M/J Band 1 Pacing Guide

All Year
maintain proper decorum at all times while performing and when attending concerts (DA.68.S.2.1BAC )
  • concert attendance etiquette (e.g., appropriate times to enter and exit the performance facility, appropriate times to clap, how to dress)
  • performance etiquette (e.g., appropriate performance attire, entrances and exits, stage presence, appropriate times to play)
maintain appropriate behavior at all times during class and rehearsal (DA.68.S.2.1BAC )
  • classroom procedures (e.g., how to enter and exit, storage for instruments, music, and personal items, pass procedures, location of daily rehearsal/lesson plan)
  • where to find posted classroom rules
listen attentively to teachers and peers (DA.68.S.2.1BAC )
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
attentively listen to a guest speaker/lecturer/clinician, interpret the information presented, ask relevant questions to further understanding, and discuss the soundness and relevance of the information presented (LAFS.6.SL.1.3BAC )
  • fundamental components of critical thinking and listening
determine the meaning of music symbols, key terms, and other music specific words and phrases (LAFS.68.RST.2.4BAC )
  • musical terms and symbols derived from classroom literature (e.g., dynamic markings, tempo markings, expressive markings, articulation markings)
  • count-singing
  • flat, sharp, and natural symbols and their functions
  • letter names of pitches on the staff
  • note and/or rest values appropriate to course and literature
  • time signatures appropriate to course and literature
  • key signatures and scales appropriate to course and literature
  • "road signs" in classroom literature (e.g., rehearsal letters, repeat signs, Da Capo, Dal Segno, Coda, al fine, al coda)
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music (LAFS.68.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres
listen to multiple recordings within a specific genre to understand the defining stylistic elements (LAFS.68.WHST.3.9BAC )
listen to multiple pieces by the same composer to realize a composer’s style and technique (LAFS.68.WHST.3.9BAC )
use domain specific vocabulary to communicate precise ideas and opinions with others (MAFS.K12.MP.6.1BAC )
  • domain-specific vocabulary: MU.68.C.1.1
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
use appropriate musical vocabulary to analyze performance fundamentals and expressive elements of a recording of their own ensemble (MU.68.C.2.1E R)
  • note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
classify literature from the method book and/or appropriate level band literature by the historic and stylistic periods in Western and non-Western music. (MU.68.H.2.3I R)
  • historical and biographical information about representative musical works and composers as they appear in a chosen method book
  • various periods of music history (e.g. Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century)
explain the historical connection of music studied in class with particular events or time periods (MU.68.H.3.1NTK R)
  • details about the historical and cultural events that coincide with the music being studied in class (e.g. War of 1812/Star Spangled Banner, Irish Folk Song arrangements)
identify the country or region of different folk songs studied in class (MU.68.H.3.1NTK R)
  • geography
perform music of various musical styles, observing the expressive elements inherent or indicated in each style (MU.68.O.3.2E P)
  • contrasting styles in music (e.g. march style versus overture style)
demonstrate appropriate use of dynamic markings, phrasing, and articulations while in prepared performance and/or sight-reading (MU.68.O.3.2E P)
  • musical elements such as dynamics, phrase indications, tempo, and articulation markings
recognize and demonstrate appropriate responses to conducting gestures (MU.68.O.3.2E P)
  • appropriate performance responses to expressive conducting gestures (e.g. tempo, fermata, dynamics, cut-off, caesura, phrasing, fluctuation of tempo)
rehearse and perform band literature exhibiting proper technique, phrasing, dynamics, tone quality, blend, balance, intonation, and breathing technique (MU.68.S.3.1E P)
  • how to take a proper breath while playing (e.g. shoulders down, breathe through mouth, not nose, fill lungs from bottom up)
  • correct posture (e.g. feet flat on floor, sit up straight)
  • proper embouchure (e.g. firm corners, flat chin)
  • proper hand position on instrument
  • how to identify musical elements such as pitch reading, rhythm reading, key signature, time signature, dynamics, tempo, and articulation markings
  • musical phrasing (e.g. 4 bar phrases vs. 8 bar phrases, appropriate places to breathe)
perform age-appropriate repertoire from the method book and appropriate band literature (MU.68.S.3.1E P)
demonstrate proper fingering for all notes within a practical range for an instrument (MU.68.S.3.2E P)
  • standard and alternate fingerings
understand and perform the various styles of articulation (MU.68.S.3.2E P)
  • proper tonguing technique (e.g. tonguing, slurring, legato, staccato, and accent)
demonstrate the use of appropriate articulation markings in the music being studied in class (MU.68.S.3.3E O)
  • how to recognize and distinguish between different articulation markings (e.g. tonguing, slurring, legato, staccato, and accent)
understand and demonstrate dynamic markings (MU.68.S.3.3E O)
  • dynamic marking symbols and terms (e.g. crescendo, decrescendo, subito, f, mf, mp, p)
All Year
recognize key signatures and be able to identify accidentals (MU.68.S.3.3E O)
  • the order of the flats and sharps (e.g. BEADGCF and FCGDAEB)
  • flat, sharp, natural
All Year
recognize, count, and sight-read simple rhythms and rests (MU.68.S.3.3E O)
  • how many beats are in whole, half, quarter, eighth notes and rests
All Year
sight-read and perform music selections in simple meters (MU.68.S.3.3E O)
  • how many beats are in 2/4, 3/4, and 4/4 time signatures
identify which printed answer matches the aural example provided by the teacher and/or a recording (MU.68.S.3.4E R)
  • how the musical excerpt sounds when played correctly
identify which measure in an aural example is incorrect compared to the printed score (MU.68.S.3.4E R)
discuss rehearsal strategies and their application to personal practice (MU.68.S.3.6BAC )
  • practice strategies (e.g., technical exercises, flexibility exercises, long tones)
All Year
critique the effectiveness of a given rehearsal and identify specific improvements (MU.68.S.3.6BAC )
  • strategies for assessing tone, correct pitch and rhythms, balance, blend, articulation, and expression
target areas that need improvement; develop and implement a rehearsal plan for advancement (MU.68.S.3.6BAC )
  • components of an effective practice plan (e.g. goal oriented objectives, specified practice time, tone and skill builders)
First Semester
compare a peer’s performance of a two to four measure rhythmic exercise with the written line and analyze their rhythmic accuracy (MU.68.S.3.4E R)
  • how many beats are in whole, half, quarter, eighth notes and rests
compare a peer’s performance of a two to four measure melodic exercise with the written line and analyze their pitch accuracy (MU.68.S.3.4E R)
  • intervallic relationships in melodic lines
First Quarter
observe an anatomical rendering of the instrument specific embouchure formations, and explain how the formation and development the embouchure contributes to instrumental tone, flexibility and technique (LAFS.6.SL.1.2BAC )
  • instrument specific embouchure formations, and how these contribute to characteristic tone
read the score for a duet focusing on the first part while listening to a recording, and then listen again focusing on the second part, and discuss how the parts fit together with regard to rhythm, melody, and harmony (LAFS.6.SL.1.2BAC )
  • basic understanding of rhythm, melody, and harmony, and how these elements function together in a musical work
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • tools and their uses in the music classroom (e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier, reeds, neck-strap, percussion implements)
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
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
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.
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
identify the melody in a given selection. (MU.68.C.1.1BAC )
discuss the use of dynamics and tempo. (MU.68.C.1.1BAC )
  • domain specific vocabulary related to dynamics and tempo (e.g. pp, p, mp, mf, fp, f, ff, crescendo/decrescendo, moderato, andante, allegro)
develop criteria to define quality musical performance and explain how each area affects music performance (MU.68.C.2.1E R)
  • criteria may include elements such as note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
use self-recording as a tool to critique performance and track progress (MU.68.C.2.1E R)
  • how to access audio recording technology/resources
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 use of the internet to obtain audio recordings and printed music (e.g online "pay-to-print" companies, versus pirated music sites)
explain how rhythmic notation is related to math. (MU.68.H.3.1NTK R)
  • fractional division of measures and their corresponding rhythm patterns
explain how sound is produced on an instrument and how that sound reaches the human ear (MU.68.H.3.1NTK R)
  • basic physics of sound waves and the anatomy of the human ear
explain how intonation is affected by conflicting lengths of sound waves (MU.68.H.3.1NTK R)
  • basic physics of sound waves and the anatomy of the human ear
recognize in tune/out of tune and how to make the appropriate adjustments (MU.68.S.3.2E P)
  • how to match the tuning pitch (e.g. push in if flat, pull out if sharp, listen for dissonance)
demonstrate proper technique for snare drum and mallet instruments (percussion) (MU.68.S.3.2E P)
  • proper hand position on instrument or stick height when holding drum sticks and mallets (percussion)
play bass drum, cymbals, suspended cymbal, triangle, etc. with appropriate technique (percussionists) (MU.68.S.3.2E P)
  • auxillary percussion technique
Week 1
recognize the function of lines and spaces of the staff (including the addition of ledger lines) as the means of visually representing pitch (MAFS.K12.MP.7.1BAC )
demonstrate proper playing position (MU.68.S.3.2E P)
  • proper hand position on instrument
recognize and demonstrate proper embouchure (MU.68.S.3.2E P)
  • proper embouchure (e.g. firm corners, flat chin)
understand the proper instrument assembly, care, and maintenance (MU.68.S.3.2E P)
  • the parts of the instrument and the items that are needed for a cleaning kit for their specific instrument
produce a characteristic tone on an instrument (MU.68.S.3.2E P)
demonstrate appropriate breathing technique (MU.68.S.3.2E P)
  • how to take a proper breath while playing (e.g. shoulders down, breathe through mouth not nose, fill up lungs from bottom up)
recognize and demonstrate proper posture (MU.68.S.3.2E P)
  • correct posture (e.g. feet flat on floor, sit up straight)
Second Quarter
watch a YouTube performance of a professional orchestra or band and discuss their kinesthetic approach to playing their instruments (LAFS.6.SL.1.2BAC )
  • physiology of breath support, appropriate posture and how movements of the body contribute to the musicality of an ensemble performance
listen to a recording or watch video of a performance and use the FBA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating (LAFS.68.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
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
  • standard conducting patterns
  • expressive conducting gesture
identify basic style and/or articulation (MU.68.C.1.1BAC )
  • background knowledge about the unfamiliar musical work being studied in class (e.g., Ode to Joy excerpt in method book is derived from Beethoven’s 9th Symphony; introduce historical information about Beethoven, etc.).
  • domain specific vocabulary tied to musical style (e.g. legato, maestoso, march, etc.)
  • domain specific vocabulary associated with different articulations (e.g. staccato, tenuto, accent, etc.)
make connections among the various elements of a given piece of music studied aurally or visually (MU.68.C.1.1BAC )
  • articulation, style, period, genre and instrumentation.
partner with teacher or peers to diagnose diffeciencies and to perscribe appropriate and efficient means of improvement (MU.68.C.2.1E R)
  • various methods and techniques of practice
  • personal learning styles
Follow a written score to identify errors in a performance by the student or a peer. (MU.68.C.2.1E R)
  • how to navigate a written score.
critique one’s own performance and/or the performance of others using criteria and/or rubrics generated through class rehearsal discussions. (MU.68.C.2.2E 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.
compare two recordings or performance by the same student or ensemble to identify the effects of rehearsal or practice. (MU.68.C.2.2E R)
discuss how a composer varies dynamics, tempo, articulations, phrasing, tonality, timbre, and orchestration to create a mood or feeling (MU.68.O.3.1I R)
  • what particular instrumentations sound like (e.g. brass ensemble, woodwind ensemble, trio, full orchestra)
  • how to describe musical elements such as expression markings, tempo, dynamics, articulations, and phrase structure
  • the difference between how major and minor sound (e.g. happy versus sad)
explain how media uses the emotional qualities of music to enhance the presentation of drama, action, or other visual images (MU.68.O.3.1I R)
  • varying media in which music is used to create emotion (e.g. the news, weather, movies, cartoons)
create a rhythmic variation on a phrase from music being rehearsed in class from a fixed set of teacher-provided rhythms (MU.68.S.1.1BAC C)
  • note and rest values: whole, half, quarter, and eighth-notes
echo a motive played by a teacher or peer (MU.68.S.1.4BAC )
  • teacher-defined pitches based on level-appropriate ranges found in the method book or literature
  • teacher-defined rhythms based on level-appropriate ranges found in the method book or band literature
visually identify and aurally recognize intervalic types (perfect and major) and distances (unison, 2nd, and 3rd) (MU.68.S.1.4BAC )
sight-read level-appropriate literature in the ensemble setting, using appropriate expressive elements, phrasing, and articulation (MU.68.S.2.2BAC )
  • how to identify musical elements such as key signature, time signature, rhythm patterns, dynamics, tempo, and articulation markings
Second Semester
Compare two performances of a piece being studied in class. Discuss, in small and large groups, choices made by each performing group, analyze the purpose and motives of their choices, and decide how those choices could influence students' own performance of that piece. (LAFS.6.SL.1.1BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
listen to and delineate the comments of multiple adjudicators regarding the same ensemble performance, and discuss the validity of common and contradictory claims, and evaluate comments for relevance (LAFS.6.SL.1.3BAC )
  • details which may influence an adjudicator's point of view or validate their expertise (e.g., adjudication experience, musical background, musical accomplishments)
  • performance fundamentals: tone quality, intonation, balance, blend, band sonority, physical articulation
  • technical preparation: note accuracy, rhythmic accuracy, precision, entrances, releases, interpretive articulation, clarity of articulation, technique, stability of pulse, dynamics observed, transitions
  • musical effect: expression, shaping of line, style, interpretation, phrasing, tempo, dynamic expression
recognize a major work from a significant composer studied in class (MU.68.H.1.2I R)
recognize and discuss the characteristics which identify historic and stylistic periods. (MU.68.H.1.2I R)
  • musical elements that characterize each stylistic period
identify definitive composers for each of the musical style periods from Renaissance to 21st Century (MU.68.H.1.2I R)
  • historical and biographical information about representative musical works and composers as they appear in a chosen method book.
  • stylistic periods of Western music from 1450-Present (e.g. Renaissance, Baroque, Romantic)
perform a two to four measure rhythmic or melodic phrase in a call and response exercise or as part of an ensemble warm-up (MU.68.S.1.1BAC C)
  • an applicable range of pitches utilized through method books or level-appropriate literature (e.g., the B flat scale)
  • note and rest values: whole, half, quarter, and eighth-notes
create an alternate ending to a phrase from music being rehearsed in class from a fixed set of teacher-provided pitches (MU.68.S.1.1BAC C)
  • an applicable range of pitches utilized through method books or level-appropriate literature (e.g., the B flat scale)
create an eight measure variation on a melody from music being rehearsed in class by altering the form, pitches, rhythm, and/or voicing (MU.68.S.1.3BAC C)
  • how to describe musical elements such as form, rhythm, and voicing
  • how to discriminate between different time signatures, note values, and pitches
Third Quarter
compare two performances of a piece being studied in class (presented in diverse formats), discuss choices made by each performing group, and decide how those choices could influence students' own performance of that piece (LAFS.6.SL.1.2BAC )
  • expressive qualities, accurate notes and rhythms, blend and balance, other factors which contribute to effective performances
use listening maps to identify major musical components (MU.68.C.1.1BAC )
  • how to describe musical elements such as form (e.g., ABA), melody, harmony, tempo, and dynamics.
explain when it is appropriate to copy sheet music and when it is not (MU.68.F.3.2NTK R)
  • public domain versus licensed music (e.g., students must provide an original copy for the judge at Solo and Ensemble MPA, music that is in the public domain may be freely copied).
perform a two to four measure phrase in a call and response exercise using a limited number of pitches given by the teacher (MU.68.S.1.4BAC )
  • teacher-defined rhythms based on level-appropriate ranges found in the method book or band literature
  • teacher-defined pitches based on level-appropriate ranges found in the method book or literature
Fourth Quarter
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.6.SL.2.4BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
correctly identify note names and/or counts for a sample melody on the board and clearly present their findings to the class referencing the key signature and time signature to support their claims (LAFS.6.SL.2.4BAC )
  • key signatures
  • time signatures
  • rhythm counts
  • note names