Jazz Ensemble 1 Pacing Guide

Time-Period Currently Unspecified
accurately decode music notation. (LAFS.910.RST.2.4BAC )
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
Time-Period Currently Unspecified
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
All Year
observe classroom rules. (DA.912.S.2.1BAC )
respect peers and equipment. (DA.912.S.2.1BAC )
show focus and pacing during self-directed practice time. (DA.912.S.2.1BAC )
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 )
work effectively with peers on collaborative projects. (LAFS.910.SL.1.1BAC )
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
· use correct music vocabulary in class discourse to identify, define, discuss, reflect, and debate relevant topics. (LAFS.910.SL.2.4BAC )
· articulate opinions, questions, and answers so that the intended meaning is understood. (LAFS.910.SL.2.4BAC )
routinely revisit, address, research and assess musical problems/questions encountered through rehearsal/performance. (LAFS.910.WHST.3.7BAC )
  • sources to address musical questions, e.g., multiple recordings of the same work, method books, technical studies, etc.
cite a variety of sources to address a musical problem/question, e.g., multiple recordings of the same work, method books, technical studies, etc. (LAFS.910.WHST.3.7BAC )
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
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
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.
employ active listening strategies (MU.912.C.1.1BAC )
  • active listening strategies include accessing prior knowledge to improve interest in unfamiliar works, focused listening, anticipating composer’s intent through elements such as title, similar works, time period, etc.
Evaluate tone quality (vocal or instrumental), intonation, articulation, attacks/releases, technique, posture, note and rhythmic accuracy, dynamics, tempo, style, balance, blend, sonority, precision, phrasing, shaping of line, and expression. (MU.912.C.3.1E R)
explore music of specific historical periods through performance of a varied jazz repertoire (MU.912.H.2.1BAC )
recognize and demonstrate appropriate musical components in a jazz composition being rehearsed/sight-read. (MU.912.O.3.2E P)
  • style, melody/countermelody, basic jazz harmony, dynamics, tonality, phrasing, contour, shaping, tempo, rhythms, and instructional music terminology
sight-read a new piece with appropriate performance and expressive techniques (MU.912.S.2.2E P)
identify exemplary recordings of a piece being rehearsed in class or a piece with similar characteristics. (MU.912.S.2.2E P)
evaluate the ensemble/individual performance of a section of music being rehearsed/sight-read. Analyze based on the list of performance and expressive techniques (MU.912.S.2.2E P)
rehearse and perform a varied repertoire of age appropriate big band literature (MU.912.S.3.1E P)
  • swing at varied tempos, ballads, Latin, Rock, and Funk styles.
  • proper style, technique, phrasing, dynamics, tone quality, blend, balance, intonation, and breathing technique.
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)
First Semester
identify the various styles of big band jazz works (MU.912.O.1.1E R)
  • swing (various tempos), ballad, Latin, Funk, Rock, etc.
identify major and minor tonality, major, minor, and seventh chords, and modulations. (MU.912.S.1.4E O)
  • Major minor tonalities, major minor and seventh chords
identify and describe the characteristics of jazz styles from recordings. (MU.912.S.2.2E P)
  • Characteristics of jazz styles, e.g., ensemble size, emphasis on solo/improvisation, instrumentation of winds, instrumentation of rhythm section, swinging eighths, emphasis on beats 2 and 4, harmonic complexities, prevalence of blues influence, use of textures, energy, etc.
First Quarter
View archived interviews with noted jazz musicians - Do you agree or disagree with their point of view. Why or why not is the musician qualified to speak extensively about jazz music? Provide reasons why one may speak with fallacious reasoning and/or exaggerate or distort information? (LAFS.910.SL.1.3BAC )
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
identify styles of jazz performance (MU.912.C.1.1BAC )
  • swing, ballad, Latin, rock, fusion, etc.
develop criteria used to evaluate musical and stylistic performance (MU.912.C.2.1BAC )
  • note/rhythmic accuracy, tone quality, dynamics, jazz style, articulation, expressive jazz techniques (vibrato, half-valves, glissandos, brushes on drums, etc.)
address personal performance using a sequential plan for improvement (MU.912.C.2.1BAC )
  • technical exercises, flexibility exercises, long tones, etc.
develop criteria used to evaluate musical and stylistic performance (MU.912.C.2.2I R)
  • note/rhythmic accuracy, tone quality, intonation, diction, dynamics, jazz style, articulation, expressive jazz techniques (vibrato, half-valves, glissandos, brushes on drums, etc.)
trade two bar or four bar improvised melodies with members of the ensemble while the rhythm section repeats a given chord progression. (MU.912.C.2.3BAC )
  • melody, repetition, chord structure, rhythmic interest, articulations, etc.
discuss the factors that make a big band or jazz combo performance exemplary (MU.912.C.3.1E R)
  • adherence to style, expressive playing, technical facility, intonation, blend, balance, tone quality, creative improvised solos, etc.
discuss the factors that make a rhythm section exemplary (MU.912.C.3.1E R)
  • piano comping, drum kicks or set-ups, bass accents on beats two and four in swing, 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 (e.g., 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 (e.g., Maximum copyright protection, acceptable resources for pubic domain music)
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 (e.g., online "pay-to-print" companies, versus pirated music sites)
identify exemplary composers and performers of various genres through performance of jazz music of varied styles (MU.912.H.1.2I R)
  • contemporary, pop, swing, ballad, Latin, rock, funk, fusion, etc.
discuss the biographical information of two or more exemplary jazz composers. (MU.912.H.1.2I R)
  • appropriate methods and resources for historical, biographical, and cultural research
explore the similarities/differences between two different arrangements of one jazz standard (MU.912.H.1.3I R)
  • Various arrangements of a selected piece of music (e.g., "Autumn Leaves" for big band, combo, etc.)
identify the basic structure of a big band jazz composition (MU.912.O.1.1E R)
  • introduction, head/main theme, solos (optional), soli (optional), recapitulation, and coda.
recognize the melody (head) of a jazz composition, and describe how the composer develops or manipulates the theme throughout the work (MU.912.O.1.1E R)
  • variations, a solo, etc.
play a variation on a melody from music being rehearsed in class while the rhythm section repeats chord progressions. (MU.912.S.1.1I C)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
create call-and-response melodies based on the notes of a major scale for trading exercises. (MU.912.S.1.3I C)
  • notes of major scales and major seventh chords
recognize, in a professional recording or video, performance techniques (MU.912.S.2.2E P)
  • style, articulations, dynamic contrast, phrasing, balance, blend, intonation, tone quality, breath support, posture, etc.
recognize, in a professional recording or video, expressive techniques (MU.912.S.2.2E P)
  • vibrato, half-valves, scoops, turns, drum kicks that are not notated, etc.
create an effective personal practice plan. (MU.912.S.3.4E R)
  • technical exercises, flexibility exercises, long tones, etc.
recognize and describe the necessary factors for an effective ensemble rehearsal. (MU.912.S.3.4E R)
  • organization, pacing, focus, goals
discuss rehearsal strategies and their application to personal practice. (MU.912.S.3.4E R)
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 )
identify exemplary models for one’s own instrument (MU.912.C.3.1E R)
echo a motive played or sung by a teacher as part of an ensemble warm-up. (MU.912.S.1.1I C)
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
Second Quarter
recognize and define major musical components of jazz (MU.912.C.1.1BAC )
  • style, melody/countermelody, basic jazz harmony, dynamics, tonality, phrasing/contour/shaping, tempo, rhythms, and instructional music terminology
evaluate one’s own performance in a solo (improvised/written) or jazz combo using the criteria in the Florida Bandmasters Association (FBA) Solo and Ensemble rubric. (MU.912.C.2.1BAC )
evaluate a performance of a solo (written/improvised), jazz combo, or big band using the previously established criteria. (MU.912.C.2.2I R)
create a checklist based on fundamental improvisational techniques to be applied to one's own compositions/improvisations (MU.912.C.2.3BAC )
  • repetition of a theme, variation on the melody of the piece, quotes from solos, the melody, or other melodies, use of space as opposed to constant motion, etc
discuss the factors that make an improvised solo exemplary (MU.912.C.3.1E R)
  • repetition of a theme, variation on the melody of the piece, quotes from solos, the melody, or other melodies, use of space as opposed to constant motion, etc.
identify the exemplary factors of a professional recording and identify areas of improvement in one’s own ensemble performance. (MU.912.C.3.1E R)
compare and contrast performances/recordings of solos, jazz combos and big bands using FBA rubrics. (MU.912.C.3.1E R)
identify exemplary models of improvised solos using the previously established criteria. (MU.912.C.3.1E R)
discuss the financial and social implications of copyright infringement. (MU.912.F.3.2NTK R)
explore the similarities/differences between arrangements of the same composition for different ensembles (MU.912.H.1.3I R)
  • Mediums of performance music (e.g., blues, jazz orchestra, big band, combo rock band, etc.)
explain the historical connection of jazz compositions studied in class with particular events or time periods when applicable (MU.912.H.2.1BAC )
experiment with improvised melodies based on pitches from major scales. (MU.912.S.1.1I C)
  • Notes of major scales and arpeggios
sketch the form of a work being rehearsed in class. (MU.912.S.1.3I C)
  • 12-bar blues, ABA song form, rounded binary, etc.
create call-and-response melodies based on the notes of a major scale for trading exercises. (MU.912.S.1.4E O)
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 FBA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the music to support the rating (LAFS.910.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
Third Quarter
Students will compare and contrast the instrumentation of an arrangement versus the original score. Discuss the credibility and accuracy of each version. (LAFS.910.SL.1.2BAC )
Read adjudicator comments along side of listening to recordings of your group to discuss the validity of comments, prioritize rehearsal needs accordingly, and brainstorm actions to improve performance. (LAFS.910.SL.1.2BAC )
  • rubric for performance assessment
  • techniques to address various performance needs
identify major musical components using listening maps. (MU.912.C.1.1BAC )
evaluate a professional recording of an improvised solo, using the checklist of fundamental improvisational techniques. (MU.912.C.2.3BAC )
listen to and discuss the various mediums a given composer uses to present works. (MU.912.H.1.3I R)
  • Overall body of work of selected composers (e.g., works of Glen Miller, Dave Brubek, etc.)
describe historical and cultural movements that have effected composers, performers, and the development of the jazz art form (MU.912.H.2.1BAC )
play a variation on a written solo by altering rhythms and pitches. (MU.912.S.1.1I C)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
create call-and-response melodies based on the notes of the melody of a piece being rehearsed in class; play over repeated chord progressions by the rhythm section. (MU.912.S.1.3I C)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
create call-and-response melodies based on the notes of the melody of a piece being rehearsed in class; play over repeated chord progressions by the rhythm section. (MU.912.S.1.4E O)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
Week 20
Listen to a quality YouTube, Spotify, and/or professional recording of a piece. Based on the composer's intent, assess the credibility and accuracy of each source. (LAFS.910.SL.1.2BAC )
  • interpret score
Fourth Quarter
conduct a research project on a musical topic, such as a specific composer/performer, musical style period, piece of music, etc. (LAFS.910.WHST.3.7BAC )
  • sources to address research topic questions, e.g. library resources, reuptable online resources, etc.
explain personal preferences of music using correct music vocabulary (MU.912.C.1.1BAC )
  • course specific vocabulary referring to style, expressive elements, form, etc.