M/J Orchestra 4 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
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 pieces by the same composer to realize a composer’s style and technique (LAFS.68.WHST.3.9BAC )
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 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 )
share and apply feedback from the teacher and peers in rehearsal through verbal, visual, and audible means. (LAFS.8.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.8.SL.1.1BAC )
discuss authors or historical figures who are contemporaries of the composers studied in class. (LAFS.8.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.8.SL.1.3BAC )
  • fundamental components of critical thinking and listening
  • details which may influence a speaker's point of view or validate their expertise (e.g., experience, background, accomplishments, prejudices, etc.)
  • develop meaningful questions based on information provided
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.8.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.8.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.8.SL.2.4BAC )
  • music vocabulary
lead a sectional rehearsal. (LAFS.8.SL.2.4BAC )
  • components of an effective sectional rehearsal (e.g., warm up, skill builders, etc.)
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 expressive vocabulary in various written pieces as found in FOA music levels E, D, and C. (MU.68.C.1.2I R)
  • tempo
  • articulations
  • dynamics
explain how expressive musical instructions help musicians shape a performance, and the importance of being fluent with the vocabulary. (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, composer notes, and musical elements. (MU.68.C.1.2I R)
distinguish genres of music as folk, popular, or art music, including both sacred and secular. (MU.68.C.1.3I R)
  • genres of music such as folk, popular, art
discuss art music of definitive composers from various musical style periods. (MU.68.C.1.3I R)
  • dates, composers, and works: Baroque, Classical, Romantic, 20th, and 21st Century
identify the instrumentation of various ensembles such as a jazz combo, full orchestra, string quartet. (MU.68.C.1.3I R)
  • various instrumentations
identify, explore, and perform solo and small ensemble choices from the standard repertoire. (MU.68.C.1.3I R)
  • solo and small ensemble resources
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
discuss technique as a foundation to aesthetic music making and identify resources and exercises for developing technique. (MU.68.C.2.2E R)
  • posture, playing technique
self-assess based on teacher criteria. (MU.68.C.2.2E R)
  • assessment criteria
identify strategies for purposeful practice and display preparation for class through evidence of home practice. (MU.68.C.2.2E R)
identify elements used to evaluate the quality of a recording or performance, e.g., intonation, balance, ensemble playing, technique, tone quality, phrasing, and expression. (MU.68.C.2.2E R)
  • intonation, balance, blend, tone quality, phrasing, expression
evaluate a musical performance based on the criteria developed in class. (MU.68.C.2.2E R)
compare a recording of a piece by a professional orchestra to a recording of the same piece performed by the class. (MU.68.C.2.2E R)
critique class recordings of a piece at different stages of the instructional process. (MU.68.C.2.2E R)
support ensemble members through productive appraisal and mentoring. (MU.68.C.2.2E R)
discuss how a composer uses musical devices to create an expressive impact in the pieces played or heard. (MU.68.C.3.1NTK R)
recall style characteristics particular to style periods including Baroque, Classical, Romantic, 20th, and 21st Centuries. (MU.68.C.3.1NTK R)
  • style characteristics: Baroque, Classical, Romantic, 20th, and 21st Centuries
identify particular styles of music from listening examples, based on characteristic musical elements. (MU.68.C.3.1NTK R)
  • active listening techniques
explore non-traditional sounds such as tremolo, col legno, sul tasto, ponticello, glissandi, tapping on instrument, harmonics, or snap pizzicato; and use them to represent a musical idea or feeling. (MU.68.F.1.1BAC C)
  • tremolo
  • col legno
  • sul tasto
  • ponticello
  • glissando
  • tapping on instruments
  • harmonics
  • snap pizzicato
add the above non-traditional sounds, or electronically sampled sounds to a piece as special effects. (MU.68.F.1.1BAC C)
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
examine how one’s personal role in orchestra is a process of self-improvement that can apply to other areas of life. (MU.68.F.3.1BAC )
  • musicianship as it relates to non-performing experiences
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
match definitive composers’ works to their historical style periods. (MU.68.H.1.2I R)
  • dates, and definitive composers and works from the Baroque, Classical, Romantic, and 20th Century style periods (see MU.68.C.1.3)
discuss the musical elements in these composers’ works that connect them to their style period. (MU.68.H.1.2I R)
  • style characteristics of definitive works from the Baroque, Classical, Romantic, and 20th Century style periods
discuss composers who lived in one historical period but whose music has characteristics of a different musical style period, e.g., some of Mendelssohn’s and Stravinsky’s works are neo-classical. (MU.68.H.1.2I R)
  • neo-classical
connect significant historical events to music style periods. (MU.68.H.1.2I R)
  • major historical events that occurred during the Baroque, Classical, Romantic, and 20th Century music style periods
(see MU.68.C.1.3 and MU.68.C.3.1 as companion benchmarks) (MU.68.H.1.2I R)
listen to and identify American styles of music such as jazz, spirituals, musical theatre, and current popular music. (MU.68.H.1.3BAC )
  • American music styles such as jazz, spirituals, musical theatre, and current popular music
listen to and discuss recordings of renowned American composers, artists, and ensembles. (MU.68.H.1.3BAC )
  • American composers and their works
describe how music from other cultures has influenced American music, and in turn how American music has influenced music in other cultures. (MU.68.H.1.3BAC )
  • music fusion and its causes
identify the origin of various folk tunes performed in class, and describe the style characteristics such as rhythm, tonality, melodic line, instrumentation, etc., that connect the music to its origin. (MU.68.H.1.4NTK R)
  • folk music
  • musical elements that define style such as rhythm, tonality, melodic line, instrumentation, etc.
  • music styles from diverse world cultures
  • instruments from diverse world cultures
identify composers and art music through the different style periods that used folk melodies of different origins as the basis for their compositions. (MU.68.H.1.4NTK R)
  • use of folk music idiom in major compositions
explain preference of musical styles and artists using musical terms. (MU.68.H.1.5I R)
  • music vocabulary to express preferences
identify major historical events sequentially from 1600 – current. (MU.68.H.2.1BAC )
  • Baroque, Classical, Romantic, and 20th Century style period dates, major historical events, composers, definitive works, and compositional characteristics (synthesize MU.68.C.1.3, MU.C.3.1, MU.68.O.3.1, MU.68.H.1.2, and MU.68.H.1.5)
connect major historical events to definitive composers, connecting MU.68.H.1.2, MU.68.H.1.5 to MU.68.H.2.1. (MU.68.H.2.1BAC )
  • characteristics of architectural, visual, and theatrical arts in common with music from 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.3.1BAC )
explain the historical connections of music to particular events or time periods. (social studies: history) (MU.68.H.3.1BAC )
  • roles of music in societies and cultures
describe how music is present in our world. (MU.68.H.3.2BAC )
discuss the use of music at an event in student’s life. (MU.68.H.3.2BAC )
explain how electronic games, television, cinema, and theater use the emotional qualities of music to enhance or mold the presentation of action, drama, news, or other visual images. (MU.68.H.3.2BAC )
  • examples of music in media
examine various occasions for which music is utilized and discuss how music impacts each occasion. (MU.68.H.3.2BAC )
  • examples of music for different occasions
imagine and discuss what the absence of music in our lives would be like. (MU.68.H.3.2BAC )
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)
  • various musical genres, e.g., art, jazz, country
experiment with different dynamic levels, tempi, phrasing, bowings, and simple articulations in selected repertoire. (MU.68.O.2.1BAC C)
  • music notation conventions for expressive elements such as dynamics, tempi, articulations, and phrasing
  • bowings found in MU.68.S.3.2
using correct music notation, write changes in music regarding dynamic levels, tempi, modality, bowings, and articulations. (MU.68.O.2.1BAC C)
  • bow techniques for tone production (weight, speed, placement, angle)
  • bow techniques for dynamics (weight, speed, placement, angle)
experiment with changes in musical elements of the notation exercise in MU.68.S.3.5. (MU.68.O.2.1BAC C)
play major and minor tetrachords starting on any note, using appropriate finger patterns, through seventh position. (MU.68.O.2.2E P)
identify major and minor tonalities in given aural examples. (MU.68.O.2.2E P)
  • similarities and differences in major and minor modes
identify (aurally) a minor scale as natural, melodic, or harmonic, and identify the manipulations to natural minor to create the other forms of minor. (MU.68.O.2.2E P)
  • minor scale construction (natural, melodic, and harmonic)
write one octave major and minor scales that are performed in class. (Scales may be performed in more than one octave.) (MU.68.O.2.2E P)
  • major scale construction
discuss how a composer uses musical devices to create an expressive impact in the pieces played or heard by students (see MU.68.C.3.1). (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
  • major and minor modalities
  • modes
use knowledge of musical elements to describe the efficacy of performance mediums and musical styles in works intended for various events, such as marches for parades, thematic music for holiday celebrations, dirges for funerals, and fanfares for weddings. (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 rhythmic or melodic “answers” to a given “question.” (MU.68.S.1.1BAC )
assign different rhythmic values to notes in a given piece. (MU.68.S.1.3BAC )
play one of three parts from a trio collection with two others, then trade parts. (MU.68.S.1.3BAC )
  • melody and harmony
choose alternate bowings for familiar string method book pieces. (MU.68.S.1.3BAC )
  • bowings
experiment with changes in musical elements such as tempo, dynamics, and articulations, in a known piece. (MU.68.S.1.3BAC )
  • tempi
  • dynamics
  • articulations
play one octave major scales and arpeggios by ear, and sing using solfège syllables and/or scale degrees. (MU.68.S.1.4BAC )
identify intervals both numerically and qualitatively, given both visually and aurally. (MU.68.S.1.4BAC )
echo rhythms and melodies given the first note. (MU.68.S.1.4BAC )
translate an excerpt from the class repertoire to solfège syllables. (MU.68.S.1.4BAC )
sing and then play intervals found in class repertoire. (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, identifying memorization techniques in the process, e.g., theme, form, patterns, tonality, etc. (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 three or four method books, and the class repertoire. (MU.68.S.2.2E P)
  • sight reading
  • note values and rhythmic patterns
blend quality intonation across the ensemble. (MU.68.S.2.2E P)
  • intonation
tune independently using fine tuners, and pegs. (MU.68.S.2.2E P)
  • tuning the instrument
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 D and C 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)
make appropriate adjustments to speed, weight, angle, and placement of the bow for a quality tone, when playing alone and with others. (MU.68.S.3.1E P)
  • quality tone
make appropriate adjustments for quality intonation, when playing alone and with others. (MU.68.S.3.1E P)
  • pitch discernment
use all parts of the bow, utilizing 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, and position playing where appropriate. (MU.68.S.3.1E P)
  • tone color
  • positions on the fingerboard
  • shifting
recognize contexts where vibrato is appropriate, and apply a developing vibrato. (MU.68.S.3.1E P)
  • vibrato
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
demonstrate the correct playing position for the body, instrument, and bow, and explain 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
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 correct left- and right-hand techniques (including fingers, hands, arms, and shoulders) on all strings through fifth position. (MU.68.S.3.2E P)
  • bowing technique: hold, weight, speed, angle, placement
  • left hand technique
  • playing facility
  • shifting
  • first through fifth positions
  • pizzicato position and technique
demonstrate the following bow techniques: down- and up-bow, staccato, spiccato, legato, détaché, marcato, martelé, louré (portato), hooked bowing, grouped staccato, tremolo, ponticello, sul tasto, col legno, bariolage, and complex slurs. (MU.68.S.3.2E P)
  • bowings
use all parts of the bow with correct bow division. (MU.68.S.3.2E P)
  • bow division
manipulate the speed, weight, angle, and placement of the bow to affect tone, dynamics, bow division, and rhythmic accuracy. (MU.68.S.3.2E P)
  • tone
  • dynamics
perform tetrachords starting on any note using all finger patterns found in the scales learned in class (MU.68.S.3.2E P)
  • major and minor tetrachords
play the C, D, E-flat, E, F, G, A-flat, A, and B-flat Major scales and arpeggios two octaves. (MU.68.S.3.2E P)
  • key signatures for scales played in class
  • finger patterns for scales played in class
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 two octaves 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
demonstrate a developing vibrato technique (MU.68.S.3.2E P)
  • developing vibrato technique
sight-read selections from Florida Orchestra Association Class D or C repertoire or the equivalent, after a short instructional prompt, keeping intact the basic melodic, rhythmic, harmonic, 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 D or C repertoire
clap, sing, or play (pizzicato or arco) on an open string, rhythm patterns that occur in Florida Orchestra Association Class C or B literature. (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 aurally, the following intervals: unison, m2, M2, m3, M3, P4, P5, M7, and octave. (MU.68.S.3.4E R)
  • intervals
determine, through active listening, which melody of two given written examples is being performed. (MU.68.S.3.4E R)
  • listening strategies
given a written excerpt, label and sight sing intervals. (MU.68.S.3.4E R)
given a written excerpt, count rhythms. (MU.68.S.3.4E R)
compare a written excerpt to an aural example for error detection. (MU.68.S.3.4E R)
  • error detection strategies
write the scales learned in class for student’s own instrument (see MU.68.S.3.2). (MU.68.S.3.5I R)
  • key signatures for scales learned in class (MU.68.S.3.2)
  • notes on the staff for scales learned in class (MU.68.S.3.2)
  • major scale construction
  • melodic minor scale construction
notate a dictated, four-measure rhythm, consisting of three note values, including whole, dotted-half, half, dotted-quarter, quarter, and eighth notes. (MU.68.S.3.5I R)
  • note values: whole, dotted half, half, quarter, dotted quarter, and eighth
notate a dictated four-measure melody in a specified meter, consisting of steps and intervals up to an octave, and utilizing three different note values (see above). (MU.68.S.3.5I R)
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
First Quarter
observe a picture of a proper bow hold and explain how it contributes to a characteristic sound. (LAFS.8.SL.1.2BAC )
  • instrument specific bow holds and hand positions, and how these contribute to characteristic tone
watch a YouTube performance of a professional orchestra or band and discuss their kinesthetic approach to playing their instruments. (LAFS.8.SL.1.2BAC )
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 various ways in which music is mathematical with regard to the circle of fifths, intervals, etc. (mathematics) (MU.68.H.3.1BAC )
  • mathematical nature of circle of fifths and intervals
discuss the necessity of a strong technical foundation, performance proficiency, and a thorough knowledge of music theory for performance-worthy improvisation. (MU.68.S.1.1BAC )
  • definition of improvisation
discuss various basic improvisational techniques as they relate to rhythm, melodic theme, harmonic structure, and flow. (MU.68.S.1.1BAC )
  • I, IV, and V arpeggios
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 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
correlate correct set-up and technique with proficiency on the instrument. (MU.68.S.2.2E P)
Second Quarter
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
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
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, analyze the purpose and motives of their choices, and decide how those choices could influence students' own performance of that piece. (LAFS.8.SL.1.2BAC )
  • 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.8.SL.1.2BAC )
  • basic understanding of rhythm, melody, and harmony, and how these elements function together in a musical work
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)
  • copyright
define “copyright” and discuss proper usage of applicable materials, media, and performances. (MU.68.F.3.2NTK R)
  • works that are out of print
  • professions in music
discuss the financial and social implications of copyright infringement. (MU.68.F.3.2NTK R)
compare musical forms with writing forms. (language arts) (MU.68.H.3.1BAC )
  • form as it relates to language arts and music
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)
compare two performances of a musical work performed by ensembles of similar instrumentation. (MU.68.O.1.1I R)
  • instrumentation
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.8.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.
compare and critique recordings of different groups playing the same piece at MPA. (MU.68.C.2.2E R)
explore improvisational music and musicians of various style periods and genres from Baroque to the 20th Century. (MU.68.S.1.1BAC )
record an improvised melody over a given chord progression, and develop the improvisation over time, to perform for the class. (MU.68.S.1.1BAC )
arrange a short musical piece by utilizing one or more of the following: augmentation, diminution, inversion, retrograde, 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, diminution, inversion, and retrograde
  • transposition
  • octave displacement
perform, by memory, a solo for Solo and Ensemble MPA, or a formal performance venue. (MU.68.S.2.1BAC )
Fourth Quarter
read two versions of a score, compare and contrast the editors intent for each, and analyze the impact of those choices. (LAFS.8.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • pitches and rhythms
  • the responsibilities of a music editor, and the different editing methods employed (e.g., articulation and dynamic markings)
manipulate musicals elements within a composition, e.g. dynamics, bowings, articulations and phrasing, and assess the aesthetic effect. (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
discuss types of traditional and non-traditional venues for music performance. (MU.68.F.2.2NTK R)
  • performance venues
identify non-performer professionals that may be involved in performances at various venues. (MU.68.F.2.2NTK R)
  • support personnel in performance events
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
describe how a community may be impacted financially by arts events. (MU.68.F.2.2NTK R)
explore how the global phenomenon of music can enhance understandings and relationships among peoples of different cultures. (MU.68.F.3.1BAC )
  • music is a universal phenomenon
make a connection between a composer’s process and what a professional in a work environment might experience: generating ideas, developing and refining them, manufacturing the final product, marketing, distributing and selling, and consumer reaction to the product. (MU.68.F.3.3BAC )
  • professional conduct
  • product development and marketing
  • see MU.68.F.2.1
compare the role of music in at least two world cultures. (MU.68.H.1.1BAC )
  • several world cultures and their unique customs
create a timeline that connects music style periods, definitive composers, and the style characteristics present in the style period, connecting MU.68.C.1.3, MU.68.C.3.1, MU.68.O.3.1, and MU.68.H.1.2. (MU.68.H.1.5I R)
  • time line
  • Baroque, Classical, Romantic, and 20th Century style period dates, major historical events, composers, definitive works, and compositional characteristics (synthesize MU.68.C.1.3, MU.C.3.1, MU.68.O.3.1, and MU.68.H.1.2)
hypothesize how historical events shaped the lives and works of composers, artists, architects, playwrights, performers, and audiences in different parts of the world from 1600 – current. (MU.68.H.2.1BAC )
  • lifestyles of the classes from the Baroque, Classical, Romantic, and 20th Century style periods
discuss the advent of new technologies and their impact on the creation of music and music performance. (MU.68.H.2.2BAC )
explore the effect of recording technology on successive generations’ interpretations of musical works, as opposed to what interpretations would be in the absence of recordings. (MU.68.H.2.2BAC )
illustrate how the emergence of new technologies over the years have made music and the arts a more available and personalized phenomenon. (MU.68.H.2.2BAC )
discuss various ways sound is produced acoustically and electronically. (science: acoustics) (MU.68.H.3.1BAC )
  • acoustic sound
  • electronic sound
discuss how sound waves travel. (science: acoustics) (MU.68.H.3.1BAC )
  • sound waves
discuss how sound waves reflect in various venues. (science: acoustics) (MU.68.H.3.1BAC )
  • sound wave reflection and absorption
discuss how sound is received by the human ear. (science: acoustics, physiology) (MU.68.H.3.1BAC )
  • physical attributes of the human ear
participate in a group or class project to create a short piece which expresses a particular concept or emotion, and explain which compositional techniques were used to convey the intended meaning. (MU.68.O.2.1BAC C)
perform a short melody in a minor key, and then perform it again in the parallel major key by altering the appropriate scale degree(s). (MU.68.O.2.2E P)
compose a short melody in a minor key, and then transpose it to the parallel major key by altering the appropriate scale degree(s). (MU.68.O.2.2E P)
  • parallel major and minor keys
discuss how emotions can be expressed in the other arts disciplines. (MU.68.O.3.1I R)
  • outstanding examples of visual art, theater, and dance that represent emotions
participate in an individual or group project to create a short piece which expresses a particular concept or emotion, and explain what compositional techniques were used to convey the intended meaning. (MU.68.O.3.1I R)
play the G melodic minor scale and arpeggio two octaves if a violinist or bassist, or the C melodic minor scale and arpeggio if a violist or cellist. (MU.68.S.3.2E P)
  • forms of the minor scale
play the G, A, and B-flat Major scales and arpeggios three octaves if a violinist, or the C, D, and E-flat Major scales and arpeggios three octaves if a violist or cellist. (MU.68.S.3.2E P)