Chorus 2 Pacing Guide

Time-Period Currently Unspecified
describe how teamwork in the music ensemble translates to other areas and skills. (DA.912.F.3.8BAC )
  • how to operate effectively as a team member
describe how skills in the music room transfer into other content areas. (DA.912.F.3.8BAC )
  • exhibit self-discipline in the MESH courses
explore leadership opportunities and leadership positions outside of the music room. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem-solve
  • people oriented
list skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem solve
  • self-discipline
model effective rehearsal and performance expectations and behaviors. (DA.912.F.3.8BAC )
  • rehearsal etiquette, performance expectations, and behaviors
model proper audience etiquette, expectations, and interaction with performers. (DA.912.F.3.8BAC )
  • exibit audience etiquette and proper interaction with performers.
Write a summary of the composer’s intent of a given piece. (LAFS.910.W.2.4BAC )
Practice writing performance reviews/critiques. (LAFS.910.W.2.4BAC )
consistently identify melodic and harmonic elements. (MU.912.C.1.1BAC )
  • differentiate between melody and harmony
follow a listening map and respond kinesthetically to specific aural detail. (MU.912.C.1.1BAC )
  • critical listening skills
engage in active listening by identifying specific forms, e.g., AB, ABA, strophic, etc. (MU.912.C.1.1BAC )
  • critical listening skills
  • form
use a checklist to identify musical events, e.g. repeats, endings, D.S., coda, et al. (MU.912.C.1.1BAC )
  • music symbols e.g. DS, coda, etc
Time-Period Currently Unspecified
identify musical elements in a listening example such as dissonance and consonance, form, instrumentation, texture, timbre, and expressive elements, e.g., dynamics, articulation, phrasing, tempi, etc. (MU.912.C.1.1BAC )
  • dissonance
  • consonance
  • instrumentation
  • texture
  • timbre
  • expressive elements
  • form
perform individually and in groups followed by feedback from peers and teacher. (MU.912.C.1.2I R)
perform individually and in groups followed by feedback from peers and teacher. (MU.912.C.1.2I R)
Time-Period Currently Unspecified
consistently identify performance accuracy and technique relative to pitch, intonation, balance, blend, phrasing, etc. (MU.912.C.2.1BAC )
cooperatively assess areas for improvement and develop strategies for growth. (MU.912.C.2.1BAC )
apply feedback individually, cooperatively and with teacher guidance. (MU.912.C.2.1BAC )
listen to and compare two or more examples of the same recording. (MU.912.C.2.2I R)
  • critical listening skills
demonstrate examples of quality performance through use of choral literature being studied. (MU.912.C.2.2I R)
  • performance evaluation
analyze and discuss a student generated composition and/ or improvisation. (MU.912.C.2.3BAC )
  • basic compositional elements
  • improvisation
  • melody
  • rhythm
  • texture
  • tonality
  • form
analyze performance options and suggest improvements based on self analysis or cooperative feedback. (MU.912.C.2.3BAC )
  • criterior judging is based upon
integrate evaluations and suggestions into current and future performances. (MU.912.C.2.3BAC )
  • performance strategies
analyze and discern elements of outstanding or representative performances. (MU.912.C.3.1E R)
  • critical listening skills
listen to selected examples of model choral recordings and discuss the specific performance aspects/criteria which make them highly effective. (MU.912.C.3.1E R)
utilize and incorporate ideas and techniques derived from this analysis into further musical development. (MU.912.C.3.1E R)
  • Elements of outstanding/representative performances: Melodic line, texture, rhythmic interest, harmonic interest, emotional content, dynamic contrast, form, applied technique
attend performances of quality performing groups in the choral and theatrical setting. (MU.912.C.3.1E R)
  • access to community resources
describe how teamwork in the music ensemble translates to other areas and skills. (MU.912.F.3.1BAC )
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
list skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc. (MU.912.F.3.1BAC )
  • self-discipline
model effective rehearsal and performance expectations and behaviors. (MU.912.F.3.1BAC )
  • NAfME ten rules of concert etiquette for students
  • teacher expecatations
model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
  • teacher expecatations
  • NAfME ten rules of concert etiquette for students
define “copyright” and discuss applicable materials, media, and performances. (MU.912.F.3.2NTK R)
  • licensing information
  • guidelines for posting performances online
  • definition of copyright
list materials subject to copyright law and discuss proper usage, payment, etc. (MU.912.F.3.2NTK R)
  • music
  • software
  • literature
  • MP3's
  • other works
discuss the implications of copyright infringement, e.g., loss of revenue, pirated original compositions, recorded materials, web-based media, etc. (MU.912.F.3.2NTK R)
  • financial impact on composers and artist, etc
analyze the elements of a given performance. (MU.912.F.3.3BAC )
  • elements that constitute a quality performance
sequence the tasks necessary to organize a performance event. (MU.912.F.3.3BAC )
  • components required for organizing a concert
design and implement materials related to the performance. (MU.912.F.3.3BAC )
  • materials needed
identify and discuss music as a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
  • differentiate aurally between anthems, fanfares, relighous and ceremonial music
listen to, identify, and discuss characteristic elements of choral music from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century. (MU.912.H.1.2I R)
  • main elements in each music period
compare two or more significant choral composers and/or compositions. (MU.912.H.1.2I R)
  • excerpts from Mass in B minor (Bach), Messiah, Zadok the Priest (Handel), Gloria (Vivaldi), Ave Verum Corpus (Mozart), German Requiem (Brahms), Chichester Psalms (Berstein), etc
perform a piece by one or more significant choral composers. (MU.912.H.1.2I R)
  • Bach, Brahms, Handel, Mozart, Beethoven
Time-Period Currently Unspecified
identify American composers from various genres, including oratorios, operettas, cantatas, anthems, etc (MU.912.H.1.2I R)
  • American music and composers of various genres Gregorian Chant through Present-Day (i.e. Burleigh, Copland, Sousa, Whitacre, etc.)
listen to and identify examples of music from diverse cultures and eras (MU.912.H.1.2I R)
Time-Period Currently Unspecified
listen to, identify and discuss characteristic elements of representative music from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century. (MU.912.H.1.4NTK R)
  • Medieval - Gregorian chant, plainsong
  • Renaissance - a cappella, mass, motets, anthems, psalms and madrigals
  • Baroque - modern orchestra, opeara, overture, prelude, aria, recitative, chorus, concerto, sonata, and modern cantata
  • Classical - sonata form, symphony, sonata, trio, quartet, structural and expressive refinemnet
  • Romantic - individuality of expression, virtuoso, programmed music, expanded range of instruments and harmonic vocabulary
  • 20th Century - modernism, microtonal music, Neoclassicism, Post modernism, experimental music, minimalism, electronic music
listen to, identify, and discuss music of American composers and performers. (MU.912.H.1.4NTK R)
analyze and list characteristic elements of a variety of American music, e.g., ragtime, blues, jazz, opera, operetta, Broadway, barbershop, symphonic, choral, etc. (MU.912.H.1.4NTK R)
research and discuss cultural, regional, and historical influences on the development of “American” music and its unique sound qualities and characteristics. (MU.912.H.1.4NTK R)
Time-Period Currently Unspecified
listen to, identify, and discuss the characteristics of music from diverse cultures and eras (MU.912.H.1.4NTK R)
Time-Period Currently Unspecified
identify and discuss cultural, regional and historical elements of various indigenous music, e.g., rhythms, textures, modalities, tonalities, folksongs and lore, instrumentation, vocal style, etc. (MU.912.H.1.5I R)
identify and list key elements that characterize a musical and cultural identity. (MU.912.H.1.5I R)
identify and discuss music as an influential component of various societal and historical events. (MU.912.H.2.1BAC )
identify and discuss specific historical events inspired by music, musicians and/or composers. (MU.912.H.2.1BAC )
analyze and discuss how music has impacted elements of society, e.g. religion, literature, wars, revolutions, governments/rulers. (MU.912.H.2.1BAC )
analyze and discuss various technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.2.4BAC )
identify, list, and discuss pros and cons of recorded vs. live performance and the influence of technology as a component and influence. (MU.912.H.2.4BAC )
discuss a variety of amateur and professional applications for developing sound technology, recording, and delivery systems. (MU.912.H.2.4BAC )
identify and discuss cross curricular musical connections and applications in the various academic content areas, e.g., science and math, etc. (MU.912.H.3.1NTK R)
analyze and discuss various technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.3.1NTK R)
explore and evaluate pros and cons of recorded vs. live performance and the role of technology as a component and influence. (MU.912.H.3.1NTK R)
examine and list the physical properties of sound, acoustics, sound amplification, digital technologies, and related materials and applications. (MU.912.H.3.1NTK R)
Time-Period Currently Unspecified
conceptualize and integrate multi-disciplinary knowledge into a musical performance (MU.912.H.3.1NTK R)
Time-Period Currently Unspecified
identify and discuss connections between music and non-musical content areas, e.g., music and health, music and art, music and advertising, etc. (MU.912.H.3.2BAC )
identify and discuss connections between music and non-musical content areas, e.g., music and health, music and art, music and advertising, etc. (MU.912.H.3.2BAC )
identify and construct learning connections between music and personal interest subjects such as world languages, African American history, drama and theatre, T.V./film production, scientific research, public speaking, data analysis, computer programming, etc. (MU.912.H.3.2BAC )
identify and apply knowledge and skills developed from varied content areas to musical concepts. (MU.912.H.3.2BAC )
listen to, identify, and discuss compositions with contrasting styles. (MU.912.O.2.1BAC )
identify and describe the similarities and differences of contrasting compositions. (MU.912.O.2.1BAC )
compare musical, structural, and aesthetic elements of two or more contrasting compositions. (MU.912.O.2.1BAC )
perform repertoire with contrasting styles and structural elements. (MU.912.O.2.1BAC )
identify and discuss musical terms and symbols in a given piece, e.g., tempo markings, dynamics, articulations, phrasing, key, meter, etc. (MU.912.O.3.1I R)
identify and discuss structural and compositional elements relative to harmony, rhythm, scale, mode, timbre, voicing, text, vocal/instrumental texture, and orchestration. (MU.912.O.3.1I R)
infer compositional intent based on the structural elements. (MU.912.O.3.1I R)
Time-Period Currently Unspecified
identify and discuss musical terms and symbols in a given piece, e.g., tempo markings, expressive markings, articulations, phrasing, key, meter, etc. (MU.912.O.3.1I R)
apply expressive elements to the musical work being studied. (MU.912.O.3.1I R)
infer compositional intent based on the structural elements of the musical work being studied. (MU.912.O.3.1I R)
Time-Period Currently Unspecified
learn basic conducting patterns for 2/4, 3/4, and 4/4, and 6/8. (MU.912.O.3.2E P)
identify and explain a conductor’s gestural cues relating to tempo, dynamics, phrasing and expressive elements. (MU.912.O.3.2E P)
analyze and perform a piece based on the expressive elements of the score and/or conductor. (MU.912.O.3.2E P)
apply and discuss expressive criteria to a variety of musical selections, experiences, non-musical events, and cross-curricular content. (MU.912.O.3.2E P)
create a short melody from an established key, meter, and tempo. (MU.912.S.1.1BAC C)
improvise short sections of given literature using text, neutral, or scat syllables. (MU.912.S.1.1BAC C)
aurally identify and sing melodic and harmonic intervals using solfeggio. (MU.912.S.1.4E P)
aurally identify and sing major and minor chords using solfeggio. (MU.912.S.1.4E P)
repeat a simple dictated melody using solfeggio. (MU.912.S.1.4E P)
notate simple dictated rhythmic patterns. (MU.912.S.1.4E P)
notate simple melodic dictated patterns. (MU.912.S.1.4E P)
discuss and apply the principles of audiation, including types and stages. (MU.912.S.1.4E P)
identify and discuss melody, counter melody, and accompaniment. (MU.912.S.2.1E P)
identify and discuss major musical themes including sections and patterns that outline the form of a composition. (MU.912.S.2.1E P)
identify and discuss expressive and dynamic elements of a piece. (MU.912.S.2.1E P)
perform basic themes, melodic, and rhythmic patterns with accuracy. (MU.912.S.2.1E P)
part-sing with independence and awareness of other vocal parts. (MU.912.S.2.1E P)
apply sequencing strategies for memorizing a piece. (MU.912.S.2.1E P)
identify and discuss shared concepts, skills, and processes between two or more pieces. (MU.912.S.2.2BAC )
recall and apply learned concepts, skills, processes, and techniques to varied musical repertoire. (MU.912.S.2.2BAC )
utilize and integrate developed vocal techniques, e.g., posture, breath support, vowel placement, proper use of consonants, diphthongs, etc. (MU.912.S.3.1E P)
consistently sing with appropriate expression, dynamics, and phrasing. (MU.912.S.3.1E P)
consistently sing with unified vowels and tone color. (MU.912.S.3.1E P)
consistently sing with proper intonation, balance, and blend. (MU.912.S.3.1E P)
consistently identify rhythmic note and rest values, e.g., whole note/rest, half note/rest, quarter note/rest, eighth note/rest, sixteenth note/rest, and their respective dotted note values. (MU.912.S.3.2E O)
consistently identify letter names of the spaces and lines of both bass and treble clefs. (MU.912.S.3.2E O)
consistently demonstrate rhythmic patterns in simple and compound meters, e.g., 2/4, 3/4, 4/4, 2/2, 6/8. (MU.912.S.3.2E O)
sight-read major, minor, and perfect melodic intervals within a diatonic scale. (MU.912.S.3.2E O)
sight-read melodic exercises step-wise and with skips without accompaniment. (MU.912.S.3.2E O)
consistently identify key signatures of the literature being sung. (MU.912.S.3.2E O)
consistently define and apply relevant musical terms and expressive markings in the literature being sung. (MU.912.S.3.2E O)
Time-Period Currently Unspecified
independently transcribe simple step-wise and appegiated skips in a given key. (MU.912.S.3.3E R)
  • transcribe melodies within an octave range
  • transcribe within a diatonic scale as well as dictate a 4th below tonic and a 2nd above high do
independently transcribe the correct rhythms of short dictated exercises in simple duple and triple meters. (MU.912.S.3.3E R)
  • dotted notes and corresponding rests
Time-Period Currently Unspecified
work cooperatively in small groups/sectionals to generate relevant vocal exercises and assessments. (MU.912.S.3.4I R)
apply large group rehearsal strategies to small group/sectional settings. (MU.912.S.3.4I R)
Time-Period Currently Unspecified
differentiate between effective and ineffective rehearsal techniques (MU.912.S.3.4I R)
suggest appropriate rehearsal strategies to improve upon performance (MU.912.S.3.4I R)
recognize, in self and others, the correct singing position for the body and understand the direct impact on quality tone and intonation. (MU.912.S.3.5E P)
  • standing and seated singing posture
  • age-appropriate vocal quality
  • recognize and self-correct posture for intonation issues
All Year
observe classroom rules. (DA.912.S.2.1BAC )
  • classroom rules
respect peers and equipment. (DA.912.S.2.1BAC )
  • use equipment properly
  • respect peers boundaries
show focus and pacing during self-directed practice time. (DA.912.S.2.1BAC )
  • exhibit self-control and self-efficacy
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
  • how to differentiate between English terminology and musical terminology (e.g., music terminology usually in Italian and usually italicized)
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 solfegio syllables
  • intervallic relationships
perform rhythmic and melodic patterns accuartely 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
share and apply feedback from the teacher and peers in rehearsal through verbal, visual, and audible means (LAFS.910.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.910.SL.1.1BAC )
unify ideas and decisions though collaboration and communication according to music rehearsal convention within sections across the ensemble, and with the director. (LAFS.910.SL.1.1BAC )
  • rehearsal communication conventions
initiate independent refinement of repertoire through collaboration with peers (LAFS.910.SL.1.1BAC )
Discuss the effectiveness of a clinician's pacing and choice of rehearsal techniques in regards to improvement in performance. (LAFS.910.SL.1.3BAC )
  • discern improvement
  • recognize rehearsal techniques
  • vocal tone, facial expression, gestures, syntax, semantics, lexicon
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast). (LAFS.910.WHST.3.9BAC )
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.910.WHST.3.9BAC )
listen to multiple pieces by the same composer to realize a composer’s style and technique. (LAFS.910.WHST.3.9BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music. (LAFS.910.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres: see MU.912.C.1.4
recognize the connection between a problem and a properly used tool that may provide a solution (MAFS.K12.MP.5.1BAC )
  • e.g., metronome, tuner, notation software, digital recorder, pencil, reference materials and media resources, accumulated knowledge, maintenance accessories, ear protection, keyboard instruments, microphone, amplifier
understand that specific tools, while assisting in the process, do not supersede skills and technique. (MAFS.K12.MP.5.1BAC )
demonstrate precision in the execution of unison pulse within the ensemble regarding rhythmic accuracy (attack, duration, release), synchronized rhythmic execution and tempo. (MAFS.K12.MP.6.1BAC )
  • note/rest values appropriate to course and literature
  • time signatures appropriate to course and literature
use domain specific vocabulary to communicate precise ideas and opinions with others. (MAFS.K12.MP.6.1BAC )
demonstrate precision in execution of pitch accuracy and intonation regarding tonality (MAFS.K12.MP.6.1BAC )
  • tonality: MU.68.C.1.1
demonstrate precision in the execution of expressive elements regarding the execution of dynamics, articulations, phrasing, and style. (MAFS.K12.MP.6.1BAC )
  • expressive markings that relate to musical effect regarding dynamics, tempo, phrasing, musical line, dynamics, style, articulations
  • standard conducting patterns
  • expressive conducting gesture
utilize pattern recognition to memorize music. (MAFS.K12.MP.7.1BAC )
reorganize performance practices according to given rhythmic hierarchies (MAFS.K12.MP.7.1BAC )
  • beat groupings and metric stress
recognize patterns through music theory and utilize the information in rehearsal, individual practice, and performance. (MAFS.K12.MP.7.1BAC )
  • patterns such as form, time signatures, phrasing, sequencing, hemiola, key centers, harmonic structure, voicing, modulation, and instrumentation.
listen to and discuss quality recordings of vocal performances. (MU.912.C.1.2I R)
  • recognize components of a quality performance e.g. well produced tone, tall vowels, dynamic contrast, adherence to style and composer's intent
perform individually and in groups followed by feedback from peers and teacher. (MU.912.C.1.2I R)
  • respond to feedback to enhance strengths and minimize weaknesses
discuss title, text, context, and composer’s notes. (MU.912.C.1.2I R)
  • background knowledge of the composer
  • study composer notes
perform individually and in groups followed by feedback from peers and teacher. (MU.912.C.1.2I R)
  • performance evaluation
discuss title, text, context, and composer’s notes. (MU.912.C.1.2I R)
  • elements of performance piece
perform appropriate and representative versions of a variety of vocal styles and classifications. (MU.912.C.1.4E R)
  • Musical elements that define various vocal styles
  • Applied individual and group pedagogy and performance practice.
  • Synthesis of musical knowledge and skills.
  • Interpretive elements of the composition.
  • A variety of appropriate and representaive musical styles.
apply feedback individually, cooperatively, and with teacher guidance. (MU.912.C.2.1BAC )
  • assessment strategies
listen to two or more examples of the same recording. (MU.912.C.2.2I R)
  • critical listening skills
listen to selected examples of model choral recordings. (MU.912.C.3.1E R)
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
explore leadership opportunities and leadership positions outside of the music room. (MU.912.F.3.1BAC )
transfer skills that are developed in the music room, e.g., mastering a task, problem-solving, self-discipline, dependability, organization, cultural awareness, and mutual respect, etc. (MU.912.F.3.1BAC )
listen to and discuss representative examples of music from diverse cultures and eras. (MU.912.H.1.1BAC )
  • critical listening skills
  • exposure to different music genres (early music to present-day music)
listen to representative examples of music from diverse cultures and eras. (MU.912.H.1.1BAC )
  • exposure to different music genres (early music to present-day music)
First Quarter
View Ted Talks - Benjamin Zander: The transformative power of classical music. Do you agree or disagree with Zander's point of view. Why or why not is Zander qualified to speak extensively about classical music? Provide reasons why one may speak with fallacious reasoning and/or exaggerate or distort information? (LAFS.910.SL.1.3BAC )
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 2
differentiate between major and minor tonality. (MU.912.O.1.1I R)
  • The tonic solfege syllable sets the music’s mode: 1. Major mode: do is tonic (do = 1) 2. Minor mode: la is tonic (la = 1) 3. Relative major/minor: the relationship of tonalities between do tonic and la tonic.
identify steps within a scale (MU.912.O.1.1I R)
  • Tonality is the organization of all the tones and harmonies of a piece of music in relation to a key center, or tonic. Each step, including tonic, is numbered as a scale degree; example: 1 2 3 4 5 6 7
Sing material using a systematic approach (MU.912.O.1.1I R)
  • Reading systems: moveable do, fixed do, la minor, do minor
Week 3
understand rhythmic relationships regarding time signature classification. (MAFS.K12.MP.7.1BAC )
  • simple, compound and mixed meters
  • function of top and bottom numbers in time signatures
Week 4
aurally identify the size of various vocal groups and characterize their voicing. (MU.912.C.1.4E R)
  • Solo
  • Duet
  • Ensemble
  • Choir
Identify voice types: (MU.912.C.1.4E R)
  • Mezzo-soprano
  • Contralto
  • Tenor
  • Baritone
  • Bass
  • Soprano
identify the choral ensemble, e.g., unison, SA, SSAA, SAB, SATB. (MU.912.C.1.4E R)
  • SATB
  • SAB
  • SSAA
Identify choral voice parts: (MU.912.C.1.4E R)
  • Soprano
  • Alto
  • Tenor
  • Bass
  • Divisi of choral parts: I – higher, II – lower (ex. SI or S1, SII or S2)
Set individual vocal goals (range, tone, quality, comfort, independence, etc.) (MU.912.C.2.1BAC )
Week 6
Identify key signatures: (MU.912.O.1.1I R)
  • Key Signatures is a series of sharps or flats placed on the staff, designating notes that are to be consistently played one half-step higher or lower than the equivalent natural notes unless otherwise altered with an accidental. (exception: C major/a minor have zero sharps/flats in their key signatures.)
Identify flat key signatures: (MU.912.O.1.1I R)
  • The letter names that flat key signatures alter in order as they appear on the staff: 1-B 2-E 3-A 4-D 5-G 6-C 7-F
  • The last flat of the key signature always corresponds with solfege “fa.”
  • One to the left from the last flat in the order of flats corresponds with “do,” indicating the major key name.
Identify sharp key signatures: (MU.912.O.1.1I R)
  • The letter names that sharp key signatures alter in order as they appear on the staff: 1-F 2-C 3-G 4-D 5-A 6-E 7-B * exact opposite order as flats
  • The last sharp of the key signature always corresponds with solfege “ti.”
  • Two to the right from the last sharp in the order of sharps corresponds with “do,” indicating the major key name.
Week 7
Student correctly identifies solfege and/or counts for a sample melody on the board and clearly presents their findings to the class referencing the key signature and time signature to support their claims. (LAFS.910.SL.2.4BAC )
  • solfeggio reading method
  • identify key signature
  • identify time signature
Week 8
aurally identify voicing, accompaniment, and expressive elements indicated in the music. (MU.912.C.1.2I R)
  • identify components of a score
analyze voicing, accompaniment, and expressive elements indicated in the music. (MU.912.C.1.2I R)
  • dynamic markings
  • expressive markings
consistently identify and characterize the use of text as it pertains to style and genre. (MU.912.C.1.4E R)
  • text painting
  • word painting
  • meaning of text as applicable in literature
Second Quarter
identify quality recordings of vocal performances. (MU.912.C.1.2I R)
  • aesthetics
aurally recognize various vocal styles including chant, spiritual, folk/traditional, opera, world, jazz, etc. (MU.912.C.1.4E R)
  • critical listening skills of various styles
Week 10
define music terms and symbols in a given piece, e.g., tempo markings, dynamics, key, and meter, etc. (MU.912.O.1.1I R)
identify melody, counter melody, and accompaniment. (MU.912.O.1.1I R)
differentiate between melody and harmony. (MU.912.O.1.1I R)
Describe texture of music: (MU.912.O.1.1I R)
  • Monophonic: single melodic line without any accompaniment
  • Homophonic: single melodic line supported with harmonic accompaniment
  • Polyphonic: two or more independent melodic voices (usually imitative)
  • Heterophonic: two or more voices simultaneously performing variations of the same melody
Describe melodic contour: (MU.912.O.1.1I R)
  • similar motion: movement of two musical lines in same direction but with different intervals
  • parallel motion: movement of two musical lines in same direction with the same quantitative intervals
  • contrary motion: movement of two musical lines in opposite directions
  • oblique motion: movement of one musical line while another remains on the same pitch
Week 11
Discuss the different musical style periods with key word associations: (MU.912.H.1.1BAC )
  • Middle Ages (500-1400): Gregorian chant, standardization of music notation.
  • Renaissance (1400-1600): Early instruments, music moves towards major/minor modes.
  • Baroque (1600-1750): Polyphony, ornamentation.
  • Classical (1750-1830): Clarity of melody through homophony, greater emphasis on dynamics and phrasing, clear cadences, structure of music clearly defined.
  • Romantic (1815-1910): Mostly homophonic, increased emotional expression through music, more freedom from strict structures, bolder dynamic contrasts and climaxes.
  • 20th Century (1900-2000): Extreme registers and unconventional use of instruments, emphasis on rhythmic elements, experimentation with non-tonal systems, introduction of electronic media, rise of education and accessibility to popular music.
Week 12
follow a listening map. (MU.912.C.1.1BAC )
  • agreed method and structure of listening map
engage in active listening by identifying specific forms, e.g., AB, ABA, strophic, etc. (MU.912.C.1.1BAC )
  • melodic material naming conventions
Listen and identify the musical characteristics for Middle Ages and Renaissance style periods: (MU.912.C.1.1BAC )
  • Related Vocabulary for Middle Ages: plainchant, organum, cantus firmus.
  • Related Vocabulary for Renaissance: madrigal, text painting, motet.
Week 13
Listen and identify the musical characteristics for Baroque style periods: (MU.912.C.1.1BAC )
  • Related Vocabulary: harpsichord, forte-piano, oratorio, figured-bass
Week 14
Listen and identify the musical characteristics for Classical style periods: (MU.912.C.1.1BAC )
  • Related Vocabulary: symphony, suite, sonata form, transition, delvelopment, motive, recapitulation, coda, concerto, cadenza, chamber music, string quartet, requiem.
Week 15
Listen and identify the musical characteristics for Romantic style periods: (MU.912.C.1.1BAC )
analyze elements of quality performances based on established criteria. (MU.912.C.2.2I R)
  • Technical Preparation: MU.910.C.2.1
  • Tone Quality: MU.910.C.2.1
  • Musical Effect: MU.910.C.2.1
Week 16
Listen and identify the musical characteristics for 20th Century style periods: (MU.912.C.1.1BAC )
Listen, compare and evaluate the expressive and dramatic effectiveness of performances. (MU.912.C.1.2I R)
identify and characterize the use of text as it pertains to style and genre. (MU.912.C.1.4E R)
  • Musical styles/genres: Chant, Liturgical, Spiritual, Folk, Opera, World, Jazz, Pop
analyze elements of outstanding or representative performances. (MU.912.C.3.1E R)
  • Musical characteristics of various genres of music.
describe how teamwork in the music ensemble translates to other areas and skills. (MU.912.F.3.1BAC )
  • Stressed importance of individual action and effect on group outcomes relating both to musical benchmarks and group dynamics
Discuss performance etiquette: (MU.912.F.3.3BAC )
  • On stage: posture, facial expression, acceptable amounts of body movement, focus and eye-contact with director, positioning and spacing on risers, entrance and exit from stage.
  • Audience member: allow others to see unobstructed; allow others to hear unobstructed; allow others the freedom to engage active or passive listening without interruption. Appropriate concert recognition: genuine or respectful applause only; for exceptional performance, standing applause only.
Week 17
Compare preferences for particular style-periods. (MU.912.C.1.1BAC )
Identify reasons for personal preferences toward certain time periods. (MU.912.C.1.1BAC )
model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
analyze the elements of a given performance. (MU.912.F.3.3BAC )
  • Effect of different performance areas on acoustics
  • Amount of aural feedback from various stage positions
  • Muscle memory as a tool to avoid over singing
  • Tendency of observers to focus on things that do not match
identify examples of music as a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
Week 18
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
Second Semester
Split into sectionals and analyze phrase structure and defend choices regarding rise and fall, strong and weak beats, syllabic stress, commas, etc. Each section will perform each assigned excerpt and defend reasoning for choices made. Class should discuss whether choices were successful and make suggestions for improvement. (LAFS.910.SL.2.4BAC )
  • identify phrase structure
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.910.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
interpret and discuss ideas regarding compositional intent of the composer. (MU.912.C.1.2I R)
  • if available, listen to recording in which composer was the conductor
develop ideas regarding compositional intent of the composer. (MU.912.C.1.2I R)
  • critical listening skills
aurally recognize and describe various vocal styles and eras (MU.912.C.1.4E R)
  • aurally differentiate between chants, spritiruals, folk/traditional, world music, and jazz
  • aurally differentiate between Medieval, Renaissance, Baroque, Classical, 20th Century, Present-Day
Third Quarter
Compare and contrast a piece in the original language versus a secondary language. Discuss the credibility and accuracy of the translation. In an instrumental class, students will compare and contrast the instrumentation of an arrangement versus the original score. Discuss the credibility and accuracy of each version. (LAFS.910.SL.1.2BAC )
  • how to use translation tools available
Read adjudicator comments along side of listening to recordings of your group to discuss the validity of comments, prioritize rehearsal needs accordingly, and brainstorm actions to improve performance. (LAFS.910.SL.1.2BAC )
  • rubric for performance assessment
  • techniques to address various performance needs
identify examples of quality performance through use of choral literature being studied. (MU.912.C.2.2I R)
  • performance evaluation
Model proper student behavior for a successful MPA performance (both onstage and as audience members). (MU.912.F.3.1BAC )
  • Specific topics related to authentic performance of selected MPA literature not limited to but including: control, choral balance, phrasing musical line, articulations, interpretation, expression and dramatic effectiveness
  • Review of acoustical awareness for performance in unfamiliar venues
  • Protocol for group sight reading evaluation
  • Specific topics related to authentic performance of selected MPA literature not limited to but including: pitch accuracy, rhythmic precision, intonation, composer intent, period style, dialect, choral tone, identified stress and release, and vocal weight
Week 20
Listen to a quality YouTube, Spotify, and/or professional recording of a piece. Based on the composer's intent, assess the credibility and accuracy of each source. (LAFS.910.SL.1.2BAC )
  • interpret score
Week 27
Evaluate Music Performance Assessments: (MU.912.C.2.1BAC )
  • Tools used to measure effectiveness of MPA performance
  • Feedback on personal contribution toward MPA outcomes
Week 28
Identify chords and their structure: (MU.912.O.1.1I R)
  • Chords: notes played simultaneously creating harmony
  • Triads: chord is made of three notes arranged by two 3rds
  • Membership of the chord bottom to top is: root, 3rd and 5th (names are interval quantity from starting note, or root)
  • Chords are defined as major or minor. (diminished & augmented are not included in year 1)
Week 30
identify major musical themes including sections and patterns that outline structural form. (MU.912.O.1.1I R)
Identify music structure and the levels of organization: (MU.912.O.1.1I R)
  • Passage/Phrase: musical sentences, usually marked with cadences
  • Piece: entire structure of self-contained work
  • Cycle: several pieces that are grouped together as a larger work (suites, operas, concertos, song cycles, sonatas, etc...)
  • Strophic: the same music used with different verses of text (hymns, blues, many folk and popular songs, etc...)
  • Through-composed: different music for each stanza of lyrics (operas, modern musicals, movie scores, etc...)
Week 32
Identify compositional techniques: (MU.912.O.1.1I R)
  • imitation
  • sequence (immediate restatement of melodic material at higher or lower pitch)
  • inversion (melody turned upside down)
  • rise and fall contour of melody
Week 35
Self-evaluate yearly vocal gains (range, tone, comfort, independence, etc) (MU.912.C.2.1BAC )
sequence the tasks necessary to organize a performance event. (MU.912.F.3.3BAC )
design and implement materials related to the performance. (MU.912.F.3.3BAC )