Instrumental Ensemble 4 Honors 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.
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 )
  • 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
write an eight measure melodic/rhythmic dictation including steps, skips and chromatics (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
compose an eight measure melody over a given harmonic structure. (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
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.
compare the musical interpretation of soloists and/or ensembles. (MU.912.C.1.2I R)
  • domain specific and academic vocabulary used to compare the interpretations between performers or ensembles
discuss the interrelationships among band members and the conductor, and how blending is achieved. (MU.912.C.2.1BAC )
use a recording to critique personal performance in solo and ensembles (MU.912.C.2.1BAC )
  • methods of recording a rehearsal for critical review (e.g., digital audio recorders, smartphones, recording software, etc.)
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 )
  • characteristic tone and mechanics of intonation for the individual's instrument
develop detailed goals and objectives to be achieved during individual practice and ensemble rehearsal (MU.912.C.2.1BAC )
  • how to identify and plan to correct issues within a small ensemble setting
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)
describe how wind and percussion instruments have changed due to advancements in technology. (MU.912.F.1.1BAC )
  • advancements in wind and percussion instrument sophistication through mechanization (e.g., baroque oboe versus conservatory model oboe, advent of the saxophone, etc.)
describe the utilization and benefits of music software (MU.912.F.1.1BAC )
  • Different music notation products both free and purchased (i.e. Musescore, Finale, Garage Band, Smart Music) and the abilities and limitations of these products.
investigate how the use of virtual and electronic instruments has affected traditional instrumental ensembles. (MU.912.F.1.1BAC )
  • use of virtual and electronic instruments in traditional instrumental ensembles and recordings
compare and contrast the accessibility, quality, and distribution of musical products, e.g., live to recorded performances, availability (MU.912.F.1.1BAC )
  • the evolution of the process of producing and accessing musical performnces (both live and recorded)
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 )
describe how the arts can enrich a community’s social and cultural climate. (MU.912.F.2.2BAC )
  • models/examples of an artistically enriched community
describe the benefits for an industry relocating to a community enriched by the arts. (MU.912.F.2.2BAC )
  • needs for an industry for success (employee moral, increased productivity, community resources, etc.)
  • characteristics of an artistically enriched community
describe the financial impact that a large industry provides to an arts community. (MU.912.F.2.2BAC )
  • large industries that influence the arts (e.g., publishing, radio, etc.)
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
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.)
Analyze techniques for getting the most improvement possible out of practice time. (MU.912.F.3.1BAC )
  • Components of a successful practice session (e.g., goal oriented objectives, warm up, technique and tone studies)
Mentor younger students and encourage 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., motivating and inspiring others, timeliness, mentoring, collaboration, cooperation, creative problem solving, delayed gratification, etc.
Analyze strategies for getting the most improvement possible out of sectional time (e.g., plan of improvement, goal oriented objectives, individual assessment, etc.) (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.)
Promote to others the importance of leadership opportunities 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.)
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)
categorize and compare definitive composers by musical style periods from Baroque to 20th Century. (MU.912.H.1.2NTK R)
  • Genres of Western music from Gregorian Chant through through present day (ie. Gregorian Chant, Romantic music)
compare compositions by exemplary composers within the same historic and stylistic periods. (MU.912.H.1.2NTK R)
identify American composers from various genres, including concert band, marches, orchestral, jazz, and musical theatre. (MU.912.H.1.2NTK R)
  • American music and composers of various genres, including concert band, marches, orchestral, jazz, and musical theatre (ie. Gershwin, Sousa, etc.)
compare the historical background of two composers of music being rehearsed in class, including their time period, nationality/ethnicity, education, and body of work. (MU.912.H.1.2NTK R)
listen to and discuss the various mediums a given composer uses to present works. (MU.912.H.1.3NTK R)
  • 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.1.3NTK R)
  • 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.1.3NTK R)
  • Various arrangements of a selected piece of music (ie, "Sleep" by Eric Whitacre for choral groups, orchestra, band, etc.)
emulate the sound qualities or instrumental techniques of another culture, based on quality recordings or video. (MU.912.H.1.5I R)
discuss how music has impacted elements of society (MU.912.H.2.1BAC )
explain the historical connection of music studied in class with particular events or time periods when applicable (MU.912.H.2.1BAC )
describe how certain cultural events have affected the work of specific composers (MU.912.H.2.1BAC )
discuss current musical trends and how they developed (MU.912.H.2.2BAC )
  • current musical trends
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.
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.
propose a hypotheses regarding future trends in music innovations and applications (MU.912.H.2.2BAC )
identify and list pros and cons of recorded vs. live performance, and the component of technology as an influence. (MU.912.H.2.4BAC )
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)
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
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.)
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 short dictated melody in a given meter, consisting of steps and skips. (MU.912.S.1.4E P)
notate a familiar melody independently. (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
memorize assigned phrase(s) from each piece rehearsed in class. (MU.912.S.2.1E P)
apply the above strategies to accurately memorize and perform a solo. (MU.912.S.2.1E P)
create a listening map or compositional sketch of a work of significance (MU.912.S.2.1E P)
  • teacher defined method for creating a listening map or sketch
identify and discuss sequencing strategies for memorizing a piece. (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)
independently transfer knowledge of defining musical elements such as clef, key, meter, tempo, and dynamics, to new pieces. (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 more complex 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)
  • 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)
understand and demonstrate dynamic markings and phrasing. (MU.912.S.3.2E O)
  • dynamic marking symbols and terms (e.g., crescendo, subito forte, etc.)
  • phrasing concepts (e.g. four bar versus eight bar phrase, breath marks, cadences, etc.)
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)
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)
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)
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.).
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)
  • 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 )
  • 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.
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)
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
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
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
recognize and demonstrate proper embouchure. (MU.912.S.3.5E P)
  • proper embouchure (e.g., firm corners, flat chin, etc.).
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 )