M/J Band 3 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
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 )
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.7.SL.2.4BAC )
  • key signatures, time signatures, rhythm counts, note names
All Year
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
All Year
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
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
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
All Year
critique one’s own performance and the performance of others using student generated criteria and/or rubrics. (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 performances by the same student or ensemble to identify the effects of rehearsal or practice (MU.68.C.2.2E R)
evaulate personal composition and/or improvisation using a teacher-generated rubric (MU.68.C.2.3BAC )
  • Fundamental compositional and improvisational techniques including, but not limited to: melody, harmony, chord structure, counter melody, tempo, and time signature.
All Year
participate in concert experiences as a listener and a performer. (MU.68.F.2.2NTK R)
  • appropriate audience and performance behavior for a variety of musical programs.
describe and demonstrate appropriate audience, rehearsal, and performance behavior at a variety of musical activities. (MU.68.F.3.1BAC )
  • audience etiquette
  • performance etiquette
  • rehearsal etiquette
explain the historical connection of music studied in class with particular events or time periods (MU.68.H.1.1NTK 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)
explain the cultural connection of music studied in class with the particular countries or cultures of origin (MU.68.H.1.1NTK R)
  • music of various cultures (e.g., arrangements/transcriptions of Irish folksongs, Latin dance music)
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)
  • musical elements that define the historical and stylistic periods being studied in class (e.g. form, instrumentation, dynamics)
  • various periods of music history (e.g. Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century)
  • historical and biographical information about representative musical works and composers as they are introduced within appropriate band literature
recognize the influence of American musical styles in method book materials and supplementary literature (MU.68.H.2.3I R)
  • American musical styles in instrumental literature (e.g. folk, jazz, blues, rock, pop)
recognize the influence of non-Western music in method book materials and supplementary literature (MU.68.H.2.3I R)
  • world music styles and genres
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
identify the emotions expressed in music and find examples of how these emotions are expressed in the other arts (MU.68.H.3.1NTK R)
  • similarities between music and other fine arts
identify different dynamic levels, tempi, articulations, and harmonic applications in aural examples and class repertoire (MU.68.O.1.1I R)
  • vocabulary as it relates to musical elements such as dynamics, tempi, articulations, phrasing, and harmony
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)
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 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)
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)
recognize, count, and sight-read complex rhythms and rests (MU.68.S.3.3E O)
  • how many beats are in whole, half, quarter, eighth, sixteenth 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
All Year
understand and demonstrate dynamic markings and phrasing (MU.68.S.3.3E O)
  • dynamic marking symbols and terms (e.g. crescendo, decrescendo, subito, f, mf, mp, p)
  • phrasing concepts (e.g. four bar versus eight bar phrase, breath marks, cadences)
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
perform the “roadmap” endings as they appear in sight-reading and concert literature (MU.68.S.3.3E O)
  • how to trace the format of a piece using varied “roadmap” endings (e.g. repeats, Da Capo al Fine, Del Segno al Fine as well as D.S. and D.C. al Coda)
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)
All Year
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)
All Year
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)
All Year
differentiate between effective and ineffective rehearsal techniques (MU.68.S.3.6BAC )
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
apply large group rehearsal strategies to small group/sectional settings (MU.68.S.3.6BAC )
  • components of an ensemble rehearsal (e.g. differentiated instruction, time management, rehearsal etiquette, warm up routine)
All Year
discuss rehearsal strategies and their application to personal practice (MU.68.S.3.6BAC )
  • practice strategies (e.g., technical exercises, flexibility exercises, long tones)
recognize and display personal preparation for rehearsals including necessary equipment and music preparation (MU.68.S.3.6BAC )
  • practice strategies (e.g., technical exercises, flexibility exercises, long tones)
  • assignments
First Semester
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.7.SL.1.2BAC )
  • instrument specific embouchure formations, and how these contribute to characteristic tone
  • function of each instrument embouchure: jaw position, tongue placement, facial muscles, tension, lip formation, teeth placement or spacing
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.7.SL.2.4BAC )
  • theme and variations, listening map, form, texture, dynamic markings, expressive markings, melody, counter-melody
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
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
create a hypothesis on how a piece may sound based on written indicators found in the score. (MU.68.C.1.2I R)
  • title of the piece, composer, and domain specific vocabulary related to tempo, articulation, and expressive markings
identify and describe the stylistic elements and characteristics of varied musical styles performed in class (MU.68.C.1.3I R)
  • stylistic elements that define a march, ballad, overture, dance, etc. (e.g., tempo and articulation).
  • stylistic elements that identify the Baroque, Classical, Romantic, and 20th century time periods.
classify recordings of ensembles based on genre (MU.68.C.1.3I R)
  • aural characteristics of various genres (e.g., march, overture, symphony, etc.).
create a four to eight measure phrase consisting of rhythms and rests with input and feedback from teacher and peers. (MU.68.C.2.3BAC )
  • how to play and/or notate increasingly complex notes and rhythmic patterns (e.g., dotted rhythms, eighth note/rest, triplets, etc.)
  • how to count rhythms using a counting system (e.g., 1&2&3&4&)
define fundamental compositional techniques (MU.68.C.2.3BAC )
  • melody, harmony, counter melody, tempo, and time signature
create a four to eight measure melody with input and feedback from teacher and peers (MU.68.C.2.3BAC )
  • how to play and/or notate increasingly complex melodies
  • which notes are appropriate to use in a diatonic melody
examine how one’s personal role in band is a process of self-improvement that can apply to other areas of life (MU.68.F.3.1BAC )
  • self-improvement techniques that are transferrable to other areas of life (e.g. practice, study, discipline, high expectations)
aurally recognize and identify the difference between major and minor tonality (MU.68.O.2.2BAC )
  • the difference between how major and minor sound (e.g., happy vs. sad).
perform selected major and minor scales (MU.68.O.2.2BAC )
  • how to derive the relative minor scale from a given major key
perform an improvised phrase in a call-and-response exercise as part of an ensemble warm-up (MU.68.S.1.1BAC C)
  • note and rest values: whole, half, quarter, eighth and sixteenth-notes; also dotted rhythms: half, quarter and eighth
  • an applicable range of pitches utilized through method books or level-appropriate literature (e.g., utilizing the seven standard middle school scales G, C, F, Bb, Eb, Ab and/or Db or their applicable pentatonic derivatives)
play selected scales from memory (MU.68.S.2.1BAC )
  • G, C, F, Bb, Eb, Ab, and Db concert scales derived from the standard 7 middle school scale set
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 that includes, but is not limited to, method book exercises, scales, and FBA Grade I, II, and III band literature (MU.68.S.3.1E P)
tune timpani by ear before rehearsing or performing a piece (percussionists) (MU.68.S.3.2E P)
  • proper technique to tune a timpani (e.g. which way to press the pedals to raise or lower pitch)
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
independantly notate a simple rhythmic phrase as played or sung by a teacher (MU.68.S.3.5E R)
  • how many beats are in whole, half, quarter, eighth notes, dotted half notes, dotted quarter notes, 16th notes, and corresponding rests
  • correct use of time signatures including (e.g., 4/4, 3/4, 2/4 and 6/8)
  • procedure for deciphering rhythms (e.g., count singing, speaking rhythms, subdividing)
  • basic music notation principles (e.g., note heads, stem directions, and rests)
First Quarter
read the score for a small ensemble piece focusing on one part at a time while listening to a recording, then, discuss how the parts fit together with regard to rhythm, melody, and harmony (LAFS.7.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 )
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, counter-melody, and harmony 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)
identify style and/or articulation (MU.68.C.1.1BAC )
  • 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, slur, etc.)
classify recordings of ensembles based on instrumentation (MU.68.C.1.3I R)
  • how to aurally identify instruments and instrument combinations (e.g., brass ensemble, woodwind ensemble, trio, full orchestra, etc.).
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
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
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
develop detailed goals and objectives to be achieved during individual practice (MU.68.C.2.1E R)
define copyright and discuss proper usage of applicable materials, media, and performances. (MU.68.F.3.2NTK R)
  • copyright law and ethical considerations, as well as consequences for copyright abuse (ie. illegal and legal reproduction of materials, legal and ethical options for obtaining out-of-print music)
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
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
  • musical phrasing (e.g. 4 bar phrases versus 8 bar phrases, appropriate places to breathe)
demonstrate the use of analytical techniques with respected to improving accuracy of sight-reading (e.g., rhythmic and pitch pattern recognition, chunking) (MU.68.S.2.2BAC )
  • common patterns found in music (e.g., scales, arpeggios, sequence, common rhythmic patterns)
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 )
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
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)
recognize and demonstrate proper embouchure (MU.68.S.3.2E P)
  • proper embouchure (e.g. firm corners, flat chin)
produce a characteristic tone on an instrument (MU.68.S.3.2E P)
Second Quarter
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
identify major or minor tonality. (MU.68.C.1.1BAC )
  • how major and minor sound (e.g., happy vs. sad).
describe the texture of an unfamiliar work or passage (MU.68.C.1.1BAC )
  • unison, duet, trio, soli, homophonic, monophonic, polyphonic
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.
identify the various occasions for which music is utilized and discuss how music impacts each occasion (MU.68.H.1.1NTK R)
  • varying occasions when music is used (e.g., weddings, commencements, and sporting events)
recognize a major work from a significant composer studied in class (MU.68.H.1.2NTK R)
identify the various occasions for which music is utilized and discuss how music impacts each occasion (MU.68.H.3.2BAC )
describe the use of music at an event in one’s life (MU.68.H.3.2BAC )
identify situations where music is an essential supporter and discuss the impact of its absence (e.g. theater, dance, movies, television, ceremonies, commercial advertising, sporting events, social gatherings, and video games) (MU.68.H.3.2BAC )
listen to two or more versions of a piece performed by ensembles of different genres, styles, or instrumentation, and compare the impact of the different renditions (MU.68.O.1.1I R)
  • various musical genres and/or styles (e.g. classical, jazz, country)
recognize how a composer varies dynamics, tempo, articulations, phrasing, tonality, timbre, and orchestration to create a mood or feeling (MU.68.O.3.1E R)
  • 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.3.1E 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 (MU.68.S.1.1BAC C)
  • note and rest values: whole, half, quarter, eighth and sixteenth-notes; also dotted rhythms: half, quarter and eighth
experiment with improvised melodies based on a limited number of pitches from major scales (MU.68.S.1.1BAC C)
  • an applicable range of pitches utilized through method books or level-appropriate literature (e.g., utilizing the seven standard middle school scales G, C, F, Bb, Eb, Ab and/or Db or their applicable pentatonic derivatives)
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, major and minor) and distances (unison, 2nd, 3rd, 4th, 5th, 6th, 7th and octave) (MU.68.S.1.4BAC )
accurately memorize an eight-measure phrase(s) from pieces rehearsed in class (MU.68.S.2.1BAC )
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.7.SL.1.1BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
watch a YouTube performance of a professional orchestra or band and discuss their kinesthetic approach to playing their instruments (LAFS.7.SL.1.2BAC )
  • physiology of breath support, appropriate posture and how movements of the body contribute to the musicality of an ensemble performance
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.7.SL.1.2BAC )
  • expressive qualities, accurate notes and rhythms, blend and balance, other factors which contribute to effective performances
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.7.SL.1.3BAC )
  • fundamental components of critical thinking and listening
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.7.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
lead a sectional rehearsal (LAFS.7.SL.2.4BAC )
  • components of an effective sectional rehearsal (e.g., warm up, skill builders)
outline the form of the selection. (MU.68.C.1.1BAC )
  • melody, counter-melody, theme, variations, ABA song form, sonata-allegro form, binary form, through-composed
evaluate improvement in the musical performance of a large ensemble, using a checklist based on the FBA assessment rubric. (MU.68.C.2.2E R)
discuss the increase in revenues at restaurants, hotels, travel agencies, venue maintenance, and parking attendants. (MU.68.F.2.2NTK R)
  • advertising
  • workers needed for concerts; i.e., professional production vs. community/school production
  • how other businesses are impacted by concert attendance
recognize and discuss the characteristics which identify historic and stylistic periods. (MU.68.H.1.2NTK 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.1.2NTK 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)
discuss the characteristics and musical elements of authentic performances of music from other cultures (MU.68.H.1.4I R)
apply authentic performance techniques to music being performed in class where applicable (MU.68.H.1.4I R)
compose two melodies that are complimentary to one another—one with a major tonality and one with a minor tonality (MU.68.O.2.2BAC )
  • how to notate music correctly (e.g. note heads, stem directions, and rests)
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
independantly notate a diatonic melody using step-wise motion, given a starting note and key, as played or sung by a teacher (MU.68.S.3.5E R)
  • basic music notation principles (e.g., note heads, stem directions, and rests)
  • diatonic intervalic relationships
Third Quarter
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.
discuss, using a score, how a composer uses compositional techniques to create emotional content in music being performed in class as well as in recorded examples. (MU.68.C.1.2I R)
  • compositional techniques including melodic line, harmonic interest, texture, rhythm, form, musical phrases, 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 or four measure phrase in a call and response exercise as part of an ensemble warm-up (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
Fourth Quarter
discuss how a composer uses musical devices to create quality music based on literature being studied in class and/or recordings. (MU.68.C.3.1NTK R)
  • musical devices such as melodic line, harmonic interest, rhythm, emotional content, and form
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.
  • how to describe contemporary, jazz, pop/rock, chant, spiritual, folk, opera, and some world music styles.
identify audience members’ ancillary needs, such as dining out, purchasing special outfits, travel accommodations, and souvenirs. (MU.68.F.2.2NTK R)
  • patronage of vendors surrounding a performance
explore how the global phenomenon of music can enhance understanding and relationships among people of different cultures (MU.68.F.3.1BAC )
  • similarities and differences of music and its uses in various cultures
experience authentic performances of music from other cultures through use of audio and video recordings (MU.68.H.1.4I R)
describe how wind and percussion instruments have developed over time due to advancements in technology (MU.68.H.2.2BAC )
  • the impact of technology on the development of instruments
discuss how people acquire music, and how this has changed over time (MU.68.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 excerpts from programmatic pieces through works being studied in class or recordings, and explain how the composer used compositional techniques to tell a story (MU.68.O.3.1E R)
  • compositional techniques found in programmatic works (e.g. idee fixe within Berlioz's Symphony Fantastique)
create a non-pitched rhythmic ostinato to accompany a melody from music being rehearsed in class (MU.68.S.1.3BAC C)
  • how to notate music correctly (e.g. note heads, stem directions, and rests)