Band 2 Pacing Guide

Time-Period Currently Unspecified
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
identify basic style and/or genre (MU.912.C.1.1BAC )
  • characteristics of varying genres of music
  • background knowledge about the unfamiliar musical work being studied in class (e.g., Ode to Joy excerpt in method book is derived from Beethoven’s 9th Symphony; introduce historical information about Beethoven, etc.).
  • domain specific vocabulary tied to musical style (e.g. legato, maestoso, march, etc.)
All Year
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)
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 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
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
  • correct fingerings
  • how to follow the director
  • proper hand position on instrument
  • how to take a proper breath while playing and/or singing
  • 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 accidentals (LAFS.910.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
accurately decode music notation. (LAFS.910.RST.2.4BAC )
All Year
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.910.SL.1.1BAC )
  • musical 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.910.SL.2.4BAC )
  • key signatures, time signatures, rhythm counts, note names
listen to multiple recordings within a specific genre to understand the defining stylistic elements (LAFS.910.WHST.3.9BAC )
listen to multiple pieces by the same composer to realize a composer’s style and technique (LAFS.910.WHST.3.9BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music (LAFS.910.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • tools and their uses in the music classroom (e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier, reeds, neck-strap, percussion implements)
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo (MAFS.K12.MP.6.1BAC )
  • note/rest values appropriate to course and literature
  • time signatures appropriate to course and literature
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
demonstrate precision in the execution of expressive elements regarding the execution of dynamics, articulations, phrasing, and style (MAFS.K12.MP.6.1BAC )
  • expressive markings that relate to musical effect regarding dynamics, tempo, phrasing, musical line, dynamics, style, articulations
  • standard conducting patterns
  • expressive conducting gesture
use domain specific vocabulary to communicate precise ideas and opinions with others (MAFS.K12.MP.6.1BAC )
  • domain-specific vocabulary: MU.68.C.1.1
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.
identify musical elements in a listening example (MU.912.C.1.1BAC )
  • e.g, dissonance and consonance, form(s), melody, countermelody, harmony, instrumentation, texture, timbre, etc.
identify expressive elements in a listening example (MU.912.C.1.1BAC )
  • e.g., dynamics, articulation, phrasing, tempi, etc.
  • domain specific vocabulary associated with different articulations (e.g. staccato, tenuto, accent, etc.)
All Year
research historical and biographical information for composers and selections being performed in class and for recorded examples (MU.912.C.1.2I R)
  • where to access historical and biographical information about composers from credible sources
All Year
use listening skill to adjust quality of personal intonation and tone within the ensemble (MU.912.C.2.1BAC )
  • characteristic tone and mechanics of intonation for the individual's instrument
evaluate personal performance based on teacher generated criteria and make appropriate adjustments in fundamental areas (MU.912.C.2.1BAC )
  • Performance fundamentals such as: intonation, note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
  • teacher standards
  • assignments
develop detailed goals and objectives to be achieved during individual practice and ensemble rehearsal (MU.912.C.2.1BAC )
  • purposeful practice strategies
  • how to identify and plan to correct issues within a small ensemble setting
create a two to four measure melody with input and feedback from teacher and peers. (MU.912.C.2.3BAC )
  • how to play and/or notate increasingly complex melodies
  • which notes are appropriate to use in a diatonic melody
apply feedback from others, and/or self assessment, to display continued improvement and develop musical performances. (MU.912.C.3.1E R)
  • criteria (established though peer collaboration and teacher fascilitation) for self-assessment and assessment of others.
examine and apply factors that make a performance exemplary that are transferable to class repertoire (MU.912.C.3.1E R)
  • Components that make a performance exemplary (tone quality, intonation, articulation, attacks/releases, technique, posture, note and rhythmic accuracy, dynamics, tempo, style, balance, blend, band sonority, precision, phrasing, shaping of line, expression.)
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
  • skills required in the band room and in other content areas (e.g.,musicianship, attention to precision, punctuality, time management, collaborative learning, small group)
display effective preparation for class through evidence of home practice. (MU.912.F.3.1BAC )
discuss the roles of music and musical traditions and identify common threads across different cultures (MU.912.H.1.1BAC )
  • appropriate and relevent music for different cultural ceremonies and traditions
  • comparable and contrasting functions of music from different parts of the world (ie. work song of Ghana, versus "Happy Birthday")
identify definitive composers for each of the musical style periods from Baroque to 21st Century (MU.912.H.1.2I R)
  • genres of Western music from Baroque through through present day (e.g. Baroque, Romantic music)
listen to and discuss the various mediums a given composer uses to present works (MU.912.H.1.3NTK R)
  • mediums of performance music (e.g. concerto, wind ensemble, string quartet, rock band, musical theatre)
identify the cultural influences of the music studied in class. (MU.912.H.1.4I R)
  • musical elements of various cultures including Asian, Latin, European, South American, and African
recognize the musical characteristics in Western music that were inspired by present and past world cultures (MU.912.H.1.4I R)
  • styles including Baroque, Classical, Romantic, contemporary, jazz, pop, chant, spiritual, folk, opera, or world music
  • cultures including Asian, Latin, European, South American, or African
explore the genres and corresponding historic periods in band music through performance of a varied repertoire (MU.912.H.1.4I R)
  • different musical genres (e.g. folk music, military music, chamber music)
  • different historical periods (e.g. Baroque, Classical)
describe historical and philosophical movements that have affected composers and musicians (MU.912.H.1.4I R)
  • historical and philosophical movements (e.g. the Reformation, the Renaissance, the Industrial Revolution, the Age of Enlightenment)
investigate historical connections and political overtones that may affect performance practices in selected literature (MU.912.H.1.5I R)
  • resources for seeking information on music history and cultures (e.g. libraries, reputable on-line databases)
discuss performance practices of a specific culture and transfer those practices to similar music being studied in class (MU.912.H.1.5I R)
  • performance practices of various cultures (e.g. varied ways of interpreting grace notes and other ornamentation)
explain the historical connection of music studied in class with particular events or time periods (MU.912.H.2.1BAC )
  • the effect of music and the arts on society (e.g. nationalism, religious expression, equality)
discuss how music has impacted elements of society (MU.912.H.2.1BAC )
  • societal influences on music (e.g., religion, literature, wars, revolutions, governments/rulers)
compare and contrast the historic and stylistic periods in Western music (MU.912.H.2.3NTK R)
  • various periods of music history (e.g. Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century)
All Year
discuss how people compose, perform, and acquire music, and how this has changed over time (MU.912.H.2.4BAC )
  • current and historical methods of composing, performing, and listening to music
  • the influence of technology on music composition, performance, and distribution
All Year
describe how the composer develops or manipulates the theme throughout a work. (MU.912.O.1.1I R)
  • development of a musical theme (e.g. theme and variation form, inversion, modulation)
identify basic structural elements in music (MU.912.O.1.1I R)
  • key, tonality, meter, tempo, phrase structure, texture, instrumentation, and form
identify and follow music symbols related to structure (MU.912.O.1.1I R)
  • repeat signs, first and second endings, multi-measure rests, measure numbers, rehearsal letters, D.S al Coda, Coda, D.S al Fine, multi-measure rests
compare and contrast compositional techniques and performance practices of two contrasting pieces (MU.912.O.2.1E P)
  • performance practices such as swung eighth notes, slur-two-tongue-two sixteenth notes, baroque phrasing, etc.
explore styles used in other performance areas and apply to current music (MU.912.O.2.1E P)
  • transferable components of contrasting musical styles (e.g., use jazz swing style in a straight passage or sing a section to hear accuracy of articulations)
perform repertoire with contrasting styles and structural elements (MU.912.O.2.1E P)
describe and give examples of imagery to express the mood of a section of a piece of music (MU.912.O.3.1I R)
perform music of various musical styles, observing the expressive elements inherent or indicated in each style (MU.912.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.912.O.3.2E P)
  • musical elements such as dynamics, phrase indications, tempo, and articulation markings
sing student’s own part according to the directions of the conductor (MU.912.S.1.4E P)
recall information about the pieces played in class without referring to the music (MU.912.S.2.1E P)
  • musical elements such as title, composer, style period, form, themes, dynamic and phrase impact points, time signature, tempo, key center or signature, unique features, and/or performance instructions from the conductor
identify and discuss shared musical concepts, skills, and processes between two or more pieces (MU.912.S.2.2E P)
  • expressive elements of music (e.g. dynamics, style)
  • performance techniques (e.g. swinging eighth notes, extended instrumental techniques)
consistently apply correct playing technique as the foundation for skillful and expressive instrumental playing (MU.912.S.3.1E P)
  • techniques to perform expressively and stylistically
perform scales, warm ups, class etudes, and method book exercises applying appropriate technique (MU.912.S.3.1E P)
  • techniques for tone production, pitch accuracy, and rhythmic integrity
identify and perform expressive elements as contained in varied class repertoire (MU.912.S.3.1E P)
  • elements such as dynamics, phrasing, tempo markings, bowings, and articulations
perform music selections in simple and compound meters (MU.912.S.3.2E O)
understand and demonstrate dynamic markings and phrasing (MU.912.S.3.2E O)
  • dynamic marking symbols and terms (e.g. crescendo, subito forte)
  • phrasing concepts (e.g. four bar versus eight bar phrase, breath marks, cadences)
recognize, count and notate simple rhythms and rests (MU.912.S.3.2E O)
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
sight-read a melody from provided literature, using appropriate expression (MU.912.S.3.2E O)
  • sight reading procedure that incorporates expressive markings (e.g. fingering and singing)
recognize simple meters and key signatures (MU.912.S.3.2E O)
  • notation terminology (e.g. simple meters, key signatures)
All Year
identify accidentals (MU.912.S.3.2E O)
  • flat, sharp, natural
All Year
evaluate progress on a section of music following a rehearsal session (MU.912.S.3.4E R)
  • strategies for assessing tone, correct pitch and rhythms, balance, blend, articulation, and expression
recognize and display personal preparation for rehearsals including necessary equipment and music preparation (MU.912.S.3.4E R)
  • practice strategies (e.g., technical exercises, flexibility exercises, long tones)
  • assignments
demonstrate proper playing position (MU.912.S.3.5E P)
  • proper hand position on instrument
recognize and demonstrate proper posture. (MU.912.S.3.5E P)
  • correct posture (e.g., feet flat on floor, sit up straight)
demonstrate appropriate breathing technique (MU.912.S.3.5E P)
  • how to take a proper breath while playing (e.g., shoulders down, breathe through mouth not nose, fill up lungs from bottom up)
All Year
recognize and demonstrate proper embouchure (MU.912.S.3.5E P)
  • proper embouchure (e.g., firm corners, flat chin)
understand and perform the various styles of articulation (MU.912.S.3.5E P)
  • proper tonguing technique (e.g. tonguing, slurring, legato, staccato, and accent)
produce a characteristic tone on an instrument (MU.912.S.3.5E P)
demonstrate proper fingerings as well as alternate/trill fingerings for the practical range for an instrument (MU.912.S.3.5E P)
  • standard and alternate fingerings
recognize in tune/out of tune and how to make the appropriate adjustments. (MU.912.S.3.5E P)
  • how to match the tuning pitch (e.g. push in if flat, pull out if sharp, listen for dissonance)
All Year
demonstrate level-appropriate mallet technique and snare rudiments (percussion) (MU.912.S.3.5E P)
  • mallet technique and snare rudiments (e.g., major scales, 40 essential snare rudiments)
  • proper hand position on instrument or stick height when holding drum sticks and mallets (percussion)
First Semester
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.910.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.910.SL.2.4BAC )
  • theme and variations, listening map, form, texture, dynamic markings, expressive markings, melody, counter-melody
evaluate a performance of a solo, small ensemble, or large ensemble using the criterion in the FBA performance rubrics. (MU.912.C.2.2E R)
  • performance fundamentals: tone quality, intonation, balance, blend, sonority, physical articulation
  • technical preparation: note and rhythmic accuracy, precision, entrances/releases, articulation, technique, stability of pulse, dynamics observed, transitions
  • musical effect: expression, shaping of line, style, interpretation, phrasing, tempo, dynamic expression
identify American composers from various genres (MU.912.H.1.2I R)
  • American music and composers of various genres, including concert band, marches, orchestral, jazz, and musical theatre (e.g. Gershwin, Sousa)
recognize themes or main motives in a musical work. (MU.912.O.1.1I R)
  • musical elements of melody, counter melody, and accompaniment
recognize and demonstrate appropriate responses to conducting gestures (MU.912.O.3.2E P)
  • appropriate performance responses to expressive conducting gestures (e.g. tempo, fermata, dynamics, cut-off, caesura, phrasing, fluctuation of tempo)
identify the high and low points of a phrase (MU.912.O.3.2E P)
  • phrasing in music (e.g. phrase impact points, motion, shape)
recall and apply learned musical concepts, skills, processes, and techniques to varied musical repertoire (MU.912.S.2.2E P)
First Quarter
describe how teamwork in the music ensemble translates to other areas and skills. (DA.912.F.3.8BAC )
  • how to operate effectively as a team member
describe how skills in the music room transfer into other content areas. (DA.912.F.3.8BAC )
  • exhibit self-discipline in the MESH courses
list skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem solve
  • self-discipline
model proper audience etiquette, expectations, and interaction with performers. (DA.912.F.3.8BAC )
  • exibit audience etiquette and proper interaction with performers.
classify instruments according to sound production and construction: woodwinds, brass, percussion, strings, etc. (MU.912.C.1.3NTK R)
  • domain specific vocabulary such as tone, timbre, color, etc.
  • construction of woodwind, brass, percussion, and string instruments
  • sound production techniques of various families of instruments
support the larger ensemble by understanding the importance of one’s individual role. (MU.912.C.2.1BAC )
  • the difference between melody and accompaniment and how it effects their individual sound production within the ensemble
  • melody, harmony, and balance
develop a rubric for criteria used to define musical performance and explain how each area affects music performance. (MU.912.C.2.2E R)
  • intonation, note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
define fundamental compositional techniques (MU.912.C.2.3BAC )
  • melody, harmony, chord structure, counter melody, tempo, and time signature.
research exemplary models for one’s own instrument (MU.912.C.3.1E R)
  • how to access notable performers and worthwhile reference recordings (e.g., principle players in Chicago Symphony, New York Philharmonic, etc.)
recognize and describe the necessary factors for an effective personal practice plan. (MU.912.F.3.1BAC )
  • components of a successful practice session (e.g.,goal oriented objectives, warm up, technique and tone studies)
recognize and discuss the legal and illegal methods of acquiring music on the internet: pirated music vs. licensed music. (MU.912.F.3.2NTK R)
  • legal and illegal use of the internet to obtain printed music (ie. online "pay-to-print" companies, versus pirated music sites)
discuss the financial and social implications of copyright infringement (MU.912.F.3.2NTK R)
implement a personal practice plan with help from a teacher. (MU.912.F.3.3BAC )
  • components of a successful practice session (e.g., goal oriented objectives, warm up, technique and tone studies)
identify specific performance practices that should be applied to a piece of music in order for the performance to be a genuine representation of the culture (MU.912.H.1.5I R)
  • performance practices of cultures including but not limited to: North American, Asian, Latin, European, South American, and African
  • how to emulate the sound qualities or instrumental techniques of another culture
describe the evolution of specific genres (MU.912.H.2.3NTK R)
  • various genres and how they developed (e.g. American music-jazz, blues, rock, pop)
analyze and discuss the expressive elements in music (MU.912.O.3.1I R)
  • expressive elements in music (e.g. dynamics, phrasing, melodic development, form, orchestration)
perform an improvised phrase in a call-and-response exercise as part of an ensemble warm-up (MU.912.S.1.1BAC )
echo a short melodic phrase given the first note, as part of an ensemble warm-up (MU.912.S.1.4E P)
identify and discuss sequencing strategies for memorizing a piece (MU.912.S.2.1E P)
  • sequencing strategies (e.g., backward chaining, memorizing "chunks" of music, correlation of music and movement)
accurately memorize assigned phrase(s) from pieces rehearsed in class (MU.912.S.2.1E P)
echo a short, diatonic, step-wise melody played or sung by a teacher as part of an ensemble warm-up (MU.912.S.3.3I R)
echo a simple rhythmic phrase as played or sung by a teacher (MU.912.S.3.3I R)
target areas that need improvement; develop and implement a rehearsal plan for advancement (MU.912.S.3.4E R)
  • components of an effective practice plan (e.g. goal oriented objectives, specified practice time, tone and skill builders)
Week 1
model effective rehearsal and performance expectations and behaviors. (DA.912.F.3.8BAC )
  • rehearsal etiquette, performance expectations, and behaviors
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 )
model effective rehearsal and performance expectations and behaviors. (MU.912.F.3.1BAC )
  • effective rehearsal and performance behavior (e.g.,focus, rehearsal and stage etiquette, uniform/dress code)
examine the necessary factors for an effective ensemble rehearsal (MU.912.S.3.4E R)
  • components of an ensemble rehearsal (e.g. differentiated instruction, time management, rehearsal etiquette, warm up routine)
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
explore leadership opportunities and leadership positions outside of the music room. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem-solve
  • people oriented
define copyright and discuss proper usage of applicable materials, media, and performances. (MU.912.F.3.2NTK R)
  • copyright law and ethical considerations, as well as consequences for copyright abuse (e.g. illegal and legal reproduction of materials, legal and ethical options for obtaining out-of-print music)
participate in solo and ensemble music performance assessment or a similar performance setting, sequencing necessary tasks (MU.912.F.3.3BAC )
select an ability-based piece (MU.912.F.3.3BAC )
  • strategies and resources for finding an appropriate piece of music including teacher consultation.
research the historical background of the piece and composer. (MU.912.F.3.3BAC )
  • research resources and techniques (i.e., British Library site)
find/hire an accompanist if necessary. (MU.912.F.3.3BAC )
  • strategies to find and contact accompanists including utilizing a teacher provided list of approved accompanists
identify and discuss the similarities and differences between selected genres within a composer’s body of work (MU.912.H.1.3NTK R)
  • musical elements such as: rhythm, melody, harmony, timbre, texture, dynamics, lyric to music relationships, form
identify and discuss the similarities and differences between performances of the same composition performed in different media. (MU.912.H.1.3NTK R)
  • Various arrangements of a selected piece of music (e.g. "Sleep" by Eric Whitacre for choral groups, orchestra, band, "Pictures at an Exhibition" by Modest Mussorgsky for piano, orchestra, band, "Rhapsody in Blue" by George Gershwin for piano, orchestra, jazz band)
describe the historical, political or philosophical events that may have impacted the development of a particular genre (MU.912.H.2.3NTK R)
  • historical and cultural events which occurred and influenced the composers of the time (e.g. Mozart and the Enlightenment, Shostakovich composing during the Russian Revolution)
experiment with creating rhythmic variations on a phrase of the music being performed in class (MU.912.S.1.1BAC )
  • meter
experiment with creating a variation on a melody from music being rehearsed in class while the teacher and/or ensemble provides repeated chord progressions (MU.912.S.1.1BAC )
  • melody, repetition, chord structure, and articulations
notate a stepwise melody, with assistance, given a starting note and key (MU.912.S.1.4E P)
  • basic music theory and notation rules such as note values, key signatures and stem direction
  • intervalic relationships (e.g. whole steps, half step)
notate a short dictated rhythm utilizing a variety of note values (MU.912.S.1.4E P)
  • basic music theory and notation rules such as note values, key signatures and stem direction
independantly notate a simple rhythmic phrase as played or sung by a teacher (MU.912.S.3.3I R)
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
  • basic music notation principles
notate a step-wise melody, with assistance, given a starting note and key, as played or sung by a teacher (MU.912.S.3.3I R)
  • basic music notation including whole, half, quarter, eighth notes and the corresponding rests
  • diatonic intervalic relationships within an octave range
Second Semester
listen to two recordings of a piece of music using various media sources, and determine which rendition most effectively conveys the composer's intent (LAFS.910.SL.1.2BAC )
  • how to interpret a score
listen to and delineate the comments of multiple adjudicators regarding the same ensemble performance, and evaluate the validity of common and contradictory claims, and evaluate comments for relevance (LAFS.910.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
Split into sectionals and analyze phrase structure and defend choices regarding rise and fall, strong and weak beats, syllabic stress, commas, etc. Each section will perform each assigned excerpt and defend reasoning for choices made. Class should discuss whether choices were successful and make suggestions for improvement. (LAFS.910.SL.2.4BAC )
  • identify phrase structure
listen to a recording or watch video of a performance and use the FVA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating (LAFS.910.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
create a hypothesis on how a piece may sound based on written indicators found in the score. (MU.912.C.1.2I R)
  • title of the piece, composer, and domain specific vocabulary related to tempo, articulation, and expressive markings
evaluate personal composition and/or improvisation using a teacher-generated rubric (MU.912.C.2.3BAC )
  • Fundamental compositional and improvisational techniques including, but not limited to: melody, harmony, chord structure, counter melody, tempo, and time signature
identify musical components that define the structure of a musical work (MU.912.O.1.1I R)
  • passage/phrase: musical sentences, usually marked with cadences
  • piece: entire structure of self-contained work
  • cycle: several pieces that are grouped together as a larger work (e.g. suites, operas, concertos, song cycles, sonatas)
  • strophic: the same music used with different verses of text (e.g. hymns, blues, many folk and popular songs)
  • through-composed: operas, modern musicals, movie scores
  • key, tonality, meter, tempo, phrase sturcture, texture, instrumentation, and form
develop a hypothesis for the composer’s intent in a piece being rehearsed in class, citing evidence from the score (MU.912.O.3.1I R)
  • how to develop a hypothesis based on information in the score
Third Quarter
compare and contrast the instrumentation of an arrangement versus the original score, discuss the credibility and accuracy of each version (LAFS.910.SL.1.2BAC )
  • how to access an original score
read adjudicator comments along side of listening to recordings of their group's performance to discuss the validity of comments, prioritize rehearsal needs accordingly, and brainstorm actions to improve performance (LAFS.910.SL.1.2BAC )
  • rubric for performance assessment
  • techniques to address various performance needs
use listening maps to identify major musical components (MU.912.C.1.1BAC )
  • how to describe musical elements such as form (e.g., ABA), melody, harmony, tempo, and dynamics.
Compare two different performances of the same excerpt and use the evidence provided (i.e., written music and background of the piece) to evaluate the aural/video performance as it relates to the written content. (MU.912.C.1.2I R)
  • emotional and intellectual effects of a performance (aesthetic impact)
  • resources for finding quality and legal recordings of music (e.g., NAXOS, itunes, music libraries, etc.)
identify personal behaviors that transfer to being a good leader (MU.912.F.3.1BAC )
  • leadership qualities (e.g., self-motivation, timeliness, mentoring, collaboration, cooperation, creative problem solving, delayed gratification)
explain when it is appropriate to copy sheet music and when it is not (MU.912.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)
analyze the elements of a given performance using feedback from adjudicator. (MU.912.F.3.3BAC )
  • domain specific and academic music language (as related to understanding adjudicator feedback)
  • knowledge of the three categories on the FBA evaluation sheet: performance fundamentals, technical accuracy, and musical effect
Fourth Quarter
explain, using correct musical vocabulary, personal preferences of musical styles and artists. (MU.912.C.1.1BAC )
  • domain specific vocabulary (e.g., orchestration, form, melody, dynamics, etc.)
recognize and describe similarities and differences in sound production techniques between non-Western and traditional wind and percussion instruments, e.g., tuba and didgeridoo embouchures are similar, etc. (MU.912.C.1.3NTK R)
  • sound production techniques of both traditional and non-Western instruments
create a two to four measure phrase consisting of simple rhythms and rests with input and feedback from teacher and peers. (MU.912.C.2.3BAC )
  • Basic rhythm/notes notation and identification (ie. quarter note, notes on the staff)
  • 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&)
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
  • leadership opportunities outside of the music room (e.g. student government, advocacy, community initiatives)
list materials subject to copyright law and discuss proper usage, payment, etc. (MU.912.F.3.2NTK R)
  • musical materials which fall under public domain, and acceptable uses (e.g. maximum copyright protection, acceptable resources for pubic domain music)
listen to music from various parts of the world and identify stylistic elements particular to that culture (MU.912.H.1.1BAC )
  • reputable and legal resources for access to recordings
  • definitions of musical and stylistic elements used by cultures being studied
compare and contrast the historical background of two or more composers whose music is being studied in class (MU.912.H.1.2I R)
  • historical background of composers, including their time period, nationality/ethnicity, education, and body of work
recognize the labels that identify the styles of specific music from non-Western cultures (MU.912.H.2.3NTK R)
  • non-Western music genres (e.g. Latin, African)
recognize the labels that identify the specific styles of American music (MU.912.H.2.3NTK R)
  • various labels for American Music (e.g. pop, jazz, rock, blues)
describe the benefits of utilizing music notation software (MU.912.H.2.4BAC )
  • various music notation software (e.g. Finale, MuseScore, Sibelius)
  • how to notate music with paper and pencil
improvise melodies based on the pentatonic scale in a given key (MU.912.S.1.1BAC )
  • notes of the pentatonic scale in a given key
create a variation on a piece being studied in class or a portion of the ensemble’s standard warm-up by changing two or more musical elements (MU.912.S.1.3BAC C)
  • musical elements of a given piece (e.g. texture, mode, form, tempo, and voicing)
  • how to transpose various instruments (e.g. B-flat trumpet, E-flat clarinet)
  • standard instrumentations (e.g. clarinet trio, brass quintet)
perform a short familiar melody from an unwritten source (MU.912.S.1.4E P)
  • familiar melodies (e.g. from radio, TV, and movies)