Keyboard 4 - Honors Pacing Guide

Time-Period Currently Unspecified
utilize a software or hardware that uses virtual instruments in some form of performance (MU.912.S.1.7BAC )
All Year
observe proper rehearsal etiquette as defined by the director (DA.912.S.2.1BAC )
  • rehearsal etiquette
participate in mutual respect with all other classroom members and the teacher (DA.912.S.2.1BAC )
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
All Year
Use technology appropriately for practice and performance (MAFS.K12.MP.5.1BAC )
  • use MIDI recording techniques (through on-board keyboard features or connected MIDI device) to monitor progress
  • Use on-board or available metronome to facilitate tempo and rhythmic precision
  • Use apps and internet resources to learn a new piece of music
All Year
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
demonstrate precision in the execution of unison pulse 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
utilize pattern recognition to memorize music. (MAFS.K12.MP.7.1BAC )
recognize patterns through music theory and utilize the information in rehearsal, individual practice, and performance. (MAFS.K12.MP.7.1BAC )
  • patterns such as chords, form, time signatures, phrasing, sequencing, hemiola, key centers, harmonic structure, voicing, modulation, and instrumentation.
All Year
utilize pattern recognition for sight reading music (MAFS.K12.MP.7.1BAC )
  • mapping of lines and spaces to represent distance between fingers while reading
All Year
identify musical elements in a listening example (MU.912.C.1.1BAC )
  • e.g, dissonance and consonance, form(s), melody, countermelody, harmony, instrumentation, texture, timbre, etc.
identify expressive elements in a listening example (MU.912.C.1.1BAC )
  • e.g., dynamics, articulation, phrasing, tempi, etc.
  • domain specific vocabulary associated with different articulations (e.g. staccato, tenuto, accent, etc.)
perform individually and in groups followed by feedback from peers and teacher. (MU.912.C.1.2I R)
  • performance evaluation
identify performance accuracy and technique relative to pitch, rhythm, balance, pedaling, phrasing, etc. (MU.912.C.2.1BAC )
  • Technical Preparation: pitch accuracy, rhythmic precision, balance, entrances, releases
  • Tone Quality: balance of accompaniment, register adjustment, weight in keys, etc.
  • Musical Effect: tempo, phrasing, musical line, dynamics, style, articulations
apply feedback individually, cooperatively, and with teacher guidance. (MU.912.C.2.1BAC )
  • assessment strategies
listen to two or more examples of the same recording. (MU.912.C.2.2E R)
  • critical listening skills
identify and discuss musical criteria from quality recordings that are transferable to class repertoire. (MU.912.C.3.1E R)
  • active listening techniques
use feedback from others, and/or self assessment, to display continued improvement and develop musical performances. (MU.912.C.3.1E R)
  • self assessment techniques
  • practice strategies
apply musical devices and techniques appropriate to style to align with presumed composer intent. (MU.912.C.3.1E R)
  • composer intent
contribute to the realization of classroom objectives, and actively participate in exploring essential questions. (MU.912.F.3.1BAC )
  • objective
  • essential question
transfer skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc. (MU.912.F.3.1BAC )
efficiently organize and execute rehearsal/practice time for daily forward progress (MU.912.F.3.3BAC )
  • organize a practice plan from small term goals to long term performance goals
All Year
design and implement a daily and semester-long practice plan. (MU.912.F.3.4BAC )
  • practice plan
discuss goals with teacher and peers to receive feedback and request assistance. (MU.912.F.3.4BAC )
  • feedback
list goals and aspirations at the beginning of the year. (MU.912.F.3.4BAC )
  • goals
  • aspirations
All Year
listen to representative examples of music from diverse cultures and eras. (MU.912.H.1.1BAC )
  • exposure to different music genres (early music to present-day music)
All Year
compare two or more significant keyboard composers and/or compositions. (MU.912.H.1.2BAC )
  • Keyboard literature appropriate or arranged to be appropriate-to-level based on compositions from, but not limited to: Bach, Clementi, Mozart, Beethoven, Chopin, Debussy, Bartok
All Year
explore the genres and corresponding historic periods in keyboard music through performance of a varied repertoire (MU.912.H.1.4BAC )
  • different musical genres (e.g. folk music, military music, chamber music)
  • different historical periods (e.g. Baroque, Classical)
recognize the musical characteristics in Western music that were inspired by present and past world cultures (MU.912.H.1.4BAC )
  • styles including Baroque, Classical, Romantic, contemporary, jazz, pop, chant, spiritual, folk, opera, or world music
  • cultures including Asian, Latin, European, South American, or African
identify definitive composers from Baroque to 21st Century, and discuss compositional indicators of their style periods. (MU.912.H.1.5I R)
  • definitive composers from the Baroque to 21st Century time periods
  • Baroque to 21st Century compositional techniques
identify characteristic traits of keyboarded music written to represent specific cultures across the world. (MU.912.H.1.5I R)
  • aural recognition of rhythmic and melodic elements related to cultures
  • identify unique ethnic/nationalistic motives and tonalities
discuss and connect the musical and social contributions of various composers, performers, teachers, and music producers to significant historical or social events. (MU.912.H.2.1BAC )
  • influential composers
discuss the relationship between music and historical events, and the impact they have on each other. (MU.912.H.2.1BAC )
analyze the effect of technology on musical learning, performing, recording, and delivery systems in today's society and make predictions for future trends (MU.912.H.2.2BAC )
compare and contrast acoustic vs. electronic sound production. (MU.912.H.3.1I R)
  • acoustic principles of electronic instruments
recognize the mathematical nature of music theory with regard to the circle of fifths, intervals, etc. (math). (MU.912.H.3.1I R)
  • circle of fifths
  • intervals
explain how sound is produced on a string instrument and how that sound reaches the human ear (science - physics, acoustics, physiology). (MU.912.H.3.1I R)
  • how sounds are produced on string instruments
  • symmetry, sound waves, patterns, structure, velocity, vibrations, and frequencies
All Year
conceptualize and integrate learning connections between music and personal interest subjects such as world languages, African American history, drama and theatre, T.V./film production, scientific research, public speaking, data analysis, computer programming, healthcare, etc. (MU.912.H.3.2BAC )
All Year
identify basic structural elements in music such as meter, key/tonality (major or minor), timbre, and form. (MU.912.O.1.1I R)
  • meter
  • key signatures
  • tonality (major and minor)
  • melody
  • form
explore basic forms such as ABA, theme and variations. (MU.912.O.1.1I R)
Identify the reasons and effect of repeated sections in musical form. (MU.912.O.1.1I R)
  • musical road-map symbols for repeats (repeat symbols, dal segno, da capo, first ending/second ending, etc.)
compare and contrast compositional techniques and performance practices of two contrasting pieces (MU.912.O.2.1BAC )
  • performance practices such as swung eighth notes, slur-two-tongue-two sixteenth notes, baroque phrasing, etc.
explore styles used in other performance areas and apply to current music (MU.912.O.2.1BAC )
  • transferable components of contrasting musical styles (e.g., use jazz swing style in a straight passage or sing a section to hear accuracy of articulations)
perform music of various musical styles, observing the expressive elements inherent or indicated in each style. (MU.912.O.3.2E P)
  • Contrasting styles in music
demonstrate appropriate use of dynamic markings, phrasing, and articulations while sight-reading. (MU.912.O.3.2E P)
  • musical elements such as dynamics, tempo, and articulation markings.
perform a short familiar tune from an unwritten source, e.g., radio, TV, movie, etc. (MU.912.S.1.4BAC )
echo short, stepwise, unfamiliar melody, given the first note. (MU.912.S.1.4BAC )
notate a stepwise melody, with assistance, given a starting note and key. (MU.912.S.1.4BAC )
  • music notation conventions
memorize assigned performance selections rehearsed in class. (MU.912.S.2.1E P)
identify major musical components of a piece, such as form, themes, etc. (MU.912.S.2.1E P)
identify, compare and perform defining musical elements generally present in all music such as clef, key, meter, tempo, and dynamics. (MU.912.S.2.2E P)
  • defining elements of written music such as clef, key, meter, tempo, dynamics
understand, apply, and transfer the skills and knowledge mastered in one piece to new pieces of music. (MU.912.S.2.2E P)
  • practice strategies
  • see MU.912.C.2.1
develop a technical foundation for playing with awareness of the pedagogical process. (MU.912.S.3.1E P)
perform scales, warm ups, class etudes, and method book exercises with attention to appropriate technique as directed. (MU.912.S.3.1E P)
  • techniques for tone production, pitch accuracy, and rhythmic integrity.
identify and perform, as contained in class repertoire: all dynamic levels, tempo markings, fingerings, and articulations. (MU.912.S.3.1E P)
  • elements such as dynamics, tempo markings, fingerings, and articulations
sight-read music appropriate to level, using appropriate expression. (MU.912.S.3.2E O)
  • sight reading procedure that incorporates expressive markings (e.g., fingering)
recognize simple meters and key signatures and be able to identify flats, sharps, and naturals. (MU.912.S.3.2E O)
recognize, count and notate simple rhythms and rests. (MU.912.S.3.2E O)
  • procedure for deciphering rhythms (e.g., count singing, speaking rhythms, subdividing, etc.)
notate a dictated rhythm consisting of varied note values. (MU.912.S.3.3E R)
  • time signatures
  • rhythm
notate a dictated simple melody consisting of varied note values. (MU.912.S.3.3E R)
  • intervals
All Year
suggest appropriate rehearsal strategies to improve upon performance (MU.912.S.3.4I R)
All Year
critique the effectiveness of a given rehearsal, identifying successful strategies or behaviors (MU.912.S.3.4I R)
  • audio and/or video examples
recognize and display personal preparation for rehearsals including necessary equipment and music preparation. (MU.912.S.3.4I R)
  • practice strategies.
  • assignments.
  • rehearsal strategies
perform with independence and fluency with both hands. (MU.912.S.3.5E P)
  • hand and finger position adjustments necessary to play with hand and finger independence
perform with varying hand placement, angle, speed, and weight; and recognize the effect they have on tone, dynamics, and fluency. (MU.912.S.3.5E P)
  • arm weight, angle, and placement on keys
  • dynamics
  • tone
demonstrate the ability to play major scales using appropriate finger patterns. (MU.912.S.3.5E P)
  • major and minor tetrachords
  • finger patterns for scales played in class
All Year
Use sustain and sostenuto pedals appropriately (MU.912.S.3.5E P)
  • pedaling conventions when not indicated by score
First Semester
listen to and discuss the various media a given composer uses to present works. (MU.912.H.1.3BAC )
  • mediums of performance music (ie. concerto, wind ensemble, string quartet, rock band, musical theatre, etc.)
explore the similarities/differences of selected mediums within a composer’s body of work. (MU.912.H.1.3BAC )
  • genres and styles
explore the various musical elements a given composer uses for different works. (MU.912.H.1.3BAC )
  • rhythm, melody, harmony, timbre, texture, dynamics, lyrics, music relationships, form, etc.
First Quarter
trade two bar or four bar improvised melodies with members of the class while the teacher provides a given chord progression. (MU.912.C.2.3BAC )
  • melody, repetition, chord structure, rhythmic interest, articulations, etc.
identify transferable skills utilized in the orchestra classroom to everyday life, such as reflection / self-evaluation, leadership, mentoring, collaboration, community involvement, cooperation, creative problem solving, trouble shooting, personal responsibility, work ethic, intrinsic motivation, delayed gratification, etc. (MU.912.F.2.1BAC )
  • reflection
  • self-evaluation, self assessment
  • mentoring
  • collaboration
  • community involvement
  • community service
  • cooperation
  • creative problem solving
  • trouble shooting
  • personal responsibility
  • work ethic
  • intrinsic motivation
  • delayed gratification
discuss how people acquire music, and how this has changed over time (MU.912.H.2.2BAC )
  • current and historical methods of recording and listening to music (e.g. mp3, CD, DVD, record, cassette, radio, internet video resources, internet streaming audio)
analyze and discuss the expressive elements in music (MU.912.O.3.1I R)
  • expressive elements in music (e.g. dynamics, phrasing, melodic development, form, orchestration)
identify and discuss sequencing strategies for memorizing a piece. (MU.912.S.2.1E P)
  • sequencing strategies for memorization
understand that correct playing technique is the foundation for skillful and expressive string playing. (MU.912.S.3.1E P)
  • See MU.912.S.3.5
  • techniques to perform expressively and stylistically.
Week 2
identify local arts organizations and their current season’s programs and shows. (MU.912.F.2.2BAC )
  • performance season
Week 3
discuss economic and cultural relationships between artists, local business and patrons. (MU.912.F.2.2BAC )
  • economic relationship
  • cultural relationship
describe how a rich cultural climate may attract a diverse population to the area. (MU.912.F.2.2BAC )
  • rich cultural climate
Second Quarter
create a checklist based on fundamental improvisational techniques to be applied to one's own compositions/improvisations (MU.912.C.2.3BAC )
  • repetition of a theme, variation on the melody of the piece, quotes from solos, the melody, or other melodies, use of space as opposed to constant motion, etc
discuss the implications of copyright infringement, e.g., loss of revenue, pirated original compositions, recorded materials, web-based media, etc. (MU.912.F.3.2NTK R)
  • financial impact on composers and artist, etc
list materials subject to copyright law and discuss proper usage, payment, etc. (MU.912.F.3.2NTK R)
  • music
  • software
  • literature
  • MP3's
  • other works
define “copyright” and discuss applicable materials, media, and performances. (MU.912.F.3.2NTK R)
  • licensing information
  • guidelines for posting performances online
  • definition of copyright
Week 15
analyze elements of quality performances based on established criteria. (MU.912.C.2.2E R)
  • Technical Preparation: MU.910.C.2.1
  • Tone Quality: MU.910.C.2.1
  • Musical Effect: MU.910.C.2.1
Week 17
model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
identify examples of music as a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
Second Semester
create a hypothesis on how a piece may sound based on written indicators found in the score. (MU.912.C.1.2I R)
  • title of the piece, composer, and domain specific vocabulary related to tempo, articulation, and expressive markings
evaluate a professional recording of an improvised solo, using the checklist of fundamental improvisational techniques. (MU.912.C.2.3BAC )
compare the historical background of two composers of music being rehearsed in class, including their time period, nationality/ethnicity, education, and body of work. (MU.912.H.1.2BAC )
trace significant developments in music regarding innovations, compositions, and key players (MU.912.H.2.3BAC )
  • evolution of instruments
  • technology advances
describe the evolution of specific genres (MU.912.H.2.3BAC )
  • various genres and how they developed (e.g. American music-jazz, blues, rock, pop)
describe, in terms of scale degrees, the difference between a major and minor scale and a major and minor chord (MU.912.O.2.2BAC )
  • the struction of a major scale
  • the structure of a minor scale
transpose a melody from major to minor (MU.912.O.2.2BAC )
develop a hypothesis for the composer’s intent in a piece being rehearsed in class, citing evidence from the score (MU.912.O.3.1I R)
  • how to develop a hypothesis based on information in the score
create a project that uses some form of technology to deliver music (MU.912.S.1.6BAC )
Third Quarter
use listening maps to identify major musical components (MU.912.C.1.1BAC )
  • how to describe musical elements such as form (e.g., ABA), melody, harmony, tempo, and dynamics.
identify examples of quality performance through use of keyboard literature being studied. (MU.912.C.2.2E R)
  • performance evaluation
identify professions within a professional ensemble (MU.912.F.2.3BAC )
  • professions within a musical ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.)
discuss the roles and the relationships of the musicians within a professional ensemble and their potential counterparts in a typical business organizational model (MU.912.F.2.3BAC )
  • roles and the relationships of the musicians within an ensemble (e.g., conductor, concertmaster, principal players, etc.)
  • typical business organizational structures
Week 19
notate simple dictated rhythmic patterns. (MU.912.S.1.4BAC )
  • rhythms: whole, half, quarter, eighth notes; whole, half, quarter rests.
Fourth Quarter
analyze a student generated composition and/or improvisation. (MU.912.C.2.3BAC )
  • composition
  • improvisation
  • melody
  • rhythm
  • texture
  • tonality
  • form
identify various technological advances in music over the centuries, and discuss their influence on the development of music, e.g., harpsichord to piano to digital keyboard; scribes to printing press to notation software; drum made from a tree-trunk to digital drum pad. (MU.912.F.1.1BAC )
  • technology in music
compare and contrast traditional vs. modern technological characteristics, usage, and practice. (MU.912.F.1.1BAC )
Compare and contrast the production values of acoustic pianos versus electronic keyboards. (MU.912.F.1.1BAC )
create or use some form of technology in a project to create or rearrange a piece of music (MU.912.F.1.2BAC )
list experiences and accomplishments in music such as repertoire lists, participation in All-County, solo and ensemble MPA, All-State, concert MPA, leadership positions (MU.912.F.2.1BAC )
  • repertoire
  • All-County
  • All-State
  • Music Performance Assessment (MPA)
  • Solo and Ensemble (S&E)
  • Concert MPA
create a résumé for application to higher education or the workforce. (MU.912.F.2.1BAC )
  • higher education
identify various technological advances over the centuries that have changed music creating, learning, performing, recording, and delivery systems. (MU.912.H.2.4BAC )
  • examples of technological advances that have affected music
describe the benefits of utilizing music notation and looping software (MU.912.H.2.4BAC )
  • various music notation software (e.g. Finale, MuseScore, Sibelius)
  • how to notate music with paper and pencil
Describe the effects of listening services, radio and social media on music (MU.912.H.2.4BAC )
Week 28
aurally identify major and minor chord tonalities. (MU.912.S.1.4BAC )
  • differences between major & minor chords