M/J Vocal Ensemble 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 )
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.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.
listen to and identify music from a variety of other cultures. (MU.68.H.1.4NTK R)
identify and discuss musical elements unique to a specific culture. (MU.68.H.1.4NTK R)
organize the various styles into cultural genres of music, e.g., African, European, traditional folk, South American, Caribbean, etc. (MU.68.H.1.4NTK R)
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)
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
  • Similarities between Vocal Music and other music disciplines
  • Cross-curricular connections with other academic subjects.
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 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
  • Function of the vocal mechanism; soft palate, pharynx, larynx, tongue
  • 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)
  • Age-appropriate Tone Quality; 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
  • Age-appropriate Tone Quality; 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
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)
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
aurally identify theme and variations when listening to recorded examples. (MU.68.C.1.1BAC )
  • Theme
  • Variations
engage in active listening by identifying and defining specific forms (MU.68.C.1.1BAC )
  • Form: binary, ternary, rondo
listen to and discuss quality recordings of choral performances using correct music vocabulary. (MU.68.C.1.2I R)
research and discuss the steps a composer takes to bring a composition to consumers. (MU.68.F.2.1BAC )
  • 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.2.1BAC )
  • 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.2.1BAC )
  • MIDI and other music technologies
list examples of everyday application of MIDI and other music technologies. (MU.68.F.2.1BAC )
  • MIDI and other music technologies
identify the effects that performance and teamwork have on other skills. (MU.68.F.3.1BAC )
  • Dedication
  • Self-discipline
  • Sense of camaraderie.
list leadership positions held by music students in the general school population. (MU.68.F.3.1BAC )
  • Leadership positions within the school
develop and/or reinforce a positive attitude toward self through the study and creation of music. (MU.68.F.3.1BAC )
  • Dedication
  • Self-discipline
  • Sense of camaraderie.
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
  • Sense of camaraderie.
recognize how music study promotes patience and diligence resulting in long-term gratification. (MU.68.F.3.1BAC )
  • Dedication
  • Self-discipline
  • Sense of camaraderie.
compose a list of world leaders who have a musical background. (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
discuss laws and ethical implications 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.
perform music integrating expressive musical qualities indicated in the music. (MU.68.O.3.2E P)
  • Expressive Markings
  • Timbre
  • Tonality: MU.68.C.1.1
identify gestural cues relating to tempo, dynamics, phrasing, and expression. (MU.68.O.3.2E P)
  • Expressive conducting gesture
follow non-verbal communication given by the conductor. (MU.68.O.3.2E P)
  • Standard conducting patterns
  • Expressive conducting gesture
apply knowledge to a variety of musical selections. (MU.68.O.3.2E P)
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)
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.
perform music in large or small ensembles applying knowledge of expressive markings (MU.68.S.3.1E P)
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.
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, G, D, and A (MU.68.S.3.3E O)
  • Key signatures up to three sharps/flats
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, without accompaniment. (MU.68.S.3.3E O)
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
  • Step-wise motion
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
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
create a listening map for a recorded example (MU.68.C.1.1BAC )
  • Listening Map
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)
evaluate one’s own performance and the performance of others using respectively designed rubrics (MU.68.C.1.2I 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 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)
assess one’s own performance using teacher- and/or FVA-created rubrics. (MU.68.C.2.2I 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.2.1
listen to and describe contrasting choices made by different performers on a selected piece. (MU.68.O.1.1I R)
  • Tone Quality: MU.68.C.2.1
  • Technical Preparation: MU.68.C.2.1
  • Form; MU.68.C.1.1
  • Tonality; MU.68.C.1.1
  • Musical Effect; MU.68.C.2.1
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
  • Expressive conducting gesture
perform simple rhythmic exercises using 6/8 and 2/2 time. (MU.68.S.3.3E O)
  • 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.
aurally identify a chromatic scale. (MU.68.S.3.3E O)
  • Chromatic scale
identify major key signatures of Ab, Db, E, and B. (MU.68.S.3.3E O)
  • Key signatures up to five sharps/flats
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)
  • Arpeggiated skips within the I chord
  • Solfeggio names and Curwen-Glover hand signs for the diatonic scale
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)
create a log of specific improvements made in a specified time period (MU.68.C.2.2I 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)
  • Cross-curricular connections with other academic subjects.
  • 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 )
Third Quarter
design and use a student-created 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-created rubric to assess music performance. (MU.68.C.2.2I R)
Fourth Quarter
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)