Chorus 4 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
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 accidentals (LAFS.1112.RST.2.4BAC )
  • flats - lower pitch
  • sharps - raise pitch
  • naturals - cancel previous accidentals
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
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
knowledge of music notation fundamentals (LAFS.1112.WHST.2.4BAC )
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 expressive and structural elements of melody, harmony, and phrasing. (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 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, assess, and improve performance accuracy and technique relative to pitch, intonation, balance, blend, phrasing, etc. (MU.912.C.2.1BAC )
cooperatively develop rubrics for practice/performance assessment. (MU.912.C.2.1BAC )
independently assess areas for improvement and develop strategies for growth. (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)
independently 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 )
independently analyze performance options and integrate evaluations and suggestions into current and future performances. (MU.912.C.2.3BAC )
independently 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)
  • critical listening skills
utilize, incorporate, and develop 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)
independently identify and discuss developmental aspects of music technologies from ancient to modern. (MU.912.F.1.1BAC )
compare and contrast traditional vs. modern technological characteristics, usage, and practice. (MU.912.F.1.1BAC )
independently describe the causal effects of industrialization, invention, and innovation on musical development. (MU.912.F.1.1BAC )
define résumé, (curriculum vitae), and its component parts, as well as discuss its language, usage, intent, and target audience. (MU.912.F.2.1BAC )
discuss and explain desirable qualities of scholarship, leadership, and experience. (MU.912.F.2.1BAC )
itemize educational background, work/school related experiences, and educational/career goals. (MU.912.F.2.1BAC )
create practice résumés based on music experience, music interest and/or career choices in the arts or related. (MU.912.F.2.1BAC )
identify and discuss pre- and post- concert/performance activities. (MU.912.F.2.2BAC )
identify and list likely attendees, participants, and contributing volunteers/workers. (MU.912.F.2.2BAC )
identify and list affiliated events, activities, and preparations of a given performance. (MU.912.F.2.2BAC )
explore and discuss economic and cultural relationships between the performance, local businesses, and patrons. (MU.912.F.2.2BAC )
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 )
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 )
independently model effective rehearsal and performance expectations and behaviors. (MU.912.F.3.1BAC )
independently model proper audience etiquette, expectations, and interaction with performers. (MU.912.F.3.1BAC )
define “copyright” and discuss applicable materials, media, and performances. (MU.912.F.3.2NTK R)
list materials subject to copyright law and discuss proper usage, payment, etc. (MU.912.F.3.2NTK R)
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)
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)
compare expressive and structural elements of two or more significant choral composers and/or compositions. (MU.912.H.1.2I R)
aurally identify examples of major works/composers from each musical era. (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)
compare expressive and structural elements of two or more significant choral composers and/or compositions. (MU.912.H.1.2I R)
Time-Period Currently Unspecified
compare 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)
analyze, discuss, and compare selections by an exemplar composer using a different performance mediums, e.g., symphonic arrangement vs. jazz arrangement of the same piece. (MU.912.H.1.3NTK R)
independently characterize elements of representative music from Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, and 21st Century. (MU.912.H.1.4NTK R)
independently characterize music of American composers and performers. (MU.912.H.1.4NTK R)
independently characterize 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)
independently characterize cultural, regional, and historical influences on the development of “American” music and its unique sound qualities and characteristics. (MU.912.H.1.4NTK R)
independently 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)
analyze, rehearse, and perform quality choral literature from diverse cultures. (MU.912.H.1.4NTK R)
independently characterize 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)
research and present materials via oral, written and/or digital media. (MU.912.H.1.5I R)
analyze, 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 )
list and discuss current musical genres, types of performance ensembles, and various types of audience venues, e.g., arenas, halls, outdoor stages, digital, on-line viewing and participation, Skype, virtual choirs etc. (MU.912.H.2.2BAC )
analyze and compare technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.2.2BAC )
propose hypotheses and describe examples regarding future trends in music innovations and applications, e.g., virtual ensembles/auditoriums, etc. (MU.912.H.2.2BAC )
conceptualize next generation music technology. (MU.912.H.2.2BAC )
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 )
conceptualize next generation trends in music learning, performance, delivery, marketing, and consumption. (MU.912.H.2.4BAC )
discus the influence of technology on popular culture, e.g., arts and music, advertizing, fashion, language, food, fitness, etc. (MU.912.H.2.4BAC )
independently define music terms and symbols in a given piece, e.g., tempo markings, dynamics, key, and meter, etc. (MU.912.O.1.1I R)
independently identify melody, countermelody, and accompaniment. (MU.912.O.1.1I R)
independently differentiate between melody and harmony. (MU.912.O.1.1I R)
independently differentiate between major and minor tonality. (MU.912.O.1.1I R)
independently describe timbre, tone color, and texture. (MU.912.O.1.1I R)
independently differentiate between solo, small ensemble, and large ensemble. (MU.912.O.1.1I R)
independently identify major musical themes including sections and patterns that outline structural form. (MU.912.O.1.1I R)
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 )
  • stylistic and performance practices, e.g., syllabic stress, foreign language pronunciation and translation, interpretative elements
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)
identify the structural and compositional elements of 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
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)
Time-Period Currently Unspecified
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)
select expressive criteria from the choral literature being studied and apply it to non-musical events and/or 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 chord progression. (MU.912.S.1.1BAC C)
identify, discuss, and demonstrate musical elements of a given piece, e.g., texture, mode, form, tempo, and voicing. (MU.912.S.1.3BAC C)
explore and perform variations of a given piece by changing aspects or usage of the musical elements. (MU.912.S.1.3BAC C)
create and perform an original version of a given piece by altering the musical elements, e.g., rhythmic patterns, accompaniment, voicing, etc. (MU.912.S.1.3BAC C)
independently identify and sing major, minor, and perfect intervals using solfeggio. (MU.912.S.1.4E P)
independently notate dictated major, minor, and perfect intervals. (MU.912.S.1.4E P)
independently identify and sing major and minor chords using solfeggio. (MU.912.S.1.4E P)
vocally repeat a dictated melody using solfeggio. (MU.912.S.1.4E P)
independently notate dictated rhythmic patterns. (MU.912.S.1.4E P)
consistently apply the principles of audiation, including types and stages. (MU.912.S.1.4E P)
individually demonstrate the expressive characteristics of phrasing, dynamics, and appropriate tempi as found in the literature being studied. (MU.912.S.2.1E P)
independently sing major musical themes including sections and patterns that outline the form of a composition. (MU.912.S.2.1E P)
sing 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)
demonstrate characteristic vocal timbres of various choral styles. (MU.912.S.2.2E P)
sing independently 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 four-part 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 of various styles, tempi, and meter. (MU.912.S.3.1E P)
identify and demonstrate basic conducting patterns. (MU.912.S.3.1E P)
independently identify and notate 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 and notate letter names of the spaces and lines of both bass and treble clefs. (MU.912.S.3.2E O)
independently demonstrate and notate 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 and notate major, minor, and perfect melodic intervals within a diatonic scale. (MU.912.S.3.2E O)
independently sight-read and notate melodic exercises step-wise, with skips, without accompaniment. (MU.912.S.3.2E O)
independently identify and notate 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)
sight-read two, three, and four part exercises in groups. (MU.912.S.3.2E O)
Time-Period Currently Unspecified
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
independently transcribe dictated melodic and harmonic intervals as played on a piano. (MU.912.S.3.3E R)
Time-Period Currently Unspecified
work independently 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)
develop strategies for learning individual vocal parts. (MU.912.S.3.4I R)
apply sight-reading skills to vocal literature being learned. (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
maintain proper decorum at all times while performing and when attending concerts. (DA.912.S.2.1BAC )
  • concert attendance etiquette (e.g., appropriate times enter and exit the performance facility, appropriate times to clap, how to dress)
  • performance etiquette (e.g., appropriate performance attire, entrance and exits, stage presence, appropriate times to play)
maintain appropriate behavior at all times during class and rehearsal (DA.912.S.2.1BAC )
  • classroom procedures (e.g., how to enter and exit, storage for instruments, music, and personal items, pass procedures, location of daily rehearsal/lesson plan)
listen attentively to teachers and peers (DA.912.S.2.1BAC )
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
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)
All Year
listen to, identify, and discuss compositions with contrasting styles. (MU.912.O.2.1BAC )
  • contrasting styles of music (e.g. Baroque vs. Romantic, Rock vs. Swing)
  • varying forms (e.g., strophic, binary, ternary)
identify and describe the similarities and differences of contrasting compositions. (MU.912.O.2.1BAC )
  • Expressive elements of music (e.g. dynamics, articulations, word stress)
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 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 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 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
Set individual vocal goals (range, tone, quality, comfort, independence, etc.) (MU.912.C.2.1BAC )
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
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
define “copyright” and discuss applicable materials, media, and performances. (MU.912.F.3.2NTK R)
list materials subject to copyright law and discuss proper usage, payment, etc. (MU.912.F.3.2NTK R)
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)
Week 10
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.
identify specific historical events inspired by music, musicians, and/or composers. (MU.912.H.2.1BAC )
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 )
Week 18
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
Second Semester
develop ideas regarding compositional intent of the composer. (MU.912.C.1.2I R)
  • critical listening skills
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 30
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 )