M/J Band 4 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 )
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.8.SL.1.1BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
All Year
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.8.SL.2.4BAC )
  • key signatures, time signatures, rhythm counts, note names
All Year
lead a sectional rehearsal (LAFS.8.SL.2.4BAC )
  • components of an effective sectional rehearsal (e.g., warm up, skill builders)
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
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
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
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
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
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
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.
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.2.1NTK R)
  • knowledge of music being performed
  • concert ettiquette
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.
perform literature from various historic and stylistic periods (MU.68.H.1.5NTK R)
All Year
identify compositional traits characteristic of a specified time period or genre (MU.68.H.1.5NTK R)
  • primary characteristics of a specific composer and/or style/genre including Baroque, Classical, Romantic, 20th century, contemporary, jazz, pop/rock, chant, spiritual, folk, opera, or world music
All Year
explain the historical connection of music studied in class with particular events or time periods (MU.68.H.2.1NTK 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)
describe how certain cultural events have affected specific composers (MU.68.H.2.1NTK R)
  • historical and cultural events which occurred and influenced the composers of the time (e.g. Beethoven and the French Revolution, Wagner's influence on Nazism, racism and Duke Ellington)
All Year
describe ways in which historical events or time periods have affected musical composition (MU.68.H.2.1NTK R)
  • historical events or time periods which have inspired musical compositions, such as the advent of spirituals/work songs during the time of slavery, the French Revolution and Romanticism, patriotic and protest songs with war/conflict, commercial jingles with the advent of TV.
All Year
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
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)
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
sight-read and perform music selections in simple and compound meters (MU.68.S.3.3E O)
  • how many beats are in 2/4, 3/4, 4/4 and 6/8 time signatures
  • how are beats grouped in various 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)
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, Dal Segno al Fine as well as D.S. and D.C. al Coda)
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, dotted rhythms, and rests
All Year
sight-read a melody from provided literature, using appropriate expression (MU.68.S.3.3E O)
  • sight reading procedure that incorporates expressive markings (e.g. fingering and singing)
All Year
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.8.SL.1.2BAC )
  • instrument specific embouchure formations, and how these contribute to characteristic tone
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.8.SL.1.2BAC )
  • basic understanding of rhythm, melody, and harmony, and how these elements function together in a musical work
  • function of each instrument embouchure: jaw position, tongue placement, facial muscles, tension, lip formation, teeth placement or spacing
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.8.SL.1.3BAC )
  • fundamental components of critical thinking and listening
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 and variations, listening map, form, texture, dynamic markings, expressive markings, melody, counter-melody
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 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
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
recognize and identify the difference between major and minor tonality (MU.68.O.2.2E O)
  • the difference between how major and minor sound (e.g., happy vs. sad).
perform selected major and minor scales (MU.68.O.2.2E O)
  • 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.1.1I 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 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
identify the melody, counter-melody, and harmony in a given selection. (MU.68.C.1.1BAC )
identify major or minor tonality. (MU.68.C.1.1BAC )
  • how major and minor sound (e.g., happy vs. sad).
identify common phrase lengths and contour. (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.).
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 detailed goals and objectives to be achieved during individual practice (MU.68.C.2.1E R)
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
describe three ways that music is present in daily life. (MU.68.F.2.1NTK R)
  • varying occasions and media when music is used (e.g., commencements, sporting events, movies, video games, etc.).
access music through various media soucrces (MU.68.F.2.1NTK R)
  • available resources to access media (e.g., iTunes, mp3, CD, record, cassette, radio, internet video resources, internet streaming audio)
describe the features of fair use as specified in the current copyright law (MU.68.F.3.2NTK R)
  • copyright laws pertaining to fair use
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)
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)
participate in structured individual sight-reading experiences based on the All-State audition model (MU.68.S.2.2BAC )
  • strategies for studying a musical excerpt in a time restricted sight-reading setting (e.g. sizzling, singing, clapping, counting, fingering)
evaluate one’s own and a peer's own performance after sight-reading a similar musical passage (MU.68.S.2.2BAC )
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 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)
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
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
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
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.
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)
play a variation on a melody from music being rehearsed in class while the teacher and/or ensemble provides repeated chord progressions (MU.68.S.1.1I C)
  • melody, repetition, chord structure, and articulations
create a rhythmic variation on a phrase from music being rehearsed in class (MU.68.S.1.1I 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.1.1I 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)
understand simple chord progressions (MU.68.S.1.2I C)
  • how to identify a I, IV, and/or V chord in a given key
create a rhythmic composition based on whole, half, quarter, dotted, eighth, and sixteenth notes and rests (MU.68.S.1.2I C)
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
watch a YouTube performance of a professional orchestra or band and discuss their kinesthetic approach to playing their instruments (LAFS.8.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.8.SL.1.2BAC )
  • expressive qualities, accurate notes and rhythms, blend and balance, other factors which contribute to effective performances
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.8.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
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
research historical and biographical information for composers and selections being performed in class and for recorded examples. (MU.68.C.1.2I R)
  • where to access historical and biographical information about composers from credible sources.
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)
identify the role of publishers in the distribution of written music (MU.68.F.2.1NTK R)
  • various publishing companies such as Alfred, Kjos, Hal Leonard, Barnhouse, Carl Fischer, etc.
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)
identify characteristics of American music that have been influenced by other cultures (MU.68.H.1.3NTK R)
  • the elements that define American styles of music (e.g., instrumentation, improvisational style, call and response techniques, etc.).
  • musical characteristics of various cultures, which may include Asian, Latin, European, South American, or African
experience authentic performances of music from other cultures through use of audio and video recordings (MU.68.H.1.4I R)
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.2.2E O)
  • how to notate music correctly (e.g. note heads, stem directions, and rests)
independantly notate a diatonic melody with steps and small skips, 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
evaluate improvement in the musical performance of a solo or small ensemble using a checklist based on the FBA assessment rubric. (MU.68.C.2.2E R)
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.
write, play back, and edit simple melodies on music notation software such as Finale NotePad, Sibelius or MuseScore (MU.68.F.1.1I C)
  • 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 rhythmic composition utilizing “found sound” instruments (MU.68.F.1.1I C)
  • how to notate music correctly (e.g., note heads, stem directions, and rests).
  • definition of “found sound” instruments (e.g., table tops, chairs, trash cans, etc.)
use sampling or looping software (e.g., Garageband or Super Dooper Music Looper) to create a short composition that includes four or more parts. (MU.68.F.1.1I C)
  • how to access and use music sampling and/or looping software.
create and notate a short composition for an ensemble of one’s own instrument. (MU.68.F.1.1I C)
  • how to notate music correctly (e.g., note heads, stem directions, and rests).
  • compositional elements such as melody, harmonic interest, rhythmic interest, form
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
discuss how the compositional process relates to the process of beginning a business or entrepreneurship. (MU.68.F.3.3BAC )
  • what elements define the music compositional process (e.g., musical idea, development of that idea, revising the work, presenting the work, etc.).
discuss how the compositional process is similar to the scientific method. (MU.68.F.3.3BAC )
  • what the scientific method is (e.g., ask a question, research, hypothesize, analyze, communicate results, etc.).
listen to and identify American styles of music (MU.68.H.1.3NTK R)
  • styles or genres of music which are uniquely American (e.g. jazz, folk songs, spirituals, and musical theatre)
explore the origins of American styles of music as they relate to American history (MU.68.H.1.3NTK R)
  • how musical elements of other cultures influenced American music (e.g. the World Wars influence on the rise in patriotic composers such as Sousa, the influence of emancipation and commerce on Jazz)
listen to recordings of exemplary works from various historical and/or stylistic periods and discuss the compositional techniques utilized (MU.68.H.1.5NTK R)
  • the elements that define music from different stylistic periods (e.g., instrumentation, orchestration, ornamentation, etc.).
compare and contrast works of the same historical period through recorded examples and teacher-led discussions (MU.68.H.1.5NTK 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)
  • the development of music distribution from the advent of the printing press (1440) to the internet
discuss the development of performance arenas to accommodate new genres of music (e.g., expansion of churches, opera houses, symphony halls, salon performances, modern stadium venues) (MU.68.H.2.2BAC )
create a melody based on a limited number of pitches from the major scale (MU.68.O.2.1I C)
  • how to derive a pentatonic scale and arpeggio from a given major diatonic scale
notate a simple phrase for one’s own instrument within a playable range using correct note values, signs, and symbols to convey musical ideas. (MU.68.O.2.1I C)
  • a standard two-octave range for his/her instrument
  • how many beats are in whole, half, quarter, eighth, sixteenth notes, and rests.
make a new arrangement of a passage by making changes to the rhythm, melody, and/or other expressive musical element (tempo, articulations, dynamics) (MU.68.O.2.1I C)
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 melody based on a limited number of pitches from major scales (MU.68.S.1.2I C)
  • which assigned pitches to use in the melody (e.g. notes from the pentatonic scale, the notes of an arpeggio)
notate a simple phrase for one’s own instrument within a playable range using correct note values, signs, and symbols to convey musical ideas (MU.68.S.1.2I C)
  • a standard two-octave range on their instrument
create and notate a four to eight measure melody based on a I-IV-V-I chord progression (MU.68.S.1.2I C)
  • 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.1.2I C)
  • how to notate music correctly (e.g. note heads, stem directions, and rests)
  • how to use music notation software