Band 6 Honors Pacing Guide

All Year
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
maintain proper decorum at all times while performing and when attending concerts (DA.912.S.2.1BAC )
  • concert attendance etiquette (e.g., appropriate times to enter and exit the performance facility, appropriate times to clap, how to dress)
  • performance etiquette (e.g., appropriate performance attire, entrances and exits, stage presence, appropriate times to play)
maintain appropriate behavior at all times during class and rehearsal (DA.912.S.2.1BAC )
  • classroom procedures (e.g., how to enter and exit, storage for instruments, music, and personal items, pass procedures, location of daily rehearsal/lesson plan)
  • where to find posted classroom rules
listen attentively to teachers and peers (DA.912.S.2.1BAC )
interpret unfamiliar English terms using their home language dictionary or an online translator (ELD.K12.ELL.SI.1BAC )
  • how to use a home language dictionary or online translation program
  • how to differentiate between English terminology and musical terminology (e.g., music terminology usually in Italian and usually italicized)
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)
determine the meaning of music symbols, key terms, and other music specific words and phrases (LAFS.1112.RST.2.4BAC )
  • musical terms and symbols derived from classroom literature (e.g., dynamic markings, tempo markings, expressive markings, articulation markings)
  • count-singing
  • flat, sharp, and natural symbols and their functions
  • letter names of pitches on the staff
  • note and/or rest values appropriate to course and literature
  • time signatures appropriate to course and literature
  • key signatures and scales appropriate to course and literature
  • "road signs" in classroom literature (e.g., rehearsal letters, repeat signs, Da Capo, Dal Segno, Coda, al fine, al coda)
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.1112.SL.1.1BAC )
  • musical vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
use correct music vocabulary in class discourse to identify, define, discuss, reflect, and debate relevant topics (LAFS.1112.SL.2.4BAC )
All Year
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.1112.WHST.3.9BAC )
All Year
listen to multiple pieces by the same composer to realize a composer’s style and technique (LAFS.1112.WHST.3.9BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music (LAFS.1112.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
categorize definitive composers and compositional characteristics of musical style periods. (MU.912.C.1.1BAC )
  • characteristics of varying genres of music
  • the diffinitive composers/compositions and how to access quality recordings (e.g. NAXOS, itunes, libraries, etc.)
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.)
identify a particular composition by its style period through analysis of its musical elements and identify its uniqueness within the genre. (MU.912.C.1.1BAC )
  • characteristics of varying genres of music
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
compare recordings of different ensembles and one’s own ensemble playing the same piece, and critique each, discussing aesthetic impact (MU.912.C.1.2I R)
  • resources for finding quality and legal recordings of music (e.g., NAXOS, itunes, music libraries, 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
compare and contrast the musical interpretation of soloists and/or ensembles to the written score (MU.912.C.1.2I R)
  • domain specific vocabulary related to tempo, articulation, and expressive markings
defend musical choices and accept appropriate feedback from an instructor. (MU.912.C.2.1BAC )
analyze rehearsals and practice sessions to evaluate progress, then identify strategies for further improvement. (MU.912.C.2.1BAC )
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
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 student generated criteria and make appropriate adjustments (MU.912.C.2.1BAC )
  • Performance fundamentals such as: intonation, note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
  • teacher and/or FBA generated criteria regarding performance fundamentals
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
evaluate the composed and/or improvised solos of students in the ensemble, using the student-generated checklist. (MU.912.C.2.3BAC )
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.
provide guidance and feedback to peers attempting to improve quality of personal musicianship. (MU.912.C.3.1E R)
  • domain specific vocabulary and pedagogical techniques that may be prescribed in peer to peer teaching
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.)
identify transferable skills utilized in the band classroom to everyday life (MU.912.F.2.1BAC )
  • transferable skills utilized in the band classroom, e.g., reflection, leadership, mentoring, collaboration, community involvement, cooperation, creative problem solving, etc.
mentor younger students and encourage behaviors that transfer to being a good leader (MU.912.F.3.1BAC )
  • personal leadership skills, (e.g., motivating and inspiring others, timeliness, mentoring, collaboration, cooperation, creative problem solving, delayed gratification)
promote to others the importance of leadership opportunities outside of the music room (MU.912.F.3.1BAC )
  • resources for seeking out leadership opportunities in the school and community (e.g., morning announcements, clubs and their sponsors, local charities, community initiatives)
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)
All Year
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)
All Year
serve in student leadership roles, or assist those who do (MU.912.F.3.1BAC )
  • leadership team criteria, positions, and responsibilities
display consistent preparation through individual equipment and music. (MU.912.F.3.1BAC )
  • appropriate accessories for instruments
display effective preparation for class through evidence of home practice. (MU.912.F.3.1BAC )
identify strengths and weaknesses regarding skill level and competency in a given musical discipline. (MU.912.F.3.4BAC )
All Year
critique past recordings of one’s performance and develop a plan for continued, sequential improvement (MU.912.F.3.4BAC )
  • models of proper and appropriate examples of musical skills and techniques
  • pedagogical methods (e.g., isolate small sections, slow down tempos)
All Year
explain the historical connection of music studied in class with particular events or time periods (MU.912.H.1.1BAC )
  • events and their associated music (eg, Fall of the Berlin Wall/Beethoven's 9th Symphony)
identify and categorize definitive composers by musical style periods from Baroque to 21st Century (MU.912.H.1.2NTK R)
  • genres of Western music from Baroque through through present day (e.g. Baroque, Romantic music)
compare compositions by two or more exemplary composers within the same historic and stylistic period (MU.912.H.1.2NTK R)
  • exemplary composers within each historic or stylistic period
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 genres and corresponding historic periods in band music through performance of a varied repertoire (MU.912.H.1.4NTK R)
  • different musical genres (e.g. folk music, military music, chamber music)
  • different historical periods (e.g. Baroque, Classical)
identify the cultural influences of the music studied in class. (MU.912.H.1.4NTK R)
  • musical elements of various cultures including Asian, Latin, European, South American, and African
describe historical and philosophical movements that have affected composers and musicians (MU.912.H.1.4NTK R)
  • historical and philosophical movements (e.g. the Reformation, the Renaissance, the Industrial Revolution, the Age of Enlightenment)
describe and discuss the influence major historical periods had on music in America (MU.912.H.1.4NTK R)
  • various American historical periods (e.g. the Colonial Period, the Civil War, the Victorian Era, the “Roaring ‘20s," the “Big Band Era,' the 1960’s)
recognize the musical characteristics in Western music that were inspired by present and past world cultures. (MU.912.H.1.4NTK 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
describe the evolution of one’s own instrument through its development and explain how the performance literature has been impacted as a result (MU.912.H.1.4NTK R)
  • instrumental evolution and/or history (e.g. the trumpet: conch shell, shofar, cornetti, bugle—limited pitches, keys, rotary valves, piston valves—chromatic possibilities, cornet, trumpet)
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)
All Year
analyze and discuss structural and expressive elements that characterize musical and cultural identity (MU.912.H.1.5I R)
  • resources for seeking information on music history and cultures (e.g. libraries, reputable on-line databases)
All Year
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)
describe historical and philosophical movements that have affected composers and musicians (MU.912.H.2.1BAC )
  • historical and philosophical movements (e.g. the Reformation, the Renaissance, the Industrial Revolution, the Age of Enlightenment)
describe how music and the arts have been used as an agent of change in various historical periods (MU.912.H.2.1BAC )
  • the effect of music and the arts on society (e.g. nationalism, religious expression, equality)
analyze the effect of technology on musical learning, performing, recording, and delivery systems in today's society and make predictions for future trends (MU.912.H.2.2BAC )
identify the historic and stylistic periods in Western music (MU.912.H.2.3BAC )
  • 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
explain how sound is produced on an instrument and how that sound reaches the human ear (MU.912.H.3.1I R)
  • how sounds are produced on instruments
  • symmetry, sound waves, patterns, structure, velocity, vibrations, and frequencies
recognize the mathematical nature of music theory (MU.912.H.3.1I R)
  • circle of fifths
  • intervals
  • fractional division of measures and their corresponding rhythm patterns
compare and contrast acoustic versus electronic sound production. (MU.912.H.3.1I R)
  • acoustic principles of electronic instruments
discuss the acoustic quality of sound reflection in various venues (MU.912.H.3.1I R)
  • acoustic principles used in performance and rehearsal facilities
discuss electronic manipulations of sounds (MU.912.H.3.1I R)
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
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)
identify and apply previously learned concepts to a new selection being rehearsed (MU.912.O.2.1E P)
use knowledge of musical elements to describe how particular styles of music contribute to the aesthetics of particular events (MU.912.O.3.1E R)
  • musical genres and styles.
  • modality
  • marches for parades, thematic music for holiday celebrations, dirges for funerals, fanfares for weddings
describe and give examples of imagery to express the mood of a section of a piece of music (MU.912.O.3.1E 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
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 )
  • 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)
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
compare a piece being rehearsed in class with a recording of a smililar piece; identify expressive elements and performance techniques shared between the two works (MU.912.S.2.2E P)
sight-read literature using appropriate expressive elements, phrasing, and articulation (MU.912.S.2.2E P)
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
recognize, count and notate complex rhythms and rests (MU.912.S.3.2E O)
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
recognize simple/compound meters and key signatures (MU.912.S.3.2E O)
  • notation terminology (e.g. simple meters, key signatures)
All Year
sight-read and perform music selections in simple and compound meters (MU.912.S.3.2E O)
All Year
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)
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)
All Year
identify accidentals (MU.912.S.3.2E O)
  • flat, sharp, natural
include sight-reading as part of a regular personal practice plan (MU.912.S.3.2E O)
All Year
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
recognize the roles of section leaders, section players, and the director within the ensemble (MU.912.S.3.4E R)
  • roles of the director and sections of the band
critique the effectiveness of a given rehearsal and identify specific improvements (MU.912.S.3.4E R)
  • strategies for assessing tone, correct pitch and rhythms, balance, blend, articulation, and expression
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)
All Year
apply large group rehearsal strategies to small group/sectional settings (MU.912.S.3.4E R)
  • components of an ensemble rehearsal (e.g. differentiated instruction, time management, rehearsal etiquette, warm up routine)
differentiate between effective and ineffective rehearsal techniques (MU.912.S.3.4E R)
All Year
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)
All Year
produce a characteristic tone on an instrument (MU.912.S.3.5E P)
All Year
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
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)
All Year
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.1112.SL.1.3BAC )
  • fundamental components of critical thinking and listening
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast) (LAFS.1112.WHST.3.9BAC )
develop 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
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
prepare for and attend All-County and All-State auditions (MU.912.F.3.4BAC )
  • resources for audition materials
  • scales
listen to, identify, and discuss recordings of composers that utilize folk or nationalistic music to create art music (MU.912.H.1.1BAC )
  • composers that utilize folk and nationalistic music in their compositions (ie., "Finlandia" and Sibelius)
identify American composers from various genres (MU.912.H.1.2NTK R)
  • American music and composers of various genres, including concert band, marches, orchestral, jazz, and musical theatre (e.g. Gershwin, Sousa)
discuss current musical trends and how they developed (MU.912.H.2.2BAC )
  • current musical trends (e.g. digital downloads, online streaming, declining CD/physical media sales)
discuss audience environments and venues (MU.912.H.2.2BAC )
  • musical venue possibilities (e.g. arenas, halls, outdoor stages, digital, on-line streaming and participation, Skype, YouTube)
recognize the labels that identify the specific styles of American music (MU.912.H.2.3BAC )
  • various labels for American Music (e.g. pop, jazz, rock, blues)
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)
prepare etudes, scales, and sight-reading skills for various auditions such as All-County and All-State ensembles, summer music camps, and college auditions (MU.912.S.3.1E P)
  • resources for accessing various audition material and assistance with preparing an audition (e.g. All-State preparation camps, summer music camps, private lessons)
First Quarter
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 effective rehearsal and performance expectations and behaviors. (DA.912.F.3.8BAC )
  • rehearsal etiquette, performance expectations, and behaviors
lead a sectional or rehearsal utilizing communication conventions, such as referencing the measure number before making relevant comments (LAFS.1112.SL.2.4BAC )
  • rehearsal communication conventions
write an eight measure melodic/rhythmic dictation including steps, skips and chromatics (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
classify instruments according to sound production and construction: woodwinds, brass, percussion, strings, etc. (MU.912.C.1.3NTK R)
  • definitions of musicological terminology used to classify instruments: chordophone, aerophone, membranophone, etc.
  • 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
use a recording to critique personal performance in solo and ensembles (MU.912.C.2.1BAC )
  • methods of recording a rehearsal for critical review (e.g., digital audio recorders, smartphones, recording software, etc.)
collaboratively create a checklist of the fundamentals of a successful composition and/or improvised solo. (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.
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.)
analyze and implement techniques for getting the most improvement possible out of practice time (MU.912.F.3.1BAC )
  • components of a successful practice session (e.g., goal oriented objectives, warm up, technique and tone studies)
  • strategies for effective sectional time (e.g., warm up, long tones for intonation, isolating sections and working out technique)
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 audio recordings and printed music (e.g online "pay-to-print" companies, versus pirated music sites)
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 (ie. illegal and legal reproduction of materials, legal and ethical options for obtaining out-of-print music)
create a list of goals to be accomplished for the year (MU.912.F.3.4BAC )
  • proper goal setting techniques (e.g. backwards planning)
create a daily and long term practice plan (MU.912.F.3.4BAC )
  • focused practice routines and methods
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
discuss how people acquire music, and how this has changed over time (MU.912.H.2.2BAC )
  • current and historical methods of recording and listening to music (e.g. mp3, CD, DVD, record, cassette, radio, internet video resources, internet streaming audio)
describe the evolution of specific genres (MU.912.H.2.3BAC )
  • various genres and how they developed (e.g. American music-jazz, blues, rock, pop)
trace significant developments in music regarding innovations, compositions, and key players (MU.912.H.2.3BAC )
  • evolution of instruments
  • technology advances
analyze and discuss the expressive elements in music (MU.912.O.3.1E R)
  • expressive elements in music (e.g. dynamics, phrasing, melodic development, form, orchestration)
perform a two to four measure phrase in a call-and-response exercise over student provided harmonic progressions with student-determined voicing, as part of an ensemble warm-up (MU.912.S.1.1BAC C)
echo a short melodic phrase given the first note, as part of an ensemble warm-up (MU.912.S.1.4E P)
discuss shaping within a section of music being rehearsed (MU.912.S.2.1E P)
  • musical phrase, contour, and musical line
implement 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)
demonstrate basic knowledge of advanced techniques (MU.912.S.3.1E P)
  • vibrato, multiple-tonguing, extended fingerings, ranges, rudiments
echo a chromatic melody with steps and skips as played or sung by a teacher (MU.912.S.3.3I R)
echo a complex 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)
discuss rehearsal strategies and their application to personal practice (MU.912.S.3.4E R)
  • practice strategies (e.g., technical exercises, flexibility exercises, long tones)
develop a plan for a student-led sectional rehearsal. (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
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 )
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
model proper audience etiquette, expectations, and interaction with performers. (DA.912.F.3.8BAC )
  • exibit audience etiquette and proper interaction with performers.
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.1112.SL.1.2BAC )
  • stylistic characteristics based on style period, nationality, cultural background
research and prepare a piece of music for rehearsal (score study) (LAFS.1112.SL.2.4BAC )
  • score study
compose an eight measure melody over a given harmonic structure. (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
read and analyze examples of music critique in various publications. (MU.912.C.2.2E R)
  • resources for accessing music publications and critiques
write a review of a concert performance or recording in the style of a music critic, using appropriate music terminology. (MU.912.C.2.2E R)
  • domain specific vocabulary related to the FBA rubric (e.g. performance fundamentals, technical preparation, musical effect)
research exemplary models for similar ensembles (full band and/or small ensembles) (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.)
describe how the arts can enrich a community’s social and cultural climate. (MU.912.F.2.2BAC )
  • models/examples of an artistically enriched community
describe the benefits for an industry relocating to a community enriched by the arts. (MU.912.F.2.2BAC )
  • large industries that influence the arts (e.g., publishing, radio, etc.)
describe the financial impact that a large industry provides to an arts community. (MU.912.F.2.2BAC )
  • needs for an industry for success (employee moral, increased productivity, community resources, etc.)
  • characteristics of an artistically enriched community
discuss economic and cultural relationships between artists, local business and patrons. (MU.912.F.2.2BAC )
  • economic relationship
  • cultural relationship
identify and discuss pre- and post- concert/performance activities. (MU.912.F.2.2BAC )
identify and list likely attendees, participants, and contributing volunteers/workers. (MU.912.F.2.2BAC )
identify and list affiliated events, activities, and preparations of a given performance. (MU.912.F.2.2BAC )
compare and contrast arts outreach programs and their impact on the community or region (MU.912.F.2.2BAC )
  • arts outreach programs (e.g., Brevard Youth Symphony Orchestra, Brevard Historical Society, etc.)
discuss the financial and social implications of copyright infringement. (MU.912.F.3.2NTK R)
  • infringement
participate in solo and ensemble music performance assessment or a similar performance setting, sequencing necessary tasks (MU.912.F.3.3BAC )
independently select an ability-based piece. (MU.912.F.3.3BAC )
  • strategies and resources for finding an appropriate piece of music
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
prepare solo or chamber music collaboratively with peers to be performed at a recital or as part of a large ensemble concert. (MU.912.F.3.3BAC )
  • strategies and resources for finding an appropriate piece of music including teacher consultation
independently implement a personal practice plan (MU.912.F.3.3BAC )
  • components of a successful practice session (e.g., goal oriented objectives, warm up, technique and tone studies)
identify and discuss the similarities and differences between selected genres within a composer’s body of work (MU.912.H.1.3NTK R)
  • overall body of work and performance mediums used of selected composers (e.g. Mozart wrote operas, symphonies, concerti, chamber music, sonatas, masses, dances, divertimenti, serenades)
  • 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)
recognize the labels that identify the styles of specific music from non-Western cultures (MU.912.H.2.3BAC )
  • non-Western music genres (e.g. Latin, African)
describe the historical, political or philosophical events that may have impacted the development of a particular genre (MU.912.H.2.3BAC )
  • 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)
analyze the effects of music notation software on composing methods (MU.912.H.2.4BAC )
  • various music notation software (e.g. Finale, MuseScore, Sibelius)
  • how to notate music with paper and pencil
compare and contrast the benefits of recorded music versus live performance (MU.912.H.2.4BAC )
examine compositional conventions, such as articulation and form, particular to the Baroque, Classical, Romantic, 20th, and 21st Century style periods. (MU.912.O.2.1E P)
  • Baroque, Classical, Romantic, 20th, and 21st Century style period compositional characteristics, and definitive composers
identify the differences in style, structure, and expressive elements in two contrasting pieces. (MU.912.O.2.1E P)
  • compositional structure
recognize and identify the difference between major and minor harmony (MU.912.O.2.2BAC )
analyze programmatic elements in music by two different composers: compare and contrast the expressive and compositional devices used to convey meaning. (MU.912.O.3.1E R)
create a program note or story line based on a piece being rehearsed in class (MU.912.O.3.1E R)
  • how to compose a well written program note or story
create a rhythmic variation on a phrase of the music being performed in class using combinations of increasingly complex rhythms (MU.912.S.1.1BAC C)
  • how to alter given rhythms using more complex variations
  • meter
play 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 C)
  • melody, repetition, chord structure, and articulations
identify and manipulate tonality, harmonic structure, and/or standard cadences (MU.912.S.1.3BAC )
  • tonality, harmonic structure, and cadence of a given melody
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
notate a short dictated melody in a given meter, consisting of steps and skips (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, skips)
perform a short familiar melody from an unwritten source (MU.912.S.1.4E P)
  • familiar melodies (e.g. from radio, TV, and movies)
create a listening map or compositional sketch of a work of significance (MU.912.S.2.1E P)
  • teacher defined method for creating a listening map or sketch
independantly notate a diatonic melody with steps and small skips, given a starting note and key, as played or sung by a teacher (MU.912.S.3.3I R)
  • diatonic intervalic relationships
  • basic music notation principles
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
demonstrate various extended techniqies on an instrument (MU.912.S.3.5E P)
  • extended techniques such as flutter tonguing, playing with a slide or valve removed, growling, glissandi, etc.
Second Semester
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.1112.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
write a short critique of a rehearsal (LAFS.1112.WHST.2.4BAC )
  • conductor's objectives
listen to a recording or watch video of a performance and use the FBA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating (LAFS.1112.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
create a eight to sixteen measure phrase synthesizing melodic and rhythmic patterns with input and feedback from teacher and peers. (MU.912.C.2.3BAC )
  • increasingly complex rhythm/notes notation and identification (e.g., dotted rhythms, sixteenth note/rest, eight note/rest, triplets, synchopation, etc.)
  • how to play and/or notate increasingly complex melodies
create a four to eight measure melody based on a I, IV, V chord progression (MU.912.C.2.3BAC )
  • which notes are appropriate to use in a diatonic melody
list experiences and accomplishments in music such as repertoire lists, participation in All-County, solo and ensemble MPA, All-State, concert MPA. (MU.912.F.2.1BAC )
define résumé, (curriculum vitae), and its component parts, as well as discuss its language, usage, intent, and target audience. (MU.912.F.2.1BAC )
  • component parts of a resume (e.g., format, inclusions, language, usage, intent, and target audience)
create a résumé for application to higher education or the workforce. (MU.912.F.2.1BAC )
  • Resources for resume and curriculum vitae templates
compare two or more works of an exemplary composer and analyze the compositional techniques of the composer across those works (MU.912.O.1.1I R)
  • form, compositional styles, melodic and harmonic content, development of themes (e.g. comparing the style of a Mozart concerto to one of his operas)
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
describe, in terms of scale degrees, the difference between a major, natural minor, melodic minor, and harmonic minor scale (MU.912.O.2.2BAC )
  • the struction of a major scale
  • the structure of various minor scales (e.g. natural, melodic, harmonic)
analyze and form an hypothesis of the composer’s intent for a major piece from the body of work of an exemplary composer (non-programmatic piece): hypothesis should be based on expressive and compositional devices. (MU.912.O.3.1E R)
  • expressive elements in music (e.g. dynamics, phrasing, melodic development, form and orchestration)
  • how to develop a hypothesis based on given information
develop a hypothesis for the composer’s intent in a piece being rehearsed in class, citing evidence from the score (MU.912.O.3.1E R)
  • how to develop a hypothesis based on information in the score
harmonize a given melody or melody from music being rehearsed in class by adding consonant intervals above and/or below the melody (MU.912.S.1.3BAC )
  • chord structure of the music and the notes found within those chords
apply the above strategies to accurately memorize and perform a solo (MU.912.S.2.1E P)
Third Quarter
read a score while listening to a recording; compare it to another arrangement or edition, and discuss the differences and similarities (LAFS.1112.SL.1.2BAC )
  • score reading: systems, parts, score order
read adjudicator comments alongside 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.1112.SL.1.2BAC )
  • rubric for performance assessment
  • techniques to address various performance needs
evaluate the efficacy and value of a guest clinician, conductor, or adjudicator's presentation with regard to their delivery (LAFS.1112.SL.1.3BAC )
  • vocal tone, facial expression, gestures
  • syntax, semantics, lexicon
present comparisons of works within a genre citing specific style characteristics and using domain-specific vocabulary to represent a point of view (LAFS.1112.SL.2.4BAC )
  • genre, style characteristics
describe the correlation between individual practice and its influence on rehearsal efficiency (LAFS.1112.SL.2.4BAC )
write a reflection of both formal and informal performances, identifying strengths and weaknesses specific to musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision. (LAFS.1112.WHST.2.4BAC )
  • musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision
write a review of a performance of an unfamiliar work utilizing active listening skills and musical terminology. (MU.912.C.1.1BAC )
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.)
analyze, using previously established criteria, the effectiveness of two performances in achieving one’s prediction of the composer’s intent. (MU.912.C.1.2I R)
  • established criteria for achieving composer's intent.
  • title of the piece, composer, and domain specific vocabulary related to tempo, articulation, and expressive markings
discuss, using domain specific and academic vocabulary, two or more recordings/performances of a work and defend their position regarding the student's personal preference (MU.912.C.2.2E R)
identify professions within a professional ensemble (MU.912.F.2.3BAC )
  • professions within a musical ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.)
discuss the roles and the relationships of the musicians within a professional ensemble and their potential counterparts in a typical business orginizational model (MU.912.F.2.3BAC )
  • roles and the relationships of the musicians within an ensemble (e.g., conductor, concertmaster, principal players, etc.)
  • typical business organizational structures
create program notes for a performance. (MU.912.F.3.3BAC )
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
participate in Solo and Ensemble MPA. (MU.912.F.3.4BAC )
  • resources for instrument and level appropriate literature
explore different sequencing and looping software (MU.912.H.2.4BAC )
  • various music sequencing software types, e.g., Garage Band, Mixcraft, Fruityloops, Audacity, etc.
sight-sing a melody consisting of steps and skips. (MU.912.S.1.4E P)
  • sight-singing tools (e.g. solfeggio, scale degrees, syllables)
notate a familiar melody independently. (MU.912.S.1.4E P)
Fourth 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
identify instruments that are indigenous to specific cultures or regions (MU.912.C.1.3NTK R)
  • culturally specific instruments such as bagpipes to Scotland, sitar to India, 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
Identify and trace the development of music printing and distribution and describe the effect on music history. (MU.912.F.1.1BAC )
  • History of Music printing and distribution
describe the utilization and benefits of music software and recording technologies (MU.912.F.1.1BAC )
  • different music notation products both free and purchased (i.e. Musescore, Finale, Garage Band, Smart Music) and the abilities and limitations of these products.
  • recording methods and technologies
identify various technological advances in music over the centuries that have influenced keyboard, string, world and electronic instruments and discuss their influence on the development of music. (MU.912.F.1.1BAC )
  • advancements in instrument sophistication through mechinization (e.g., animal products vs synthesized materials, harpsichord to piano, etc.)
investigate how the use of virtual and electronic instruments has affected traditional instrumental ensembles. (MU.912.F.1.1BAC )
  • uses of virtual and electronic instruments in traditional instrumental ensembles and recordings (e.g. live versus synthesized instruments in recording studios, use of virtual instruments in pit orchestras for musicals)
describe how wind and percussion instruments have changed due to advancements in technology. (MU.912.F.1.1BAC )
  • advancements in wind and percussion instrument sophistication through mechanization (e.g., baroque oboe versus conservatory model oboe, advent of the saxophone, etc.)
explain the rules of usage of public domain music (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)
  • resources for public domain music (e.g. mutopia, cpdl, imslp)
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
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")
explain how political and social systems, cultural traditions, and economic resources influence the music of composers studied in class (MU.912.H.1.1BAC )
  • the political, social, cultural, and economic background and influences of composers studied in class (e.g. the Enlightenment's influence on composers like Mozart)
compare and contrast two pieces by composers of music being studied in class (MU.912.H.1.2NTK R)
  • background, compositional and expressive techniques, style, and time period of the composers being studied in class
compare and contrast the historical background of two or more composers whose music is being studied in class (MU.912.H.1.2NTK R)
  • historical background of composers, including their time period, nationality/ethnicity, education, and body of work
identify the instruments that are specific to a culture or region. (MU.912.H.1.5I R)
  • culture-specific instruments (i.e., Gamelan and Indonesia)
recognize exemplary composers or performers associated with specific genres (MU.912.H.2.3BAC )
  • various composers/performers and the genre with which they are associated
sketch the form of a piece being rehearsed in class, including expressive elements, road map markings, and dynamic high and low points (MU.912.O.1.1I R)
  • musical notation for expressive elements, road map markings, and dynamic high and low points (e.g. forte, coda, phrase impact points)
transpose a melody from its original state to various church modes (MU.912.O.2.2BAC )
  • the structure of all church modes (e.g. mixolydian, phyrigian)
conduct an ensemble with appropriate gestures that reflect the expressive elements of the music (MU.912.O.3.2E P)
  • basic conducting gestures and what they indicate (e.g. common time pattern, fermata, cut-off)
  • basic conducting technique (e.g. stance, baton grip, patterns, rehearsal techniques)
improvise melodies based on pitches from major scales (MU.912.S.1.1BAC C)
  • structure of diatonic triads
  • notes of the major scales and arpeggios