Instrumental Ensemble 2 Pacing Guide

Time-Period Currently Unspecified
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
explore leadership opportunities and leadership positions outside of the music room. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem-solve
  • people oriented
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
model proper audience etiquette, expectations, and interaction with performers. (DA.912.F.3.8BAC )
  • exibit audience etiquette and proper interaction with performers.
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
create and implement a personal plan to improve a personal musical skill. e.g. sight-reading, tone, breath support, scales, etc. (LAFS.910.WHST.3.7BAC )
develop detailed goals and objectives to be achieved during individual practice (MU.912.C.2.1BAC )
identify the simple structures of band works, e.g., march form, binary, through-composed, etc. (MU.912.O.1.1I R)
  • musical form, e.g., march form, binary, through-composed, etc.
recognize themes or main motives in a musical work. (MU.912.O.1.1I R)
  • musical elements of melody, counter melody, and accompaniment.
describe how the composer develops or manipulates the theme throughout the work. (MU.912.O.1.1I R)
  • development of a musical theme (i.e., theme and variation form, inversion, modulation, etc.)
recognize and explain the variances between two recorded performances or two short excerpts being studied in class, e.g., expressive elements, major/minor key, tempo, blend, balance, tone quality, form, rhythmic patterns, texture, and instrumentation. (MU.912.O.1.1I R)
  • musical elements such as tempo, dynamics, and phrase structure (e.g., 4 measure vs. 8 measure).
  • what an advanced tone and correct ensemble blend sounds like.
  • what particular instrumentation sound like (e.g., brass ensemble, woodwind ensemble, trio, full orchestra, etc.)
develop a hypothesis for the composer’s intent in a piece being rehearsed in class. (MU.912.O.3.1E R)
  • how to develop a hypothesis based on given information
describe and give examples of imagery to express the mood of a section of a piece of music. (MU.912.O.3.1E R)
identify the high and low points of a phrase. (MU.912.O.3.2E P)
  • phrasing in music (i.e., phrase impact points, motion, shape, etc.)
identify major musical components of a piece, such as form, themes, etc. (MU.912.S.2.1E P)
  • definitions of musical components
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)
implement sequencing strategies for memorizing a piece. (MU.912.S.2.1E P)
  • sequencing strategies as defined by teacher
accurately memorize assigned phrase(s) from each piece rehearsed in class. (MU.912.S.2.1E P)
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)
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)
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
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast). (LAFS.910.WHST.3.9BAC )
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.910.WHST.3.9BAC )
listen to multiple pieces by the same composer to realize a composer’s style and technique. (LAFS.910.WHST.3.9BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music. (LAFS.910.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres: see MU.912.C.1.4
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.
investigate historical connections and political overtones that may affect performance practices in selected literature (MU.912.H.1.5I R)
discuss performance practices of music that accompanies events in a specific culture and transfer to similar music being studied in class (MU.912.H.1.5I R)
demonstrate appropriate use of dynamic markings, phrasing, and articulations while sight-reading. (MU.912.O.3.2E P)
  • 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 P)
  • 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 P)
  • basic conducting gestures and what they indicate (i.e., common time pattern, fermata, cut-off, etc.)
mark dynamics as directed. (MU.912.S.1.3BAC C)
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
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.2.2E 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.)
recognize and discuss the legal and illegal methods of acquiring music on the internet: pirated music vs. licensed music. (MU.912.F.3.2NTK R)
  • legal and illegal use of the internet to obtain printed music (i.e. online "pay-to-print" companies, versus pirated music sites)
discuss the financial and social implications of copyright infringement. (MU.912.F.3.2NTK R)
explain the historic and stylistic performance practices in Western music (MU.912.H.1.5I R)
  • historical periods of Western Music (i.e., Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century)
identify various technological advances over the centuries that have changed music creating, learning, performing, recording, and delivery systems. (MU.912.H.2.4BAC )
explore different avenues of acquiring music from the internet. (MU.912.H.2.4BAC )
  • various music listening resources, e.g., mp3, streaming audio, radio, streaming video resources
Analyze and discuss the expressive elements in music (i.e., dynamics, phrasing, melodic development, form and orchestration, etc.) (MU.912.O.3.1E R)
  • expressive elements in music (i.e., dynamics, phrasing, melodic development, form and orchestration, etc.)
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.2.2E 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.)
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 (i.e. illegal and legal reproduction of materials, legal and ethical options for obtaining out-of-print music)
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 (i.e. maximum copyright protection, acceptable resources for pubic domain music)
describe the benefits of utilizing music notation software. (MU.912.H.2.4BAC )
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
listen to a recording or watch video of a performance and use the FVA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating. (LAFS.910.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
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