M/J Keyboard 3 Pacing Guide

Time-Period Currently Unspecified
read two versions/editions of a piece, compare and contrast the editors intent for each, and analyze the impact of those choices. (LAFS.8.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • pitches and rhythms
create and share a listening map to dissect a recording of music. With each listening opportunity, students will analyze form, texture, instruments of the ensemble, and expressive and dynamic nuances in increasing detail. (LAFS.8.SL.2.4BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
All Year
demonstrate focused attention in class by high achievement on daily formative assessments and periodic summative assessments. (DA.68.S.2.1BAC )
maintain proper decorum at all times during class and when attending concerts. (DA.68.S.2.1BAC )
observe classroom rules. (DA.68.S.2.1BAC )
  • procedure for entering and exiting the classroom
  • evacuation plan
  • document collection/distribution
  • classroom supply requirements (e.g. journals, pencils, box of tissues)
  • restroom privileges
All Year
interpret unfamiliar English terms using their home language dictionary or an online translator (ELD.K12.ELL.SI.1BAC )
  • how to use a home language dictionary or online translation program
  • how to differentiate between English terminology and musical terminology (e.g., music terminology usually in Italian and usually italicized)
All Year
perform rhythmic and melodic patterns accurately by imitating aural patterns demonstrated by the teacher and/or peers (ELD.K12.ELL.SI.1BAC )
  • procedure for aurally deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
  • Curwen hand signs and solfegio syllables
  • intervallic relationships
All Year
perform rhythmic and melodic patterns accurately by visually interpreting musical symbols (ELD.K12.ELL.SI.1BAC )
  • pitches on the staff, rhythmic patterns appropriate to the course level
All Year
use fingering charts and other classroom visual aids to accurately interpret and perform musical symbols and abbreviations (ELD.K12.ELL.SI.1BAC )
  • where to find fingering charts in the method book
All Year
communicate withe a peer tutor/buddy for clarification on concepts presented in class (ELD.K12.ELL.SI.1BAC )
  • section leader for students' vocal/instrumental section
imitate sound concepts modeled by the teacher and peers (ELD.K12.ELL.SI.1BAC )
  • how to produce a characteristic tone
recognize, count and notate simple rhythms and rests (ELD.K12.ELL.SI.1BAC )
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
rehearse and perform music in class with their peers to demonstrate comprehension and synthesis of skills (ELD.K12.ELL.SI.1BAC )
  • classroom procedures
  • where to locate the rehearsal plan/lesson objectives
  • how to follow the director
  • proper posture and hand position
  • correct fingerings
  • how to take a proper breath while playing and/or singing
All Year
determine the meaning of music symbols, key terms, and other music specific words and phrases. (LAFS.68.RST.2.4BAC )
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
  • 2/4, 3/4, and 4/4 time
  • 2/2, and 6/8 time
  • chromatic scale
  • letter names of pitches on the staff
  • all major key signatures
  • dynamic markings
  • expressive markings
  • flat, sharp, and natural symbols/functions
identify and perform music notation as related to class literature. (LAFS.68.RST.2.4BAC )
  • music notation, including notation symbols specific to piano repertoire
All Year
identify characteristics of a specific style or time period. (LAFS.68.WHST.3.7BAC )
actively listen to exemplars of representative composers. (LAFS.68.WHST.3.7BAC )
match definitive composers' work to their historical time periods. (LAFS.68.WHST.3.7BAC )
  • historical context
All Year
share and apply feedback from the teacher and peers in rehearsal through verbal, visual, and audible means. (LAFS.8.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.8.SL.1.1BAC )
attentively listen to a guest speaker/lecturer/clinician, comprehend the information presented, ask relevant questions to further understanding, and discuss the soundness and relevance of the information presented. (LAFS.8.SL.1.3BAC )
  • fundamental components of critical thinking and listening
  • details which may influence a speaker's point of view or validate their expertise (e.g., experience, background, accomplishments, prejudices, etc.)
  • develop meaningful questions based on information provided
engage in a discussion with peers about a topic pertinent to the course using domain-specific vocabulary. (LAFS.8.SL.2.4BAC )
  • music vocabulary
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo. (MAFS.K12.MP.6.1BAC )
  • note/rest values appropriate to course and literature
  • time signatures appropriate to course and literature
use domain specific vocabulary to communicate precise ideas and opinions with others. (MAFS.K12.MP.6.1BAC )
demonstrate precision in the execution of expressive elements regarding the execution of dynamics, articulations, phrasing, and style. (MAFS.K12.MP.6.1BAC )
  • expressive markings that relate to musical effect regarding dynamics, tempo, phrasing, musical line, dynamics, style, articulations
utilize pattern recognition to memorize music. (MAFS.K12.MP.7.1BAC )
reorganize performance practices according to given rhythmic hierarchies (MAFS.K12.MP.7.1BAC )
  • beat groupings and metric stress
recognize patterns through music theory and utilize the information in rehearsal, individual practice, and performance. (MAFS.K12.MP.7.1BAC )
  • patterns such as form, time signatures, phrasing, sequencing, hemiola, key centers, harmonic structure, voicing, modulation, and instrumentation.
describe and employ active listening techniques when listening to music. (MU.68.C.1.1BAC )
  • active listening techniques
given teacher criteria, identify elements in various pieces such as form, tonality, style period, genre, or instrumentation. (MU.68.C.1.1BAC )
  • musical elements: form, tonality, style period, genre, instrumentation, articulation
make connections among the various elements of a given piece of music studied aurally or visually, such as articulation and style period, or genre and instrumentation. (MU.68.C.1.1BAC )
using domain specific vocabulary, explain preferences of musical styles and artists. (MU.68.C.1.2I R)
predict what a piece will sound like based on the title, composer, composer notes, and musical elements such as key signature, melody, form, harmony, and texture. (MU.68.C.1.2I R)
  • predict
Make a checklist of domain specific vocabulary to describe expressive elements of a performance. (MU.68.C.1.2I R)
distinguish genres of music as folk, popular, or art music, including both sacred and secular. (MU.68.C.1.3BAC )
  • genres of music such as folk, popular, art
discuss art music of definitive composers from various musical style periods. (MU.68.C.1.3BAC )
  • dates, composers, and works: Baroque, Classical, Romantic, 20th, and 21st Century
use self-recording as a tool to critique performance and track progress (MU.68.C.2.1BAC )
  • how to access and use audio recording technology/resources
All Year
analyze and discuss specific improvements made through rehearsal and practice. (MU.68.C.2.2I R)
  • analyze
All Year
identify strategies for purposeful practice and display preparation for class through evidence of home practice. (MU.68.C.2.2I R)
  • practice strategies - e.g. hands alone, spot practicing
  • identify
evaluate a musical performance based on the criteria developed in class. (MU.68.C.2.2I R)
  • teacher/student created rubrics
  • evaluate
critique one’s own performance and the performance of others using criteria and/or rubrics generated through large group discussion. (MU.68.C.2.2I R)
  • domain specific vocabulary that will be used in criteria and/or rubrics including but not limited to: articulation, blend, balance, correct notes and rhythms, technique, tone quality, and expression.
  • criteria/rubrics
develop a list of criteria that sets apart exemplary works (MU.68.C.3.1NTK R)
  • genres from the 20th and 21st centuries, e.g. folk, jazz, rock, and art music
participate in concert experiences as a listener and a performer. (MU.68.F.2.2BAC )
  • appropriate audience and performance behavior for a variety of musical programs.
match composers’ works to their historical style periods. (MU.68.H.1.2NTK R)
  • composers and works from various historical periods
  • historical style periods
discuss and explore significant historical events of musical periods being studied through repertoire in class, e.g., religion, literature, wars, revolutions, governments/rulers, etc. (MU.68.H.2.1BAC )
discuss how music reflected and/or influenced the impact of major historical events. (MU.68.H.2.1BAC )
discuss the development of musical styles used in ceremonial events (MU.68.H.2.1BAC )
  • ceremony
visually and aurally recognize the stylistic elements that place a piece into a specific historical period and/or musical style/genre. (MU.68.H.2.3I R)
classify literature from the method book and/supplementary materials by the historic and stylistic periods in Western music. (MU.68.H.2.3I R)
identify connections between the elements of music and other subject areas. (MU.68.H.3.1NTK R)
explain the historical connection of music studied in class with particular events or time periods when applicable (social studies - history). (MU.68.H.3.1NTK R)
  • roles of music in societies and cultures
discuss, using correct musical vocabulary, preferences in aural examples and class repertoire with regard to differences in dynamic levels, tempi, articulations, phrasing, and harmony. (MU.68.O.1.1I R)
describe the emotions expressed in a given piece of music, and predict how changes in musical elements, e.g., tempo, articulation, or mode, might change the feel of the given piece. (see MU.68.O.1.1) (MU.68.O.3.1I R)
  • expressive musical elements such as dynamics, tempi, and articulations
  • major and minor modalities
apply background knowledge to a variety of musical selections. (MU.68.O.3.2E O)
  • timbre
  • tonality: MU.68.C.1.1
  • musical effect: MU.68.C.2.1
  • expressive markings
perform music integrating expressive musical qualities indicated in the music. (MU.68.O.3.2E O)
  • musical effect: MU.68.C.2.1
transfer the skills and knowledge mastered in MU.68.S.2.2, MU.68.S.3.1, and MU.68.S.3.2 to new pieces of music. (MU.68.O.3.2E O)
  • synthesis of techniques in MU.68.S.2.2, MU.68.S.3.1, and MU.68.S.3.2
identify intervals numerically, given both visually and aurally. (MU.68.S.1.4BAC )
  • intervals (numerically)
perform individually with rhythmic and melodic accuracy from memory. (MU.68.S.2.1BAC )
  • patterns
apply the above criteria (MU.68.S.2.1) to the memorization of an entire piece (MU.68.S.2.1BAC )
  • memorization strategies
apply sight reading strategies and proper playing technique to newly introduced material. (MU.68.S.2.2BAC )
perform a piece of music with attention to all dynamic levels, phrasings, tempo markings, fingerings,pedaling, and articulations. (MU.68.S.3.1E P)
  • dynamics
  • articulations
  • phrasing
  • tempi
use proper fingerings for all notes within the piece (MU.68.S.3.2E P)
  • fingering
All Year
Use proper pedaling technique if applicable (MU.68.S.3.2E P)
  • pedaling
use proper hand position on the keys (MU.68.S.3.2E P)
  • hand position
All Year
understand and demonstrate dynamic markings for the music being studied. (MU.68.S.3.3E O)
  • the difference between loud and soft dynamics (e.g., f, mf, mp, p, crescendo, decrescendo, etc.).
All Year
Recognize repeated melodic and rhythmic patterns (MU.68.S.3.3E O)
  • melodic and rhythmic patterns
All Year
analyze and discuss where differences occur. (MU.68.S.3.4E R)
notate the scales learned in class for with the correct fingering. (MU.68.S.3.5E R)
  • key signatures for scales learned in class (MU.68.S.3.2)
  • notes on the staff for scales learned in class (MU.68.S.3.2)
  • major scale construction
display focused, on-task behavior in all classroom activities. (MU.68.S.3.6BAC )
  • rehearsal procedures and rules
  • rehearsal conduct
develop and demonstrate appropriate rehearsal behaviors necessary for growth and development of musicianship. (MU.68.S.3.6BAC )
All Year
discuss and identify rehearsal strategies and purposeful practice (MU.68.S.3.6BAC )
First Semester
Identify and classify various instrumental and vocal ensembles and discuss timbre, blend, and performance styles (MU.68.C.1.3BAC )
  • classify
  • performance styles
  • identify
identify natural minor scales (MU.68.O.2.2BAC )
  • natural minor
play a one octave major scale using correct scale fingerings in the keys of C,G,D, A,F, Bb (MU.68.S.1.4BAC )
  • major scale
  • Key signatures
  • Fingering
compare a peer’s performance of a two to four measure rhythmic exercise with the written line (from music being rehearsed in class). Analyze for correct rhythms. (MU.68.S.3.4E R)
First Quarter
create a listening map or checklist for use with studied repertoire in small student groups or individually. (MU.68.C.1.1BAC )
  • listening map
  • checklist
develop detailed goals and objectives to be achieved during individual practice (MU.68.C.2.1BAC )
  • personal goals
evaluate personal work products through use of a rubric. (MU.68.C.2.3BAC )
recognize and discuss the legal and illegal methods of acquiring music on the internet (e.g., pirated music vs. licensed music). (MU.68.F.3.2NTK R)
  • legal and illegal downloading files
track the development of instruments from ancient to modern, e.g., harpsichord to piano, etc. (MU.68.H.2.2BAC )
  • instruments: early through modern
identify form, tonality, and expressive elements, (MU.68.O.1.1I R)
aurally and visually identify major and minor tonalities in studied repertoire. (MU.68.O.2.2BAC )
compare and contrast songs performed in major and minor keys. (MU.68.O.2.2BAC )
  • relative minor scale
  • major scale
describe how the combination of instrumentation and expressive elements in a musical work can convey a specific thought, idea, mood, and/or image (MU.68.O.3.1I R)
discuss various basic improvisational techniques as they relate to rhythm, melodic theme, harmonic structure, and flow. (MU.68.S.1.1BAC )
  • I, IV, and V arpeggios
play selected scales by memory. (MU.68.S.2.1BAC )
  • scales
identify major key signatures of C, F, Bb, G, D, and A. (MU.68.S.3.3E O)
  • key signatures
  • C, F, Bb,G, D, and A major
notate the correct rhythm for a four-measure phrase that has been performed by someone else using whole notes/rests, dotted half notes, half notes/rests, dotted quarter notes, quarter notes/rests, sets of eighth notes/rests, sets of sixteenth notes and syncopation. (MU.68.S.3.5E R)
notate the correct melody for a four- to eight-measure phrase in simple meters that has been performed by someone else using repeated pitches, stepwise movement, and arpeggiated skips (within the I chord) in a major key. (MU.68.S.3.5E R)
  • step-wise melodic motion
  • arpeggiated skips within the I chord
notate the correct rhythm for a four-measure phrase that has been performed by someone else using whole notes/rests, dotted half notes, half notes/rests, dotted quarter notes, quarter notes/rests, sets of eighth notes/rests, sets of sixteenth notes and syncopation. (MU.68.S.3.5E R)
notate the correct rhythm for a four-measure phrase that has been performed by someone else using whole notes/rests, dotted half notes, half notes/rests, dotted quarter notes, quarter notes/rests, sets of eighth notes/rests, sets of sixteenth notes and syncopation. (MU.68.S.3.5E R)
Week 3
understand rhythmic relationships regarding time signature classification. (MAFS.K12.MP.7.1BAC )
  • simple, compound and mixed meters
  • function of top and bottom numbers in time signatures
Second Quarter
evaluate personal performance based on teacher/student criteria. (MU.68.C.2.1BAC )
  • teacher assessment rubrics
evaluate critique from teacher/peers to improve skills and performance (MU.68.C.2.3BAC )
  • how to count rhythms using a counting system (e.g., 1&2&3&4&).
participate in classroom discussions regarding community involvement in the performing arts and the impact arts events have on community businesses and employment. (MU.68.F.2.2BAC )
  • economic impact
  • revenue
discuss the financial and social implications of copyright infringement. (MU.68.F.3.2NTK R)
  • copyright laws
compare musical forms with writing forms. (language arts) (MU.68.H.3.1NTK R)
  • form as it relates to language arts and music
compare and contrast choices made by different performers on a select piece. (MU.68.O.1.1I R)
  • tone quality: MU.68.C.2.2
  • technical preparation: MU.68.C.2.2
explore the effects of manipulating various musical elements (MU.68.O.2.1BAC )
analyze and discuss the effects of manipulating various musical elements (MU.68.O.2.1BAC )
analyze and discuss the choices a composer makes to communicate a specific message. (MU.68.O.3.1I R)
create and notate simple melodic patterns/phrases using the pentatonic or diatonic scale. (MU.68.S.1.2BAC )
  • pentatonic scale
  • diatonic scale
  • melodic line
understand simple chord progressions (e.g., I, IV, V). (MU.68.S.1.2BAC )
  • chord progression
perform “roadmap” endings, repeats, Da Capo al Fine, Dal Segno al Fine, D.C and D.S al Coda. (MU.68.S.3.3E O)
  • how to trace the format of a piece using varied “roadmap” endings.
Second Semester
aurally recognize various vocal styles (MU.68.C.1.4BAC )
  • musical styles/genres: chant, liturgical, spiritual, folk, opera, world, jazz, pop
develop criteria/rubric to be used as a guidline to create an original composition/improvisation successfully. (MU.68.C.2.3BAC )
  • composition
  • improvisation
  • melody
  • rhythm
  • texture: MU.68.C.1.1
  • tonality: MU.68.C.1.1
  • form: MU.68.C.1.1
identify musical examples that are exemplars by comparing and contrasting stylistic elements related to the genre (MU.68.C.3.1NTK R)
  • genre specific exemplars
continue to explore the historic and stylistic periods in Western music (e.g., Renaissance, Baroque, Classical, and Romantic). (MU.68.H.1.2NTK R)
identify a major work from a composer of a particular stylistic period and discuss why it has become a major work (MU.68.H.1.2NTK R)
  • major work
identify characteristics of American music genres (MU.68.H.1.3NTK R)
identify specific influences of other cultures in American music, e.g., African, European, traditional folk, South American, Caribbean, etc. (MU.68.H.1.3NTK R)
use a checklist of criteria used to create an original composition (MU.68.O.2.1BAC )
visually and aurally identify relative minor scales in three forms (natural, harmonic, melodic). (MU.68.O.2.2BAC )
  • harmonic minor
  • melodic minor
Play a one octave minor scale in the keys of Am,Em, Dm natural, harmonic and melodic with correct fingering (MU.68.S.1.4BAC )
echo a 4 measure phrase played by the teacher or peer (MU.68.S.1.4BAC )
Third Quarter
define copyright and discuss proper usage of applicable materials, media, and performances. (MU.68.F.3.2NTK R)
  • intellectual property
Discuss and interpret the characteristics which identify historic and stylistic periods: e.g. Classical, Romantic, Baroque (MU.68.H.1.5I R)
  • musical characteristics of the historical periods.
experiment with improvised melodies based on a limited number of pitches from major scales (e.g., a pentatonic scale, the notes of an arpeggio). (MU.68.S.1.1BAC )
  • what pitches to use (e.g., arpeggio, pentatonic scale).
experiment with improvised melodies based on a limited number of pitches from major scales (e.g., a pentatonic scale, the notes of an arpeggio). (MU.68.S.1.1BAC )
  • what pitches to use (e.g., arpeggio, pentatonic scale).
Fourth Quarter
experiment by eliminating expressive musical elements such as dynamics or articulations, and then play the music again, exaggerating the same elements, to hypothesize on the composer’s intent. (MU.68.C.1.2I R)
discuss and compare how composers use musical devices (such as melodic line, harmonic interest and rhythm, emotional content and form) to create quality music based on literature being studied in class and/or recordings. (MU.68.C.3.1NTK R)
  • indentify contemporary, jazz, pop/rock, chant, spiritual, folk, opera, and some world music styles.
articulate compositional techniques particular to different style periods including Baroque, Classical, Romantic, and 20th century. (MU.68.C.3.1NTK R)
  • compositional techniques which define different periods of music being studied.
write, play back, and edit simple melodies on music notation software such as Finale NotePad, Sibelius or MuseScore (based on availability of resources, i.e., classroom computers or software that is accessible from library or home). (MU.68.F.1.1BAC )
  • how to use music notation software (e.g., Finale, Sibelius).
  • which notes are appropriate to use in a diatonic melody.
create and notate a short composition for an ensemble of one’s own instrument within the key (MU.68.F.1.1BAC )
  • how to notate music correctly (e.g., note heads, stem directions, and rests).
employ and compare digital and acoustic methods of composing (MU.68.F.1.1BAC )
Create a performance by incorporating traditional playing with the aid of software, music apps, and bluetooth technologies (MU.68.F.1.2BAC )
list the professions that may be involved in the path music takes from the composer to the listener, for both live and recorded music. (MU.68.F.2.1BAC )
  • music professions
  • music production
  • music distribution
research the process of music creation to consumption, focusing on the life of a specific composer such as Herbie Hancock, Scott Joplin, or Mozart. (MU.68.F.2.1BAC )
  • music publishing
identify the steps a composition goes through from conception to consumer. (MU.68.F.3.3BAC )
  • music marketing
discuss the elements of production, e.g., idea, development, editing, copyright, selling, revising, testing, presenting. (MU.68.F.3.3BAC )
  • composer's writing process
analyze and describe how the elements of production could be used in an everyday work place. (MU.68.F.3.3BAC )
  • workplace strategies
identify characteristics of American music that have been influenced by other cultures (MU.68.H.1.3NTK R)
  • musical characteristics of various cultures, which may include Asian, Latin, European, South American, or African
track the development of compositional devices from ancient to modern, e.g., neumatic notation to modern notation (Finale, Sibelius, Garage Band, etc.) (MU.68.H.2.2BAC )
  • compositional devices: early through modern
track the development of recording/playback devices from early to present, e.g., phonograph to CD. (MU.68.H.2.2BAC )
  • recording and playback devices: early through modern
describe the use of modern music technology and predict future trends. (MU.68.H.2.2BAC )
  • modern recording and playback devices
  • modern compositional devices
discuss various ways sound is produced acoustically and electronically. (science: acoustics) (MU.68.H.3.1NTK R)
  • acoustic sound
  • electronic sound
produce a completed written product, handwritten or by use of music notation software. (MU.68.O.2.1BAC )
  • how to use music notation software.
  • how many beats are in whole, half, quarter, eighth, sixteenth notes, and rests.
  • how to identify a I, IV, and/or V chord in a given key.
perform a short melody in a major key, and then perform it again in the parallel minor key by altering the appropriate scale degree(s). (MU.68.O.2.2BAC )
discuss how emotions can be expressed in the other arts disciplines. (MU.68.O.3.1I R)
  • outstanding examples of visual art, theater, and dance that represent emotions
create and notate a four to eight measure melody based on a I, IV, V chord progression and/or create a rhythmic composition based on whole, half, quarter, dotted, eighth, and sixteenth notes and rests. (MU.68.S.1.2BAC )
  • how to identify a I, IV, and/or V chord in a given key.
produce a completed written product, handwritten or by use of music notation software. (MU.68.S.1.2BAC )
Create an accompaniment to accompany a short melody (MU.68.S.1.3BAC )
arrange a short musical piece by utilizing one or more of the following: changing the time signature, rhythms, manipulating the form and/or melody, changing the tonality, adding harmony, and /or pedaling. (MU.68.S.1.3BAC )
  • form
  • major and minor tonalities
  • transposition
  • pedaling
  • melody
  • harmony
  • rhythm
  • meter
Perform a given melody using an arpeggiated or block chord accompaniment using a I IV V progression in the key of C, G, D, or F with chord symbols (MU.68.S.1.5BAC )
  • key signatures
  • arpeggio
  • block chords
  • chord symbols
Create a melody over a I- IV-V blues progression with left hand chords in block or arpeggiated form with rhythmic accompaniment (MU.68.S.1.6BAC )
  • blues progression