Chorus 3 Pacing Guide

Time-Period Currently Unspecified
observe classroom rules. (DA.912.S.2.1BAC )
respect peers and equipment. (DA.912.S.2.1BAC )
show focus and pacing during self-directed practice time. (DA.912.S.2.1BAC )
Time-Period Currently Unspecified
Read a score while listening to the piece, compare it to another arrangement or edition, and discuss the differences and similarities in class. (LAFS.1112.SL.1.2BAC )
  • score reading: systems, parts, score order
Watch two performances of a piece on YouTube and determine what techniques contribute to the musicality. (LAFS.1112.SL.1.2BAC )
  • proper performance posture, position, and technique
Listen to two recordings of a piece of music on Naxos and determine which rendition most effectively conveys the composer's intent. (LAFS.1112.SL.1.2BAC )
  • stylistic characteristics based on style period, nationality, cultural background
evaluate the efficacy and value of a guest clinician, conductor, or adjudicator's presentation with regard to their delivery. (LAFS.1112.SL.1.3BAC )
  • vocal tone, facial expression, gestures
  • syntax, semantics, lexicon
discuss the content of a speaker's or lecturer's presentation (live or recorded) with regard to substantiated evidence. (LAFS.1112.SL.1.3BAC )
  • evidence, data, statistics
present comparisons of works within a genre citing specific style characteristics and using domain-specific vocabulary to represent a point of view. (LAFS.1112.SL.2.4BAC )
  • genre, style characteristics
research and prepare a piece of music for rehearsal (score study). (LAFS.1112.SL.2.4BAC )
  • score study
lead a sectional or rehearsal utilizing communication conventions, such as referencing the measure number before making relevant comments. (LAFS.1112.SL.2.4BAC )
  • rehearsal communication conventions
describe correlations between technique and performance in a rehearsal piece. (LAFS.1112.SL.2.4BAC )
write a reflection of both formal and informal performances, identifying strengths and weaknesses specific to musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision (LAFS.1112.WHST.2.4BAC )
  • musical elements such as articulations, phrasing, intonation, balance, and rhythmic precision
write an eight measure melodic/rhythmic dictation including steps, skips and chromatics (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
compose an eight measure melody over a given harmonic structure. (LAFS.1112.WHST.2.4BAC )
  • knowledge of music notation fundamentals
write a short critique of a rehearsal (LAFS.1112.WHST.2.4BAC )
  • conductor's objectives
listen to multiple recordings of the same piece to develop a preferred interpretation of a musical element (e.g., phrasing, tempo, dynamic contrast). (LAFS.1112.WHST.3.9BAC )
listen to multiple recordings within a specific genre to understand the defining stylistic elements. (LAFS.1112.WHST.3.9BAC )
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.1112.WHST.3.9BAC )
  • understanding and applying technical vocabulary of rubric
  • active listening skills
listen to multiple pieces by the same composer to realize a composer’s style and technique. (LAFS.1112.WHST.3.9BAC )
prepare a varied repertoire with attention to technical, stylistic, and expressive elements as indicated in the music. (LAFS.1112.WHST.3.9BAC )
  • notes and rest values
  • dynamic and expressive markings
  • articulation markings
  • musical styles/genres: see MU.912.C.1.4
Time-Period Currently Unspecified
aurally identify major, minor, diminished, and augmented chords. (MU.912.C.1.1BAC )
aurally identify melodic and harmonic elements. (MU.912.C.1.1BAC )
follow a detailed listening map and respond kinesthetically. (MU.912.C.1.1BAC )
engage in active listening by identifying specific forms, e.g., binary, ternary, rondo, verse and refrain, strophic, and through composed. (MU.912.C.1.1BAC )
use a checklist to identify musical characteristics common to various styles of choral literature. (MU.912.C.1.1BAC )
listen to, discuss, and evaluate quality recordings of vocal performances. (MU.912.C.1.2I R)
relate the importance of title, text, and context to a composer’s intent. (MU.912.C.1.2I R)
aurally and visually describe voicing, accompaniment, and expressive elements indicated in the music. (MU.912.C.1.2I R)
analyze and discuss compositional intent of the composer. (MU.912.C.1.2I R)
analyze choral performances using established criteria. (MU.912.C.1.2I R)
perform and evaluate peer/group performances. (MU.912.C.1.2I R)
listen to, analyze, and discuss various types of choral ensembles, e.g., chorus, chorale, chamber, madrigal, glee club, show choir, Barbershop/Sweet Adeline, etc. (MU.912.C.1.4E R)
listen to, analyze, and discuss various types of choral styles and literature, e.g., chant, spiritual, folk, aria/opera, world, jazz, Broadway, Barbershop, pop, chorale, chamber, madrigal, glee club, show, etc. (MU.912.C.1.4E R)
perform a variety of quality choral literature. (MU.912.C.1.4E R)
analyze and characterize the use of text as it pertains to style and genre. (MU.912.C.1.4E R)
independently and in small groups, identify and improve 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 )
analyze, compare, and discuss two or more examples of the same recording. (MU.912.C.2.2I R)
listen to and select quality recordings based on performance evaluations. (MU.912.C.2.2I R)
demonstrate examples of quality performance through use of choral literature being studied. (MU.912.C.2.2I R)
evaluate and provide feedback for a student generated composition and/ or improvisation. (MU.912.C.2.3BAC )
analyze performance options and suggest improvements based on self analysis or cooperative feedback. (MU.912.C.2.3BAC )
integrate evaluations and suggestions into current and future performances. (MU.912.C.2.3BAC )
analyze and discern elements of outstanding or representative performances. (MU.912.C.3.1E R)
listen to and analyze 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)
attend performances of quality performing groups in the choral and theatrical setting. (MU.912.C.3.1E R)
Time-Period Currently Unspecified
attend performances of quality performing groups in the choral and theatrical setting. (MU.912.C.3.1E R)
  • access to community resources
Time-Period Currently Unspecified
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 )
model effective rehearsal and performance expectations and behaviors. (MU.912.F.3.1BAC )
model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
Time-Period Currently Unspecified
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
Time-Period Currently Unspecified
analyze the elements of a given performance. (MU.912.F.3.3BAC )
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 )
identify strengths and weaknesses regarding skill level and competency in a given musical discipline. (MU.912.F.3.4BAC )
list practice and performance goals related to the given musical discipline. (MU.912.F.3.4BAC )
design and implement strategies related to pedagogy, instruction, and assessment. (MU.912.F.3.4BAC )
reflect on musical activities and performances throughout the year. (MU.912.F.3.4BAC )
listen to, discuss, and perform representative examples of music from diverse cultures and eras. (MU.912.H.1.1BAC )
identify, discuss, and perform music having a cultural function, e.g., anthems, fanfares, religious and ceremonial music, holidays, athletic events, etc. (MU.912.H.1.1BAC )
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)
perform quality, representative choral literature from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century. (MU.912.H.1.2I R)
identify and discuss two or more significant choral composers and/or compositions. (MU.912.H.1.2I R)
Time-Period Currently Unspecified
listen to and identify examples of music from diverse cultures and eras (MU.912.H.1.2I R)
Time-Period Currently Unspecified
listen to and analyze separate compositions, with varied medium, of a single composer, e.g., orchestral and choral, guitar and string quartet, piano solo and piano concerto, etc. (MU.912.H.1.3NTK R)
listen to and analyze selections by an exemplary composer using a different performance mediums, e.g., symphonic arrangement vs. jazz arrangement of the same piece. (MU.912.H.1.3NTK R)
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)
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)
identify current stylistic influences of other cultures on American music, e.g. African, European, traditional folk, South American, Caribbean, Latino, etc. (MU.912.H.1.4NTK R)
rehearse and perform quality choral literature from diverse cultures. (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)
analyze and discuss structural and expressive elements that characterize musical and cultural identity. (MU.912.H.1.5I R)
rehearse and perform quality choral literature from diverse cultures. (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 )
identify and compare popular vs. art music historically, e.g., madrigal vs. motet, operetta vs. opera, etc. (MU.912.H.2.1BAC )
identify and discuss characteristics of specific musical genres. (MU.912.H.2.3NTK R)
identify and discuss historical events as influential components of musical growth and identity. (MU.912.H.2.3NTK R)
trace significant developments regarding innovations, compositions, and key players. (MU.912.H.2.3NTK R)
predict next generation musical styles, influences and technologies. (MU.912.H.2.3NTK R)
identify, discuss and apply 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, discuss, and apply 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)
conceptualize and integrate multi-disciplinary knowledge into a musical performance. (MU.912.H.3.1NTK R)
conceptualize and integrate 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 )
conceptualize and integrate 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 )
conceptualize and integrate knowledge and skills developed from varied content areas to musical concepts. (MU.912.H.3.2BAC )
consistently define music terms and symbols in a given piece, e.g, tempo markings, dynamics, key, and meter, etc. (MU.912.O.1.1I R)
consistently identify melody, counter melody, and accompaniment. (MU.912.O.1.1I R)
consistently differentiate between melody and harmony. (MU.912.O.1.1I R)
consistently differentiate between major and minor tonality. (MU.912.O.1.1I R)
consistently describe timbre, tone color, and texture. (MU.912.O.1.1I R)
consistently differentiate between solo, small ensemble, and large ensemble. (MU.912.O.1.1I R)
consistently identify major musical themes including sections and patterns that outline structural form. (MU.912.O.1.1I R)
Time-Period Currently Unspecified
consistently define music terms and symbols in a given piece, e.g., tempo markings, dynamics, key, and meter, etc. (MU.912.O.1.1I R)
Time-Period Currently Unspecified
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 apply stylistic and technical performance practices relative to text, language and historical context, e.g., syllabic stress, foreign language pronunciation and translation, interpretative elements, etc. (MU.912.O.2.1BAC )
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)
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 of the musical work being studied. (MU.912.O.3.1I R)
learn basic conducting patterns for 2/4, 3/4, 4/4, and 6/8. (MU.912.O.3.2E P)
identify, explain, and apply, to the current choral literature, the 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)
vocally improvise short sections of given literature using text, neutral, or scat syllables. (MU.912.S.1.1BAC C)
vocally improvise a melody over a tonic/dominant chord progression, with or without accompaniment. (MU.912.S.1.1BAC C)
vocally improvise a rhythmic/melodic ostinato on a given simple chord progression. (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, understand, 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)
demonstrate 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 and demonstrate 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.2.2E P)
recall and apply learned concepts, skills, processes, and techniques to varied musical repertoire. (MU.912.S.2.2E P)
sing with awareness of vocal techniques, e.g., posture, breath support, vowel placement, proper use of consonants, diphthongs, etc. (MU.912.S.3.1E P)
sing independently with appropriate expression, dynamics, and phrasing. (MU.912.S.3.1E P)
sing independently with unified vowels and tone color. (MU.912.S.3.1E P)
sing independently with proper intonation, balance, and blend in an ensemble setting. (MU.912.S.3.1E P)
demonstrate an understanding of blend and intonation by singing in a quartet. (MU.912.S.3.1E P)
identify and apply stylistic and technical performance practices relative to text, language and historical context, e.g., syllabic stress, foreign language pronunciation and translation, interpretative elements, etc. (MU.912.S.3.1E P)
respond artistically to conducting patterns. (MU.912.S.3.1E P)
identify and demonstrate basic conducting patterns. (MU.912.S.3.1E P)
independently 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)
independently identify letter names of the spaces and lines of both bass and treble clefs. (MU.912.S.3.2E O)
independently 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)
independently sight-read major, minor, and perfect melodic intervals within a diatonic scale. (MU.912.S.3.2E O)
independently sight-read melodic exercises step-wise, with skips, without accompaniment. (MU.912.S.3.2E O)
independently identify key signatures of the literature being sung. (MU.912.S.3.2E O)
independently define and apply relevant musical terms and expressive markings in the literature being sung. (MU.912.S.3.2E O)
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
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
work cooperatively in small groups/sectionals to generate relevant vocal exercises and assessments. (MU.912.S.3.4I R)
develop strategies for learning individual vocal parts. (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
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
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
unify ideas and decisions though collaboration and communication according to music rehearsal convention within sections across the ensemble, and with the director. (LAFS.1112.SL.1.1BAC )
  • rehearsal communication conventions
initiate independent refinement of repertoire through collaboration with peers (LAFS.1112.SL.1.1BAC )
demonstrate a musical idea as a model for peers. (LAFS.1112.SL.1.1BAC )
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.
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)
  • critical listening skills
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 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
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.
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.
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
Discuss the difference between range and tessitura (LAFS.1112.RST.2.4BAC )
  • range: the span from the lowest to the highest note a singer can produce
  • tessitura: musically acceptable & comfortable range for a given singer. Also, the general range of a voice part in a piece of music
identify the choral ensemble, e.g., unison, SA, SSAA, SAB, SATB. (MU.912.C.1.4E R)
  • SA
  • SATB
  • SAB
  • SSAA
aurally identify the size of various vocal groups and characterize their voicing. (MU.912.C.1.4E R)
  • Solo
  • Duet
  • Ensemble
  • Choir
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)
Identify voice types: (MU.912.C.1.4E R)
  • Soprano
  • Mezzo-soprano
  • Contralto
  • Tenor
  • Baritone
  • Bass
identify the choral ensemble, e.g., unison, SA, SSAA, SAB, SATB. (MU.912.C.1.4E R)
  • SA
  • SATB
  • SAB
  • SSAA
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)
  • Soprano
  • Mezzo-soprano
  • Contralto
  • Tenor
  • Baritone
  • Bass
Set individual vocal goals (range, tone, quality, comfort, independence, etc.) (MU.912.C.2.1BAC )
Week 5
Identify accidentals (LAFS.1112.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
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
Identify road signs in music (LAFS.1112.RST.2.4BAC )
  • rehearsal letters
  • repeat signs
  • first ending, second ending
  • da capo (D.C.): to the beginning
  • dal segno (D.S): to the sign
  • segno (the 'sign')
  • coda - ending section
  • al fine: to the measure marked fine
  • al coda: to the ending section
Week 8
analyze voicing, accompaniment, and expressive elements indicated in the music. (MU.912.C.1.2I R)
  • dynamic markings
  • expressive markings
Second Quarter
identify quality recordings of vocal performances. (MU.912.C.1.2I R)
  • elements of a quality performance
  • aesthetics
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.
discuss how music has impacted elements of society, e.g., religion, literature, wars, revolutions, governments/rulers. (MU.912.H.2.1BAC )
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)
  • Elements of outstanding/representative performances: Melodic line, texture, rhythmic interest, harmonic interest, emotional content, dynamic contrast, form, applied technique.
  • 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 )
Second Semester
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
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 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
Fourth Quarter
explore leadership opportunities and leadership positions outside of the music room. (DA.912.F.3.8BAC )
  • organizational skills
  • ability to problem-solve
  • people oriented
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 )