M/J Orchestra 2 Pacing Guide

All Year
demonstrate focused attention in class by high achievement on daily formative assessments and periodic summative assessments. (DA.68.S.2.1BAC )
maintain proper decorum at all times during class and when attending concerts. (DA.68.S.2.1BAC )
  • concert etiquette
  • performance etiquette
observe proper rehearsal etiquette as defined by the director. (DA.68.S.2.1BAC )
  • rehearsal etiquette
observe classroom rules. (DA.68.S.2.1BAC )
  • procedure for entering and exiting the classroom
  • evacuation plan
  • document collection/distribution
  • classroom supply requirements (e.g. journals, pencils, box of tissues)
  • restroom privileges
show respect for all other orchestra members and the director. (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
All Year
differentiate between English terminology and musical terminology (ELD.K12.ELL.SI.1BAC )
  • 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)
  • intervallic relationships
perform rhythmic and melodic patterns accuartely by visually interpreting musical symbols (ELD.K12.ELL.SI.1BAC )
  • pitches on the staff, rhythmic patterns appropriate to the course level
All Year
use classroom visual aids to accurately interpret and perform musical symbols and abbreviations (ELD.K12.ELL.SI.1BAC )
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
All Year
imitate sound concepts modeled by the teacher and peers (ELD.K12.ELL.SI.1BAC )
  • how to produce a characteristic tone
All Year
rehearse and perform music in class with their peers to demonstrate comprehension and synthesis of skills (ELD.K12.ELL.SI.1BAC )
  • classroom procedures
  • proper posture
  • how to follow the director
  • proper hand position on instrument
  • where to locate the rehearsal plan and/or classroom objectives
recognize, count and notate simple rhythms and rests (ELD.K12.ELL.SI.1BAC )
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
All Year
share and apply feedback from the teacher and peers in rehearsal through verbal, visual, and audible means. (LAFS.6.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.6.SL.1.1BAC )
attentively listen to a guest speaker/lecturer/clinician, comprehend the information presented, ask relevant questions to further understanding, and discuss the soundness and relevance of the information presented. (LAFS.6.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 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 solfeggio 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 )
  • solfeggio
  • Curwen-Glover hand signs for major scale
  • key signatures
  • time signatures
  • rhythm counts
engage in a discussion with peers about a topic pertinent to the course using domain-specific vocabulary. (LAFS.6.SL.2.4BAC )
  • music vocabulary
lead a sectional rehearsal. (LAFS.6.SL.2.4BAC )
  • components of an effective sectional rehearsal (e.g., warm up, skill builders, etc.)
identify and perform music notation as related to class literature. (LAFS.68.RST.2.4BAC )
  • music notation, including notation symbols specific to string playing
understand vocabulary in various languages as it appears in class literature. (LAFS.68.RST.2.4BAC )
  • domain specific vocabulary
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.68.WHST.3.9BAC )
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: MU.68.C.1.4
listen to multiple pieces by the same composer to realize a composer’s style and technique (LAFS.68.WHST.3.9BAC )
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast) (LAFS.68.WHST.3.9BAC )
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier, shoulder rest, rosin, end-pin strap, cleaning cloth, music folder, and music stand
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo. (MAFS.K12.MP.6.1BAC )
  • note/rest values appropriate to course and literature
  • time signatures appropriate to course and literature
use domain specific vocabulary to communicate precise ideas and opinions with others. (MAFS.K12.MP.6.1BAC )
demonstrate precision in 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.
describe and employ active listening techniques when listening to music. (MU.68.C.1.1BAC )
  • active listening techniques
given teacher criteria, identify elements in various pieces such as form, tonality, style period, genre, or instrumentation. (MU.68.C.1.1BAC )
  • musical elements: form, tonality, style period, genre, instrumentation, articulation
make connections among the various elements of a given piece of music studied aurally or visually, such as articulation and style period, or genre and instrumentation. (MU.68.C.1.1BAC )
define and identify basic expressive vocabulary in written music as found in levels one and two method books. (MU.68.C.1.2I R)
  • tempo
  • articulations
  • dynamics
list musical words to describe expressive elements of a performance. (MU.68.C.1.2I R)
  • style indicators such as dolce, cantabile, pesante, etc.
using appropriate music vocabulary, explain preferences of musical styles and artists. (MU.68.C.1.2I R)
predict what a piece will sound like based on the title, composer, and composer notes. (MU.68.C.1.2I R)
identify errors in a performance compared to a written score (MU.68.C.2.1E R)
  • rhythms in appropriate method books
  • intervals as steps, skips or leaps
identify, when playing alone and with the ensemble, quality intonation. (MU.68.C.2.1E R)
  • pitch acuity
integrate rhythms across the ensemble with a unison pulse. (MU.68.C.2.1E R)
identify, when playing alone and with the ensemble, quality tone. (MU.68.C.2.1E R)
  • tone production
identify which student parts have the melody and harmony and balance accordingly. (MU.68.C.2.1E R)
  • melody, harmony
  • balance and blend
identify, aurally and visually, articulations in appropriate method books. (MU.68.C.2.1E R)
  • articulations
understand the importance of correct setup, i.e. posture, left and right hand techniques, as a foundation for quality playing. (MU.68.C.2.1E R)
  • posture, instrument position, and bow hold
apply and reflect on strategies for purposeful practice. (MU.68.C.2.1E R)
  • practice strategies
compare and contrast the roles of music and musicians in various historical style periods. (MU.68.H.1.1BAC )
  • dates, composers, and works of Baroque, Classical, Romantic, 20th Century style periods (see MU.68.C.1.3)
  • major historical events that occurred in the Baroque, Classical, Romantic, and 20th Century music style periods
  • societal trends and attitudes towards music and musicians in the Baroque, Classical, Romantic, and 20th Century style periods
identify the styles, forms, and periods of current repertoire. (MU.68.H.2.3I R)
  • style periods (MU.68.H.1.1 and MU.68.C.1.3)
  • genres (MU.68.H.1.4)
  • forms (MU.68.C.1.1, MU.68.S.1.3, MU.68.H.3.1)
discuss the time period of the composers of the current class repertoire, and identify the style of the music to its style period if different from the composer’s life dates. (MU.68.H.2.3I R)
  • musical style characteristics of specific style periods
make connections between the elements of music and other subject areas. (MU.68.H.3.1NTK R)
explain the historical connections of music to particular events or time periods. (social studies: history) (MU.68.H.3.1NTK R)
  • roles of music in societies and cultures
identify different dynamic levels, tempi, and simple articulations in aural examples and class repertoire. (MU.68.O.1.1I R)
discuss, using correct musical vocabulary, preferences in aural examples and class repertoire with regard to changes in dynamic levels, tempi, and articulations. (MU.68.O.1.1I R)
discuss how a composer uses musical devices to create an expressive impact in the pieces played or heard by students. (MU.68.O.3.1I R)
describe the emotions expressed in a given piece of music, and predict how changes in musical elements, e.g., tempo, articulation, or mode, might change the feel of the given piece. (see MU.68.O.1.1) (MU.68.O.3.1I R)
  • expressive musical elements such as dynamics, tempi, and articulations
use knowledge of musical elements to describe the efficacy of musical styles and instrumentation for a given occasion. (MU.68.O.3.1I R)
  • music style periods and genres
transfer the skills and knowledge mastered in MU.68.S.2.2, MU.68.S.3.1, and MU.68.S.3.2 to new pieces of music. (MU.68.O.3.2E P)
  • synthesis of techniques in MU.68.S.2.2, MU.68.S.3.1, and MU.68.S.3.2
improvise melodies over given, performed ostinati. (MU.68.S.1.1BAC )
assign different rhythmic values to notes in a given piece. (MU.68.S.1.3BAC )
play either of two parts from a method book duet, as assigned, with the ensemble, then switch parts. (MU.68.S.1.3BAC )
  • melody and harmony
mark bowings and dynamics in music as directed. (MU.68.S.1.3BAC )
  • bowings
  • dynamics
  • articulations
sing a one octave major scale using solfège with hand symbols (do, re, mi, fa, sol, la, ti, do), given do. (MU.68.S.1.4BAC )
  • major scale
  • solfège: syllables and hand signs
play major arpeggios, and sing using solfège syllables. (MU.68.S.1.4BAC )
  • major arpeggio
echo simple rhythms and stepwise melodies given the first note. (MU.68.S.1.4BAC )
decipher (sound out) three-note traditional melodies by ear, given the first note, and translate them to “do, re, and mi” syllables. (MU.68.S.1.4BAC )
recall information about the pieces played in class without referring to the music, such as title, composer, style period, form, time signature, tempo, key center or signature, unique features, main theme(s), and/or performance instructions from the conductor. (MU.68.S.2.1BAC )
  • title
  • composer
  • style period
  • form
  • tempo
  • time signature
  • key
  • main theme
memorize excerpts from an assigned piece, applying given memorization techniques in the process, e.g., theme, form, patterns, tonality, etc. (MU.68.S.2.1BAC )
perform, by memory, a piece that has been repeated frequently both in class and in individual practice. (MU.68.S.2.1BAC )
exhibit areas of technical focus in memorized songs. (MU.68.S.2.1BAC )
sight-read and perform rhythmic patterns that consist of note values found in level one or two method book. (MU.68.S.2.2E P)
  • sight reading
  • note values and rhythmic patterns
recognize good intonation, and respond to proper intonation by adjusting the fingers. (MU.68.S.2.2E P)
  • intonation
recognize whether the instrument is in tune, and tune, with assistance, using fine tuners. (MU.68.S.2.2E P)
  • how fine tuners adjust pitch
understand, apply, and transfer to new pieces the basic intonation knowledge and skills mastered in previous pieces. (MU.68.S.2.2E P)
recognize, name, and perform musical elements found in levels one and two method books and FOA Levels E and D repertoire, such as: bowings, expressive elements, (e.g., dynamics and tempos), key signatures and their associated finger patterns, and time signatures. (MU.68.S.2.2E P)
  • bowings
  • tempi
  • dynamics
understand, apply, and transfer the skills and knowledge mastered in one piece to new pieces. (MU.68.S.2.2E P)
distinguish, while playing, a quality tone, and make appropriate adjustments. (MU.68.S.3.1E P)
  • quality tone
distinguish, while playing, quality intonation, and make appropriate adjustments. (MU.68.S.3.1E P)
  • pitch discernment
use all parts of the bow, recognizing proper bow division. (MU.68.S.3.1E P)
  • parts of the bow: frog, middle, tip, upper half, lower half, whole bow, balance point
  • bow division
change tone color through use of the fourth finger instead of open strings where appropriate. (MU.68.S.3.1E P)
  • tone color
identify and perform, as contained in class repertoire: all dynamic levels, phrasings, tempo markings, bowings, and articulations. (MU.68.S.3.1E P)
  • bowings
  • dynamics
  • articulations
  • phrasing
  • tempi
use correct vocabulary when referring to the instrument and bow, when discussing technique. (MU.68.S.3.2E P)
  • parts of the instrument
perform with proficient left- and right-hand techniques (including fingers, hands, arms, and shoulders) on all strings in first position. (MU.68.S.3.2E P)
  • bowing technique: hold, weight, speed, angle, placement
  • left hand technique
  • playing facility
  • pizzicato position and technique
demonstrate the following bow techniques: down- and up-bow, staccato, legato, détaché, hooked bowing, grouped staccato, tremolo, and slurs up to four notes. (MU.68.S.3.2E P)
  • bowings
use the lower, middle, and upper parts of the bow with a developing use of correct bow division. (MU.68.S.3.2E P)
  • bow division
recognize the effects that speed, weight, angle, and placement of the bow have on tone, dynamics, and bow division. (MU.68.S.3.2E P)
  • tone
  • dynamics
demonstrate the ability to play major and minor tetrachords on all four strings, using finger patterns from the scales learned in this class. (MU.68.S.3.2E P)
  • major and minor tetrachords
play the C, D, E-flat, F, G, A, and B-flat Major scales and arpeggios one octave. (MU.68.S.3.2E P)
  • key signatures for scales played in class
  • finger patterns for scales played in class
play the G, A, and B-flat Major scales and arpeggios two octaves if a violinist; the C, D, and E-flat Major scales and arpeggios two octaves if a violist; or the C and D Major scales and arpeggios two octaves if a cellist. (MU.68.S.3.2E P)
play the chromatic scale two octaves starting on open G if a violinist, two octaves starting on open C if a violist or cellist, or one octave starting on open E if a bassist. (MU.68.S.3.2E P)
  • chromatic scale fingering
name the notes on the staff in the student’s own clef that correspond to scales played in class. (MU.68.S.3.2E P)
  • notes on the staff for scales played in class
  • major scale construction
  • chromatic scale construction
sight-read selections from Florida Orchestra Association Class E repertoire or the equivalent, after a short instructional prompt, keeping intact the basic rhythmic, melodic, and stylistic qualities. (MU.68.S.3.3E O)
  • sight reading strategies
  • time signatures, tempos, rhythmic elements, key signatures, melodic ranges, chromaticism, articulations, bowing technique, and formal schemes found in Florida Orchestra Association Class E repertoire
clap, sing, or play (pizzicato or arco) on an open string, rhythm patterns that consist of eighth notes, quarter notes, half notes, dotted half notes, and whole notes, at sight. (MU.68.S.3.3E O)
  • rhythm patterns
sight-sing student’s part according to the directions of the conductor. (MU.68.S.3.3E O)
  • sight reading procedure
use a counting system to organize rhythmic ideas, such as count-singing. (MU.68.S.3.4E R)
  • counting system
identify, visually and/or aurally, the following intervals: 2nd, 3rd, 5th, and octave. (MU.68.S.3.4E R)
  • intervals
determine, through active listening, which melody of two given written examples is being played. (MU.68.S.3.4E R)
  • listening strategies
compare written and aural examples to determine which measure contains rhythmic or pitch errors. (MU.68.S.3.4E R)
  • error detection strategies
use correct vocabulary when discussing parts of the instrument and bow, aspects of performance music, and technique. (MU.68.S.3.6BAC )
  • vocabulary for equipment, music reading, rehearsal, and performance.
  • parts of the instrument and bow
apply the ability to care for the instrument, bow, and case. (MU.68.S.3.6BAC )
  • care of the instrument, bow, and case
recognize and follow the conductor’s instructions and gestures. (MU.68.S.3.6BAC )
  • conductor’s gestures
display focused, on-task behavior in all classroom activities. (MU.68.S.3.6BAC )
  • rehearsal procedures and rules
  • rehearsal conduct
consistently display readiness for class by being prepared with all necessary equipment and music. (MU.68.S.3.6BAC )
  • materials needed for class and home
recall and complete the assignment from the previous class. (MU.68.S.3.6BAC )
  • daily objective in class
show evidence of practice. (MU.68.S.3.6BAC )
  • practice assignments
First Semester
perform the rhythm of an assigned piece from the string method book on a percussion instrument. (MU.68.S.1.3BAC )
  • rhythm
  • tempi
First 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 )
observe a picture of a proper bow hold and explain how it contributes to a characteristic sound. (LAFS.6.SL.1.2BAC )
  • instrument specific bow holds and hand positions, and how these contribute to characteristic tone
create a listening map or checklist for use with studied repertoire in small student groups or individually. (MU.68.C.1.1BAC )
  • listening map
  • checklist
discuss the interrelationships among orchestra members and the conductor. (MU.68.C.2.1E R)
  • structure of a string orchestra: conductor, concertmaster, section leaders, and sections
support the larger ensemble by understanding the importance of one’s individual role. (MU.68.C.2.1E R)
discuss the importance of appropriate rehearsal conduct and its impact on the success of the ensemble. (MU.68.C.2.1E R)
  • rehearsal conduct
discuss improvisation as it relates to music and life. (MU.68.S.1.1BAC )
  • definition of improvisation
improvise simple rhythms in a given meter, on open strings, to accompany a given, performed ostinato in the same meter. (MU.68.S.1.1BAC )
  • simple rhythms
play the open D, G and A strings to produce simple I, IV, and V accompaniments to simple, familiar melodies performed in the key of D Major. (MU.68.S.1.1BAC )
  • open strings
  • I, IV, and V scale degrees
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 )
correlate correct set-up and technique with proficiency on the instrument. (MU.68.S.2.2E P)
  • playing technique
  • playing proficiency
demonstrate the correct playing position for the body, instrument, and bow, with an understanding of the direct impact a correct set-up has on playing facility, quality tone, and intonation. (MU.68.S.3.2E P)
  • body posture and instrument position
Week 2
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
Week 3
discuss various ways in which rhythm and meter are mathematical. (mathematics) (MU.68.H.3.1NTK R)
  • mathematical nature of note values and meter
Second Quarter
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
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
compare two performances of a piece being studied in class (presented in diverse formats), discuss (small group and/or whole group) 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
listen to a recording or watch video of a performance and use the FOA 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
evaluate personal performance based on teacher criteria. (MU.68.C.2.1E R)
  • teacher assessment rubrics
discuss the importance of the sustainability of the creative process to our continued access to new and old musical works, both in print and recordings. (MU.68.F.3.2NTK R)
  • works that are out of print
  • professions in music
define “copyright” and discuss proper usage of applicable materials, media, and performances. (MU.68.F.3.2NTK R)
  • copyright
discuss the financial and social implications of copyright infringement. (MU.68.F.3.2NTK R)
compare musical phrases with sentence structure (language arts) (MU.68.H.3.1NTK R)
  • phrase as it relates to language arts and music
Second Semester
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 )
  • Technical Preparation: intonation, pitch accuracy, rhythmic precision, balance, entrances, releases
  • Characteristic tone and proper bow technique
  • Musical effect: tempo, phrasing, musical line, dynamics, style, articulations
  • details which may influence an adjudicator's point of view or validate their expertise (e.g., adjudication experience, musical background, musical accomplishments)
evaluate a personal or ensemble performance using a Florida Orchestra Association (FOA) Music Performance Assessment (MPA) form. (MU.68.C.2.1E R)
  • F.O.A. adjudication forms for M.P.A.
Fourth Quarter
read two versions of a score and compare and contrast the editors intent. (LAFS.6.SL.1.2BAC )
  • the responsibilities of a music editor, and the different editing methods employed (e.g., articulation and dynamic markings)
experiment by eliminating expressive musical elements such as dynamics or articulations, and then play the music again, exaggerating the same elements, to hypothesize on the composer’s intent. (MU.68.C.1.2I R)
list the professions that may be involved in the path music may take from the composer to the listener, for both live and recorded music. (MU.68.F.2.1NTK R)
  • music professions
  • music production
  • music distribution
research the process of music creation to consumption, focusing on the life of a specific composer such as Soon Hee Newbold or Mozart. (MU.68.F.2.1NTK R)
  • music publishing
compare the role of music in at least two world cultures. (MU.68.H.1.1BAC )
  • several world cultures and their unique customs
discuss various ways sound is produced acoustically and electronically. (science: acoustics) (MU.68.H.3.1NTK R)
  • acoustic sound
  • electronic sound
discuss how sound waves travel. (science: acoustics) (MU.68.H.3.1NTK R)
  • sound waves
discuss how sound waves reflect in various venues. (science: acoustics) (MU.68.H.3.1NTK R)
  • reflection and absorption of sound waves
discuss how sound is received by the human ear. (science: acoustics, physiology) (MU.68.H.3.1NTK R)
  • physical attributes of the human ear
arrange a short musical piece by utilizing one or more of the following: augmentation, diminution, manipulating the form, changing the tonality, displacing notes to make the range more accessible, or transposing to a different key. (MU.68.S.1.3BAC )
  • form
  • voicing
  • major and minor tonalities
  • ways to manipulate thematic material: augmentation and diminution
  • transposition
  • octave displacement