| 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.
|
identify and perform music notation as related to class literature. (LAFS.1112.RST.2.4BAC )
- music notation (e.g., notes, rests, accidentals, dynamic markings)
|
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
|
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
|
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
|
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 )
|
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 a recording or watch video of a performance and use the FBA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating. (LAFS.1112.WHST.3.9BAC )
- understanding and applying technical vocabulary of rubric
- active listening skills
|
| 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
|
examine historical and biographical information for composers of music being performed in class. (MU.912.C.1.2I R)
- resources for finding historical and biographical information (i.e. libraries, world wide web, etc.)
|
predict how a piece taken from class repertoire will sound based on criteria such as the title, composer, instrumentation, composer notes, and compositional elements. (MU.912.C.1.2I R)
- domain specific vocabulary related to compositional elements and instrumentation.
|
compare recordings of different ensembles and one’s own ensemble playing the same piece, and critique each, discussing aesthetic impact and differences/similarities to the prediction. (MU.912.C.1.2I R)
- resources for finding quality and legal recordings of music (e.g., NAXOS, itunes, music libraries, etc.
|
discuss the interrelationships among band members and the conductor, and how blending is achieved. (MU.912.C.2.1BAC )
- methods of recording a rehearsal for critical review (e.g., digital audio recorders, smartphones, recording software, etc.)
|
use a recording to critique personal performance in solo and ensembles (MU.912.C.2.1BAC )
- characteristic tone and mechanics of intonation for the individual's instrument
|
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
|
evaluate personal performance based on student generated criteria and make appropriate adjustments (MU.912.C.2.1BAC )
- teacher generated criteria regarding performance fundamentals
|
support the larger ensemble by understanding the importance of one’s individual role. (MU.912.C.2.1BAC )
- the difference between melody and accompaniment and how it effects their individual sound production within the ensemble
|
| use listening skill to adjust quality of personal intonation and tone within the ensemble (MU.912.C.2.1BAC )
|
| develop detailed goals and objectives to be achieved during individual practice (MU.912.C.2.1BAC )
|
| discuss, using domain specific and academic vocabulary, two or more recordings/performances of a work and defend their position regarding the student's personal preference (MU.912.C.2.2E R)
|
define résumé, (curriculum vitae), and its component parts, as well as discuss its language, usage, intent, and target audience. (MU.912.F.2.1BAC )
- component parts of a resume (e.g., format, inclusions, language, usage, intent, and target audience)
|
identify transferable skills utilized in the band classroom to everyday life, e.g., reflection, leadership, mentoring, collaboration, community involvement, cooperation, creative problem solving, etc. (MU.912.F.2.1BAC )
- transferable skills utilized in the band classroom, e.g., reflection, leadership, mentoring, collaboration, community involvement, cooperation, creative problem solving, etc.
|
| list experiences and accomplishments in music such as repertoire lists, participation in All-County, solo and ensemble MPA, All-State, concert MPA. (MU.912.F.2.1BAC )
|
identify professions within a professional ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.) (MU.912.F.2.3BAC )
- professions within a musical ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.)
|
discuss the roles and the relationships of the musicians within a professional ensemble and their potential counterparts in a typical business orginzational model (MU.912.F.2.3BAC )
- roles and the relationships of the musicians within an ensemble (e.g., conductor, concertmaster, principal players, etc.)
- typical business organizational structures
|
recognize and describe the necessary factors for an effective personal practice plan. (MU.912.F.3.1BAC )
- Components of a successful practice session (e.g., goal oriented objectives, warm up, technique and tone studies)
|
identify personal behaviors that transfer to being a good leader, eg., self-motivation, timeliness, mentoring, collaboration, cooperation, creative problem solving, delayed gratification, etc. (MU.912.F.3.1BAC )
- Personal leadership skills, e.g., self-motivation, timeliness, mentoring, collaboration, cooperation, creative problem solving, delayed gratification, etc.
|
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
- Resources for seeking out leadership opportunities in the community (e.g., local charities, community initiatives, etc.)
|
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
- Skills required in the music room and in other content areas (e.g.,musicianship, punctuality, etc.)
|
model effective rehearsal and performance expectations and behaviors. (MU.912.F.3.1BAC )
- Effective rehearsal and performance behavior (e.g., focus, making notes in music, quiet on stage, etc.)
|
develop a plan for a sectional rehearsal. (MU.912.F.3.1BAC )
- Strategies for effective sectional time (e.g., warm up, long tones for intonation, isolating sections and working out technique, etc.)
|
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)
|
listen to and discuss the various mediums a given composer uses to present works. (MU.912.H.1.3BAC )
- Mediums of performance music (ie. concerto, wind ensemble, string quartet, rock band, musical theatre, etc.)
|
explore the similarities/differences of selected genres within a composer’s body of work. (MU.912.H.1.3BAC )
- Overall body of work of selected composers (ie. works of Mozart, compositions of Bach)
|
explore the similarities/differences between the same composition performed in different media. (MU.912.H.1.3BAC )
- Various arrangements of a selected piece of music (ie, "Sleep" by Eric Whitacre for choral groups, orchestra, band, etc.)
|
recognize themes or main motives in a musical work. (MU.912.O.1.1I R)
- musical elements of melody, counter melody, and accompaniment.
|
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.
|
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.)
|
analyze and compare compositional techniques and concepts of two contrasting pieces. (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.)
|
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)
- composition concepts and techniques (i.e., form, melodic line, harmony line, development of theme, etc.)
|
| perform repertoire with contrasting styles and structural elements (MU.912.O.2.1E P)
|
| identify and apply previously learned concepts to a new selection being rehearsed, e.g., a student recognizes a familiar ornamentation in a new piece. (MU.912.O.2.1E P)
|
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)
|
create a program note or story line based on a piece being rehearsed in class. (MU.912.O.3.1E R)
- how to compose a well written program note or story
|
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.)
|
| echo a short melodic phrase given the first note, as part of an ensemble warm-up. (MU.912.S.1.4E P)
|
| sing student’s own part according to the directions of the conductor. (MU.912.S.1.4E P)
|
sight-sing a melody consisting of steps and skips. (MU.912.S.1.4E P)
- sight-singing procedure (e.g., solfeggio, scale degrees, syllables, etc.)
|
| perform a short familiar melody from an unwritten source, e.g., radio, TV, movie, etc. (MU.912.S.1.4E P)
|
| notate a short rhythm utilizing a variety note values. (MU.912.S.1.4E P)
|
| notate a familiar melody independently. (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)
|
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)
|
| match pitch and identify and correct pitch discrepancies within harmonic and melodic contexts. (MU.912.S.2.2E P)
|
| perform age-appropriate repertoire that includes, but is not limited to, method book exercises, scales, and beginning band literature, emphasizing use of expressive elements. (MU.912.S.3.1E P)
|
| demonstrate proper fundamentals in varied literature in both small and large performance settings. (MU.912.S.3.1E P)
|
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/compound meters and key signatures and be able to identify flats, sharps, and naturals. (MU.912.S.3.2E O)
- basic notation terminology (e.g., simple meters, key signatures, flat, sharp, natural, etc.)
|
sight-read and perform music selections in simple and compound meters. (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.)
|
| understand and demonstrate dynamic markings and phrasing. (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)
|
| recognize and describe the necessary factors for an effective personal practice plan. (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 and identify strategies for further improvement. (MU.912.S.3.4E R)
|
| develop a plan for a student-led sectional rehearsal. (MU.912.S.3.4E R)
|
| recognize and describe the necessary factors for an effective ensemble rehearsal. (MU.912.S.3.4E R)
|
demonstrate appropriate breathing technique. (MU.912.S.3.5E P)
- how to take a proper breath while playing (e.g., shoulders down, breathe through mouth not nose, fill up lungs from bottom up, 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 fingerings as well as alternate/trill fingerings for the practical range for an instrument. (MU.912.S.3.5E P)
|
understand and perform the various styles of articulation (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)
|
demonstrate level appropriate mallet technique and snare rudiments (percussion). (MU.912.S.3.5E P)
- proper hand position on instrument or stick height when holding drum sticks and mallets (percussion).
- mallet technique and snare rudiments (e.g., major scales, 40 essential snare rudiments)
|
| 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 |
|---|
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 )
|
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.
|
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 )
|
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
|
| First Quarter |
|---|
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 (ie. online "pay-to-print" companies, versus pirated music sites)
|
| discuss the financial and social implications of copyright infringement. (MU.912.F.3.2NTK R)
|
| implement a personal practice plan with help from a teacher. (MU.912.F.3.3BAC )
|
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 5 |
|---|
Identify accidentals (LAFS.1112.RST.2.4BAC )
- flats - lower pitch
- sharps - raise pitch
- naturals - cancel previous accidentals
| Identify accidentals (LAFS.1112.RST.2.4BAC )
- flats - lower pitch
- sharps - raise pitch
- naturals - cancel previous accidentals
|
| 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 (ie. 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 (ie. Maximum copyright protection, acceptable resources for pubic domain music)
|
| 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 )
|
| describe the benefits of utilizing music notation software (MU.912.H.2.4BAC )
|
| Week 18 |
|---|
describe how skills in the music room transfer into other content areas.
(MU.912.F.3.1BAC )
| | 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
| | 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 )
|
