Jazz Ensemble 3 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 )
accurately decode music notation. (LAFS.1112.RST.2.4BAC )
interpret and apply music-specific vocabulary to performances. (LAFS.1112.RST.2.4BAC )
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
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
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.
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
critique past recordings of one’s performance and develop a plan for continued, sequential improvement. (MU.912.C.2.1BAC )
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, music libraries, publications like Real Books, 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.
follow a transcription of a solo while listening to a performance and evaluate the expressive techniques and improvisational techniques of the soloist. (MU.912.C.2.2I R)
  • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, music libraries, publications like Real Books, etc.
collaboratively 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
plan and notate a solo for a piece being rehearsed in class; edit according to the checklist of fundamental improvisational techniques. (MU.912.C.2.3BAC )
  • fundamentals of rhythmic/melodic notation
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 )
follow a transcription of a solo while listening to a performance and evaluate the expressive techniques and improvisational techniques of the soloist (MU.912.C.3.1E R)
  • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, music libraries, publications like Real Books, etc.
critique past recordings of one’s performance and develop a plan for continued, sequential improvement. (MU.912.C.3.1E R)
  • technical exercises, flexibility exercises, long tones, etc.
develop a repertoire list. (MU.912.F.2.1BAC )
identify leadership attributes/opportunities gained through ensemble membership (MU.912.F.2.1BAC )
identify collaborative skills gained through music participation. (MU.912.F.2.1BAC )
identify learned traits that enhance or lead to critical thinking skills: analysis, brainstorming, problem solving. (MU.912.F.2.1BAC )
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)
identify the various occasions for which jazz music is utilized and discuss how music impacts each occasion (MU.912.H.1.1BAC )
  • occasions for which jazz music is utilized, dance, radio shows, patriotic events, celebrations, entertainment, etc.
compare and contrast the difference between traditional jazz styles: swing, ballad, Latin, rock, funk, fusion. (MU.912.H.1.1BAC )
  • cultural influences on traditional jazz styles (swing, ballad, Latin, rock, funk, fusion, etc.)
analyze various Latin styles, including salsa, meringue, and samba and their respective functions in Latin culture. (MU.912.H.1.1BAC )
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, and cultural research
investigate music notation, sequencing and looping software (MU.912.H.2.4BAC )
  • Software may including Finale, Sibelius, MuseScore, Garage Band, Mixcraft, Fruityloops, Audacity, etc.
explore different avenues of acquiring music from the internet (MU.912.H.2.4BAC )
  • Methods of acquisition including mp3, streaming audio, radio, streaming video resources.
describe how the rise of the phonograph and radio effected the development of jazz music. (MU.912.H.2.4BAC )
conceptualize and integrate connections between music and non-musical content areas (MU.912.H.3.2BAC )
conceptualize and integrate learning connections between music and personal interest subjects such as world languages, African American history, drama and theatre, T.V./film production, scientific research, public speaking, data analysis, computer programming, etc. (MU.912.H.3.2BAC )
conceptualize and integrate knowledge and skills developed from varied content areas to musical concepts. (MU.912.H.3.2BAC )
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 progressions
recognize and describe the role of the rhythm section during solo sections (MU.912.O.1.1E R)
  • the role of the rhythm section during solo sections, e.g., changes in texture, comping, etc.
explore and apply jazz vocal syllables. (MU.912.O.3.2E P)
  • Jazz vocal syllables, e.g., bop, wop, doo-dot, dit, daht.
identify the high and low points of a phrase. (MU.912.O.3.2E P)
  • indicators of phrase structure, e.g., dynamics, harmonic progressions, cadences, etc.
name the notes of arpeggios for selected major chords, minor chords, 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
accurately recognize and notate the notes of the treble and bass clefs. (MU.912.S.1.2BAC )
  • notes of the treble and bass clefs.
accurately recognize and notate key signatures and meters. (MU.912.S.1.2BAC )
  • key signatures and meters
create call-and-response melodies based on the notes of major or minor scales for trading exercises. (MU.912.S.1.2BAC )
  • major/minor tonalities
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.1.2BAC )
  • 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.1.2BAC )
  • 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 sixteen-bar blues. (MU.912.S.1.3BAC )
  • Chord progression and chord structure for a standard 16 bar blues
create variations on a written solo by altering rhythms and pitches. (MU.912.S.1.3BAC )
  • melody, repetition, chord structure, rhythmic interest, and articulations.
transpose a transcribed melody from an exemplary performer into another key (MU.912.S.1.3BAC )
  • appropriate methods of accessing recordings and transcriptions such as naxos, itunes, music libraries, publications like Real Books, etc.
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)
notate the melody of a familiar children’s song or folk song: correct meter, key signature, pitches, and rhythms. (MU.912.S.1.4E O)
  • Fundamentals of rhythmic/melodic notation
  • melody, repetition, chord structure, rhythmic interest, and articulations.
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)
  • Applicable forms (12-bar blues, ABA song form, rounded binary, etc.)
  • indicators of phrase structure, e.g., dynamics, harmonic progressions, cadences, 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 with dynamic variations and expressive techniques (MU.912.S.2.1E P)
  • vibrato, half-valves, scoops, turns, drum kicks that are not notated, etc.
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)
evaluate progress on a section of music following a rehearsal session and identify strategies for further improvement. (MU.912.S.3.4E R)
  • how to reflect, assess for retention of information/skills, review and refine deficiencies
develop a plan for a sectional rehearsal. (MU.912.S.3.4E R)
  • organization, pacing, focus, goals
evaluate progress on a section of music following a sectional rehearsal, and identify strategies for further improvement. (MU.912.S.3.4E R)
  • how to reflect, assess for retention of information/skills, review and refine deficiencies
All Year
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 )
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 )
use recordings to model stylistic elements to enhance understanding of stylistically similar music being rehearsed/performed (LAFS.1112.SL.2.5BAC )
  • resources for finding recordings and video, e.g. Naxos, iTunes, Youtube, etc.
use music notation software to create resources for music being rehearsed/performed (LAFS.1112.SL.2.5BAC )
  • various available music notation programs, e.g. Finale, Sibelius, MuseScore
record rehearsals and performances to critique and evaluate one's own progress (LAFS.1112.SL.2.5BAC )
  • familiarity with recording devices; video cameras, zoom recorders, apps for smart phones, etc
routinely revisit, address, research and assess musical problems/questions encountered through rehearsal/performance. (LAFS.1112.WHST.3.7BAC )
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.1112.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.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 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
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.
recognize and demonstrate appropriate musical components in a jazz composition being rehearsed/sight-read explore and apply jazz vocal syllables (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)
demonstrate proper fingerings as well as alternate/trill fingerings for the extended 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 proficiency on a variety of percussion instruments (MU.912.S.3.5E P)
  • mallet technique, snare rudiments, auxillary percussion techniques (e.g., major/minor scales, 40 essential snare rudiments, etc.)
demonstrate various extended techniqies on an instrument (MU.912.S.3.5E P)
  • breathing techniques
  • pitch manipulation
  • alternate fingerings
First Semester
identify styles of jazz performance (MU.912.C.1.1BAC )
  • swing, ballad, Latin, rock, fusion, etc.
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.3.1I R)
  • 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
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)
  • 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 the 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, and cultural research
explore the similarities/differences between two different arrangements of one jazz standard (MU.912.H.1.3NTK 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 utilized by jazz musicians (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 utilized by jazz musicians (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 5
Identify accidentals (LAFS.1112.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
Second Quarter
recognize and evaluate 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 criterion 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)
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 considering factors that make an improvised solo exemplary. (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.1.3NTK R)
  • Various arrangements of a selected piece of music (e.g., "Autumn Leaves" for big band, combo, etc.)
analyze, discuss, and apply various technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.3.1I R)
  • 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.3.1I R)
  • 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, minor, dominant seventh, and blues scales (MU.912.S.1.1I O)
  • notes of major, minor, dominant seventh, and blues 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.3.1I R)
Second Semester
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
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.1112.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
Third Quarter
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.1112.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.1.3NTK R)
  • Mediums of performance music (e.g., blues, jazz orchestra, big band, combo rock band, etc.)
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.
Fourth Quarter
conduct a research project on a musical topic, such as a specific composer/performer, musical style period, piece of music, etc. (LAFS.1112.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.