M/J Chorus 4 Pacing Guide

Time-Period Currently Unspecified
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.8.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
read two versions of a score, compare and contrast the editors intent for each, and analyze the impact of those choices. (LAFS.8.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • pitches and rhythms
observe an anatomical rendering of the vocal mechanism, and explain how the function of the mechanism contributes to vocal technique. (LAFS.8.SL.1.2BAC )
  • function of the vocal mechanism: soft palate, pharynx, larynx, tongue
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.8.SL.2.4BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
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
determine the meaning of music symbols, key terms, and other music specific words and phrases. (LAFS.68.RST.2.4BAC )
  • count-singing
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
  • 2/4, 3/4, and 4/4 time
  • 2/2, and 6/8 time
  • chromatic scale
  • flat, sharp, and natural symbols/functions
  • Letter names of pitches on the staff
  • All Major key signatures
  • Dynamic markings
  • Expressive markings
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • Altered tones
  • Flat, sharp, and natural symbols/functions
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
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 )
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.8.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.8.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.8.SL.1.1BAC )
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.8.SL.1.3BAC )
  • fundamental components of critical thinking and listening
  • details which may influence a speaker's point of view or validate their expertise (e.g., experience, background, accomplishments, prejudices, etc.)
  • develope meaningful questions based on information provided
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.8.SL.2.4BAC )
  • solfeggio
  • Curwen-Glover hand signs
  • key signatures
  • time signatures
  • rhythm counts
engage in a discussion with peers about a topic pertinent to the course using domain-specific vocabulary. (LAFS.8.SL.2.4BAC )
  • music vocabulary
lead a sectional rehearsal. (LAFS.8.SL.2.4BAC )
  • components of an effective sectional rehearsal (e.g., warm up, skill builders, etc.)
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.
aurally differentiate between monophony, homophony, and polyphony in repertoire. (MU.68.C.1.1BAC )
  • texture: monophony, homophony, polyphony
develop and/or reinforce a positive attitude toward self through the study and creation of music. (MU.68.F.3.1BAC )
recognize how music study promotes patience and diligence resulting in long-term gratification. (MU.68.F.3.1BAC )
  • Leaders with a musical background
recognize copyright laws and respect the integrity of purchasing music for personal use. (MU.68.F.3.2NTK R)
  • Copyright laws
recognize and discuss the characteristics which identify historic and stylistic periods. (MU.68.H.1.2NTK R)
aurally identify the time period/style of selected pieces. (MU.68.H.1.2NTK R)
aurally identify works of specific composers within each historical period and/or genre of music. (MU.68.H.1.2NTK R)
recognize the characteristics which identify culturally diverse forms of music. (MU.68.H.1.2NTK R)
listen to and identify music from a variety of other cultures. (MU.68.H.1.4I R)
identify and discuss musical elements unique to a specific culture. (MU.68.H.1.4I R)
organize the various styles into cultural genres of music, e.g., African, European, traditional folk, South American, Caribbean, etc. (MU.68.H.1.4I R)
actively listen to representative examples of music from various eras. (MU.68.H.1.5NTK R)
  • musical characteristics of the historical periods.
identify significant historical events of musical periods being studied through repertoire in class, e.g., religion, literature, wars, revolutions, governments/rulers, etc. (MU.68.H.2.1I R)
discuss how music reflected and/or influenced the impact of major historical events. (MU.68.H.2.1I R)
discuss the development of musical styles used in ceremonial events (MU.68.H.2.1I R)
recognize and identify 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)
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)
  • similarities between music and other fine arts
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
perform music integrating expressive musical qualities indicated in the music. (MU.68.O.3.2E P)
  • musical effect: MU.68.C.2.1
  • expressive markings
identify gestural cues relating to tempo, dynamics, phrasing, and expression. (MU.68.O.3.2E P)
  • musical effect: MU.68.C.2.1
  • expressive markings
  • gestural cues
apply background knowledge to a variety of musical selections. (MU.68.O.3.2E P)
  • timbre
  • tonality: MU.68.C.1.1
  • musical effect: MU.68.C.2.1
  • expressive markings
follow non-verbal communication given by the conductor. (MU.68.O.3.2E P)
  • expressive conducting gesture
  • standard conducting patterns
perform basic themes and patterns expressively from memory. (MU.68.S.2.1BAC )
perform individually with rhythmic and melodic accuracy from memory. (MU.68.S.2.1BAC )
part-sing with independence and awareness of other vocal parts. (MU.68.S.2.1BAC )
apply the above criteria (MU.68.S.2.1) to the memorization of an entire piece (MU.68.S.2.1BAC )
apply concepts of proper singing technique to newly introduced material. (MU.68.S.2.2BAC )
sing, with and without accompaniment, 2- to 4-part repertoire with increasingly complex melodic/harmonic structures (MU.68.S.3.1E P)
  • age-appropriate tone quality: MU.68.C.2.1
  • technical preparation: MU.68.C.2.1
rehearse and/or perform music integrating expressive musical qualities, (MU.68.S.3.1E P)
  • musical effect: MU.68.C.2.1
  • 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.2.1
  • dynamic markings
  • expressive markings
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 unified vowels, consonants, and diphthongs. (MU.68.S.3.2E P)
  • musical effect: MU.68.C.2.1
  • age-appropriate tone quality: MU.68.C.2.1
  • technical preparation: MU.68.C.2.1
demonstrate unified tone color (MU.68.S.3.2E P)
  • age-appropriate tone quality: MU.68.C.2.1
demonstrate appropriate use of blend and balance within the ensemble. (MU.68.S.3.2E P)
  • age-appropriate tone quality: MU.68.C.2.1
  • technical preparation: MU.68.C.2.1
detect rhythm and pitch errors in written notation while listening to vocal or instrumental performances (MU.68.S.3.4E R)
analyze and discuss where differences occur. (MU.68.S.3.4E R)
develop and demonstrate appropriate rehearsal behaviors necessary for growth and development of musicianship. (MU.68.S.3.6BAC )
First Semester
aurally recognize various vocal styles (MU.68.C.1.4NTK 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.1.4NTK R)
  • text
  • melody
  • harmony
  • tonality
  • rhythm
  • texture
  • form
evaluate the accuracy of musical elements in a performance (MU.68.C.2.1E R)
discuss criteria used to evaluate individual and group performances (MU.68.C.2.1E R)
assess one’s own performance using teacher- and/or FVA-created rubrics. (MU.68.C.2.1E R)
analyze feedback given by teachers and peers regarding one’s own progress in vocal technique (MU.68.C.2.1E R)
apply feedback to improve one's own performance. (MU.68.C.2.1E R)
evaluate the accuracy of musical elements in a performance using correct music vocabulary (MU.68.C.2.2I R)
discuss criteria used to evaluate individual and group performances (MU.68.C.2.2I R)
assess one’s own performance using teacher- and/or FVA-created rubrics. (MU.68.C.2.2I R)
identify, describe, and track specific improvements made through rehearsal and practice. (MU.68.C.2.2I R)
create a log of specific improvements made in a specified time period (MU.68.C.2.2I R)
identify the effects that performance and teamwork have on other skills. (MU.68.F.3.1BAC )
describe how music skills transfer to dedication to mastering a task, problem-solving, self-discipline, dependability, ability to organize, cultural awareness, and mutual respect. (MU.68.F.3.1BAC )
  • Dedication
  • Self-discipline
  • Cultural awareness
compose a list of world leaders who have a musical background. (MU.68.F.3.1BAC )
First Quarter
aurally identify major and minor tonalities. (MU.68.C.1.1BAC )
  • tonality: major, minor
aurally identify expressive and structural elements of melody, harmony, and phrasing. (MU.68.C.1.1BAC )
  • melody
  • counter melody
  • ostinato
  • chords
  • phrasing
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
follow a listening map. (MU.68.C.1.1BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
Listen to and discuss quality recordings of choral performances using correct music vocabulary. (MU.68.C.1.2I R)
aurally identify sections of a choral group (MU.68.C.1.4NTK R)
  • soprano, alto, tenor, baritone, bass
aurally identify the size of a choral group (MU.68.C.1.4NTK R)
  • unison
  • SA
  • SSA
  • SA(T)B
  • TTB/TBB
  • solo
  • duet
  • ensemble
  • choir
list leadership positions held by music students in the general school population. (MU.68.F.3.1BAC )
  • Leadership positions within the school
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)
  • Laws related to downloading music/videos
  • How composers and recording artists receive revenue from the sales of their compositions or recordings.
listen to and /or sing music from the Medieval, Renaissance, and Baroque periods. (MU.68.H.1.2NTK R)
analyze form as it occurs in repertoire studied in class. (MU.68.H.1.5NTK R)
  • form: MU.68.C.1.1
identify specific forms while listening to recorded examples (MU.68.H.1.5NTK R)
  • form: MU.68.C.1.1
define and recognize the characteristics which identify historic and stylistic periods: Medieval, Renaissance, and Baroque (MU.68.H.1.5NTK R)
  • musical characteristics of the historical periods.
track the development of instruments from ancient to modern, e.g., harpsichord to piano, etc. (MU.68.H.2.2BAC )
  • instruments: early through modern
identify form, tonality, and expressive elements, (MU.68.O.1.1I R)
sing and notate a major scale. (MU.68.O.2.2BAC )
  • major scale
recognize and identify relative minor scales. (MU.68.O.2.2BAC )
  • parallel minor scale
  • relative minor scale
aurally identify major and minor tonalities in studied repertoire. (MU.68.O.2.2BAC )
  • tonality: major and minor
compare and contrast songs performed in major and minor keys. (MU.68.O.2.2BAC )
  • tonality: major and minor
analyze major and minor tonalities used in rehearsal, performance, and composition. (MU.68.O.2.2BAC )
  • composition
  • tonality: major and minor
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
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
  • vocal chording
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
discuss the accuracy, speed, and comprehension of learning a new piece. (MU.68.S.2.2BAC )
rehearse music integrating kinesthetic support/response (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, etc.
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
sight-read simple rhythmic exercises using count-singing (MU.68.S.3.3E O)
  • count-singing
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
  • 2/4, 3/4, and 4/4 time
perform simple rhythmic exercises using 6/8 and 2/2 time. (MU.68.S.3.3E O)
  • 2/2, and 6/8 time
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
define and aurally identify a chromatic scale. (MU.68.S.3.3E O)
  • chromatic scale
  • flat, sharp, and natural symbols/functions
Identify letter names of pitches on the staff (MU.68.S.3.3E O)
  • letter names of pitches on the staff
identify major key signatures of C, F, Bb, Eb, Ab, Db, G, D, A, E, and B major (MU.68.S.3.3E O)
  • C, F, Bb, Eb, Ab, Db, G, D, A, E, and B major
demonstrate knowledge of dynamics and expressive markings (MU.68.S.3.3E O)
  • dynamic markings
  • expressive markings
sing at sight two- to four-part melodies on solfeggio in major keys using step-wise motion and arpeggiated skips within the I chord, without accompaniment (MU.68.S.3.3E O)
  • dynamic markings
  • expressive markings
  • solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • step-wise motion
  • arpeggiated skips within the I chord
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
notate the correct rhythm for a four measure phrase that has been performed by someone else using whole notes and rests, dotted half notes, half notes and rests, dotted quarter notes, quarter notes and rests, sets of eighth notes and rests, sets of sixteenth notes, syncopation, and triplets. (MU.68.S.3.5E R)
notate the correct melody for an eight-measure phrase in simple meters that has been performed by someone else using repeated pitches, stepwise movement, and arpeggiated skips (within the I and V chord) in a major key. (MU.68.S.3.5E R)
  • step-wise motion
  • arpeggiated skips within the I and V chords
Week 1
recognize the function of lines and spaces of the staff (including the addition of ledger lines) as the means of visually representing pitch (MAFS.K12.MP.7.1BAC )
Week 3
understand rhythmic relationships regarding time signature classification. (MAFS.K12.MP.7.1BAC )
  • simple, compound and mixed meters
  • function of top and bottom numbers in time signatures
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
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
Identify musical elements that contribute to aesthetic impact indicated in the music using correct music vocabulary. (MU.68.C.1.2I R)
  • Aesthetics
predict how a piece will sound based on the title, composer, instrumentation, composer notes, and compositional elements (MU.68.C.1.2I R)
Interpret and discuss ideas regarding compositional intent of the composer. (MU.68.C.1.2I R)
Design and use a rubric to assess music performance and alignment with the composer’s intent using correct musical vocabulary. (MU.68.C.1.2I R)
analyze and discuss how text contributes to defining a specific style (MU.68.C.1.4NTK 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
listen to, understand, and discuss stylistic elements of a given piece using appropriate music vocabulary (MU.68.C.3.1I R)
identify elements of style and genre as performed by professional musicians. (MU.68.C.3.1I R)
Identify and analyze the elements which make a performance outstanding. (MU.68.C.3.1I R)
use physical movement to reinforce the interpretation of phrasing, pitch, and rhythmic precision. (MU.68.F.1.1BAC C)
create an original version of a familiar song by manipulating one or more of the musical elements (MU.68.F.1.1BAC C)
experiment with movement, digital, and acoustic methods of creating original compositions. (MU.68.F.1.1BAC C)
create an original performance of a short piece using movement. (MU.68.F.1.1BAC C)
listen to and /or sing music from the Classical period. (MU.68.H.1.2NTK R)
define and recognize the characteristics which identify historic and stylistic periods: Classical (MU.68.H.1.5NTK R)
  • musical characteristics of the historical periods.
listen to and describe contrasting choices made by different performers on a select piece. (MU.68.O.1.1I R)
explore the effects of manipulating various musical elements (MU.68.O.2.1BAC C)
analyze and discuss the effects of manipulating various musical elements (MU.68.O.2.1BAC C)
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)
analyze and discuss the choices a composer makes to communicate a specific message. (MU.68.O.3.1I R)
experiment with conducting patterns. (MU.68.O.3.2E P)
  • standard conducting patterns
create and notate simple rhythmic patterns/phrases using body percussion or rhythm instruments. (MU.68.S.1.2BAC C)
  • rhythmic patterns
create and notate simple melodic patterns/phrases using the pentatonic or diatonic scale. (MU.68.S.1.2BAC C)
  • pentatonic scale
  • diatonic scale
  • melodic line
combine rhythmic and melodic elements to create a simple composition. (MU.68.S.1.2BAC C)
  • texture: MU.68.C.1.1
  • harmonic interest
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)
identify and perform altered tones as they appear in classroom repertoire. (MU.68.S.3.3E O)
  • altered tones
  • flat, sharp, and natural symbols/functions
sing at sight two- to four-part melodies on solfeggio in major keys using step-wise motion and arpeggiated skips within the I and V chords, without accompaniment. (MU.68.S.3.3E O)
  • dynamic markings
  • expressive markings
  • solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • step-wise motion
  • arpeggiated skips within the I and V chords
  • note/rest values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, whole/half, quarter/eighth note ties, triplets, and combinations of eighth, dotted eighth, and sixteenth notes
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, and evaluate comments for relevance. (LAFS.8.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)
design and use student-made rubric to assess music performance. (MU.68.C.2.1E R)
use a checklist of criteria used to create an original composition/improvisation successfully. (MU.68.C.2.3BAC )
  • Composition
  • Improvisation
  • Melody
  • Rhythm
  • Texture: MU.68.C.1.1
  • Tonality: MU.68.C.1.1
  • Form: MU.68.C.1.1
evaluate one’s performance and the performance of others singing a personal composition using previously developed criteria. (MU.68.C.2.3BAC )
  • 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
demonstrate improvement by utilizing suggestions from teachers and/or peers. (MU.68.C.2.3BAC )
identify various means to distribute music. (MU.68.F.2.1NTK R)
  • Various means to distribute music
research and discuss the steps a composer takes to bring a composition to consumers. (MU.68.F.2.1NTK R)
  • Various means to distribute music
research and discuss the steps a performer and/or performance group can take to bring their “product” to consumers, e.g. traditional and alternate paths, YouTube, etc. (MU.68.F.2.1NTK R)
  • Various means to distribute music
explore MIDI and other production technologies used to compose and/or record music, e.g.,sharing on the internet, home studios, professional recording studios, etc. (MU.68.F.2.1NTK R)
  • MIDI and other music technologies
list examples of everyday application of MIDI and other music technologies. (MU.68.F.2.1NTK R)
  • MIDI and other music technologies
list concert attendees and their relationship to the performer, e.g., parents, siblings, friends, etc. (MU.68.F.2.2NTK R)
discuss the increase in revenues at restaurants, hotels, travel agencies, venue maintenance, and parking attendants. (MU.68.F.2.2NTK R)
  • Advertising
  • Workers needed for concerts; e.g professional production vs. community/school production
  • How other businesses are impacted by concert attendance.
listen to, sing, and/or identify music of American composers and performers. (MU.68.H.1.3NTK R)
identify characteristics of American music genres (MU.68.H.1.3NTK R)
identify specific influences of other cultures in American music, e.g., African, European, traditional folk, South American, Caribbean, etc. (MU.68.H.1.3NTK R)
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)
  • similarities between music and other fine arts
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 )
use a checklist of criteria used to create an original composition (MU.68.O.2.1BAC C)
explore the effects of manipulating tonality in original compositions (MU.68.O.2.2BAC )
  • tonality: major and minor
identify all Major key signatures (MU.68.S.3.3E O)
  • all major key signatures
Third Quarter
create a listening map for a recorded example, noting theme and variations where necessary. (MU.68.C.1.1BAC )
  • theme
  • variations
  • listening map
  • form: binary, ternary, rondo, variational, sonata
  • texture: monophony, homophony, polyphony
  • dynamic markings
  • expressive markings
  • melody
  • counter melody
design and use student-made rubric to assess music performance. (MU.68.C.2.2I R)
listen to and /or sing music from the Romantic period. (MU.68.H.1.2NTK R)
define and recognize the characteristics which identify historic and stylistic periods: Romantic (MU.68.H.1.5NTK R)
  • musical characteristics of the historical periods.
Fourth Quarter
identify the steps a composition goes through from conception to consumer. (MU.68.F.3.3BAC )
discuss the elements of production, e.g., idea, development, editing, copyright, selling, revising, testing, presenting. (MU.68.F.3.3BAC )
analyze and describe how the elements of production could be used in an everyday work place. (MU.68.F.3.3BAC )
Listen to and/or sing World music of varied styles, forms, periods, and composers. (MU.68.H.1.2NTK R)
listen to and /or sing music from the 20th Century, and 21st Century periods. (MU.68.H.1.2NTK R)
define and recognize the characteristics which identify historic and stylistic periods: 20th and 21st Century (MU.68.H.1.5NTK R)
  • musical characteristics of the historical periods.
track the development of compositional devices from ancient to modern, e.g., neumatic notation to modern notation, Finale, Sibelius, Garage Band, etc. (MU.68.H.2.2BAC )
  • compositional devices: early through modern
track the development of recording/playback devices from early to present, e.g., phonograph to CD. (MU.68.H.2.2BAC )
  • recording and playback devices: early through modern
describe the use of modern music technology and predict future trends. (MU.68.H.2.2BAC )
  • modern recording and playback devices
  • modern compositional devices