Jazz Ensemble 2 Pacing Guide

Time-Period Currently Unspecified
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 )
compare performances/recordings of solos, combos, and big bands using the Florida Bandmasters Association jazz rubric. (MU.912.C.1.2I R)
research historical and biographical information for composers and featured performers of music being rehearsed in class to investigate composers intent. (MU.912.C.1.2I R)
  • appropriate methods and resources for historical, biographical, cultural research
identify compositional elements which may indicate composer’s intent (MU.912.C.1.2I R)
  • expressive markings, tempo markings, dynamic markings, the title of the piece
listen to two or more quality recordings of a piece being rehearsed in class and compare the musical interpretation of the ensemble. (MU.912.C.1.2I R)
  • similarities or differences in sound, harmony, melody, rhythm, growth, etc.
listen to two or more quality recordings of a piece being rehearsed in class and discuss how the soloists interpret the melody through improvisation. (MU.912.C.1.2I R)
  • similarities or differences in sound, harmony, melody, rhythm, growth, etc.
Time-Period Currently Unspecified
access and listen to jazz recordings and performances through live and online resources. (MU.912.C.2.2I R)
  • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, and music libraries.
  • publications like Real Books, Jamey Aebersold books, Standard of Excellence Jazz method book series, etc.
recognize performance techniques utilized by jazz musicians in performance of a solo (written/improvised), jazz combo, or big band (MU.912.C.2.2I R)
  • style, articulations, dynamic contrast, phrasing, balance, blend, intonation, tone quality, breath support, posture, etc.
recognize, in a professional recording or video, expressive techniques utilized by jazz musicians (MU.912.C.2.2I R)
  • vibrato, half-valves, glissandos, brushes on drums, scoops, turns, drum kicks that are not notated, etc.
discuss the factors that make an improvised solo exemplary. (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
identify exemplary models of improvised solos. (MU.912.C.2.3BAC )
Time-Period Currently Unspecified
create a list of goals to be accomplished for the year. (MU.912.F.3.4BAC )
  • proper goal setting techniques (e.g. backwards planning)
create a daily and long term practice plan. (MU.912.F.3.4BAC )
  • focused practice routines and methods
critique past recordings of one’s performance and develop a plan for continued, sequential improvement. (MU.912.F.3.4BAC )
  • models of proper and appropriate examples of musical skills and techniques
  • pedagogical methods (e.g., isolate small sections, slow down tempos)
describe the jazz genealogy of a composer or performer, including their performance/composition models and teachers. (MU.912.H.1.2I R)
  • appropriate methods and resources for historical/biographical/cultural research
describe the role of solos and solis in a big band composition. (MU.912.O.1.1E R)
  • sixteen and thirty-two bar chord progressions, standard 12 and 16 bar blues.
explore and apply jazz vocal syllables. (MU.912.O.3.2E P)
  • Jazz vocal syllables, e.g., bop, wop, doo-dot, dit, daht.
name the notes of major and minor scales, and notes of the arpeggios for major, minor, and dominant seventh chords (MU.912.S.1.1I O)
  • Notes of major, minor, dominant seventh scales and arpeggios
name the chords and notes of arpeggios for a standard twelve-bar blues. (MU.912.S.1.1I O)
  • Chord progression and chord structure for a standard 12 bar blues
create call-and-response melodies based on the notes of the melody (head) of a piece being rehearsed in class; play over repeated chord changes by the rhythm section . (MU.912.S.1.1I O)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
plan and notate a rough draft of a solo to be played in a solo section of a piece being rehearsed in class (MU.912.S.1.1I O)
  • Fundamentals of rhythmic/melodic notation
identify major/minor tonality, major, minor and seventh chords, and modulations. (MU.912.S.1.3BAC )
  • notes of major and minor scales and seventh chords
sing an improvised melody based on 16 bar blues. (MU.912.S.1.3BAC )
  • Chord progression and chord structure for a standard 16 bar blues
echo a motive played or sung by a teacher as part of an ensemble warm-up. (MU.912.S.1.4E O)
trade two to four measure melodies with a peer while the rhythm section repeats chord progressions. (MU.912.S.1.4E O)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
notate the melody of a familiar nursery rhyme or folk song: correct meter, key signature, pitches, and rhythms. (MU.912.S.1.4E O)
  • Fundamentals of rhythmic/melodic notation
transcribe two to four measures of a solo from an exemplary recording (with help from the teacher, if necessary). (MU.912.S.1.4E O)
  • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, music libraries, publications like Real Books, etc.
plan and notate a rough draft of a solo to be played in a solo section of a piece being rehearsed in class. (MU.912.S.1.4E O)
  • Fundamentals of rhythmic/melodic notation
construct a timeline of a piece representing the form; include dynamic and phrase impact points. (MU.912.S.2.1E P)
  • indicators of phrase structure, e.g., dynamics, harmonic progressions, cadences, etc.
  • Applicable forms (12-bar blues, ABA song form, rounded binary, etc.)
sing, using appropriate jazz syllables, rhythms with style and articulations. (MU.912.S.2.1E P)
  • jazz syllables (doo-dot, daht, dit, wop, etc.)
discuss shaping within a section of music being rehearsed (MU.912.S.2.1E P)
  • musical phrase, contour, musical line.
perform a written solo from memory (MU.912.S.2.1E P)
rehearse and perform arrangements of jazz standards in a jazz combo setting with peers (with help from the teacher, if necessary). (MU.912.S.3.1E P)
perform music selections in simple meters. (MU.912.S.3.2E O)
understand and demonstrate dynamic markings and phrasing. (MU.912.S.3.2E O)
perform the roadmap (MU.912.S.3.2E O)
  • Roadmaps may include repeats, endings, Da Capo, Da Segno, Coda, Fine, etc.
sing rhythms using appropriate jazz syllables and style. (MU.912.S.3.2E O)
  • Appropriate Jazz syllables (do-dot, daht, wop, dit, etc.)
sight-read a new piece. (MU.912.S.3.2E O)
All Year
accurately decode music notation. (LAFS.910.RST.2.4BAC )
interpret and apply music-specific vocabulary to performances. (LAFS.910.RST.2.4BAC )
Identify accidentals (LAFS.910.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
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 )
cite a variety of sources to address a musical problem/question (LAFS.910.WHST.3.7BAC )
  • sources to address musical questions, e.g., multiple recordings of the same work, method books, technical studies, etc.
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.
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 characteristic. (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, discuss and apply cross curricular musical connections and applications in the various academic content areas, e.g., science and math, etc. (MU.912.H.3.1BAC )
  • connections to other content areas exist (e.g., notes as variables defined by time signatures; pitch is audible evidence of sound wave frequencies that are subject to minute and immediate adjustments and function differently in combination with other frequencies; dynamics are adjustments in amplitude of sound waves)
  • artistic method compared to scientific method
identify the various styles of big band jazz works (MU.912.O.1.1E R)
  • swing (various tempos), ballad, Latin, Funk, Rock, etc.
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 )
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, and 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, 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, and articulations.
discuss the factors that make a big band or jazz combo performance exemplary (MU.912.C.3.1E R)
  • 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)
  • 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, cultural research
explore the similarities/differences between two different arrangements of one jazz standard (MU.912.H.1.3I R)
  • Overall body of work of selected composers (e.g., works of Glen Miller, Dave Brubek, 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 changes. (MU.912.S.1.1I O)
  • 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.1.3BAC )
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 O)
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
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 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 the professional recording and identify areas of improvement in one’s own ensemble performance. (MU.912.C.3.1E R)
identify exemplary models of improvised solos using the previously established criteria. (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)
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)
  • Various arrangements of a selected piece of music (e.g., "Autumn Leaves" for big band, combo, etc.)
explain the historical connection of jazz compositions studied in class with particular events or time periods when applicable (MU.912.H.2.1BAC )
analyze, discuss, and apply various technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.3.1BAC )
  • music notation software, music apps, tools such as tuner, metronome, audio recording/playback equipment, etc.
explore and evaluate pros and cons of recorded vs. live performance and the role of technology as a component and influence. (MU.912.H.3.1BAC )
  • technological influences on live performances and its limitations/advancements
  • technological influences on recorded music and its limitations/advancements
experiment with improvised melodies based on pitches from major and minor scales. (MU.912.S.1.1I O)
  • notes of major and minor scales
sketch the form of a work being rehearsed in class. (MU.912.S.1.3BAC )
  • 12-bar blues, ABA song form, rounded binary, etc.
Week 17
examine the physical properties of sound, acoustics, sound amplification, digital technologies, and related materials and applications. (MU.912.H.3.1BAC )
  • vocabulary such as; acoustics, frequency, sound waves, harmonics, amplitude, etc.
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)
  • Mediums of performance music (e.g., blues, jazz orchestra, big band, combo rock band, 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 O)
  • melody, repetition, chord structure, rhythmic interest, and articulations.
create call-and-response melodies based on the notes of the melody (head) of a piece being rehearsed in class; play over repeated chord progressions by the rhythm section. (MU.912.S.1.3BAC )
  • 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 musical vocabulary (MU.912.C.1.1BAC )
  • course specific vocabulary referring to style, expressive elements, form, etc.