Chorus 5 Honors Pacing Guide

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
identify road signs in music (LAFS.1112.RST.2.4BAC )
  • naturals - cancel previous accidentals
  • 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
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
create and implement a personal plan to improve a personal musical skill. e.g. sight-reading, tone, breath support, scales, etc (LAFS.1112.WHST.3.7BAC )
Aurally identify Classical style period music (MU.912.C.1.1BAC )
  • Related Vocabulary: symphony, suite, sonata form, transition, delvelopment, motive, recapitulation, coda, concerto, cadenza, chamber music, string quartet, requiem.
Aurally identify the music of the Baroque period (MU.912.C.1.1BAC )
  • Related Vocabulary: harpsichord, forte-piano, oratorio, figured-bass
Aurally identify Romantic period music (MU.912.C.1.1BAC )
Aurally identify 20th Century period music (MU.912.C.1.1BAC )
Identifying specific forms, e.g., AB, ABA, strophic, etc. (MU.912.C.1.1BAC )
  • melodic material naming conventions
perform individually and in groups followed by peer feedback (MU.912.C.1.2I R)
  • prepare for a performance
  • positive feedback for performance areas needing improvement
perform appropriate and representative versions of a variety of vocal styles and classifications. (MU.912.C.1.4E R)
  • aurally differentiate between Medieval, Renaissance, Baroque, Classical, 20th Century, Present-Day
identify performance accuracy and technique relative to pitch, intonation, balance, blend, phrasing, etc. (MU.912.C.2.1BAC )
  • Technical Preparation: intonation, pitch accuracy, rhythmic precision, balance, entrances, releases
  • Tone Quality; breath supposrt, register adjustmen, vowels, blend
  • Musical Effect; tempo, phrasing, musical line, dynamics, style, articulations
generate a student composition and/or improvisation. (MU.912.C.2.3BAC )
  • composition
  • improvisation
  • melody
  • rhythm
  • texture
  • tonality
  • form
analyze performance options and suggest improvements based on cooperative feedback. (MU.912.C.2.3BAC )
  • applied learning strategies
attend performances of quality groups to bring back best practices to implement (MU.912.C.3.1E R)
  • access community resources
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
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 )
reflect on musical activities and performances throughout the year. (MU.912.F.3.4BAC )
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)
listen to and identify examples of music from diverse cultures and eras (MU.912.H.1.2I R)
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, rehearse, and perform quality choral literature from diverse cultures. (MU.912.H.1.5I R)
research and present materials via oral, written and/or digital media. (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)
independently identify and discuss characteristics of specific musical genres. (MU.912.H.2.3NTK R)
independently 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)
conceptualize and integrate multi-disciplinary knowledge into a musical performance. (MU.912.H.3.1NTK R)
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, counter melody, 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)
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)
demonstrate 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)
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)
improvise melodies based on pitches from major scales. (MU.912.S.1.1BAC C)
  • notes of the major scales (e.g., b flat concert, e concert)
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)
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)
independently transcribe dictated melodic and harmonic intervals as played on a piano. (MU.912.S.3.3E R)
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
  • sixteenth note patterns 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 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)
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
demonstrate a musical idea as a model for peers. (LAFS.1112.SL.1.1BAC )
initiate independent refinement of repertoire through collaboration with peers (LAFS.1112.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.1112.SL.1.1BAC )
  • rehearsal communication conventions
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 )
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)
perform repertoire with contrasting styles and structural elements. (MU.912.O.2.1BAC )
First Semester
Pitch-matching – aural skills; echo, call & response; individualized attention; singing circles, etc. (MU.912.S.3.1E P)
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 )
demonstrate proper singing posture with proper breathing: (MU.912.S.3.1E P)
  • diaphragmatic breath – free, low & centered breath which leaves the rib cage in an open, upright position.
  • Singing Posture - Position of back, shoulders, rib cage
Week 2
Discuss the Vocal Instrument (MU.912.S.3.1E P)
  • Respiration – breath support – consciously controlled inhalation & exhalation
  • Phonation – subconsciously controlled tension in the vibrating vocal cords
  • Resonation – part consciously controlled: chest, pharynx, oral cavity, nasal cavity, sinuses, etc.
  • Articulation – the product of phonation, resonation & muscular movements of the speech organs (lips, tongue, teeth, hard palate, soft palate, uvula, glottis, a. ridge) that produce recognizable speech sounds.
Discuss Vocal Placement/Resonators – sound changes according to the shape of space in instruments. (MU.912.S.3.1E P)
  • Chest voice
  • Head voice
  • Nasal placements
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
Compare vocal register qualities & long-term vocal health risks. (MU.912.S.3.1E P)
  • Vocal fry
  • Modal voice
  • Falsetto
  • Whistle registers
Week 4
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
Set individual vocal goals (range, tone, quality, comfort, independence, etc.) (MU.912.C.2.1BAC )
Week 5
demonstrate ability to sing with unified vowels: (MU.912.S.3.1E P)
  • Introduction to International Phonetic Alphabet (IPA): Italian vowels: ee [ i ] ay [ e ] ah [ a ] oh [ o ] oo [ u ] aw [ ? ] eh [ ? ] ih [ I ] uh [ ? ]
demonstrate ability to sing with clear and precise consonants: (MU.912.S.3.1E P)
  • “th”: ? (unvoiced) ; ð (voiced)
  • “sh”: ? (unvoiced) ; ? (voiced)
  • “s”: s (unvoiced) ; z (voiced)
Week 6
Identify diphthongs and triphthongs in text: (MU.912.S.3.1E P)
  • Diphthongs: two vowel sounds on one syllable. e.g. house [ah-oo], boat [o-oo], boy [o-ee]
  • Triphthongs: three vowel sounds on one syllable. e.g. hour [ah-oo-rrr], fire [ah-ee-rrr]
Week 8
analyze voicing, accompaniment, and expressive elements indicated in the music. (MU.912.C.1.2I R)
  • dynamic markings
  • expressive markings
demonstrate proper dynamics through a deeper understanding of breath support: (MU.912.S.3.1E P)
  • dynamics are not created by more or less air flow (escape of air).
  • dynamics are controlled through increased support via opposing breathing muscles.
Second Quarter
identify quality recordings of vocal performance (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
demonstrate ability to sing with proper intonation. (MU.912.S.3.1E P)
  • The ability to play or sing notes in tune. (pitch accuracy)
  • The “center” of the pitch adjusts according to harmonic context. Western equal-tempered instruments, like the piano, have their pitches adjusted into 12 “equal” distances between octaves to sound as good as possible in all keys.
  • There are tendency notes in the scale that need adjustment from equal temperament to be sung with better intonation: Scale degree 4, tends to be sung too high (often leading to group key center going sharp); Scale degree 7 as leading tone, usually needs to be slightly higher; Scale degree 5, slightly higher in tonic harmonies; Scale degree 3, tends to be sung slightly flat.
  • Build awareness that without attentiveness, ascending melodic lines will tend to go sharp and descending lines tend to go flat.
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 )
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 )
listen to and identify compositions with contrasting styles. (MU.912.O.2.1BAC )
demonstrate ability to sing with proper entrances and releases. (MU.912.S.3.1E P)
  • Varied inhalation, speed and air pathway, according to desired attack
  • Avoidance of glottal attack, the release of excessive pressure built under a closed throat, that is damaging to the vocal folds; awareness of the heavier “false vocal cords” that often cause glottal attacks.
  • Attention to direction of release (up, down, etc.), musical line extending beyond audible sound and technique to maintain open, free airway
Week 12
create 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.
identify the similarities and differences of Middle Ages and Renaissance period music. (MU.912.O.2.1BAC )
Demonstrate the ability to sing with appropriate phrasing and musical line. (MU.912.S.3.1E P)
  • Vary dynamics and articulators for: sustained values longer than a beat, repetition of musical idea or repeated text, contour of melodic material
  • Musical expression with the “Arch Phrase” through the concept of Golden Mean, the middle between excess and deficiency
  • Dovetail endings
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
identify the similarities and differences of Baroque period music with Renaissance period. (MU.912.O.2.1BAC )
Demonstrate ability to sing with proper balance. (MU.912.S.3.1E P)
  • Awareness of section along with other sections while singing
  • Awareness of texture and melodic material
  • Balance in context of chordal voicing (Root, 3rd, 5th of chord)
  • Relationship of matching vowel formation and balance
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.
identify the similarities and differences of Classical period music with Baroque period. (MU.912.O.2.1BAC )
Demonstrate ability to sing with proper blend. (MU.912.S.3.1E P)
  • Awareness of vowel shape at different proximity levels (neighbors, section, choir)
  • Effect of singing in mixed formation (or exercises with neighbor alternation); effect of facing a different direction
  • Voice placement exercise: compare sound of varied placement left to right of three students in different relative positions
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
identify the similarities and differences of Romantic period music with Classical period. (MU.912.O.2.1BAC )
Utilize the International Phonetic Alphabet consonants to clarify diction in text: (MU.912.S.3.1E P)
  • Nasals: air escapes freely through nose [ m, n, ? (onion), ? (sing) ]
  • Plosives: air is blocked by articulators [ p, d, t, d, k, g ]
  • Fricatives: forcing air through a narrow channel in the articulators [ f, v, ?, ð, s, z, ?, ? ]; The “h” placements from forward to back in mouth: [ ç (hue), x (loch), h (hi) ]
  • Approximants: air through a medium channel in the articulators [ ? (red), j (you), r (flipped/trilled r), l (let), w (weep) ]
  • Affricates: plosive followed with a fricative [ ts (let's), dz (ends), t? (bleech), d? (jump) ]
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.
identify the similarities and differences of 20th Century period music with Romantic period. (MU.912.O.2.1BAC )
demonstrate the ability to sing with appropriate expression and dramatic effect. (MU.912.S.3.1E P)
  • Interpretation of composer intent and understanding period performance practices.
  • Analysis of recorded student performance(s) to determine perceived vs. actual musical shaping.
  • Creating dramatic effect with text through dynamic contrast, musical articulation, and consonants.
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 )
identify 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 various technological aspects of musical learning, performing, recording, and delivery systems. (MU.912.H.3.1NTK R)
examine the physical properties of sound, acoustics, sound amplification, digital technologies, and related materials and applications. (MU.912.H.3.1NTK R)
Week 18
describe how skills in the music room transfer into other content areas. (MU.912.F.3.1BAC )
identify music as an influential component of various societal and historical events. (MU.912.H.2.1BAC )
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
identify professions within a professional ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.) (MU.912.F.2.3BAC )
  • professions within a musical ensemble (e.g., executive director, board of directors, personnel manager, production manager, librarian, etc.)
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 33
Perform as individual and/or small group - vocal testing on memorized literature. (MU.912.S.3.1E P)
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 )
Week 36
explore pros and cons of recorded vs. live performance and the role of technology as a component and influence. (MU.912.H.3.1NTK R)