Instrumental Techniques 2 Pacing Guide

Time-Period Currently Unspecified
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
develop detailed goals and objectives to be achieved during individual practice (MU.912.C.2.1BAC )
identify the high and low points of a phrase. (MU.912.O.3.2E O)
  • phrasing in music (i.e., phrase impact points, motion, shape, etc.)
identify defining musical elements in pieces of music (MU.912.S.2.2E P)
reflect whether a transfer has been made from a work or skill to another (MU.912.S.2.2E P)
distinguish, while playing, quality intonation, and make appropriate adjustments. (MU.912.S.2.2E P)
perform age-appropriate repertoire, in varied styles, that includes, but is not limited to, major scales and Grades II, III, and IV band literature. (MU.912.S.3.1E P)
  • expressive and stylistic techniques called for by the composer and the conductors interpretation
demonstrate proper fundamentals in varied literature in a performance setting. (MU.912.S.3.1E P)
perform music selections in simple and compound meters. (MU.912.S.3.2E O)
understand and demonstrate dynamic markings and phrasing. (MU.912.S.3.2E O)
  • dynamic marking symbols and terms (e.g., crescendo, subito forte, etc.)
  • basic phrasing concepts (e.g. four bar versus eight bar phrase, breath marks, cadences, etc.)
recognize, count and notate simple rhythms and rests. (MU.912.S.3.2E O)
  • procedure for deciphering rhythms (e.g., count singing, speaking rhythms, subdividing, etc.)
recognize simple meters and key signatures and be able to identify flats, sharps, and naturals. (MU.912.S.3.2E O)
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)
examine the necessary factors for an effective personal practice plan. (MU.912.S.3.4E R)
examine the necessary factors for an effective ensemble rehearsal. (MU.912.S.3.4E R)
discuss rehearsal strategies and their application to personal practice, e.g., technical exercises, flexibility exercises, long tones, etc. (MU.912.S.3.4E R)
evaluate progress on a section of music following a rehearsal session. (MU.912.S.3.4E R)
demonstrate proper playing position. (MU.912.S.3.5E P)
demonstrate appropriate breathing technique. (MU.912.S.3.5E P)
recognize and demonstrate proper posture. (MU.912.S.3.5E P)
  • correct posture (e.g., feet flat on floor, sit up straight, etc.).
recognize and demonstrate proper embouchure. (MU.912.S.3.5E P)
  • proper embouchure (e.g., firm corners, flat chin, etc.).
produce a characteristic tone on an instrument. (MU.912.S.3.5E P)
demonstrate proper fingering for all notes within a practical range for an instrument. (MU.912.S.3.5E P)
understand and perform the various styles of articulation (e.g., tonguing, slurring, legato, staccato, and accent). (MU.912.S.3.5E P)
  • proper tonguing technique (e.g., hitting the teeth or the reed in the appropriate spot with the tongue).
recognize in tune/out of tune and how to make the appropriate adjustments. (MU.912.S.3.5E P)
  • basic intonation (i.e., playing in tune with others)
All Year
Sustain focused attention, respect, and discipline during class, rehearsal, and performance (DA.912.S.2.1BAC )
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 )
observe proper rehearsal etiquette as defined by 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
All Year
differentiate between English terminology and musical terminology (ELD.K12.ELL.SI.1BAC )
  • music terminology usually in Italian and usually italicized
All Year
perform rhythmic and melodic patterns accurately by imitating aural patterns demonstrated by the teacher and/or peers (ELD.K12.ELL.SI.1BAC )
  • procedure for aurally deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
  • intervallic relationships
perform rhythmic and melodic patterns accuartely by visually interpreting musical symbols (ELD.K12.ELL.SI.1BAC )
  • pitches on the staff, rhythmic patterns appropriate to the course level
All Year
use classroom visual aids to accurately interpret and perform musical symbols and abbreviations (ELD.K12.ELL.SI.1BAC )
All Year
Identify accidentals (LAFS.910.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
accurately decode music notation. (LAFS.910.RST.2.4BAC )
demonstrate a musical idea as a model for peers. (LAFS.910.SL.1.1BAC )
unify ideas and decisions though collaboration and communication according to music rehearsal convention within sections across the ensemble, and with the director. (LAFS.910.SL.1.1BAC )
  • rehearsal communication conventions
initiate independent refinement of repertoire through collaboration with peers (LAFS.910.SL.1.1BAC )
Discuss the effectiveness of a clinician's pacing and choice of rehearsal techniques in regards to improvement in performance. (LAFS.910.SL.1.3BAC )
  • discern improvement
  • recognize rehearsal techniques
  • vocal tone, facial expression, gestures, syntax, semantics, lexicon
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
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
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.
evaluate personal performance based on teacher generated criteria and make appropriate adjustments in fundamental areas (MU.912.C.2.1BAC )
  • teacher generated criteria regarding performance fundamentals
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
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.
explore styles used in other performance areas and apply to current music, e.g., use jazz swing style in a straight passage or sing a section to hear accuracy of articulations . (MU.912.O.2.1E P)
  • components of contrasting musical styles (i.e. swung eighth notes, slur-two-tongue-two sixteenth notes, baroque phrasing, etc.)
perform repertoire with contrasting styles and structural elements. (MU.912.O.2.1E P)
demonstrate appropriate use of dynamic markings, phrasing, and articulations while sight-reading. (MU.912.O.3.2E O)
  • musical elements such as dynamics, tempo, and articulation markings.
perform music of various musical styles, observing the expressive elements inherent or indicated in each style. (MU.912.O.3.2E O)
  • Contrasting styles in music (i.e., march style versus overture style)
recognize and demonstrate appropriate responses to conducting gestures (e.g., tempo, fermata, dynamics, cut-off, caesura, phrasing, fluctuation of tempo) (MU.912.O.3.2E O)
  • basic conducting gestures and what they indicate (i.e., common time pattern, fermata, cut-off, etc.)
First Quarter
View Ted Talks - Benjamin Zander: The transformative power of classical music. Do you agree or disagree with Zander's point of view. Why or why not is Zander qualified to speak extensively about classical music? Provide reasons why one may speak with fallacious reasoning and/or exaggerate or distort information? (LAFS.910.SL.1.3BAC )
develop criteria used to define musical performance and explain how each area affects music performance. (MU.912.C.2.1BAC )
  • Performance fundamentals such as: intonation, note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
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
develop criteria used to define musical performance and explain how each area affects music performance. (MU.912.C.2.2I R)
  • criteria used to define musical performance such as intonation, note accuracy, tone quality, rhythmic accuracy, dynamics, and articulation
research exemplary models for one’s own instrument, e.g., quality recordings. (MU.912.C.3.1E R)
  • Notable performers and worthwhile reference recordings (e.g., principle players in Chicago Symphony, New York Philharmonic, etc.)
implement a personal practice plan with help from a teacher. (MU.912.F.3.3BAC )
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
Week 7
Student correctly identifies notes and/or counts for a sample melody on the board and clearly presents their findings to the class referencing the key signature and time signature to support their claims. (LAFS.910.SL.2.4BAC )
  • note reading method
  • identify key signature
  • identify time signature
Second Quarter
evaluate a performance of a solo, small ensemble, or large ensemble using the criterion in the FBA or FOA performance rubrics. (MU.912.C.2.2I R)
  • definitions of the three catagories listed on the FBA or FOA adjudicator sheet
  • know what a high quality recording/performance sounds like
examine and apply factors that make a performance exemplary that are transferable to class repertoire, e.g., expressive playing; technical facility, intonation, blend, balance, tone quality, etc. (MU.912.C.3.1E R)
  • Components that make a performance exemplary (e.g., expressive playing, technical facility, intonation, blend, balance, tone quality, etc.)
select an ability-based piece with help from a teacher. (MU.912.F.3.3BAC )
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 )
Second Semester
Split into sectionals and analyze phrase structure and defend choices regarding rise and fall, strong and weak beats, syllabic stress, commas, etc. Each section will perform each assigned excerpt and defend reasoning for choices made. Class should discuss whether choices were successful and make suggestions for improvement. (LAFS.910.SL.2.4BAC )
  • identify phrase structure
Third Quarter
participate in solo and ensemble music performance assessment or a similar performance setting, sequencing necessary tasks to include but not be limited to: (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)
Fourth Quarter
analyze and compare compositional techniques and concepts of two contrasting pieces. (MU.912.O.2.1E P)
  • composition concepts and techniques (i.e., form, melodic line, harmony line, development of theme, etc.)