra E
Carry On Ruess, Nate & Bhasker, Jeffrey & Dost, Andrew & Antonoff, Jack arr. by Roszell, Patrick Alfred String Orchestra M
Ecossaise in G Beethoven, Ludwig van arr. by Halferty, Frank J. Kendor String Orchestra VE
Impresario Overture Mozart, Wolfgang Amadeus arr. by Frackenpohl, Steven Kendor String Orchestra MA
Pippin Schwartz, Stephen arr. by Dabczynski, Andrew H. Alfred String Orchestra MA
Salsa Fest! Frueh, George T. Kendor String Orchestra VE
Silver Canoe, The Gruneisen, Lorie Kendor String Orchestra VE
Styres’ Rally Safford, Alexander FJH Music Company String Orchestra MA
We Are Young (As recorded by fun.) Ruess, Nate & Dost, Andrew & Antonoff, Jack & Bhasker, Jeffrey arr. by Story, Michael Alfred String Orchestra ME
Tower of Power Greatest Hits Castillo, Emilio & Kupka, Stephen & Garibaldi, David arr. by Lopez, Victor Alfred Full Orchestra M


You can request a piece for a future SmartMusic release here.

Piece of the Week: Funkytown


Many of us on the SmartMusic team have a special fondness for “Funkytown” because the piece is a hometown success story. Steve Greenberg was a local Minneapolis songwriter, and when he got a recording contract with disco powerhouse Casablanca Records he recruited a band of Minneapolis all-stars to record under the name Lipps Inc. This included lead vocalist Cynthia Johnson, who was an up-and-coming singer in the funk band Flyte Tyme with Jimmy Jam and Terry Lewis; on guitar was David Rivkin, who would later rise to fame as an engineer for Prince. As these names suggest, Greenberg and Lipps Inc. helped to break the Minneapolis sound onto the national charts, paving the way for the flood of Minneapolis artists like Prince and The Time that followed.

This Alfred arrangement brings Greenberg’s Minneapolis funk classic into the easy concert band repertoire. Though you may remember this piece for its stripped-down synthesizer sound, you’ll love how it sounds with full wind & brass participation. With plenty of percussion, this piece captures the new-wave-funk energy of the original.

Click Here to read an interview with Steve Greenberg on the enduring legacy of “Funkytown.”

 Audio Sample

Audio provided by Alfred Music Publishing Co., Inc.

Composition Notes

Composed by Steven Greenberg in 1980, “Funkytown” was recorded and performed by the studio band Lipps, Inc., featuring lead singer, Cynthia Johnson. It became a number one hit in the United States on the Billboard Hot 100 and Dance charts. Since its debut, the song has re-appeared in countless movies, television programs, and commercials. “Keep me movin’, keeps me grovin’ with some energy…” “Funkytown!”

Got an idea for a blog post? Contact us!

If you are an educator, musician, composer or student with a suggestion for a “piece of the week” blog post, you can email your suggestion to Griffin at Please let me know the name of the piece, composer, publisher, and why this piece is special to you.

Feature Friday: SmartMusic Gradebook and Inbox App


The SmartMusic Gradebook and Inbox App can help you easily guide, evaluate and track student progress. Imagine being able to have immediate access to recordings and assessments completed in SmartMusic, for all students. Here are some of the ways you can use the SmartMusic Gradebook:

  • Give students individualized feedback of their progress.
  • Evaluate progress using a grading scale or rubrics.
  • Have documentation (data) that you can easily share with students, parents and administration.

To learn more about the SmartMusic Gradebook, including creating classes and assignments, enrolling students, and more, click here.

Let’s take a tour after a class has been set up.

First, select a SmartMusic class.

Picture 1

The Class Page appears.
Click on GRADEBOOK in the top left of the window.

Picture 2

To grade or review an assignment, click on a score or green speaker icon.

  • The class Gradebook window opens.
  • You can see at a glance if assignments have been submitted or even if they are late!

Picture 3 edited

Reviewing an assignment

After clicking on a submitted assignment, the Submission Details window displays the amount of time the student spent, a graphic with red and green note assessment, and the student’s recording!

Picture 8 edited circled

You can:

  • Listen to the recording.

  • Change the “red and green” note score.

  • Make individualized comments to the student.

  • Email parents directly with the assessment and recording. (Optional)

  • Reassign the assignment to the student.

Print or export any of the information in your Gradebook

  • Select Print and Export from a Class page.
  • Printing options include the entire Gradebook or individualized Progress Reports.
  • Data exports can be a tab delimited text file (.txt), Microsoft Excel (.xls) or a Comma delimited text file (.csv).

Picture 11

Picture 13

Use the SmartMusic Inbox app to review student assignments!

The SmartMusic Inbox app allows you to review student assessments and recordings anywhere, anytime using an iPhone, iPad or iPod Touch.  All you need to do is log in with your educator subscription information.The app is a free download from the App Store.

iPad Inbox

The SmartMusic Gradebook is so much more than a regular gradebook.

Other Gradebook features not covered in this post allow you to:

  • Organize and share curriculum with colleagues instantly.
  • Create units of study that remain available to be used again.
  • Create assignments that require students to respond with text and/or by attaching a digital file, including text documents.
  • Link state standards to assignments.

Stay tuned for an upcoming blog on how you can easily share your Gradebook data by using the export feature and creating reports with charts in Excel.

For step-by-step information to get started with SmartMusic, check out our fantastic Implement SmartMusic resource.

Have a question or comment? Click the “Comments” link below.