M/J Chorus 1 Pacing Guide

All Year
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)
  • Curwen hand signs and solfeggio syllables
  • intervallic relationships
perform rhythmic and melodic patterns accurately 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 )
communicate withe a peer tutor/buddy for clarification on concepts presented in class (ELD.K12.ELL.SI.1BAC )
  • section leader for students' vocal/instrumental section
All Year
imitate sound concepts modeled by the teacher and peers (ELD.K12.ELL.SI.1BAC )
  • how to produce a characteristic tone
All Year
rehearse and perform music in class with their peers to demonstrate comprehension and synthesis of skills (ELD.K12.ELL.SI.1BAC )
  • classroom procedures
  • proper posture
  • how to follow the director
  • how to take a proper breath while playing and/or singing
  • where to locate the rehearsal plan and/or classroom objectives
recognize, count and notate simple rhythms and rests (ELD.K12.ELL.SI.1BAC )
  • procedure for deciphering rhythms (e.g. count singing, speaking rhythms, subdividing)
All Year
compare two performances of a piece being studied in class. Discuss, in small and large groups, choices made by each performing group, analyze the purpose and motives of their choices, and decide how those choices could influence students' own performance of that piece. (LAFS.6.SL.1.1BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
share and apply feedback from the teacher and peers in rehearsal through verbal, visual, and audible means. (LAFS.6.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.6.SL.1.1BAC )
compare two performances of a piece being studied in class (presented in diverse formats), discuss (small group and/or whole group) choices made by each performing group, analyze the purpose and motives of their choices, and decide how those choices could influence students' own performance of that piece. (LAFS.6.SL.1.2BAC )
  • domain specific vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
observe an anatomical rendering of the vocal mechanism, and explain how the function of the mechanism contributes to vocal technique. (LAFS.6.SL.1.2BAC )
  • function of the vocal mechanism: soft palate, pharynx, larynx, tongue
attentively listen to a guest speaker or lecturer, comprehend the information presented, ask relevant questions to further understanding, and discuss the soundness and relevance of the information presented. (LAFS.6.SL.1.3BAC )
  • fundamental components of critical thinking and listening
engage in a discussion with peers about a topic pertinent to the course using domain-specific vocabulary. (LAFS.6.SL.2.4BAC )
  • music vocabulary
write a reflection of both formal and informal performances, identifying strengths and weaknesses of their own performances and the performances of others. (LAFS.68.WHST.2.4BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music. (LAFS.68.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres: MU.68.C.1.4
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast) (LAFS.68.WHST.3.9BAC )
listen to multiple recordings within a specific genre to understand the defining stylistic elements (LAFS.68.WHST.3.9BAC )
listen to multiple pieces by the same composer to realize a composer’s style and technique (LAFS.68.WHST.3.9BAC )
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast) (LAFS.68.WHST.3.9BAC )
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.
actively listen to representative examples of music from diverse cultures and eras. (MU.68.H.1.1I R)
define and recognize the characteristics which identify culturally diverse forms of music. (MU.68.H.1.1I R)
analyze and describe how music is used within various cultures. (MU.68.H.1.1I R)
identify cultural characteristics of repertoire being studied in class. (MU.68.H.1.1I R)
visually and aurally recognize the stylistic elements that place a piece into a specific historical period and/or musical style/genre. (MU.68.H.2.3I R)
compare and contrast two songs being studied and place them in a specific genre, style, and/or time period. (MU.68.H.2.3I R)
visually and aurally recognize the stylistic elements that place a piece into a specific historical period and/or musical style/genre. (MU.68.H.2.3I R)
identify cross-curricular connections throughout academic subject areas. (MU.68.H.3.1NTK R)
  • cross-curricular connections with other academic subjects.
recognize similarities between music disciplines, e.g., band, orchestra. (MU.68.H.3.1NTK R)
  • similarities between vocal music and other music disciplines
relate musical content to community events, e.g., cultural connections and traditions, ceremonial music. (MU.68.H.3.1NTK R)
  • how music is used in local communities
identify the emotions expressed in music and find examples of how these emotions are expressed in the other arts. (MU.68.H.3.1NTK R)
  • similarities between music and other fine arts
demonstrate proper posture, breath support, age-appropriate tone quality, pitch matching ability, intonation, attacks, and releases (MU.68.S.3.2E P)
  • singer's posture
  • technical preparation: MU.68.C.2.1
  • age-appropriate tone quality: MU.68.C.2.1
demonstrate proper diction using vowels, consonants, and diphthongs. (MU.68.S.3.2E P)
  • musical effect: MU.68.C.2.1
demonstrate unified vowels and tone color (MU.68.S.3.2E P)
  • age-appropriate tone quality: MU.68.C.2.1
  • musical effect: MU.68.C.2.1
demonstrate appropriate use of blend and balance within the ensemble. (MU.68.S.3.2E P)
  • technical preparation: MU.68.C.2.1
sing with an understanding of the function of the vocal mechanism including the soft palate, pharynx, larynx, tongue, etc. (MU.68.S.3.2E P)
  • function of the vocal mechanism: soft palate, pharynx, larynx, tongue
  • age-appropriate tone quality: MU.68.C.2.1
First Semester
correctly identify solfeggio names and/or counts for a sample melody on the board and clearly present their findings to the class referencing the key signature and time signature to support their claims. (LAFS.6.SL.2.4BAC )
  • solfeggio
  • Curwen-Glover hand signs
  • key signatures
  • time signatures
  • rhythm counts
determine the meaning of music symbols, key terms, and other music specific words and phrases. (LAFS.68.RST.2.4BAC )
  • Count-singing
  • 2/4, 3/4, and 4/4 time
  • Chromatic scale
  • Flat, sharp, and natural symbols/functions
  • Letter names of pitches on the staff
  • Major key signatures of C, F, and G
  • Dynamic markings
  • Expressive markings
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • Altered tones
  • Flat, sharp, and natural symbols/functions
create a log of specific improvements made in a specified time period (MU.68.C.2.2E R)
First Quarter
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 )
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
aurally identify theme and variations when listening to recorded examples. (MU.68.C.1.1BAC )
  • tonality: major, minor
  • melody
  • counter melody
follow a listening map. (MU.68.C.1.1BAC )
  • listening map
aurally identify sections of a choral group (MU.68.C.1.4I R)
  • unison
  • SA
  • SA(T)B
aurally identify the size of a choral group (MU.68.C.1.4I R)
  • solo
  • duet
  • ensemble
  • choir
aurally recognize various vocal styles (MU.68.C.1.4I R)
  • musical styles/genres: chant, liturgical, spiritual, folk, opera, world, jazz, pop
discuss, in detail, how specific elements help define various vocal styles (MU.68.C.1.4I R)
  • musical elements that define various vocal styles
assess one’s own performance using teacher- and/or FVA-created rubrics. (MU.68.C.2.2E R)
recognize copyright laws and respect the integrity of purchasing music for personal use. (MU.68.F.3.2NTK R)
discuss laws and ethical implication involved with downloading music from a variety of web sites. (MU.68.F.3.2NTK R)
  • laws related to downloading music/videos
discuss the implications of copyright infringement on original works, e.g., the loss of revenue, composers livelihood, recorded works, etc (MU.68.F.3.2NTK R)
  • how composers and recording artists receive revenue from the sales of their compositions or recordings
  • laws related to downloading music/videos
define and recognize the characteristics which identify historic and stylistic periods: Medieval, Renaissance, and Baroque (MU.68.H.1.1I R)
identify form, tonality, and expressive elements, (MU.68.O.1.1I R)
  • form: MU.68.C.1.1
  • tonality: MU.68.C.1.1
  • musical effect: MU.68.C.2.2
describe how the combination of instrumentation and expressive elements in a musical work can convey a specific thought, idea, mood, and/or image (MU.68.O.3.1I R)
perform call and response songs by ear in small or large ensemble settings. (MU.68.S.1.4BAC )
perform rounds/canons learned by rote in small or large ensemble settings. (MU.68.S.1.4BAC )
  • rounds/canons
perform partner songs learned by rote in small or large ensemble settings. (MU.68.S.1.4BAC )
  • partner songs
rehearse music integrating kinesthetic support (MU.68.S.3.1E P)
  • kinesthetic support: clapping hands to articulate rhythmic patterns, walking in place to reinforce steady beat, use arm/hand motions to illustrate phrasing
sing, with and without accompaniment, unison repertoire. (MU.68.S.3.1E P)
  • age-appropriate tone quality: MU.68.C.2.2
sight-read simple rhythmic exercises using count-singing (MU.68.S.3.3E P)
  • time signature 4/4
  • quarter notes/rests, sets of eighth notes
identify letter names of pitches on the staff (MU.68.S.3.3E P)
  • letter names of pitches on the staff
recognize and sing repeated tones. (MU.68.S.3.3E P)
  • solfeggio names and Curwen-Glover hand signs for the diatonic scale
demonstrate knowledge of dynamics and expressive markings (MU.68.S.3.3E P)
  • dynamic markings
  • expressive markings
notate the correct rhythm for a two to four measure phrase that has been performed by someone else using quarter notes/rests, eighth notes, and sixteenth notes (MU.68.S.3.5E R)
  • 4/4 time
  • quarter notes/rests and sets of eighth notes
Second Quarter
read two versions of a score, compare and contrast the editors intent for each, and analyze the impact of those choices. (LAFS.6.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • pitches and rhythms
create and share a listening map to dissect a recording of music. With each listening opportunity, students will analyze form, texture, instruments of the ensemble, and expressive and dynamic nuances in increasing detail. (LAFS.6.SL.2.4BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
compose an eight measure rhythm or melody within given parameters. (LAFS.68.WHST.2.4BAC )
  • fundamentals of music notation
  • note/rest values
  • melodic contour
accurately notate a four measure rhythm or melody played or sung by a teacher or peer. (LAFS.68.WHST.2.4BAC )
  • fundamentals of music notation
  • note/rest values
  • melodic contour
listen to a recording or watch video of a performance and use the FVA adjudication rubric to assign a rating, drawing evidence from the rubric and/or the octavo to support the rating (LAFS.68.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
aurally identify major and minor tonalities. (MU.68.C.1.1BAC )
  • tonality: major, minor
aurally identify melodic and harmonic elements (MU.68.C.1.1BAC )
  • melody
  • counter melody
  • ostinato
  • chords
create a listening map for a recorded example (MU.68.C.1.1BAC )
  • listening map
engage in active listening by identifying specific forms (MU.68.C.1.1BAC )
  • form: binary, ternary, rondo
analyze and discuss how text contributes to defining a specific style (MU.68.C.1.4I R)
  • musical styles/genres: chant, liturgical, spiritual, folk, opera, world, jazz, pop
  • musical elements that define various vocal styles
  • poetry, liturgical text, folk tales, nonsense syllables
design and use student-made rubric to assess music performance. (MU.68.C.2.2E R)
identify, describe, and track specific improvements made through rehearsal and practice. (MU.68.C.2.2E R)
define and recognize the characteristics which identify historic and stylistic periods: Classical (MU.68.H.1.1I R)
listen to and describe contrasting choices made by different performers on a select piece. (MU.68.O.1.1I R)
  • tone quality: MU.68.C.2.2
  • technical preparation: MU.68.C.2.2
analyze and discuss the choices a composer makes to communicate a specific message. (MU.68.O.3.1I R)
create rhythmic patterns to accompany vocal warm-ups and appropriate repertoire. (MU.68.S.1.1BAC C)
  • rhythm patterns
create ostinati to accompany various vocal warm-ups and appropriate repertoire. (MU.68.S.1.1BAC C)
  • ostinato
create a round using a simple or well-known melody. (MU.68.S.1.1BAC C)
  • round
rehearse and/or perform music integrating expressive musical qualities. (MU.68.S.3.1E P)
  • musical effect: MU.68.C.2.2
  • dynamic markings
  • expressive markings
perform music in large or small ensembles applying knowledge of expressive markings (MU.68.S.3.1E P)
  • musical effect: MU.68.C.2.2
  • dynamic markings
  • expressive markings
sing, with and without accompaniment, developmental 2- to 3-part repertoire, e.g., melody with descant, melody with ostinato, partner song, canon/round, etc. (MU.68.S.3.1E P)
  • age-appropriate tone quality: MU.68.C.2.2
sight-read simple rhythmic exercises using count-singing (MU.68.S.3.3E P)
  • time signatures: 2/4, 3/4
  • whole, dotted half, half notes, quarter notes/rests, sets of eighth notes
identify major key signatures of C, F, and G. (MU.68.S.3.3E P)
  • key signatures
  • flat and sharp signs
sing at sight unison, step-wise melodies on solfeggio without accompaniment in major keys. (MU.68.S.3.3E P)
  • solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • step-wise motion
notate the correct rhythm for a two to four measure phrase that has been performed by someone else using whole, dotted half, quarter notes/rests, and sets of eighth notes (MU.68.S.3.5E R)
  • 2/4, 3/4, and 4/4 time note/rest values
  • quarter notes/rests, sets of eighth notes, and sets of sixteenth notes
  • whole, dotted half, and half notes
notate the correct melody for a two to four measure phrase in simple meter that has been performed by someone else using repeated pitches and stepwise movement in a major key (MU.68.S.3.5E R)
  • step-wise melodic motion
Second Semester
listen to and delineate the comments of multiple adjudicators regarding the same ensemble performance, and discuss the validity of common and contradictory claims (LAFS.6.SL.1.3BAC )
  • Technical Preparation: intonation, pitch accuracy, rhythmic precision, balance, entrances, releases
  • Age-appropriate Tone quality: breath support, register adjustment, vowels, blend
  • Musical effect: tempo, phrasing, musical line, dynamics, style, articulations
  • details which may influence an adjudicator's point of view or validate their expertise (e.g., adjudication experience, musical background, musical accomplishments)
analyze how television, cinema, and theatre use the emotional qualities of music to enhance the presentation of drama, action, or other visual images. (MU.68.H.3.1NTK R)
  • similarities between music and other fine arts
identify the various uses of music in commercial applications and discuss the impact music has on these mediums, e.g., sales and advertising communication, background music in restaurants, malls, etc. (MU.68.H.3.1NTK R)
  • how and where students encounter music outside the classroom
list examples of music used in everyday life, e.g., morning announcements, quiet time, graduation, honor society inductions, weddings, birthday parties, etc. (MU.68.H.3.2BAC )
create a log of daily uses of music outside the music class. (MU.68.H.3.2BAC )
describe how events would be dramatically altered in the absence of music, e.g., theatre and dance, movies, sporting events, video games, commercial advertising, social gatherings, civic and religious ceremonies, and plays. (MU.68.H.3.2BAC )
Third Quarter
evaluate the accuracy of musical elements in a performance using correct music vocabulary (MU.68.C.2.2E R)
discuss criteria used to evaluate individual and group performances (MU.68.C.2.2E R)
define and recognize the characteristics which identify historic and stylistic periods: Romantic (MU.68.H.1.1I R)
sight-read simple rhythmic exercises using count-singing (MU.68.S.3.3E P)
visually identify arpeggiated skips within the I chord (MU.68.S.3.3E P)
  • arpeggiated skips within the I chord
notate the correct rhythm for a two to four measure phrase that has been performed by someone else using whole notes, half notes/rests, quarter notes/rests, sets of eighth notes, and sets of sixteenth notes (MU.68.S.3.5E R)
  • quarter notes/rests, sets of eighth notes, and sets of sixteenth notes
  • whole, dotted half, and half notes
  • whole and half rests
Fourth Quarter
define and recognize the characteristics which identify historic and stylistic periods: 20th and 21st Century (MU.68.H.1.1I R)
perform vocal chording exercises with standard harmonic progressions and improvise over these chords individually or in small groups. (MU.68.S.1.1BAC C)
  • standard harmonic progressions
explore variations of a known piece by changing musical elements. (MU.68.S.1.3BAC C)
alter one or more musical elements of a known piece and notate the change(s) using standard notation. (MU.68.S.1.3BAC C)