M/J Vocal Techniques 2 Pacing Guide

Time-Period Currently Unspecified
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.7.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 )
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.7.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.7.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.7.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.7.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • blend and balance
  • accurate notes and rhythms
Students will read two versions of a score, compare and contrast the editors intent for each, and analyze the impact of those choices. (LAFS.7.SL.1.2BAC )
  • music vocabulary
  • expressive markings and qualities
  • pitches and rhythms
Students will observe an anatomical rendering of the vocal mechanism, and explain how the function of the mechanism contributes to vocal technique. (LAFS.7.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.7.SL.1.3BAC )
  • fundamental components of critical thinking and listening
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.7.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.7.SL.2.4BAC )
  • music vocabulary
lead a sectional rehearsal. (LAFS.7.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.
create a log of specific improvements made in a specified time period (MU.68.C.2.2I R)
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 )
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)
perform basic themes and patterns expressively from memory. (MU.68.S.2.1E P)
perform individually with rhythmic and melodic accuracy from memory. (MU.68.S.2.1E P)
part-sing with independence and awareness of other vocal parts. (MU.68.S.2.1E P)
apply the above criteria (MU.68.S.2.1) to the memorization of an entire piece (MU.68.S.2.1E P)
apply concepts of proper singing technique to newly introduced material. (MU.68.S.2.2E P)
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
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)
  • 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
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, and whole/half/quarter note ties.
perform simple rhythmic exercises using 2/4, 3/4, and 4/4 time (MU.68.S.3.3E O)
  • 2/4, 3/4, and 4/4 time signatures
  • Note/Rest Values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, and whole/half/quarter note ties.
identify letter names of pitches on the staff (MU.68.S.3.3E O)
  • Letter names of pitches on the staff
recognize and sing repeated tones. (MU.68.S.3.3E O)
demonstrate knowledge of dynamics and expressive markings (MU.68.S.3.3E O)
  • Dynamic markings
  • Expressive markings
detect 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)
work cooperatively with other students and teacher(s) to create exercises, assessments, etc. (MU.68.S.3.6BAC )
First Quarter
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
follow a listening map. (MU.68.C.1.1BAC )
  • Listening Map
  • Form: binary, ternary, rondo
aurally identify theme and variations when listening to recorded examples. (MU.68.C.1.1BAC )
  • Theme
  • Variations
listen to and discuss quality recordings of choral performances using correct musical vocabulary. (MU.68.C.1.2NTK R)
assess one’s own performance using teacher- and/or Florida Vocal Association (FVA)-created rubrics. (MU.68.C.2.2I R)
identify the effects that performance and teamwork have on other skills. (MU.68.F.3.1BAC )
list leadership positions held by music students in the general school population. (MU.68.F.3.1BAC )
  • Leadership positions within the school
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 )
  • Leaders with a musical background
track the development of instruments from ancient to modern, e.g., harpsichord to piano, etc. (MU.68.H.2.2NTK R)
  • 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 )
  • Relative minor scale
aurally identify major and minor tonalities in studied repertoire. (MU.68.O.2.2BAC )
  • Relative minor scale
  • Major scale
compare and contrast songs performed in major and minor keys. (MU.68.O.2.2BAC )
  • Relative minor scale
  • Major scale
analyze major and minor tonalities used in rehearsal, performance, and composition. (MU.68.O.2.2BAC )
  • Relative minor scale
  • Major scale
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 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
follow non-verbal communication given by the conductor. (MU.68.O.3.2E P)
  • Expressive conducting gesture
  • Standard conducting patterns
apply knowledge of expressive elements to a variety of musical selections. (MU.68.O.3.2E P)
  • Musical Effect: MU.68.C.2.1
  • Expressive Markings
  • Timbre
  • Tonality: MU.68.C.1.1
create rhythmic patterns to accompany vocal warm-ups and appropriate repertoire. (MU.68.S.1.1BAC )
  • Rhythm patterns
create ostinati to accompany various vocal warm-ups and appropriate repertoire. (MU.68.S.1.1BAC )
  • Ostinato
create a round using a simple or well-known melody. (MU.68.S.1.1BAC )
  • Round
perform vocal chording exercises with standard harmonic progressions and improvise over these chords individually or in small groups. (MU.68.S.1.1BAC )
  • 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.2.2E P)
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
rehearse music integrating kinesthetic support/response (MU.68.S.3.1E P)
  • Kinesthetic support: e.g., clapping hands to articulate rhythmic patterns, walking in place to reinforce steady beat, use arm/hand motions to illustrate phrasing
perform music in large or small ensembles applying knowledge of expressive markings (MU.68.S.3.1E P)
  • Expressive markings
identify major key signatures of C, F, and G (MU.68.S.3.3E O)
  • Key signatures: C, F, and G
sing at sight unison melodies on solfeggio using step-wise motion and arpeggiated skips within the I chord, in simple meter without accompaniment in major keys (MU.68.S.3.3E O)
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • Step-wise motion
  • 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, dotted half notes, half notes/rests, dotted quarter notes, quarter notes/rests, sets of eighth notes, and sets of sixteenth notes. (MU.68.S.3.5E R)
notate the correct melody for a two- to four-measure phrase in simple meters that has been performed by someone else using repeated pitches, step-wise movement, and arpeggiated skips (within the I chord) in a major key. (MU.68.S.3.5E R)
  • Step-wise melodic motion
  • Arpeggiated skips within the I chord
develop and demonstrate appropriate rehearsal behaviors necessary for growth and development of musicianship. (MU.68.S.3.6BAC )
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
Second Quarter
create a listening map for a recorded example (MU.68.C.1.1BAC )
  • Listening Map
  • Form: binary, ternary, rondo
engage in active listening by identifying and defining specific forms (MU.68.C.1.1BAC )
  • Form: binary, ternary, rondo
identify musical elements that contribute to aesthetic impact indicated in the music using correct musical vocabulary. (MU.68.C.1.2NTK R)
  • Aesthetics
predict how a piece will sound based on the title, composer, instrumentation, composer notes, and compositional elements (MU.68.C.1.2NTK R)
interpret and discuss ideas regarding compositional intent of the composer. (MU.68.C.1.2NTK R)
evaluate the accuracy of musical elements in a performance (MU.68.C.2.1NTK R)
discuss criteria used to evaluate individual and group performances (MU.68.C.2.1NTK R)
assess one’s own performance using teacher- and/or Florida Vocal Association (FVA)-created rubrics. (MU.68.C.2.1NTK 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)
listen to and describe contrasting choices made by different performers on a select piece. (MU.68.O.1.1I 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
sing at sight two-part melodies using step-wise motion in major keys without accompaniment. (MU.68.S.3.3E O)
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • Step-wise 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, and evaluate comments for relevance. (LAFS.7.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)
identify, describe, and track specific improvements made through rehearsal and practice. (MU.68.C.2.2I R)
explore the effects of manipulating tonality in original compositions (MU.68.O.2.2BAC )
  • Composition
  • Relative minor scale
  • Major scale
perform simple rhythmic exercises using 2/2 and 6/8 time. (MU.68.S.3.3E O)
  • 2/2 and 6/8 time signatures
  • Note/Rest Values: whole, dotted half, half, quarter, dotted quarter, eighth notes, sets of sixteenth notes, and whole/half/quarter note ties.
identify major key signatures of Bb, Eb, D, and A. (MU.68.S.3.3E O)
  • Key signatures: Bb, Eb, D, and A major
Third Quarter
design and use a rubric to assess music performance and alignment with the composer’s intent using correct musical vocabulary. (MU.68.C.1.2NTK R)
evaluate one’s own performance and the performance of others using respectively designed rubrics (MU.68.C.1.2NTK R)
design and use student-made rubric to assess music performance. (MU.68.C.2.1NTK R)
analyze feedback given by teachers and peers regarding one’s own progress in vocal technique (MU.68.C.2.1NTK R)
apply feedback to improve one's own performance. (MU.68.C.2.1NTK R)
design and use student-made rubric to assess music performance. (MU.68.C.2.2I R)
Fourth Quarter
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.2.2NTK R)
  • Compositional devices: early through modern
track the development of recording/playback devices from early to present, e.g., phonograph to CD. (MU.68.H.2.2NTK R)
  • Recording and playback devices: early through modern
describe the use of modern music technology and predict future trends. (MU.68.H.2.2NTK R)
  • modern recording and playback devices
  • modern compositional devices