Orchestra 3 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
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.
model effective rehearsal and performance expectations and behaviors. (DA.912.F.3.8BAC )
  • rehearsal etiquette, performance expectations, and behaviors
explore leadership opportunities and leadership positions outside of the music room. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem-solve
  • people oriented
demonstrate focused attention in class by high achievement on daily formative assessments and periodic summative assessments (DA.912.S.2.1BAC )
maintain proper decorum at all times during class and when attending concerts (DA.912.S.2.1BAC )
  • concert etiquette
  • performance etiquette
observe proper rehearsal etiquette as defined by the director (DA.912.S.2.1BAC )
  • rehearsal etiquette
participate in mutual respect with all other orchestra members and the director (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 classroom visual aids to accurately interpret and perform musical symbols and abbreviations (ELD.K12.ELL.SI.1BAC )
communicate withe a peer tutor/buddy for clarification on concepts presented in class (ELD.K12.ELL.SI.1BAC )
  • section leader for students' vocal/instrumental section
All Year
imitate sound concepts modeled by the teacher and peers (ELD.K12.ELL.SI.1BAC )
  • how to produce a characteristic tone
All Year
rehearse and perform music in class with their peers to demonstrate comprehension and synthesis of skills (ELD.K12.ELL.SI.1BAC )
  • classroom procedures
  • proper posture
  • how to follow the director
  • proper hand position on instrument
  • where to locate the rehearsal plan and/or classroom objectives
All Year
identify and perform music notation as related to class literature. (LAFS.1112.RST.2.4BAC )
  • music notation, including notation symbols specific to string playing
understand vocabulary in various languages as it appears in class literature. (LAFS.1112.RST.2.4BAC )
  • domain specific vocabulary
unify ideas and decisions though collaboration and communication according to music rehearsal convention within sections, across the ensemble, and with the director. (LAFS.1112.SL.1.1BAC )
  • rehearsal communication conventions
initiate independent refinement of repertoire through collaboration with peers. (LAFS.1112.SL.1.1BAC )
  • solo and ensemble literature selection
  • ensemble personnelle selection
  • selection of sectional passages for rehearsal purposes
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
discuss the content of a speaker's or lecturer's presentation (live or recorded) with regard to substantiated evidence. (LAFS.1112.SL.1.3BAC )
  • evidence, data, statistics
·use correct music vocabulary in class discourse to identify, define, discuss, reflect, and debate relevant topics. (LAFS.1112.SL.2.4BAC )
·articulate opinions, questions, and answers so that the intended meaning is understood. (LAFS.1112.SL.2.4BAC )
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
research and prepare a piece of music for rehearsal (score study). (LAFS.1112.SL.2.4BAC )
  • score study
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
describe correlations between technique and performance in a rehearsal piece. (LAFS.1112.SL.2.4BAC )
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 )
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.1112.WHST.3.9BAC )
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: see MU.912.C.1.4
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier, shoulder rest, rosin, end-pin strap, cleaning cloth, music folder, and music stand
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo. (MAFS.K12.MP.6.1BAC )
  • note/rest values appropriate to course and literature
  • time signatures appropriate to course and literature
use domain specific vocabulary to communicate precise ideas and opinions with others. (MAFS.K12.MP.6.1BAC )
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
demonstrate precision in the execution of expressive elements regarding the execution of dynamics, articulations, phrasing, and style. (MAFS.K12.MP.6.1BAC )
  • expressive markings that relate to musical effect regarding dynamics, tempo, phrasing, musical line, dynamics, style, articulations
  • standard conducting patterns
  • expressive conducting gesture
utilize pattern recognition to memorize music. (MAFS.K12.MP.7.1BAC )
reorganize performance practices according to given rhythmic hierarchies (MAFS.K12.MP.7.1BAC )
  • beat groupings and metric stress
recognize patterns through music theory and utilize the information in rehearsal, individual practice, and performance. (MAFS.K12.MP.7.1BAC )
  • patterns such as form, time signatures, phrasing, sequencing, hemiola, key centers, harmonic structure, voicing, modulation, and instrumentation.
discuss definitive composers and compositional characteristics of musical style periods from Baroque to 21st century. (MU.912.C.1.1BAC )
  • musical style periods and genres
  • definitive composers and influential artists
discuss active music listening techniques. (MU.912.C.1.1BAC )
  • active listening techniques
identify musical elements in a listening example. (MU.912.C.1.1BAC )
  • music elements, e.g., dissonance, consonance, phrasing, form, instrumentation, texture, timbre, dynamics, articulation, phrasing, and tempi
explain, using correct musical vocabulary, personal preferences of musical styles and artists. (MU.912.C.1.1BAC )
defend, using correct musical vocabulary, personal preferences of musical styles and artists. (MU.912.C.1.2I R)
  • broad musical and domain-specific vocabulary
compare and assess recordings of standard repertoire across musical genres. (MU.912.C.1.2I R)
  • instrumentation, arrangements, transcriptions
predict how a piece will sound based on given criteria. (MU.912.C.1.2I R)
  • title, composer, instrumentation, composer notes, and compositional elements
compare recordings of class repertoire, and choose which best represents the composer’s intent. (MU.912.C.1.2I R)
support the larger ensemble by understanding the importance of one’s individual role. (MU.912.C.2.1BAC )
  • rehearsal conduct
identify function of own part within the harmonic structure and balance to blend. (MU.912.C.2.1BAC )
  • melody, harmony, and balance
  • blend
integrate rhythms across the ensemble with a unison pulse. (MU.912.C.2.1BAC )
  • rhythms and unison pulse
distinguish quality of personal intonation and tone within the ensemble. (MU.912.C.2.1BAC )
  • strategies and techniques to improve intonation and tone
apply strategies for purposeful practice. (MU.912.C.2.1BAC )
  • practice strategies
evaluate personal and ensemble performances using various assessment tools such as teacher rubrics, the Florida Orchestra Association (FOA) Music Performance Assessment (MPA) adjudication instruments, and student created instruments. (MU.912.C.2.1BAC )
  • teacher standards
  • assignments
  • evaluation and assessment instruments and rubrics
identify and discuss musical criteria from quality recordings that are transferable to class repertoire. (MU.912.C.3.1E R)
  • active listening techniques
use feedback from others, and/or self assessment, to display continued improvement and develop musical performances. (MU.912.C.3.1E R)
  • self assessment techniques
  • practice strategies
apply musical devices and techniques appropriate to style period to align with presumed composer intent. (MU.912.C.3.1E R)
  • composer intent
experiment through the manipulation of musical elements within a composition and discuss the desired aesthetic outcome. (MU.912.C.3.1E R)
  • bowing techniques to perform articulations, dynamics, and phrasings in music from the Baroque, Classical, Romantic, 20th, and 21st Century style periods
  • attacks/releases, technique, posture, note and rhythmic accuracy, tempo, style, balance, blend, and expression, etc
recognize and display appropriate audience, rehearsal, and performance etiquette at a variety of musical activities. (MU.912.F.3.1BAC )
  • audience etiquette
  • rehearsal etiquette
  • performance etiquette
contribute to the realization of classroom objectives, and actively participate in exploring essential questions. (MU.912.F.3.1BAC )
  • objective
  • essential question
identify and apply effective time-saving practice techniques. (MU.912.F.3.1BAC )
  • effective practice strategies
display effective preparation for class through evidence of home practice. (MU.912.F.3.1BAC )
consistently demonstrate the ability to care for the instrument and the bow. (MU.912.F.3.1BAC )
  • proper care for the instrument and the bow
consistently demonstrate an awareness of accessories necessary for class and consistently provide them for use, e.g., shoulder rest, rosin, endpin stop, extra strings, cleaning cloth, mute, metronome, and tuner. (MU.912.F.3.1BAC )
  • appropriate accessories for string instruments
assist in a smooth rehearsal process by facilitating ensemble and room setup, tuning of the orchestra prior to the beginning of class, warm-ups, librarian duties, attendance taking, and orchestra-related announcements. (MU.912.F.3.3BAC )
organize and lead sectional rehearsals. (MU.912.F.3.3BAC )
research topics raised in class to share information for deeper understanding. (MU.912.F.3.3BAC )
utilize the All-County packet to prepare for and attend All-County auditions. (MU.912.F.3.4BAC )
  • All-County Orchestra
  • All-County Orchestra Preparation Packets
reflect on musical achievements over the course of the year. (MU.912.F.3.4BAC )
  • Music Performance Assessment (MPA)
identify, listen to, and discuss recordings of composers that utilize folk or nationalistic music to create art music. (MU.912.H.1.1BAC )
  • examples of composers and works that utilize folk music in their compositions
categorize definitive composers by musical style periods from the Baroque era to the present day. (MU.912.H.1.2I R)
  • Baroque, Classical, Romantic, 20th and 21st Century style periods and composers.
compare how the living and working environments of various composers affected their musical production. (MU.912.H.1.2I R)
  • living conditions of people from different eras.
illustrate stylistic lineage from composer to composer, identifying commonalities and differences. (MU.912.H.1.2I R)
  • musical style characteristics of major composers
listen to and discuss the various media a given composer uses to present works. (MU.912.H.1.3NTK R)
  • performance media
explore the various instrumentations a given composer uses for different works. (MU.912.H.1.3NTK R)
  • instrumentation
explore alternative scorings of one composition, either in existence or hypothetical. (MU.912.H.1.3NTK R)
  • transcription
  • transposition
identify characteristic traits of musical genres and styles in cultures across the world. (MU.912.H.1.5BAC )
  • global cultural traits
  • global music
  • instruments from the world
discuss performance practices that are common to the music of various cultures. (MU.912.H.1.5BAC )
  • performance practices
discuss traits of various cultures and how their music is influenced by those traits. (MU.912.H.1.5BAC )
discuss various forms of media used to perform music of cultures across the world. (MU.912.H.1.5BAC )
identify definitive composers from Baroque to 21st Century, and discuss compositional indicators of their style periods. (MU.912.H.1.5BAC )
  • definitive composers from the Baroque to 21st Century time periods
  • Baroque to 21st Century compositional techniques
discuss and connect the musical and social contributions of various composers, performers, teachers, and music producers to significant historical or social events. (MU.912.H.2.1BAC )
  • influential composers, performers, teachers, and music producers
discuss the relationship between music and historical events, and the impact they have on each other. (MU.912.H.2.1BAC )
discuss the historical connections and political and social influences on the development of musical genres. (MU.912.H.2.3NTK R)
  • musical genres.
  • specified political and social influences.
trace significant developments regarding musical innovations, compositions, and key individuals. (MU.912.H.2.3NTK R)
  • significant musical innovations
examine the musical evolution of style, medium, and genre from composer to composer. (MU.912.H.2.3NTK R)
  • definitive composers.
explain how sound is produced on a string instrument and how that sound reaches the human ear (science - physics, acoustics, physiology). (MU.912.H.3.1BAC )
  • how sounds are produced on string instruments
  • symmetry, sound waves, patterns, structure, velocity, vibrations, and frequencies
recognize the mathematical nature of music theory with regard to the circle of fifths, intervals, etc. (math). (MU.912.H.3.1BAC )
  • circle of fifths
  • intervals
compare and contrast acoustic vs. electronic sound production. (MU.912.H.3.1BAC )
  • acoustic principles of electronic instruments
discuss the acoustic quality of sound reflection in various venues. (MU.912.H.3.1BAC )
  • acoustic principles used in performance and rehearsal facilities
discuss electronic manipulations of sounds. (MU.912.H.3.1BAC )
discuss the structural organization of a musical work regarding instrumentation and genre, e.g., solo, duet, jazz combo, symphony orchestra. (MU.912.O.1.1I R)
  • F.O.A. solo and ensemble categories, i.e., violin duet, piano trio, string quartet
  • instrumentation
  • genre, i.e., solo, duet, jazz combo, symphony orchestra, etc.
identify the meter and rhythmic theme or motif in a given example. (MU.912.O.1.1I R)
  • motif
  • meter
recognize, aurally, the tonality of a given piece as major, minor, or modal. (MU.912.O.1.1I R)
  • tonality (major, minor, and modal)
identify, aurally and visually, the main melodic theme, and secondary themes if applicable. (MU.912.O.1.1I R)
  • melodic themes (main, secondary)
relate what is seen in the key signature to the key of the piece. (MU.912.O.1.1I R)
  • key signatures
identify basic structural elements in music such as meter, key/tonality (major or minor), timbre, and form. (MU.912.O.1.1I R)
  • form
identify major and minor tonalities in given aural examples. (MU.912.O.2.2BAC C)
  • major and minor keys.
notate major and minor scales as played in class. (MU.912.O.2.2BAC C)
  • scale structure (tonal)
improvise using major and minor modalities using appropriate finger patterns. (MU.912.O.2.2BAC C)
discuss a composer’s intent in a given piece of music based on the use of musical components. (MU.912.O.3.1I R)
  • composers of literature listened to and performed in class.
use knowledge of musical elements to describe how particular styles of music are appropriate for various events, such as marches for parades, thematic music for holiday celebrations, dirges for funerals, or fanfares for weddings. (MU.912.O.3.1I R)
  • musical genres and styles.
  • modality
recall specific events that used music effectively to convey a mood or feeling, and discuss, using music vocabulary, the musical elements that created the atmosphere. (MU.912.O.3.1I R)
  • composer intent.
  • Baroque, Classical, Romantic, 20th and 21st Century style periods, compositional characteristics.
identify and define expressive elements contained in a given piece of music. (MU.912.O.3.2E P)
  • expressive elements such as dynamics, articulations, and phrasing
perform music from various musical style periods including Baroque, Classical, Romantic, 20th, and 21st Centuries, observing the expressive elements inherent or indicated in each style. (MU.912.O.3.2E P)
  • compositional characteristics of the Baroque, Classical, Romantic, 20th, and 21st Century style periods
  • techniques to perform expressively and stylistically
follow the conductor’s instructions and gestures that indicate expressive direction such as dynamics, tempo, phrasing, and articulation. (MU.912.O.3.2E P)
  • conductor’s instructions, beat patterns, and gestures
experiment with changes in musical elements such as tempo, dynamics, rhythms, melodic line, and/or articulations in a known piece. (MU.912.S.1.3BAC C)
  • musical elements such as tempo, dynamics, rhythms melody, harmony, articulations
assign bowings in a given excerpt, and defend choices made. (MU.912.S.1.3BAC C)
  • bowing techniques to perform bowings, articulations, dynamics and phrasings for music from the Baroque, Classical, Romantic, and 20th Century eras
assign dynamics in a given excerpt, and defend choices made. (MU.912.S.1.3BAC C)
echo a short unfamiliar melody, given the first note. (MU.912.S.1.4E P)
  • intervals
  • rhythm
sing student’s own part according to the directions of the conductor. (MU.912.S.1.4E P)
  • key signatures
  • time signatures
sight-sing a melody consisting of steps and small skips. (MU.912.S.1.4E P)
  • sight singing
notate the familiar scales and arpeggios for student’s own instrument. (MU.912.S.1.4E P)
  • scales and arpeggios learned in class
  • music notation conventions
notate a short dictated rhythm utilizing diverse note values. (MU.912.S.1.4E P)
notate a short dictated melody in a given meter, consisting of steps and skips. (MU.912.S.1.4E P)
notate a familiar melody with assistance. (MU.912.S.1.4E P)
identify major musical components of a piece, such as form, themes, etc. (MU.912.S.2.1E P)
  • form, themes, and motives
recall information about the pieces played in class without referring to the music, such as title, composer, style period, time signature, tempo, key center or signature, unique features, and/or performance instructions from the conductor. (MU.912.S.2.1E P)
  • Baroque, Classical, Romantic, and 20th/21st Century style periods
  • information about class repertoire such as title, composer, style period, time signature, tempo, and key signature
  • performance directions
memorize assigned phrase(s) from each piece rehearsed in class. (MU.912.S.2.1E P)
identify, compare, and perform defining musical elements generally present in all music such as clef, key, meter, tempo, and dynamics. (MU.912.S.2.2E P)
  • defining elements of written music such as clef, key, meter, tempo, dynamics
play with a characteristic tone at all dynamic levels, various tempi, bow articulations, and styles found in class literature. (MU.912.S.2.2E P)
  • tone production techniques
  • blend
  • style characteristics
tune independently using fine tuners and pegs.. (MU.912.S.2.2E P)
match pitch and correct pitch discrepancies within horizontal and vertical contexts. (MU.912.S.2.2E P)
  • pitch acuity
understand, apply, and transfer the skills and knowledge mastered in one piece to new pieces of music. (MU.912.S.2.2E P)
  • practice strategies
  • see MU.912.C.2.1
apply correct playing technique as the foundation for skillful and expressive string playing. (MU.912.S.3.1E P)
  • techniques to perform expressively and stylistically.
  • see MU.912.S.3.5.
perform scales, warm ups, class etudes, and method book exercises applying appropriate technique as directed. (MU.912.S.3.1E P)
  • techniques for tone production, pitch accuracy, and rhythmic integrity.
compare and contrast string method experts and their works referred to in class. (MU.912.S.3.1E P)
  • significant string methods experts and their important works
identify and perform, as contained in class repertoire: all dynamic levels, phrasings, tempo markings, bowings, and articulations. (MU.912.S.3.1E P)
  • elements such as dynamics, phrasing, tempo markings, bowings, and articulations.
discuss effective sight-reading strategies and preview individual parts according to the directions of the conductor. (MU.912.S.3.2E O)
  • sight reading strategies
sight-read rhythmic patterns on a given open string. (MU.912.S.3.2E O)
  • rhythmic patterns
perform Florida Orchestra Association class D literature at sight, keeping intact the basic melodic, harmonic, rhythmic, and stylistic qualities. (MU.912.S.3.2E O)
  • time signatures, tempos, rhythmic elements, key signatures, melodic ranges, chromaticism, articulations, bowing technique, and formal schemes found in Florida Orchestra Association Class D repertoire
recognize and display personal preparation for rehearsals including necessary equipment and music preparation. (MU.912.S.3.4E R)
  • practice strategies
  • assignments
recognize the roles of section leaders, section players, and the director within the ensemble. (MU.912.S.3.4E R)
  • roles of the conductor and orchestra positions
critique the effectiveness of a given rehearsal and identify specific improvements. (MU.912.S.3.4E R)
target areas that need improvement; develop and implement a plan for advancement. (MU.912.S.3.4E R)
consistently demonstrate the ability to follow a conductor’s instructions, beat pattern, and gestures. (MU.912.S.3.4E R)
  • teacher standards
  • rehearsal conduct
  • conductor’s instructions, beat patterns, and gestures
demonstrate proficiency of the correct playing position for the body, instrument, and bow. (MU.912.S.3.5E P)
  • body posture and instrument position
  • bow hold
perform with equal fluency on all strings. (MU.912.S.3.5E P)
  • bow arm levels and left arm adjustments necessary to play on the different strings
employ correct shifting technique. (MU.912.S.3.5E P)
  • shifting technique
play in higher positions: upper strings third position, lower strings through fourth position. (MU.912.S.3.5E P)
  • third position notes and finger patterns for violinists and violists
  • second, third, and fourth position notes and finger patterns for cellists and bassists
perform simple double stops as found in Florida Orchestra Association Class C repertoire. (MU.912.S.3.5E P)
  • simple double stops
perform ornamentations as written in the class repertoire. (MU.912.S.3.5E P)
  • ornaments.
apply the following bow techniques as found in Florida Orchestra Association Class C repertoire: staccato, legato, détaché, grouped staccato, hooked bowing, spiccato, louré (portato), martelé, marcato, tremolo, col legno, ponticello, sul tasto, collé, and multiple note-slurs. (MU.912.S.3.5E P)
  • bowing techniques and styles.
use the lower, middle, and upper parts of the bow with proper bow division. (MU.912.S.3.5E P)
  • bow division
correlate the speed, weight, angle, and placement of the bow to produce an appropriate tone and dynamic level. (MU.912.S.3.5E P)
  • bow weight, angle, speed, and placement
  • tone
  • dynamics
distinguish phrases aurally and visually, and demonstrate phrasing in performance. (MU.912.S.3.5E P)
  • phrasing
perform rhythmic patterns commonly found in Florida Orchestra Association Class C repertoire. (MU.912.S.3.5E P)
  • rhythms found in Florida Orchestra Association Class C repertoire
play major and minor tetrachords starting on any note in half through third position, using appropriate finger patterns. (MU.912.S.3.5E P)
  • varying left hand finger patterns.
  • major and minor tetrachords
understand and apply fingering principles and positions used to play All-County scales and arpeggios. (MU.912.S.3.5E P)
  • violinists know finger patterns and shifting needed to perform three octave G, A, and B-flat Major scales and arpeggios; two octave A-flat, C, D, E-flat, E, and F Major scales and arpeggios; a two octave D melodic minor scale and arpeggio; and a two octave chromatic scale starting on open G
  • violists and cellists know finger patterns and shifting needed to perform three octave C, D, and E-flat Major scales and arpeggios; two octave E, F, G, A-flat, A, and B-flat Major scales and arpeggios; a two octave G melodic minor scale and arpeggio; and a two octave chromatic scale starting on open C
  • bassists know finger patterns and shifting needed to perform two octave E, F, G, A-flat, A, B-flat, C, D, and E-flat Major scales and arpeggios; a two octave G melodic minor scale and arpeggio; and a two octave chromatic scale starting on open E
apply vibrato. (MU.912.S.3.5E P)
  • basic vibrato
First Semester
watch two performances of a piece on YouTube and determine what techniques contribute to the musicality. (LAFS.1112.SL.1.2BAC )
  • proper performance posture, position, and technique
listen to two recordings of a piece of music on Naxos 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
listen to a recording or watch video of a performance and use the FOA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the score to support the rating. (LAFS.1112.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
research instruments throughout the world and compare them by families, including listening examples. (MU.912.C.1.3BAC )
  • Hornbostel-Sachs Instrument Classification System, i.e., idiophones, membranophones, chordophones, aerophones, and electrophones
  • instrument families: woodwinds, brass, string, percussion, keyboard, electronic
  • geographical regions relevant to world instruments
research the history of the viol family of instruments through their modern form in 17th Century Italy. (MU.912.C.1.3BAC )
  • viola da gamba family.
compare modern orchestral instruments to instruments throughout the world. (MU.912.C.1.3BAC )
  • modern orchestral instruments
First Quarter
examine the musical elements necessary to evaluate a quality performance. (MU.912.C.2.2I R)
  • active listening techniques
  • musical elements (see MU.912.C.1.1, MU.912.C.1.2, and MU.912.C.2.1)
use an established evaluation form to assess a performance. (MU.912.C.2.2I R)
  • evaluation instruments
identify and discuss sequencing strategies for memorizing a piece. (MU.912.S.2.1E P)
  • sequencing strategies for memorization
discuss how technical development relates to the pedagogical process. (MU.912.S.3.1E P)
Week 1
recognize the function of lines and spaces of the staff (including the addition of ledger lines) as the means of visually representing pitch (MAFS.K12.MP.7.1BAC )
understand rhythmic relationships regarding time signature classification. (MAFS.K12.MP.7.1BAC )
  • simple, compound and mixed meters
  • function of top and bottom numbers in time signatures
understand the importance of correct setup, (posture, left and right hand techniques), as a foundation for quality playing. (MU.912.C.2.1BAC )
  • posture, instrument position, and bow hold
list goals and aspirations at the beginning of the year. (MU.912.F.3.4BAC )
  • goals
  • aspirations
understand that correct playing technique is the foundation for string playing. (MU.912.S.3.5E P)
Week 2
discuss the interrelationships among orchestra members and the conductor, and how blending is achieved. (MU.912.C.2.1BAC )
  • roles of the conductor and orchestra positions
discuss goals with teacher and peers to receive feedback and request assistance. (MU.912.F.3.4BAC )
  • feedback
design and implement a daily and semester-long practice plan. (MU.912.F.3.4BAC )
  • practice plan
Week 4
identify appropriate solo and ensemble choices from standard repertoire. (MU.912.C.2.1BAC )
  • solo and ensemble repertoire
Second Quarter
discuss the importance of the sustainability of the creative process to our continued access to new and old musical works, both in print and recordings. (MU.912.F.3.2NTK R)
  • publishing company (house)
define “copyright” and discuss proper usage of applicable materials, media, and performances. (MU.912.F.3.2NTK R)
  • copyright
discuss the financial and social implications of copyright infringement. (MU.912.F.3.2NTK R)
  • infringement
participate in Solo and Ensemble MPA. (MU.912.F.3.4BAC )
  • Solo and Ensemble (S&E)
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
perform repertoire with contrasting styles and structural elements, transferring accepted compositional conventions and performance practices. (MU.912.O.2.1E P)
Second Semester
perform a short familiar melody from an unwritten source, e.g., radio, TV, movie, etc. (MU.912.S.1.4E P)
  • familiar tunes
apply learned strategies to memorize and perform a solo. (MU.912.S.2.1E P)
Fourth Quarter
read a score while listening to the piece, compare it to another arrangement or edition, and discuss the differences and similarities in class. (LAFS.1112.SL.1.2BAC )
  • score reading: systems, parts, score order
Obtain and prepare All-County audition excerpts and required scales for the following year. (MU.912.C.3.1E R)
  • All-County audition excerpts and scales
Establish a sight-reading routine, and record and analyze personal sight-reading to prepare for the All-County audition. (MU.912.C.3.1E R)
  • Sight-reading audition process for All-County
  • Sight-reading strategies
Recognize and cultivate personal leadership skills to apply to the following year. (MU.912.F.3.1BAC )
  • leadership skills
  • mentoring
Extend the orchestra experience over the summer months by making plans to attend local and regional summer strings camps, take private lessons, secure a “practice buddy,” and attend live music concerts. (MU.912.F.3.3BAC )
  • Local and regional summer string music camps
  • Private teachers
  • Summer concert listings
  • Practice partner, or “buddy”
listen to music from various parts of the world and identify stylistic elements particular to that culture. (MU.912.H.1.1BAC )
  • world music genres and styles
  • musical elements that shape style, such as instrumentation, form, melody, harmony, rhythm, and texture
discuss the roles of music and identify common threads across different cultures. (MU.912.H.1.1BAC )
  • role of music in society
discuss the origin of various folk melodies and examine their style characteristics such as rhythm, tonality, melodic line, lyrics, and instrumentation. (MU.912.H.1.4BAC )
  • style characteristics.
relate the concept of America as a “melting pot” to the musical influence on American composers. (MU.912.H.1.4BAC )
  • America as the melting pot.
  • American composers.
list the media used to access global cultures, and theorize how this exposure has and will influence music. (MU.912.H.1.4BAC )
  • media used to access global cultures
identify various technological advances over the centuries that have changed music creating, learning, performing, recording, and delivery systems. (MU.912.H.2.4BAC )
  • examples of technological advances that have affected music
identify and list pros and cons of recorded vs. live performance, and the component of technology as an influence. (MU.912.H.2.4BAC )
  • advantages and disadvantages of live and recorded music performance experiences
arrange a short musical piece by utilizing two or more of the following: augmentation, diminution, inversion, retrograde, manipulating the form, changing the tonality, displacing notes to make the range more accessible, or transposing to a different key. (MU.912.S.1.3BAC C)
  • ways to manipulate thematic material: augmentation, diminution, inversion, and retrograde
  • voicing
  • major and minor tonalities
  • octave displacement
  • transposition
create compositional parameters for a piece that reflect knowledge of major musical components such as form, theme, motif, etc. (MU.912.S.2.1E P)
  • music writing skills (see MU.912.S.1.4)
Receive and prepare the Project Assessment Materials. (MU.912.S.3.5E P)