Orchestra 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
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
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 )
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
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 )
predict how a piece will sound based on given criteria. (MU.912.C.1.2I R)
  • title, composer, instrumentation, composer notes, compositional elements.
find, compare and assess recordings of standard repertoire across musical genres. (MU.912.C.1.2I R)
  • instrumentation, arrangements, transcriptions
compare recordings of class repertoire, and discuss which best represents the composer’s intent. (MU.912.C.1.2I R)
defend, using correct musical vocabulary, personal preferences of musical styles and artists. (MU.912.C.1.2I R)
  • broad musical and domain-specific vocabulary
  • music style periods and genres
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 )
  • rhythms and unison pulse
  • melody, harmony, and balance
integrate rhythms across the ensemble with a unison pulse. (MU.912.C.2.1BAC )
apply correct technique as a foundation to aesthetic music making. (MU.912.C.2.1BAC )
  • posture, instrument position, and bow hold
apply appropriate style period characteristics to the performance. (MU.912.C.2.1BAC )
  • style periods and their identifying characteristics
integrate quality intonation and tone when playing alone and with others. (MU.912.C.2.1BAC )
  • strategies and techniques to improve intonation and tone
apply effective 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
  • evaluation and assessment instruments and rubrics
appraise, based on criteria that has been developed in class, the quality of a recording and identify elements that transfer to class repertoire. (MU.912.C.3.1E R)
  • active listening techniques
  • self assessment techniques
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
identify transferable skills utilized in the orchestra classroom to everyday life, such as reflection / self-evaluation, leadership, mentoring, collaboration, community involvement, cooperation, creative problem solving, trouble shooting, personal responsibility, work ethic, intrinsic motivation, delayed gratification, etc. (MU.912.F.2.1BAC )
  • reflection
  • self-evaluation, self assessment
  • mentoring
  • collaboration
  • community involvement
  • community service
  • cooperation
  • creative problem solving
  • trouble shooting
  • personal responsibility
  • work ethic
  • intrinsic motivation
  • delayed gratification
model 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
display consistent preparation through individual equipment and music. (MU.912.F.3.1BAC )
  • appropriate accessories for string instruments
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 including basic maintenance techniques, e.g., changing strings, conditioning pegs, cleaning bow hair, polishing instrument, and inspect for seam openings. (MU.912.F.3.1BAC )
  • proper care for the instrument and the bow
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 )
identify long-term musical goals. (MU.912.F.3.4BAC )
  • goals
assess where I am related to where I want to be and list music related, personal goals for the year including steps to achieve these goals. (MU.912.F.3.4BAC )
  • aspirations
write a request to the teacher for assistance with student’s personal musical goals, such as specific skills, techniques, knowledge, and activities. (MU.912.F.3.4BAC )
  • feedback
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.
explain how political and social systems, cultural traditions, and economic resources influence a given composer’s music. (MU.912.H.1.1BAC )
  • political and social systems, cultural traditions, and economic resources.
categorize and compare definitive composers by musical style periods from Baroque to 20th Century. (MU.912.H.1.2I R)
  • Baroque, Classical, Romantic, 20th and 21st Century style periods and composers.
illustrate stylistic lineage from composer to composer, identifying commonalities and differences. (MU.912.H.1.2I R)
  • living conditions of composers from different eras
compare the living and working environments of various composers and theorize how their musical production was affected. (MU.912.H.1.2I R)
  • musical style characteristics of major composers
identify the various media a given composer uses to present works. (MU.912.H.1.3BAC )
  • performance media
identify the various instrumentations a given composer uses for different works. (MU.912.H.1.3BAC )
  • instrumentation
explore the possible scoring of one composition, either in existence or hypothetical. (MU.912.H.1.3BAC )
  • 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 current musical trends and how they developed (MU.912.H.2.2BAC )
  • current musical trends
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 and region to region. (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 - 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
identify the meter and rhythmic theme or motif in a given example. (MU.912.O.1.1I R)
  • motif
  • meter
identify, aurally and visually, the tonality of a given piece as major, minor (including natural, melodic, or harmonic form), or modal. (MU.912.O.1.1I R)
  • key signatures
  • tonality (major, minor [including natural, melodic, and harmonic], and modal)
identify the main melodic theme and secondary themes if applicable (MU.912.O.1.1I R)
  • melodic themes (main, secondary)
compare musical elements that unify main and secondary themes in a work, and contrast the musical elements that differentiate them. (MU.912.O.1.1I R)
identify, aurally and visually, structural forms in music including those with ABA, theme and variation, rondo, sonata-allegro, etc. (MU.912.O.1.1I R)
  • form
recognize typical organization of movements in concerto and symphonic forms. (MU.912.O.1.1I R)
  • traditional movement structure within concerti and symphonies
discuss the effect of instrumentation and genre on timbre and texture in a given work. (MU.912.O.1.1I R)
  • timbre, texture
  • instrumentation and genres, e.g. solo, duet, jazz combo, symphony orchestra
identify major and minor tonalities in given aural examples. (MU.912.O.2.2BAC C)
notate major and minor scales as played in class. (MU.912.O.2.2BAC C)
  • major and minor keys
notate and play the transposition of a melody in a minor mode to its relative major key. (MU.912.O.2.2BAC C)
  • relative major and minor keys
explore different modalities by playing scales within one key signature starting on different notes. (MU.912.O.2.2BAC C)
  • modes
discuss a composer’s intent in a given piece of music based on the use of expressive elements. (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, fanfares for weddings, etc. (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 )
  • 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 )
  • 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 )
echo an unfamiliar melody, given the first note. (MU.912.S.1.4BAC )
  • intervals
sing student’s own part according to the directions of the conductor. (MU.912.S.1.4BAC )
  • key signatures
  • time signatures
sight-sing a melody consisting of steps and skips. (MU.912.S.1.4BAC )
  • sight singing
notate the familiar scales and arpeggios for student’s own instrument. (MU.912.S.1.4BAC )
  • scales and arpeggios learned in class
  • music notation conventions
notate a dictated rhythm utilizing diverse note values. (MU.912.S.1.4BAC )
  • rhythm
notate a dictated melody. (MU.912.S.1.4BAC )
identify major musical components of a piece, such as form, themes, etc. (MU.912.S.2.1BAC )
  • 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.2.1BAC )
  • 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.2.1BAC )
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 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)
  • tuning the instrument
consistently match pitch and identify and correct pitch discrepancies within horizontal and vertical contexts. (MU.912.S.2.2E P)
utilize sympathetic vibrations to determine quality intonation and aurally respond to proper intonation by adjusting the fingers. (MU.912.S.2.2E P)
  • pitch acuity and sympathetic vibrations
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
consistently 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.
explain the appropriate techniques necessary for scales, warm ups, class etudes, and method book exercises as performed in class. (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, implement, and evaluate effective sight-reading strategies and preview individual parts according to the directions of the conductor. (MU.912.S.3.2BAC )
  • sight reading strategies
sight-read rhythmic patterns on a given open string. (MU.912.S.3.2BAC )
  • rhythmic patterns
perform Florida Orchestra Association class C literature at sight, keeping intact the basic melodic, harmonic, rhythmic, and stylistic qualities. (MU.912.S.3.2BAC )
  • time signatures, tempos, rhythmic elements, key signatures, melodic ranges, chromaticism, articulations, bowing technique, and formal schemes found in Florida Orchestra Association Class C repertoire
write the scales learned in class for own instrument. (MU.912.S.3.3I R)
  • scales learned in class
  • key signatures
notate a dictated rhythm consisting of varied note values. (MU.912.S.3.3I R)
  • time signatures
  • rhythm
notate a dictated simple melody consisting of varied note values. (MU.912.S.3.3I R)
  • intervals
using correct chord symbols, notate I, IV, V, and V7 chord changes as performed by someone else. (MU.912.S.3.3I R)
  • I, IV, V, and V7 chords
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, and incorporate them 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 mastery of the correct playing position for the body, instrument, and bow. (MU.912.S.3.5E P)
  • body posture and instrument position.
  • bow hold
consistently perform with equal fluency on all strings through fifth position. (MU.912.S.3.5E P)
  • bow arm levels
  • let arm adjustments necessary to facilitate playing on all strings and in higher positions
perform double stops as found in Florida Orchestra Association Class B and A repertoire. (MU.912.S.3.5E P)
  • double stops
recognize standard notation for, and perform ornamentations as written in the class repertoire. (MU.912.S.3.5E P)
  • ornaments.
consistently apply the following advanced bow techniques as found in Class B and A literature: staccato, legato, détaché, grouped staccato, hooked bowing, spiccato, bariolage, louré (portato), martelé, marcato, tremolo, col legno, ponticello, sul tasto, ricochet, sautillé, collé, and multiple note-slurs. (MU.912.S.3.5E P)
  • bowing techniques and styles.
apply knowledge of bow division, articulation, style, and expression to write bowings for a part. (MU.912.S.3.5E P)
  • bow division
  • bow weight, angle, speed, and placement
consistently distinguish phrases aurally and visually, and demonstrate phrasing in performance. (MU.912.S.3.5E P)
  • phrasing
consistently perform rhythmic patterns commonly found in Florida Orchestra Association Class B and A repertoire. (MU.912.S.3.5E P)
  • rhythms found in Florida Orchestra Association Class B and A repertoire
demonstrate the ability to play major and minor tetrachords starting on any note in half through seventh position (or thumb position in cello and bass), using appropriate finger patterns. (MU.912.S.3.5E P)
  • varying left hand finger patterns.
  • major and minor tetrachords
consistently employ fluent and correct shifting technique. (MU.912.S.3.5E P)
  • shifting technique
understand and apply fingering principles and positions used to play All-County and 11-12 All-State scales and arpeggios. (MU.912.S.3.5E P)
  • violinists know finger patterns and shifting needed to perform three octave G, A, B-flat, C, D, E-flat, and F Major scales and arpeggios; three octave G, A, and D melodic minor 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, E-flat, F, G, A, and B-flat Major scales and arpeggios; three octave C, D and G melodic minor 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; two octave G, A, and E melodic minor scales and arpeggios; and a two octave chromatic scale starting on open E
consistently apply vibrato. (MU.912.S.3.5E P)
  • vibrato.
First Semester
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
prepare for and attend All-County auditions. (MU.912.F.3.4BAC )
  • All-County Orchestra
  • All-County Orchestra Preparation Packets
discuss the relationship between music and historical events, and the impact they have on each other. (MU.912.H.2.1BAC )
First Quarter
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
list various musical elements that comprise a given piece, and correlate the list to the appropriate category in FOA evaluation forms. (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)
create or use an established evaluation form to assess a performance. (MU.912.C.2.2I R)
  • evaluation instruments
identify professions within an orchestra such as executive director, board of directors, personnel manager, production manager, librarian, marketing director, conductor, and musicians. (MU.912.F.2.3BAC )
  • executive director
  • board of directors
  • personnel manager
  • production manager
  • stage manager
  • marketing director
  • conductor
  • agent
identify and discuss sequencing strategies for memorizing a piece. (MU.912.S.2.1BAC )
explain 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
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
  • blend
identify local performance venues and area hotels, restaurants, and attractions. (MU.912.F.2.2BAC )
  • performance venue
  • area attractions
identify local arts organizations and their current season’s programs and shows. (MU.912.F.2.2BAC )
  • performance season
discuss the roles and the relationships of the musicians within an orchestra, such as the conductor, concertmaster, principal players, assistant principals, and section players. (MU.912.F.2.3BAC )
  • concertmaster
  • principal players
  • assistant principal players
  • section player
design a daily and semester-long practice plan. (MU.912.F.3.4BAC )
  • practice plan
discuss audience environments and venues (MU.912.H.2.2BAC )
  • various musical venue posibilities, e.g., arenas, halls, outdoor stages, digital, on-line viewing and participation, Skype, etc.
Week 3
discuss economic and cultural relationships between artists, local business and patrons. (MU.912.F.2.2BAC )
  • economic relationship
  • cultural relationship
describe how a rich cultural climate may attract a diverse population to the area. (MU.912.F.2.2BAC )
  • rich cultural climate
discuss how people acquire music, and how this has changed over time (MU.912.H.2.2BAC )
  • various music recording/listening methods (i.e., mp3, CD, DVD, record, cassette, radio, internet video resources, internet streaming audio, etc.
Week 4
identify, explore, and perform appropriate solo and small ensemble music from standard repertoire. (MU.912.C.2.1BAC )
  • solo and ensemble repertoire
Second Quarter
write an eight measure melodic/rhythmic dictation including steps, skips and chromatics (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
write a short critique of a rehearsal (LAFS.1112.WHST.2.4BAC )
  • conductor's objectives
participate in Solo and Ensemble MPA. (MU.912.F.3.4BAC )
  • Solo and Ensemble (S&E)
propose a hypotheses regarding future trends in music innovations and applications (MU.912.H.2.2BAC )
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
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 )
  • ways to manipulate thematic material: augmentation, diminution, inversion, and retrograde
  • voicing
  • major and minor tonalities
  • octave displacement
  • transposition
perform a familiar melody from an unwritten source, e.g., radio, TV, movie, etc. (MU.912.S.1.4BAC )
  • familiar tunes
notate a familiar melody independently. (MU.912.S.1.4BAC )
apply learned strategies to memorize and perform a solo. (MU.912.S.2.1BAC )
  • sequencing strategies for memorization
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
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
compose an eight measure melody over a given harmonic structure. (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
research bowed instruments throughout the world. (MU.912.C.1.3BAC )
  • bowed 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.
explore the effect of electronics on various bowed instruments. (MU.912.C.1.3BAC )
  • electrophones
compare modern orchestral instruments to instruments throughout the world. (MU.912.C.1.3BAC )
  • modern orchestral instruments.
Obtain and prepare All-County and All-State audition excerpts and the respective required scales for the following year. (MU.912.C.3.1E R)
  • All-County and All-State audition excerpts and scales
Establish a sight-reading routine, and record and analyze personal sight-reading to prepare for All-County and All-State auditions. (MU.912.C.3.1E R)
  • Sight-reading audition processes for All-County and All-State
  • Sight-reading strategies
identify various technological advances in music over the centuries, and discuss their influence on the development of music, e.g., harpsichord to piano to digital keyboard; scribes to printing press to notation software; drum made from a tree-trunk to digital drum pad. (MU.912.F.1.1NTK R)
  • technology in music
discuss the development of recording technologies and music notation. (MU.912.F.1.1NTK R)
  • music notation software
  • recording methods and technology
compare and contrast the accessibility, quality, and distribution of musical products, e.g., live to recorded performances, written compositions, equipment, etc. (MU.912.F.1.1NTK R)
  • methods of music distribution
define résumé, (curriculum vitae), and its component parts, as well as discuss its language, usage, intent, and target audience. (MU.912.F.2.1BAC )
  • résumé (curriculum vitae)
list experiences and accomplishments in music such as repertoire lists, participation in All-County, solo and ensemble MPA, All-State, concert MPA, leadership positions (MU.912.F.2.1BAC )
  • repertoire
  • All-County
  • All-State
  • Music Performance Assessment (MPA)
  • Solo and Ensemble (S&E)
  • Concert MPA
create a résumé for application to higher education or the workforce. (MU.912.F.2.1BAC )
  • higher education
discuss the importance of fundraising, grants, support guilds, and volunteers as vital to the survival of arts organizations. (MU.912.F.2.3BAC )
  • fundraising
  • grant
  • guild, support guild
  • volunteer
Recognize and cultivate personal leadership skills to apply to the following year. (MU.912.F.3.1BAC )
  • leadership skills
  • mentoring
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.3.2BAC )
  • publishing company (house)
define “copyright” and discuss proper usage of applicable materials, media, and performances. (MU.912.F.3.2BAC )
  • copyright
discuss the financial and social implications of copyright infringement. (MU.912.F.3.2BAC )
  • infringement
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 common threads in musical styles, such as region, religion, or heritage. (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
(see MU.912.F.1.1) (MU.912.H.2.4BAC )
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 )
create and refine a composition which is based on parameters that reflect knowledge of major musical components. (MU.912.S.2.1BAC )
  • music writing skills (see MU.912.S.1.4)
Receive and prepare the Project Assessment Materials. (MU.912.S.3.5E P)